Planning matching production

The planning matches the storyboard at the end of the final scene. You see Aaron, the kidnapper, approach Chrotopher from behind and grab him. The shot then fades to black. This is what happens in the actually scene in the film. This is an example of the storyboard (planning) matching the actually product.

final film

Following the storyboard

Below is evidence of the final shoot for our short film, The White Room, matching a piece os planning that we produced in pre-production before the film. It matches some parts of the storyboard. The storyboard shows Aaron following Christopher and grabbing him at the end. This is also shown in the film screenshot below and is evidence that our shooting matched the storyboard. I thought that a cut to black before the kidnapping really got started would leave the audience interested and wanting more as they would want to know what has happened to Christopher. I thought suspense would be a good technique to use for a crime thriller as it makes the audience feel nervous and excited which is what we would want our film to make them feel.

Although the storyboard was made before the films production and sometimes people don't stick to it, our group has stuck to it well and our final film shows it multiple times.

Below is another example. Although every shot doesn't match, a lot of them are used in our film. These include a close up of Matt (Aaron) opening the door to leave his house. and a shot of each character tying their shoes. Although the shot of Matt (Aaron) getting the balaclava out of his draw is slightly different, as is the shot of Aaron coming his hair, it still takes inspiration from the storyboard, as do most of the shots we used in the first section of the film. The shot of Aaron combing his hair actually features Joe (Christopher) in the final film. The shot of Joe (Chistopher) putting on his shoes starts blurred and out of focus and then fades in to focus. Although this is nto mentioned in the storyboard, it was added for effect but still tooka lot of insperation from the storyboard.

Offline edit

When editing the final footage of a film together it is common for studios to create an offline edit which is cut of the film which has no effects added to it at all no music, no visual effects and no liner or non- liner editing. This means that the editor can get a good sense of the tone they are trying to convey before beginning work. We decided that it would be in our teams interest to create an offline edit of the white room so that we could more easily decide on the final shots which we wanted to use and in what order. Specifically this applied to sequences such as the opening crosscutting scene and the final kidnapping scene. It is important to note that this edit was created before the final cut was prepared which means that some of the shots may not be the same versions as the ones used in the final product and it will be longer than the final film as that shots are not cut down for the purposes of editing. As well as this they be out of order of have audio issues which will be corrected in the future.

