PLOT SYNOPSIS• Bloodline is action film which resolves around a small family living in South London. The plot explores the extreme lengths that two sisters, Amber and Taylor have to go through in order to save the life of their father Paul. Unintentionally, the two girls are left with the pressure and responsibility to return a valuable memory stick to a notorious gang leader of the south London area. The data on this memory stick is worth a lot more than the health and safety of Amber, Taylor and Paul, as far as the gang leader is concerned. As well as being under strict time conditions, the girls are faced with many obstacles, trials and dead ends. The movie reveals how family values, loyalty and personality traits are tested.
CHARACTERSAMBER & TAYLOR = SISTERSPAUL = FATHERSYLVESTER = GANGSTER/ TOP DOG
PHOTOGRAPHS OF OUR INITIAL NOTESAnalysis of some of storyboards scans· Scenes 1 to 3Scene 1 (two seconds): The first scene is an establishing shot of London. The camera will be panning across the skyline of London. The music will be slow to suitthe ambience and also build up tension.Scene 2 (two seconds): This shot is a close up shot of Amber. One of the main characters. It is the first picture of a montage that consists of four shots. The soundhere will be of a camera shutter to suggest that someone is taking a picture (the close up) of Amber.Scene 3 (two seconds): This is the second shot of the montage. This time it shows a close up of Taylor. Again, the sound here will be of a camera shutter tosuggest that someone is taking a picture (the close up) of Taylor.· Scene 6, 10, 20Scene 6 (two seconds): This scene is the first of the taglines. It will be white text on a black screen saying “Family First”. Booming SFX will be used every time theappear to give a dramatic effect and to catch the audience’s attention.Scene 10 (two seconds): This shot will be having a special effect as a banner will be across the screen saying “from the writers of Takers”. This is something we asaw in Takers and decide to use it in ours.Scene 20 (two seconds): This is the last shot of the taglines, so we had to make it memorable. It is going to be in bold text saying “A fight against time”
ESTEST SHOT - LONDON DURATION: 2 SECS ACTION:PANNING SHOT THROUGH AN ESTABLISHING SHOT. This is to establish the setting, as from our analysis of trailers, this was a typical convention of a action movie as they are all normally set in big cities as they are fast paced and lead glamorous lifestyles. SOUND: BOOMING SFX DIALOUGE: NONE EDITING : STRAIGHT CUT LIGHTING : HIGH KEY LIGHTING
LS– LONDON/TRAFFIC DURATION: 2 SECS ACTION: CAMERA TRACKS SPEEDING TRAFFIC (TRACKING SHOT). SOUND: EXAGGERATED ENGINE SOUND OF MOVING CARS ( DIGETIC SOUND ) and NON DIGETIC SOUND OF BASS AND SYMBALS DIALOUGE: NONE EDITING: STRAIGHT CUT/ DISSOLVE LIGHTING: HIGH KEY LIGHTING
LOW ANGLE LS – STOCKWELL STATION DURATION: 2 SECS ACTION: CAMERA PANS SHOWING THE LOCATION AND THE COMMUNITY, MEDUIM CLOSE UP OF TUBE STATION SOUND: AMBIENT SOUND SURROUNDING TUBE STATION DIALOUGE: NONE EDITING: STRAIGHT CUT/ DISSOLVE LIGHTING : HIGH KEY LIGHTING
EXTREME CU - GANGSTER DURATION: 6 SECS ACTION: CAMERA FOCUSES ON THE SPEECH. SYLVESTER WARNS THE SISTERS ABOUT THE WELL BEING OF THEIR FATHER, AND GIVES THEM INSTRUCTIONS OF WHAT THEY HAVE TO DO NEXT TO RESCUE HIM SOUND: SPEECH ( DIALOGUE) DIALOUGE: [Hospital tone] Kidnapper/ Voiceover: “[ menacingly] I’ve got your dad. If you want to see him again…. [pause] Memory stick. 6pm. Tower Bridge.” Girl 1: “but wait….” [ gasps] [Phone line goes dead]
BLANK SCREEN: FADE OUT EDITING DURATION: 2 SECS ACTION: SOUND: NON DIGETIC SOUND : PHONE HANGING UP AND PHONE LINE GOING DEAD NON DIGETIC SOUND: BASS AND CYMBALS AFTER 2 SECONDS OF PREVIOUS SOUND COMING IN
CAMERA PAN- FATHER UNDER RANSOM DURATION: 2 SECS ACTION: CAMERA PANS AROUND THE CHAIR SOUND: NON DIEGTIC SOUND: DRUMS AND BASS DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING EDITING: STRAIGHT CUT/ DISSOLVE
BIG CU – FATHER UNDER RANSOM DURATION: 2 SECS ACTION: CAMERA FOCUSES ON DAD SOUND: DIGETIC SOUND: DIALOGUE DIALOUGE: Dad: [panting heavily. Emotionally distressed. ] LIGHTING : LOW KEY LIGHTING EDITING: STRAIGHT CUT/ DISSOLVE
DURATION: 2 SECSEDITING: CAPTIONS/ TAGLINES FAMILY COMES FIRST
