Post Production & Colour Manipulation

From the very beginning of planning our production, we knew that the post production methods we employed would be crucial to the look and feel of the finished piece: post-production techniques can have a great bearing on how a film is percieved by the audience.

The ways in which we have manipulated colour contrast within the film give a dark and surreal look. The overly contrasted colours cause a small amount of blurring along lines where colours intersect: this gives us a means with which to show the mental state of the character, whilst improving the films overall aesthetic greatly. What was once overly bright and flat looking footage has now been converted to look full and deep in colour and shadow.

We have also used post-production as a means with which to enhance the films narrative, by inserting frames from the guide from which the film takes its name. This allows the audience to see what information the guide contains, and why the protagonist is blindly following it's orders without hesitation or thought.

- Joe Lawrence

Location Scouting

The tone of our film requires settings almost completely void of any other signs of human life. As such we set about finding a vast open space in which to film the most important part of our film: the burial of a body. After several discussions we made the decision to scout a location in Shenfield, and almost instantly decided it to be the perfect place:














The field is large enough to enable us to shoot from multiple different angles, allowing us to use it for almost endless shots and footage of the protagonist dragging the body across the open ground. It's heavy treeline also blocks out the view of nearby houses and roads, enforcing the remoteness of our protagonists situation, whilst the lack of trees within the middle of the field removes the problem of shadows causing problems with colour and contrast in the post-production stage.














The above photo shows our second location, in which the burial of the body will take place. Despite it's difference in appearance from the field, the two locations are infact bordering each other. We chose this location because we felt that the change in colours from the main field would help us to portray the dark mood within the protagonist.

Our third location is Pete's garage. Despite warnings from teachers (and ourselves) we finally made the decision to use the garage for two reasons. The first is that the protagonists awakening within a regular household heightens the sense of mystery and enigma, the two things that our film relies on the most. The second is due to the ease with which we can film there: we have allowed ourselves time to shoot pickup shots with the aim of giving us more flexibility in the event of loss of footage, changes in script and editing. Because of the changes in weather, we have focused most of our filming on the exterior shots of the field for continuity: changes in weather mean changes in mise en scene such as leaves dropping and fields becoming more "boggy".

Whilst we are still in need of a fourth location, we feel that the areas we have chosen for our film are suited well to the tone and mood of our piece.

- Joe Lawrence

Location scouting from Peter McLaughlin on Vimeo.

-Peter McLaughlin

23/10/09 Production Diary (Part 3 Exterior Grave Scene)

We had faced a lot of problems dealing with this scene. Initially we decided to dig the grave ourselves but we soon realised just what a challenge that was. Firstly on the previous day of shooting all four of us started to dig this grave. After only digging about one foot down into the earth which took several hours we started to hit clay. This was a disaster this clay was so tough that it broke numerous spades and shoves that we were using to attempt to dig the grave. After a four of hours we decided to give up as we were drained of energy. However myself and Peter did decided to come back a couple of days later because it had been raining during the night and was still raining during the day, we asked for permission from our media teachers as that is what myself and Peter had that day, to take the day off attempting to dig the grave. However the rain did not make any difference to the density and toughness of the clay and we soon found that out. But we still did not give up digging the grave for a number of hours as we desperately wanted this shot in our finished product as it was a great aspect to the mise en scene of our short film and we decided in the planning of our Short Film that we wanted there to be a grave in the film as it would have a shocking affect on the audience.









We were able to overcome this major issue as I had been talking with Mr Sheriff (Head of Media) about these problems we had come across and he explained to me that on the school field some holes were being dug for the foundations of the new pavilion. We had a discussion about the possibility of using these foundations as they grave we went to have a look and see for ourselves what in fact we were actually dealing with but the main problem we came up with was the continuity of where the grave was in relation to the rest of the footage. In order to use this scene we would have to take extra care in the angles in which we shot the footage as we did not want certain elements of the other mise en scene present in this location to be in the frame on the shot as this would look extremely unprofessional. So we decided as a group to go forward with shooting this location for the scene of our film but some more problems occurred as where the builders where digging on this construction site there were many health and safety issues in order for us to gain access to where we wanted to film the grave. We knew that the only way to gain permission to access the construction site was to speak with the Caretaker of the school Mr Piper. Peter knowing Mr Piper quite well went and asked for us to have authorization to access the construction site. He thankfully agreed but explained to us that he needed to stay with us during the time we were shooting so the builders knew why we were there.