Evidence of Logging Rushes & Creating Edit Decision List

TITLE: White Room Edit Decision List

FCM: NON-DROP FRAME

001  AX      NONE  C        00:00:00:00 00:01:21:22 00:00:00:00 00:01:21:22

* FROM CLIP NAME: Part 1.mp4

AUD  3    4

002  AX      AA    C        00:01:22:19 00:02:15:10 00:01:22:19 00:02:15:10

* FROM CLIP NAME: Part 1.mp4

003  AX      V     C        00:00:00:00 00:02:14:10 00:00:00:00 00:02:14:10

* FROM CLIP NAME: Part 1.mp4

004  AX      V     C        00:02:14:10 00:02:14:10 00:02:14:10 00:02:14:10

FCM: NON-DROP FRAME

004  AX       V    W000 025 23:00:01:00 00:00:20:13 00:02:14:10 00:02:35:23

EFFECTS NAME IS W000

* FROM CLIP NAME: Part 1.mp4

* TO CLIP NAME: MVI_2416.mp4

005  AX      AA    C        00:00:00:00 00:00:21:00 00:02:15:10 00:02:36:10

* FROM CLIP NAME: MVI_2416.mp4

006  AX      V     C        00:00:00:00 00:00:20:13 00:02:15:10 00:02:35:23

* FROM CLIP NAME: MVI_2416.mp4

007  AX      V     C        00:00:20:13 00:00:20:13 00:02:35:23 00:02:35:23

FCM: NON-DROP FRAME

007  AX      V     W000 025 23:00:00:12 00:03:00:22 00:02:35:23 00:05:37:07

EFFECTS NAME IS W000

* FROM CLIP NAME: MVI_2416.mp4

* TO CLIP NAME: Part 2(2).mp4

008  AX      AA    C        00:00:00:00 00:03:01:22 00:02:36:10 00:05:38:07

* FROM CLIP NAME: Part 2(2).mp4

009  AX      V     C        00:03:00:22 00:03:00:22 00:05:37:07 00:05:37:07

FCM: NON-DROP FRAME

009  AX      V     W000 025 23:00:01:00 00:00:25:20 00:05:37:07 00:06:04:02

EFFECTS NAME IS W000

* FROM CLIP NAME: Part 2(2).mp4

* TO CLIP NAME: MVI_9965_1.mp4

010  AX      AA/V  K B      00:00:00:00 00:00:25:20 00:05:38:07 00:06:04:02

FCM: NON-DROP FRAME

010  AX      AA/V  K    000 01:05:11:18 01:05:37:13 00:05:38:07 00:06:04:02

* FROM CLIP NAME: MVI_9965_1.mp4

* KEY CLIP NAME: Adjustment Layer

011  BL       V     K B      00:00:00:00 00:00:00:01 00:06:04:02 00:06:04:03

FCM: NON-DROP FRAME

011  AX      V     K    000 01:05:37:13 01:05:37:14 00:06:04:02 00:06:04:03

* KEY CLIP NAME: Adjustment Layer

012  AX      V     K B      00:00:27:14 00:00:29:13 00:06:04:03 00:06:06:02

FCM: NON-DROP FRAME

012  AX      V     K    000 01:05:37:14 01:05:39:13 00:06:04:03 00:06:06:02

* FROM CLIP NAME: MVI_9965_1.mp4

* KEY CLIP NAME: Adjustment Layer

013  AX      V     K B      00:00:31:06 00:00:32:20 00:06:06:02 00:06:07:16

FCM: NON-DROP FRAME

013  AX      V     K    000 01:05:39:13 01:05:41:02 00:06:06:02 00:06:07:16

* FROM CLIP NAME: MVI_9965_1.mp4

* KEY CLIP NAME: Adjustment Layer

014  AX      V     K B      00:00:34:13 00:00:36:06 00:06:07:16 00:06:09:09

FCM: NON-DROP FRAME

014  AX      V     K    000 01:05:41:02 01:05:42:20 00:06:07:16 00:06:09:09

* FROM CLIP NAME: MVI_9965_1.mp4

* KEY CLIP NAME: Adjustment Layer

015  AX      V     K B      00:00:38:01 00:00:38:11 00:06:09:09 00:06:09:19

FCM: NON-DROP FRAME

015  AX      V     K    000 01:05:42:20 01:05:43:05 00:06:09:09 00:06:09:19

* FROM CLIP NAME: MVI_9965_1.mp4

* KEY CLIP NAME: Adjustment Layer

016  AX      V     K B      00:00:40:04 00:00:41:22 00:06:09:19 00:06:11:12

FCM: NON-DROP FRAME

016  AX      V     K    000 01:05:43:05 01:05:44:23 00:06:09:19 00:06:11:12

* FROM CLIP NAME: MVI_9965_1.mp4

* KEY CLIP NAME: Adjustment Layer

017  AX      V     K B      00:00:43:15 00:00:45:12 00:06:11:12 00:06:13:09

FCM: NON-DROP FRAME

017  AX      V     K    000 01:05:44:23 01:05:46:20 00:06:11:12 00:06:13:09

* FROM CLIP NAME: MVI_9965_1.mp4

* KEY CLIP NAME: Adjustment Layer

018  AX      V     K B      00:00:47:05 00:00:54:02 00:06:13:09 00:06:20:06

FCM: NON-DROP FRAME

018  AX      V     K    000 01:05:46:20 01:05:53:17 00:06:13:09 00:06:20:06

* FROM CLIP NAME: MVI_9965_1.mp4

* KEY CLIP NAME: Adjustment Layer

linked audio and visuals

The main Use of linked audio and visuals in the white room is defiantly the opening crosscutting sequence. In order to create this sequence i had to find a song that would fit the tone of the film’s opening as to give the advance the impression that they were about to watch a rather darkly themed film. This meant that I had to find a copyright free piece of music eventually settling on “Daydream” by “the lovin’ spoonful.” I then arranged the footage so that the shot would switch in accordance with the beat of the song. This gave the scene a sense of rhythm and made it seem professional. 

