Thriller Opening [Final]

Screen grabs of Setting One [Scott & James]

 We introduced close-ups to make the setting feel claustrophobic. Also, to hide the identity of our character that is later revealed in our story to be the antagonist.






In these specific shots we directed the light source so that it seemed that the light was shining from the computer screen. This is our example of realistic lighting techniques.

We utilised depth-of-field to create a professional look for our shots and increase the importance of the close-ups.

Titles Research- Se7en [Scott]

The opening to Se7en uses as mixture of both black frame and superimposed titles. However, the Editors and Titlists have added after-effects of glitching and celluloid crackling to the shots, this not only makes them more interesting to watch but introduces a chaotic and in some ways sinister mood, this is also achieved through the suspenseful music used at this point. This sets and fits the sinister mood for the rest of the film.

With a white font the positioning of the title texts when superimposed is usually in the darkest part of the frame, this highlights the text and makes sure that it isn't lost in the speed of editing and suggested madness that is happening at this point in frames.

Titles Research- Drive [Scott]

http://www.youtube.com/watch?v=LDCt1V8T3To -Drive Opening Credits in YouTube.

In the Drive opening Credits sequence the main thing to point out is the positioning of text titles. Because the titles in this film come superimposed over film footage the Titlist has positioned each text cleverly in the frame. As we can see below they have utilised the empty space of the shot between Ryan Gosling's head and hand to place the Film's name title, not only does this work because it is the centre of the screen but because it doesn't cover any of our established main character and the colours of the shot (Black/ Dark Blue) highlight the pink font title so that it is clear for the audience. 

It is also larger in comparison to the titling screenshot below, this helps differentiate between film name and crew member name (Cast/ Director). 

On the underneath shot, the titling is shown to us and naturally underlined by the dashboard of the car. This adds symmetry and a neat, professional look to the titling. Once again, the colours of the shot help to illustrate the text even more, with the contrast of a light pink to dark blues and blacks.

Titles Research- Identity [Scott]

http://www.youtube.com/watch?v=8IYnVCnpqRU -Identity Opening in YouTube.

Firstly, the most interesting part of the opening few titles is the Fade-in & outs for the text. While all the text of one frame Fades-in, with the Fade-out one letter is left for a few more seconds than the others before fading. In order these letters spell; Identity, having the film name appear in this way already creates a eeriness that transpires into interest and questions raised for the audience.

It is important that the font used, although generic, fits the already established mood of the film. It is simple and is easy to read, unlike a 'Baskerville' used font which is commonly used for Period Drama's or Romantic Movies. This simplicity fits well with the eerie fades.
After the initial 'Columbia pictures' frame, we are then given the titles superimposed on film footage.
The Editor/ Titlists have utilised depth-of-field and black parts of some shots to make sure the white font isn't lost within the frame and is clear to the audience.

VLOG (15/03/13)

 

Intro to Props and Lighting grabs [Jake]

We used several key props and lighting on our actual filming day, we had to carefully position these and referred to our animatic to make sure the messages we conveyed were the right themes we wanted, this was not overly difficult but required a lot of trial and error work as we wanted to choose the optimum points of props, camera and lighting.

Screen grabs of Setting Two [Scott & James]

The lighting utilised in this part of the setting was only one halogen light
 because there was enough natural lighting already 

To create naturalistic lighting we only utilised two halogen lighting,
one behind the camera and the other offscreen to the right through the doorway.