On Friday 23th October we all as a group and Holly Brooks (as she was acting as the dead body) met up after school in the common room, on the last day before half term to start shooting the footage. Peter had already been home and changed into his costume and brought all the necessary parts of iconography with him into school, including the cardboard box, spades and shovels. Also he brought with him his camera (as we were using his camera instead of the schools as it was able to film footage in HD which extremely improved the picture quality and overall would have a great impact on our finished product) that had been charging all day, due to the camera being able to film in HD which was a great advantage for us there was also a disadvantage as the battery life of the camera did not last particularly long so we could not waste time filming. We kept reminding Joe in the process of filming that when moving the camera for the next shot or when he wasn’t filming and discussing camera shots and angles with ourselves that he should switch of the camera so that we got the maximum time available for shooting as possible.



So with everything prepared we all made our way from the sixth form common room across the school to meet Mr Piper. He wasn’t at his office at the time but we only had to wait about five minutes before he returned and the escorted us around the back of the school through the staff car park and then into the construction site. At the time the builders where still on site working so there where diggers and trucks moving around as well as men working. So where we decided to shoot the footage was at the furthest point possible from where they were working for health and safety reasons but also we did not want any diggers, trucks or builders in the frame of the camera shots. We could manage with them talking and the sound of the machines working as there was no dialogue in this scene so during the editing we could just mute the sound of the background noises.

During shooting we did have many problems that we had to overcome and decide as a group the best solution. Firstly we began we some high angle shots looking down at Holly that creates the sense of making the figure or object seem vulnerable or powerless, and we straight away came across our first setback as next to holy was a huge concrete post so we had to position the camera so that this concrete post was not in the frame of the camera whilst Joe was filming. Also whilst doing this we had to take extra care whilst walking around the hole which Holly was lying in as there was a vast amount of rumble and loose earth at the top and mud kept falling down on to her and when we attempted to stop it more just fell down so it was a no win situation. The worst part was when a piece of concrete fell because of a digger going past it made the ground shake slightly and almost hit Holly, because of this we wanted to finish the shooting the footage as quickly as possible as we did not want Holly to get injured after helping us with our production for nothing.





Also whilst shooting the footage I had to watch very thoroughly as Continuity became an issue about the location of Holly’s arm as between shots she kept moving it. So when the others ask me where was Holly’s arm in that last shot I had to remind them. In addition we had the problem of shadows and silhouettes as it was a very sunny day so whilst filming we had to position ourselves so that our shadows did not have any effect on the light in which the footage was being shot. Otherwise this would look extremely unprofessional.



The next shot which we had an issue with was a low angle shot looking up from where Holly lay to Peter the protagonist standing over her at the top of the grave holding a shovel and beginning to fill it in. We wanted to use this shot as it creates an affect where the character looks and gives the audience a feeling that he is powerful and menacing, which was exactly how the shot ending up giving the impression of to us and we all agreed that it was an extremely good shot of Peter. A famous example of when this shot is used, The Dark Knight Christopher Nolan uses extremely low angle shots to give the Joker a more powerful and menacing image to the audience in The Dark Knight, especially during the scene where the truck he was driving is flipped over and he gets out and starts shooting at Batman. In this scene, the angle actually goes from a normal medium close up and slowly moves into a low angle shot. But gives the audience a very clear and influential message about the Joker and therefore was a great decision by Christopher Nolan to go forward and use this shot. Anyway getting back to the problem we had which was whilst trying to get the camera angle in the correct position behind Peter there was a metal fence that surrounded the construction site and prevented people from entering it also in the frame of the shot the was a huge mound of soil which had been dug up for the foundations of the pavilion. We firstly we were able to get the mound of soil out of the frame of the shot by placing the cardboard box in such a position that it was no longer visible. But the fence was still a problem even though Joe had moved back as far as possible with the camera the fence was just still visible in the shot and the sun was shining directly towards us. We overcame this issue by digging a small amount of soil out of the hole and then placing the camera in the same position until finally the fence was out of the camera shot.









