6. fmp production reflection

Production Reflection
Matthew-Burniston

Process (Poster)
To understand what kind of ration I'd have to
use for my poster, I thought I'd research a
commonly used ratio to apply for the starting
point of my poster...
By doing this, I will make my poster look
professional and will begin to blend in with it's
competitors, as it follows the same standards.

Process (Poster)
By using the - "Magnetic Lasso Tool," I cut out the
cracked brick work. By doing this – as opposed to
blending this in with an "Eraser," on a low "Hardness"
setting, it made the texture behind it look more
consistent.
"Magnetic Lasso Tool."
Different laser used to compose this stage of the background/wall.

Process (Poster)
To further the state of the background, I created a new layer –
including a cloud texture and overlaid it onto the background
giving to of the blue and cloudy wash it has. After doing this I
found that I didn't like this affect on the cracked brick work and
ruined the affect it had on the piece before. Thus, to solve it I
used the "Eraser" tool and went into the cloud's layer, erasing the
bit around the brick work...
The reason for doing this was inspired by
a previous background texture I had
been planning to use, from my
experiments. However I decided to scrap
this piece after I found the texture was
to a low enough quality to look slightly
blurry (and I wasn't really able revive it,)
as well as the texture as the texture
didn't look as nice I originally planned. So
instead of this, the solution was to
recreate something similar – with a
preferred texture and the replication of
the clouded effect on the background. (Inspiration for the current piece.) (Background without ghosted images.) (Background with ghosted images.)
"Eraser tool."

Process (Poster)
To help further blue wash I used a mixture of a "Brush Tool," (whilst
selecting a blue-ish colour of choice,) and painted in a new layer,
applying an "Overlay" layer settings – e.g. 7, 9...
Despite this, I found that afterword's (in post,) I found that the blue
colour I'd used wasn't to my hopes, I adjusted it using the
"Hue/Saturation-" e.g. 6, 8, 15.
To help the cloud "overlay," by playing with the layer (bellows)
brightness, (as overlays work best on equal toned, grey colour-) e.g.
17.
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Process (Poster)Because I just wanted to use the suit from the BBC
show "Luther" - as I liked the way the suit fit the typical
kind of thing that they'd use in a British crime drama –
starring a main character in a trench-coats and/or suit –
apposed to the American dramas going with CIA type-
esc department – with bomber jackets and CIA in bold
letters all over...
To get this I sourced a relatively high resolution picture
(-so it wont get distorted as much when I try to scale it
on the picture,) and began to cut around the suite – in
which I was wanting to keep. However, before this I
duplicated the image into a new layer (a layer before
and a layer after I've cut around the costume,) - that
way I can a reference for the actors proportions when I
apply them into the suit... On top of this, to give the piece an extra sharpens, I duplicated the layer again,
went into "filters", "stylize," then "emboss" (-leaving us with an equaled colored
and toned plain – in which won't have an effect when overlaid,) with likes
creating a indented effect on top. To finish this process, I selected the -
"Overlay," layer setting – thus leaving an indented sharpness to layers below/
the cut out of the costume, and finally played with the layer's "opacity" till I got
the results I liked – set to "27%."
Original. Cut Out. Embossed OverlaidEmbossed.
"Filters/stylize/Emboss" Used layers and embossed
layer's setting.

Process (Poster)I found that I liked the costume from the BBC show "Luther," and also found that it ticked the boxes for
the gritty crime genre, whilst meeting the expectation of the audience – for 60s detective... However I
found that some of the costume needed some small adjustments to complete the look – e.g. changing
the red tie to black – as it's more with times as well as being the preferable tie warn at funerals – thus
maintain the idea of death in the audiences minds...
However, before I could start the process I had to select around the tie (with the "Rectangular Marquee
Tool,") and past into the new layer – followed by removing all the image from around the tie (using the
"Eraser tool.")
To achieve the change in colour, I used both "Hue/Saturation" and "Brightness/- Contrast" adjustments
to adjust the colours. I started of by applying the "Brightness/Contrast" adjustment and making the
tone darker (with "Brightness,") then the shadows strong (with the "contrast,) - also checked the box
for "legacy," which allows the full use of the adjustment – effect. Then to fix the colour (as it was
dirty red-ish colour,) I played with the colour in "Hue/Saturation" turning the "Saturation" down –
turning the colour to a grey – apposed to the dirty red, that I had before. Finally to ensure that these
adjustments are just applied to the layer I want (-the layer below,) by clicking the box with an arrow
point down (on it's left,) - this will make the effects only apply to the layer below...
(Layers used to change the colour of the tie.)
"Hue/Saturation," - settings.
"Brightness/Contrast" - settings.
The three stages of the re-couloration:
With the - "Brightness/Contrast."Before the process. With all the adjustments.
Before + "Brightness/Contrast." + "Hue/Saturation."
"Rectangular Marquee Tool,"

