Very conventional – underground places (tube) closed places where there is no escape (cable car) and also a Dark Room (scary isolated setting, like in the Human Centipede, Saw franchise, evil dead) London landmark – because it is a BRITISH production, audiences will feel identified with places
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1. 1) In what ways does your mediaproduct use, develop, or challengeforms and conventions of real mediaproducts?
2. SYNOPSISLux miller, a young award winning photographer has her life turnedupside down when suffering a bicycle accident that left her selfdoubting her every move. after a series of developed photographs shecant remember taking, Lux is led to believe there is someone outthere watching her every move. Looking for answers, she is forcedon a scary journey finding this mysterious stalker. who is he? Is hereal or is it just Luxs mind playing dark tricks on her?
3. ART… PSYCHOLOGY...photography…
5. Title - Sans serif grunge font all in caps,hidden by brush work done in AdobePhotoshopReviews and reviewers name - Audiencewill trust reviewers and ergo bepersuaded to watch the filmStrap line – “The camera never lies” usedin a lot of horror film posters to leave theaudience intriguedCast name – Audience may be persuadedto watch the film because of who is in itBilling box/production logos/BBFC rating
6. Inspiration derived from film posters that usesimages which reflect their film title – Forexample, “The Last House on The Left” showsa house, “The Eye” shows an eye. We usedthis in ours, since our film is called “The DarkRoom” and our main image is set in a darkroom
8. Like other film websites, we created something calledANTICIPATORY SAVOURING – We enhanced the filmanticipation for the audience in the future, building excitementand drawing more people into the enthusiasm through:
9. Matches style of poster and includes same features (forexample, the same picture, reviews and reviewers, castlist, date line “Coming soon”)Billing box and production logos includedTrailer is embedded in the body of websiteSocial bookmarking (media convergence, enablesaudience to find out more about the feature)Navigational bar (again, relates to anticipatorysavouring)Terms and conditions/copyright notice at the bottom tomake it look more professional
10. Part 1 - introduces the idea of themoviePart 2 -- will give hints to the plot andpossibly some sort of climax.Part 3-- may hint the cast or provide amontage of quick clips, possibly otherhints to the movie itselfSTRUCTURE
11. • Part 1 – In our trailer we use an establishing shot ofLondon, and of Lux, our main character. Audiencecan perceive she is a photographer• Part 2 – Audience get a sense that the character isparanoid, and is being chased.. They also see clips ofthe bike accident which may suggest the narrative• Part 3 – Audience get a tone of horror/thrillerthrough the music that changes near the end, anddark room quick shotsSTRUCTURE
12. GENRE/NARRATIVEWe succeeded in creating something that was the right balance between apsychological thriller and horror feature, albeit finding the middle ground wasdifficult.Narrative – Character is mentally disturbed which means the ‘villain’ is in her headand not real. Usually in horror there is an actual ‘evil villain’ usually male and moredominant than vulnerable female. In this case, she serves as both protagonists.(Vladmir Propp)We challenged the status quo by having a genre that is less clearcut.Blur of common fears – trailer demands audience to make a judgement on what isfantasy and reality
14. • Very conventional – We use undergroundplaces (e.g. the tube inspired by the film‘Creep’) closed places where there is noescape (cable car, inspired by the film‘Frozen’) and also a Dark Room (scary isolatedsetting, like in the Human Centipede, Sawfranchise, evil dead)• London landmarks – because it is a BRITISHproduction audiences will be able to identifyplacesLocation
16. Fast cuts - create pace and a sense of panic. Viewer needs timeto understand and process what is going on in each shot andthat makes them apprehensive (realised in my trailer inparticularly via all the rapid bike wheel and dark room shots)CAMERA WORK/EDITING
17. Lots of low angles to make audience feel vulnerable and dominatedby, just like the main character Lux is. Canted (tilted shots) arealso present which disorientate the viewerCAMERA WORK/EDITING
18. Close ups – makes audience identify with a character andempathise with their emotions, therefore persuading them towatch the filmCAMERA WORK/EDITING
19. CAMERAWORKINSPIRATIONClose upsLOW ANGLESHOTS
20. SOUND• Non diegetic soundtrack – Sinister, eerie,slow music used – creates a juxtaposition withaction that’s going on therefore creates asense imbalance• Creepy/sinister diegetic sounds – heavybreathing, doors creaking, wheels rolling,• Lack of dialogue – Something isn’t right…worried voice
22. • Target audience will feel sympathy for maincharacter Lux because of GROUPIDENTIFICATION – Our chosen demographiccan relate to her because of sameage/personality/even lifestyle maybe and thusbe more persuaded to see the film• Creepy stalker/guy who will intimidate young,vulnerable, good looking female is a verygeneric convention in horror/thriller filmsCHARACTER
23. INSPIRATION FOR CHARACTER
24. 2) How effective is thecombination of yourmain product andancillary texts?