In the scene of the film which focuses around "Daydream" I decided that I had used enough of the lyrics of the song around the time of the slider shot on Aarons windowsill. In order to make the product sound the way I wanted it to I decided to use the cutting tool on premiere in order to remove the second verse of the song and instead skip straight to the instrumental/ whistling solo section of the song. Doing this presented me with a few challenges. As can be seen from the audio bar of adobe premiere which I have inserted below I had to cut the audio track perfectly in order make the two sections of the song fit together perfectly. I did this by making sure that the cut I did was on the top of a beat. This meant that I was able to stop the track and cut in an accurate place. 

Finally my final edit on this part of the film's audio was to fade the song out as the first duologue scene began,. This meant that the song wouldn't be cut of abruptly which, in turn adds to verisimilitude.

Links to the new tracks to be used: 

https://www.youtube.com/watch?v=AlAGdr2opdM - For use in the opening scene

https://www.youtube.com/watch?v=NWaNW-aYhVY&t=39s - For use in the conversation between wayne and aaron

Here I have show screenshots of the premier programme after these changes:

Later in the production In the film we decided that it would be of benefit to the film if we were to insert some background music in the scenes with and without dialogue. In doing this we had a complete rescore of the film. This resulted in the replacement of the song "Daydream" at the beginning of the film with a more tense, dark orchestral piece of music which ,we felt, would add to the tension of the piece as a whole. As well as this we added backing/ background music in the scenes of Aaron and Wayne speaking to each other as well as that of Christopher and Andrew and the scene of Christopher texting Andrew at the bus stop.  

As to adhere to copyright law we decided that it would be intelligent for us to use exclusively royalty free music which we did for the majority of the film. However at the end of the piece it is clear that we have used the song "Tighten" up by American band "The Black keys." The reason why this is an acceptable piece of music to use in our film was because we were able to check the copyright enforcement of the song through a tool which YouTube provided to us. To access this tool we went to my YouTube account >Creator Studio >Creator Studio > Music policies. We then searched for songs which we would like to use in the scene and found tat the Black Keys' song was available for use except in a few countries (Great Britain not included) 

This shows that the video will be viewable worldwide if the song "Tighten up" was used. 

Below I have inserted screenshots of my premier file after insering the new sounds: 

As can be seen in these screenshots the new music added a lot to the scenes as that the soundscape before had was rather empty due to the fact the had recorded no other sound other than the dialogue. The new sound also helped us to drown out sounds created by our own errors when filming the scenes. Most specifically the scene of Wayne and Aaron speaking whish we decided to use was suffered from the sound of the camera it was being filmed on focusing itself as that we had forgotten to urn off the Auto focus feature which the camera had enabled for the establishing shots which (as can be seen in my daily shooting schedules blog post) were filmed the same day. Coving up this error serves to make the viewer feel more verisimilitude in the film which in turn adds to the tension which the viewer is supposed to feel. 

As well as adding to the sound of the film during this process we also changed the look f the scene by applying a dark filter over the whole film as to help us convey the dark themes of the film (when we were filming the piece it was mostly in the daytime and therefore the shots we filmed 

Note: In some of these screenshots there may only be one video and sound layer. The reason for this is because while editing the film Me and my partners Josh and Jacob edited different sections of the film. After each of us had finished our initial edits we transferred each of our exported videos to one premier file which we then exported as our final film. While I understand now that there were other ways we could have done this which wouldn't have involved exporting each video none of us thought of a different method at the time. 

The scene shown above of Chris texting Andrew is our most obvious use of audio and video effects. as can be seen the scene required the use of a texting video effect as well as the sounds which are associated texting. This required a lot of editing to be created. In order to do this we downloaded both a template for the video effect which we then put over the video of the scene and added the text to each of the text bubbles which the effect gave us and the sounds of massages being sent and received on a smart phone. Below I have show how this looked when completed on adobe premiere. All of the sound used for the scene was downloaded from royalty free sound website www.Freesound.co.uk and was thetherefore not open to copyright violations.