Annotating Photos, Evidence Of Safe Working Practices & Assets Logs

1. Annotating pictures
Costume-
I had the model of May wear the
character’s brown suede jacket whilst
kept the model of Terry’s in a black
turtle neck- I wanted to represent the
character of May’s wistfulness and
reluctance to let go of the past- whilst
Terry has moved on, no longer held
down by the weight of her past
Camera shot-
I went for a mid- close up to
add some intimacy between
the characters and the
audience but still keeping
viewers at a distance to lure
them in.
Body language-
The pairs body language perfectly communicate the relationship
between Terry and May; Mays model has her head rested on the
others shoulder in a peaceful manner communicating Mays comfort
with Terry, however the model of Terry has her head held slightly
above May’s models shoulder- suggesting either the feeling is not
receipted or there's another layer to this story.
Composition-
I decided to block both models centrally of the
shot to communicate that this is their story,
they are the centre of the narrative. I could
have had it a little off to the side to showcase
a ‘not all's right’ however aesthetically it would
look a little awkward and throw audiences/
Spector's off
Lighting-
I chose to shoot in my
first location rather than
my second thanks to the
hard lighting, the white
walls reflect off the light
well and gives off a
hollow, lonely
atmosphere. It moreover
compliments models well
too, creating highlights
and shadows to give the
photo some overall depth
Facial expression-
Though both keep a straight face to communicate a serious
theme, both reflect emotion through their eyes. the model of
May has a look of serenity and comfort, eyes closed gently
and though straight mouthed, the corner of her lips curl up in
a smile. Whilst Terry’s model has her eyes glaring at the
camera (the audience) She’s aware of us, but may is not,
suggesting she too might know something May does not.

2. Annotate your pictures
Costume-
I had both models wear a suede and leather jacket
that the character's wear throughout the film. (I
didn’t have a red leather jacket so I substituted
with a brown one that I could colour grade in
editing) the leather jacket is supposed to be embolic
of Terry’s rebel like character- she's bold and
passionate (like the colour red) and looks towards
the future (hopefully reflected in the flashy,
‘modern’ material of the jacket) whilst May’s model
wears a worn and torn brown suede jacket
(unintentionally the button on the left sleeve had
fallen off, however helps tell the jacket’s ‘old’) it’s
baggy and falling apart- showcasing the character to
be a sentimental conformist- scared of change.
(brown more so is a neutral conserved colour
showing the character's timid nature).
Body language-
Though the models hands will be edited out later on, I anted to the model of
May to grip firmly onto the other model’s jacket to demonstrate the character's
reluctance to let go, holding tightly onto the past- as the audience will not know
this yet- the tight grip further showcases the love May has for Terry, suggesting
potential conflict for why she's holding on so tight. I kept Terry’s model quite
relaxed to symbolise how she’s not really there and how she's now ‘at peace’.
For audience though it will come off as love that’s not aggressively
reciprocated- again alluding to conflict that audiences would like to participate
in.
Camera shot-
I went for a mid-long shot ensuring both jackets are on
display and more so to be in keeping to the ‘holding the
audience at a distant’ convention in dram posters to invite
them to want find out more
Lighting-
Again I used location 1 for the shoot
as the hard light helps produce
shadows and highlights for depth.
The light reflected perfectly of the
leather jacket allowing shadow
around the model of May’s grip
helping to emphasise this ‘afraid of
letting go’ motif
Composition-
When blocking the models, I eventually
landed on having the model of Terry’s
back to us, not only does it reflect the
lighting better, but will be the red jacket
and therefore but having it take up the
majority of the hug, will grab audiences
attention with the bold red colour. by
having her back to the audience and
May’s face edited out, only the sleeves of
her jacket visible, once again it
encourages audience’s to speculate the
pairs identity and want to see to find out
who inhabits the jackets.

3. Annotate your pictures
Make up-
As this is an extreme close up on the
pair, I thought It was necessary for a
slight amount of make up just to
exaggerate certain features, both
models wore lip-gloss to draw in more
focus to the pair’s ‘near kiss’ more
allowed the light to reflect of the lips
well to give them highlights and
shadows. I decided to avoid a full face
on both models to ground the film more
in realism and avoid that ‘artificial actor’
look )- I didn’t want them to look too
perfect- making the character's more
raw and relatable for audiences to
connect to.
Lighting-
The lighting came out a little darker in
this photo despite the hard white light,
however, I like how it further conceals
the two’s identity and helps develop this
mysterious tone. Although the lighting is
darker, it still picks up on certain
highlights and shadows well again giving
the models features depth
Camera shot-
I went for an extreme close up to
reflect the (uncomfortably)
intimate story whilst keeping the
pair’s identity or ‘look’ a mystery
for audiences to speculate over. It
confronts the audience by having it
so up close and personal, hopefully
inviting audiences in to watch
Composition-
I wanted the pair to be
fairly close to one
another to
communicate the
intimate relationship
Terry and May have,
however not ever
touching to show some
hesitance or a form of
distrust from both
parties. I wanted to
reflect the composition
of posters like Persona
(1966)’s criterion
cover to symbolise a
‘one in the same’
motif, keeping to a
sub-romantic theme
Facial expression-
I tried to go for both models having a straight face again, to
leave their feelings for one another up to speculation. I wanted
a very vague expression that can be interoperated in many
ways by audiences- is there resentment? Do love or hate one
another? Again more questions encouraging audiences to want
to watch

4. Safe working practices
All loose wires/ items on the floor were cleared, open
window/ door for ventilation and calm, formal
walking/ movement to avoid tripping on corner of
bed/ shelve units.

5. Safe working practices
Again wires where moving onto chairs/ to the side to
prevent tripping hazards, kept door open for
ventilation and utilized spacious parts of the room to
ensure open comfortable working conditions.

6. Assets logs