MS – CONVERSATION WITH GIRLS AND FATHER DURATION: 2 SECS ACTION: GIRLS AND DAD SIT AROUND THE DINNER TABLE HAVING A FAMILY MEAL. HOLDING HANDS AS DAD NOTES HIS LOVE FOR THEM. EDITING : SHOT REVERSE SHOT SOUND: DIGETIC SOUND DIALOUGE: [Laughter pauses naturally, tender moment of affection with the eyes. Holding hands] Dad: “you girls are my world; we have to keep each other safe. We are family. Blood” [Emphasis on blood] [All of the girls, looked touched]
EDITING: CAPTIONS/ TAGLINES DURATION: 2 SECS FROM THE WRITERS OF TAKERS
TWO SHOT DURATION: 2 SECS ACTION: GIRLS ARE FACING AT EACH OTHER, MAINTAINING EYE CONTACT SOUND: R’N’B SOUNDTRACK DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING EDITING: JUMP CUT
DURATION: 2 SECSOVER SHOULDER SHOT – COMPUTER& MEMORY STICK ACTION: PUTS IN MEMORY STICK REGARDING CRUCIAL INFORMATION THE UNDERGROUND DRUG/ CRIMINAL WORLD SOUND: R’N’B SOUNDTRACK DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING EDITING: KULESHOV EFFECT
ECU – INFORMATION ON COMPUTER DURATION: 2 SECS ACTION: SOUND: R’N’B SOUNDTRACK DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING EDITING: KULESHOV EFFECT
TRACKING SHOT – GIRLS ON A CHASE DURATION: 2 SECS ACTION: GIRLS ARE RUNNING TO REACH THE CLOCKTOWER SOUND: R’N’B SOUNDTRACK DIALOUGE: Girl 2: “Quick, Quick!” [ all of you looking frantic] [ BREATHLESS] EDITING: JUMP CUT/ GRAPHIC MATCH
TRACKING SHOT – POLICE CAR DURATION: 2 SECS ACTION: CAMERA TRACKS POLICE CAR. AUDIENCE ARE WONDERING IF THE POLICE CAR WILL RESCUE THEIR FATHER SOUND: DIGETIC SOUND: POLICE SIREN DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING/ EDITING: STRAIGHT CUT/ DISSOLVE
EDITING: CAPTIONS/ DURATION: 2 SECSTAGLINES RACE AGAINST TIME
CAMERA MOVEMENT: ZOOM DURATION: 2 SECS ACTION: CAMERA ZOOMS ON CLOCK TOWER, AUDIENCE ARE CURIOUS TO KNOW WHETHER GIRLS WILL MAKE IT ON TIME SOUND: R’N’B SOUNDTRACK DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING EDITING: STRAIGHT CUT/ DISSOLVE OR SKYLINE MATCH
CU - AMBER DURATION: 2 SECS ACTION: REACTION SHOTS OF THE GIRLS SOUND: R’N’B SOUNDTRACK DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING EDITING : MONTAGE
CU – TAYLOR DURATION: 2 SECS ACTION: REACTION SHOTS OF THE GIRLS SOUND: R’N’B SOUNDTRACK DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING EDITING : MONTAGE
CAMERA TRACKS DOWN – LOW ANGLE DURATION: 2 SECS ACTION: GIRLS STANDING IN FRONT OF THE CLOCKTOWER SOUND: R’N’B SOUNDTRACK DIALOUGE: NONE LIGHTING : HIGH KEY LIGHTING EDITING: STRAIGHT CUT/ DISSOLVE
EDITING: CAPTIONS/ TAGLINES COMING SOON IN THEATRES, 3D AND IMAX
EDITING: ENDING CREDITS ECLIPSE cinema presents a LIGHTHOUSE PRODUCTION “BLOODLINE” STARRING Sandra AMADI, Tate DUNCAN, Solyanna KEFLOM, Cleveland BRISCOE AND Jaquan WALKER Written by Adeola LASOYE, Terri LUCAS, Solyanna KEFLOM Music by Solyanna KEFLOM Screenplay by Adeola LASOYE Directed by Terri LUCAS
STYLES OF EDITING• Styles of Editing•• · Montage: This style of editing will be used in the majority of scenes, in order to create excitement and join shots together.• · Fade Out: This will be used in scene 5, marking the beginning of an adventure.• · Shot reverse shot : used in shots where conversation is taking place when one shot quickly follows• · Reaction shots: used in the scenes where the girls are talking to each other.• · Kuleshov effect: We want the audience to use their own imagination, so the Kuleshov effect may have the most impact in relation to dragging out a narrative, where we must show and explain everything. Using this effect creates mystery the audience must gear to figure out.
HOW WE HAVE EVOLVED THESE DESIGNS FROM OUR ANALYSIS• We have evolved our own designs from our analysis of real film trailers, by using key conventions and codes that are established within this media platform such as ending credits, booming SFX and high key lighting. By using key conventions and codes as a guide and base for our trailer, we were then able to use our own creativity and ideas to give these conventions and codes a unique twist. For example, by following the convention of high key lighting in the majority of our scenes, we were able to creatively create different moods and atmospheres that reflected character emotions and feelings. Thus, our analysis of teasers trailer has influence the design and creation of our teaser trailer, as we want our audience to be familiar with our text, yet note the distinctive features that separate it from other urban action movies.
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