Process (Poster)From my experiments (with my Doctor Who poster,) I
experimenting with applying references to the series through the
medium of posters – although in this I was experimenting with a
pre-existing franchise - meaning that a I had a range of material to
work with and for my actual final piece I'm creating the franchise
from scratch – meaning there's nothing to work with, (I'll have to
make things up.)
For the reference, I went for something discreate in the way of
plot – I hinted at a connection with the main character of the
story and the Russian spy (that'd be portrayed by Laura Haddock.)
To do this, I staged a picture of her in her classical 60s, black and
white dress (again hinting at the time set – hopefully pushing the
idea further into my audience's mind,) and placed it in the main
character's pocket, behind some cigarettes (to help make the
contents of his pocket appear more convincing – also cigarettes
were still a widely acceptable thing in the 1960s...)
I started this by cropping around the photo of the dress (Keeping
some of the background, to keep the photographed look – even
with a white background – it appears studio shot. In addition to
this, with the white background, the audience's attention is more
likely to be drawn to the character in the photo – apposed to the
backdrop of the photo, as it's really dull and bland.) I then applied
a "Remove Noise" ("Filter, Noise, Reduce Noise,") giving it a
stylized photograph look (of the time.) I then began to finally
began to paint the woman out the picture – with a mixture of the
"Brush Tool" (selecting the colours (on the layer below,) with the
"Eyedropper Tool,") and the "Spot Healing Brush Tool" - to cover
up the part I struggle to paint over – eventually leaving us with
something I can edit the character into...
Original photo.
"Filter, Noise, Reduce Noise."
Cropped and "noise filter." Painted out.
Layers – thus far.
"Brush Tool." "Eyedropper Tool." "Spot Healing Brush Tool."

Process (Poster)To put the character in the costume, I simply just placed the hairstyle I
wanted onto the body, then the face onto that...
The hairstyle I selected is a typical and fashionable hairstyle from the 1960s –
the picture I used was from the character "Frances," from the film "Legend" -
based of a true story, also set in the 1960s of London, Britain.
To do all this I needed to cute the part of images I was wanting to keep, from
the images. To do that I used the "Eraser Tool" (-on a "Hardness" - to blend
in more,) and cut around the parts – zooming in to make sure the cuts were
as neat as possible. To further add to this I also played with the toning of the
character's face, to match with the original toning of the face (-from which
the hair originally came from,) playing with the "Brightness/contrast"
adjustment, till I achieved the shading that best suited. I also painted on a
new layer below ("Layer 26,) using a combination of the "Brush Tool" (- on a
low "Hardness" – to blend in more,) and the "Eyedropper Tool" (- to select
the correct colour (from the layer above.))
Furthermore, I cut out a chunk of hair and pasted into the top layer ("Layer
27,") to help cover up the some of the forehead more – thus hiding some of
my pooper blending, and making it appear more natural looking.
Further more, I applied the same "Reduce Noise," filter to the rest of the
layers.
Used Images
"Eraser tool." "Brush Tool."
"Layers 19, 23 & 24."
+ "Brightness/Contrast." + "layer 27."+ "layer 25."
+ "layer 26."+ "layer 20."
Layers.
"Brightness/Contrast."
"Eyedropper Tool."

Process (Poster)
Because the show's set somewhere within the 1960s, photos were to a
different quality – with stronger shadows and contrast, whilst without
colour - if not a slight tinge of colour (as I've used for this...)
To help increase the shadows and contrast in the image I apply a
"Brightness/Contrast" adjustment – making the image darker – whilst
playing with the contrast as it helps create deeper shadows – on top of the
contrast...
To change the colour off the piece, I applied the 'Hue/Saturation"
adjustment – checking the colourize box, turning the "Saturation" down, all
whilst selecting a yellow-ish colour – leaving it with a sepia colour.
To apply this to the old photographic appearance to this piece, I selected the
setting that makes the two "Adjustments" only effect the layer or in this case
group (containing of the pieces for the photo.)
Layers.Pre-post adjustments. + "Brightness/Contrast." + "Hue/Saturation."
"Hue/Saturation." "Brightness/Contrast."