In total this days shooting took around two hours, we came across many problems but were able to overcome these working as a group. It took longer than expected for such a small amount of footage but the footage in which we were able to gain was of the best quality the use of camera angles and variety of shots was exquisite. The location was perfect for us as we did not need to travel anywhere also the mise en scene of the grave gave us a great image, we think it would have a immense impact towards how the audience would react and what effect it had on them. We were very pleased we the decision we made in shooting our production at this location and we hope that it will have a very positive impact on the finished product.







By Oliver Fitch

18/10/09 Production Diary (Part 2: Field Scene)

We began our shooting in the field almost as soon as entering it, filming a wide shot of the entire area that frames our protagonist as an almost invisible speck in the middle of it, enforcing his isolation within the film. This shot proved challenging: to get high enough to show the entire film I needed to balance on the top of a fallen tree, trying to keep the tripod and camera steady whilst at the same time trying not to fall off.

Once stable, we encountered another problem. To get the best framing of the shot I needed to tilt the camera down slightly, which would show the tree branches below.




After this we decided to shoot some handheld footage of the protagonist dragging the body across the field. As we started Tim noticed that we had no footage of the character emerging from the forest as we had planned: we shot the footage after some more gardening, and moved back onto the handheld footage. We approached this by allowing Pete to improvise reactions whilst dragging the body through the field, with me following him as I filmed. We had a problem with my shadow being cast on the area I was filming: we remedied this by ensuring that I filmed from certain angles to minimise the amount of shadow in the footage. We will approach this in editing by carefully vetting the footage for any hint of my figure in the frame. The handheld footage is going to take a prominent role in our film, with much of the "Field Sequence" being made up of it. This allows us a close and chaotic camera style to highlight the character's emotions, as well as giving us the opportunity to get some close-up reaction shots whilst on the move.









- Joe Lawrence

Psychographics

A more in-depth and therefore accurate method than the Registrar General's Social Scale is the use of Psychographics.

The following research is based upon the 'SRI Consulting Business Intelligence' and a survey taken by 'VALS'

The diagram above separates people into three main sections based on their Primary Motivation; Ideals, Achievement and Self-Expression. It then has two outside segments. Those higher up have Higher Resources and Innovation, this recedes as you go lower down the diagram. I shall begin with the highest and work down, I shall then evaluate which our media product is best suited for.

Innovators

Notable for being successful, this feeds back to giving them a high self-esteem, they feel comfortable in authority and will often assume this role. This confidence often leads to them expressing all three of these motivations, they adapt to new environments well and are the most receptive to new ideas.

They are responsive to new ideas that they will often to seek new trends (hence the title innovators) to seek approval from other innovators. They are expressions of their taste, often displaying some form of sophistication.

Thinkers

Motivated by ideals. Defined by their maturity, order, knowledge and responsibility are the factors by which they judge people. They wish to be constantly aware of National and International Events to broaden their knowledge and illustrate them as cultured.

They have an understanding of the relationship between authority and social decorum. They generally have an income that could allow them a wide choice of products but they tend to be conservative in terms of purchase and look for functional qualities.

Achievers

Mainly motivated by the aspiration to achieve. They often set themselves targets and have deep commitments to both their profession and home (often involving a family) life. They often form a structure around their lives to emphasise focuses. They often are mildly right-wing, they like to keep to conventions and have a belief in the nature of authority.

They are excessively active in the marketplace, almost to the degree of 'Innovators', they are persistently interested in time-saving devices to accommodate to a fast-paced lifestyle. In a product they like for established well-known brands to seek recognition from their peers.

Experiencers

Driven by Self Expression. Their youth and enthusiasm can make them impulsive consumers. They are excited by variety and the prospect to be thrilled, they thrive upon being separate form society by following off-beat new strands. They spend the majority of the time outletting energy through social activities such as going to the cinema or sport.

This is reflected by their role as consumers spending high amounts on fashion, entertainment and socializing. They seek the approval of other Experiencers.

Believers

Similarly to Thinkers they are motivated by ideals. They are keen to be seen as conventional, they have regimented beliefs based on the following factors; family, religion, community and Nationality. These beliefs motivate and mirror their instinct for routine around their family and community events.