26. • Red/black colour scheme• Blurred picture• Big emphasis on Dark RoomlocationCould be improved by:Having same font in trailer as wellStrap line “The camera never lies” intrailer tooAlso including cast name in trailerReviews/reviewers also included intrailer
27. `Trailer Website PosterFont Different to website andposter(used “Trajan Pro” for filmtitle)Used “Skins and Bones” for filmtitleUsed “Skins andBones” for filmtitleTone Sinister from the beginninghowever there IS a contrastbetween light and dark whichis not present in ancillary tasksDark and eerie (black smudgescreate sense of mess and chaos)Dark and eerie(black smudgescreate sense ofmess and chaos)ColourSchemesLots of red (dark room) inbetween light shotsRed/black/white/Colours presented in trailer andposter will adjust mood of viewer.Dark colours = intense/actionpacked situationsRed/black/white/greyLanguage Direct address:“What would you do?”Words associated with horror“Thrilling”“Haunting”Declamatory:The camera neverlies.Imagery Distressed female, a few shotsof the dark room, manyLondon locations, audienceget a sense she is beingchased etcEmphasis on main character (Lux) Clearly a darkroom location
28. INSPIRATION FORWEBSITE & POSTERBRANDING
29. 3) What have youlearned from youraudience feedback?
30. • Different audiences wantdifferent things - Eg a maledominated demographicwould opt to watch horrorfilms with blood and gore,whereas a more femaledriven audience prefersomething moreintellectually stimulatingwith frightening andunpredictable moments• Audiences like predictability• Sound effects especially addto scary aspects of trailer
31. After finishing ourfirst draft trailer wecame up with variousquestions to ask ourTARGETAUDIENCE, thatwould help us identifythe strengths andlimitations with ourproduction, and howto improve our firstdraft trailer overall.
32. 1) What do you think the genre of the film is? How can you tell?2) What do you think the plot is? How can you tell?3) What could be added to the trailer to make the plot and narrative clearer?4) The target audience for this film is females from the ages 18-25. Do you think thefilm would appeal to this demographic? Why?5) Could you tell through the trailer the main character has psychological issues? Ifso, how?6) What issues do you think were raised and what themes do you think wererepresented?7) Do you think this trailer holds typical conventions of a psychological thriller or ahorror film? If yes, give examples.8) Would you go see this film? If so, why?9) Overall, what questions does this trailer leave you asking?10) How would you improve this trailer?First draft trailer viewing –Target Audience Questions
33. • Everyone could identify the film asa horror/thriller because of thesoundtrack, quick shots, name offilm, tone of paranoia evoked,disoriented main character andlocation shots (dark room) whichthey all found quite frightening.
34. • Narrative possibilities weregrasped. All understood theconcept that she was beingchased/stalked without having toknow the full plot-line
35. •Age group of target audience(Females from around 18-25)is represented in the trailer
36. - Many questions were raised- Good footage: including ofLux in the dark room beingchased/scared
37. • More slow motion shots• Change the font in the titles, seems to much like comic sans• Too much bike footage going backwards• Cut out the shot where she drops the picture – looks like she doesn’t like what she sees oris just really clumsy• Make it less repetitive so there is space to include some more unused footage• Make more fast cuts into slow cuts• Explore with other possibilities for the establishing shot, play with the idea of contrast• Add a green screen at the beginning• Use even shorter clips (a couple of seconds for each clip) and cut between different imagesto build pace. For example, just a flash of Olivia on the ground, or looking at her reflection,spread through the trailer. Watch some more professional trailers to remind yourself ofhow short each shot can be. Images in a trailer need suggest events, not explain them.• Consider beginning the trailer with the shot into the camera lens. Also, this is one of manymoments that will be fantastic when you have spent a bit more time on more ruthlessediting: don’t let the camera zoom out of the lens again at the end of the clip!
38. • Avoid putting clips in chronological order,• Make clips shorter so more pace and climax isbuilt• Make it less repetitive• Change establishing shotsMAIN IMPROVEMENTS THATWE TOOK ON BOARD ANDAPPLIED
39. 4) How did you use mediatechnologies in the constructionand research, planning andevaluation stages?
44. Research bibliographyhttp://www.fastcompany.com/1815812/psychology-behind-movie-poster-designshttp://www.filmbuy.com/the-psychology-behind-movie-trailers/http://www.youthedesigner.com/2011/10/21/35-horror-movie-posters-that-will-give-