They willingly follow a predicted pattern of trusting in familiar products and established brands, often western. They are fiercely loyal to these brands, not wanting to experiment.

Strivers

Such as Achievers, Strivers are too motivated by the self-use of goals. They are often concerned with the opinions and more specifically the approval of their peers. They have a value for money but often do not have the desired amount to live their ideal lifestyle. They tend to choose up market products to give an illusion of wealth they may not have entirely. Their inhibitions often prevent them from a successful career, settling for a fair job.

They perceive purchasing as a section of their social life, both the activity of shopping and displaying their purchases. They are moderately impulsive, though confined by their own financial budgets.

Makers

They are motivated by the desire of self-expression,this done through individualising or completely constructing their own projects or material goods. This may involve D.I.Y. or maintaining the car or boiler. This results in them being highly practical people and a value for self-Independence.

This makes them a difficult demographic to appeal to as they are self-dependent and suspicious of new brands and of corporate institutions. Whilst they generally respect the concept of a government they extremely dislike intrusion on anything bordering a personal level.

Survivors

With narrowly focused lives and few material or emotional constants they find, uncomfortably, that the world is changing rapidly around them. Familiarity becomes a byword for security. Needs excel the wants for pleasure.

What Psychographics does our Short-Film Appeal To?

Being both subversive in narrative and format (our plot not being a mainstream blockbuster story and the short films being viewed by a very small percentage) our film tends to dip into demographics as opposed to being an essential section of their day to day lives.

Survivors are most likely never to see anything this experimental and outside of their secure lives. If Makers do see a film it will be from an established company and be one of the main films of the year. Beleivers again will not go out of their way to see a film that pushes their already well-established moral systems. Thinkers will also deny our product due to it's lack of practicality.

However Strivers may watch our product, even a short film can be become a cult icon and can be a mentioning point of their focused on social lives, also as this film can be distrubuted cheaply, it will fit into their budgets. Experiencers are also likely to respond to new young film makers. Acheivers may do just get the appreciation of their freinds, they have developed a culture that respects findign a new excting prospects. However our main demographic to aim for (for the reasons in this paragraph) are innovators, new, cheap, easy (and therefore susceptable to impulse) to access media can appeal to some.

Tim McNiven

How we will employ The Registrar General's Social Scale for our Short Film

If we to follow the Scale strictly we would consider our film's experimental nature, concerning narrative and style it does mainly isolate Groups E to D certainly and a fair majority of C. We have excluded many mainstream features such as; a love interest or even dialogue.

We would therefore aim it as a high concept drama, which is aimed to intellectually stimulate it's viewers. This would then push Groups A and B into, almost, a challenge.

However the scale can not be followed exactly. Partly (because our film has been made by students it will naturally have students as a main part of it's demographic) it does not include those out of occupations, even students, a demographic that works as a major trend-setter. You could argue that Students will become in Groups C and above and be treated as such. However what if the student guardian's are from Group D or E, will they share those interests.

These leads me to the core logical flaw with the Registrar General's Social Scale. It is based on far too broad stereo-types, i have no doubt (through a social process of self-fulfilling prophecy) that these stereotypes can be effective can be marketed to an effective degree. However with marketing constantly changing, more specific methods need to be explored, especially with more experimental films.

Tim McNiven

The Registrar General's Society Scale

When dividing groups of people, the media and politicians do so based on occupation. They split all people into five separate groups and try to appeal to either all groups (if possible) or heavily focus on one group. Our media group will have to adopt a marketing approach tailored to one of these groups.

Group A - Professional Workers, these include highly paid occupations such as; Scientists, Doctors, Lawyers or heads of large scale organisations.

Group B - Those in Managerial and Technical Occupations, informally known as White-Collar Workers. These may include; Teachers, Farmers or Shopkeepers.

Group C - Those in Skilled Occupations. this is further divided into two sections. Non-Manual (Master Builders or Nurses) and Manual (Electricians or Plumbers)

Group D- Partly- Skilled Occupations. Such as Lorry or bus drivers.

Group E - Lastly Unskilled Occupations - mainly involving general labourers.

Tim McNiven