Process (Poster)
To help give of the affect that the picture's in the pocket I
copied a section of the costume's pocket into the next
layer (using the "Rectangular Marquee Tool," followed by
copying and pasting into the layer above,) finally turning it
into a sleeve for the contents of the pocket by using the
"Eraser Tool," over the line where (where the condense
would be sticking out,) then softened the edges (with
"Eraser Tool,") - to blend the edges in more.
"Eraser tool." "Rectangular Marquee Tool,"
As it's very unlikely that a picture would stay
completely flat in our character's pocket, I've applied
a depth to the photo, using the "Wave" distortion
"filter," ("Filter, Distort, Wave...") By playing about the
settings, I was able to apply the appearance that it
was crumpled up – apposed to the previously flat
look...
Pocket sleeve.
"Filter, Distort, Wave..."
Original photo. Post distortion.
"Wave" Settings.

Process (Poster)
Now I'd completed piecing together the main
character, I applied additional lighting to him.
Combining a mixture of techniques - both
"Hue/Saturation" and painting over a layer
(using the "Paint Brush," - In a restricted layer,
to the group of layers that make up the main
character...)
"Hue/Saturation 5.""Hue/Saturation 15."
Layers.
"Brush Tool."
Pre- colour changes. Post- colour changes.

Process (Poster)
Logo: for the logo, I used a bold and basic font – leaving it easy to read;
with a metallically applied texture; as well as overlaying that with a
image of clouds, leaving with a blue wash in bunches/patches -
reminding the audience of cold factor of the title, whilst keeping a grime
element to it (as blue is a typical colour used for gritty dramas;) finally I
used an "inner glow," applying bigger depth to the text – preventing it
from looking like the texture was just cut out, into the shape of the text,
- It also keeps the poster to a similar style as the title, as it uses the same
kind of text, just an alternative font...
Background: To help consistency between my two products (my poster
and title sequence,) I used the same background design (as well as the
logo – as that's crucially needs to be consistent – when used,) re-
applying the texture in the background, along with the ghosted images –
which both keep the constancy to the poster and creates a style for the
series – through use of patterns , as well as maintaining the use of the
original effect – using these images to give my audience an idea of the
times (1960s.) Furthermore, with the ghosted images – it removes a
little more of the emptiness that the background had.
References: Despite this being a fictional series – that I've made up for
my FMP (final major project,) I still like the idea of applying hints to
(what would be) the source material. In our main character's pocket,
there's a picture of the Russian spy (as it's set in the Cold War,) in whom
he grows a connection with – creating a unique character chemistry (as
he's British (who are capitalists,) whilst she's a spy for the Russians (who
are communist...) Because he's detective, having her photo in his pocket
makes the female character appear more to be suspect or under
suspicion of something – e.g. she's be investigated... - hinting that she's
possibly not commonly thought of as a friend?

Process (Poster)
Ghosted Images: With the background I added ghosted images to show
off the times (of the 1960s.) By doing this, I'm informing the audience of
the time it's set, whilst I'm giving the a small insight to the time's main
events – such as the cold war (in the upper left,) the cold war (in the
lower right) and some further cold war events – set in America, this time
(in the upper right...)
Black Tie: by giving the main character a black tie (a tie that would only
really be worn for funeral,) I can provide the idea of death (as the show
is murder show – it means people will be dying throughout the series,) -
which is important as it gives the audience a good insight into the show
and what it's a bout. Furthermore, because the character's wearing the
tie, it could imply that he's already prepared for a funeral or he's
expecting death – as death follows are character, like a shadow.
Tone: Through increasing the contrast, which makes the shadows
stronger - which give the piece a more intimidating appearance.
Colour Scheme & Colour: The red and blue colour scheme is used to
represent the colours for the cold war – e.g. blue for capitalism and red
for communism - based of the suggestions provided by the responses
given by my audience on the questionnaire (- on survey monkey.) As it
was perceived by the masses that blue and white were capitalism and
red and yellow for communism. On top of this both red and blue are
complimentary colours. As well as blue could be related to the sirens on
the police cars, whilst the red perceived as blood – from the bodies.
However I have left the main colour as blue throughout the piece as it's
quite a typical tone used throughout gritty, crime, dramas. As well as
being the colour related to the police and capitalisms – in which both
category's does this character fit into....

Process (Poster)
Pre-production Post-production

Process (Time Cards)
Text: for the text I use the actors name, using a fairly bold font and the
metallic – texture and effect the – the one I used for the logo (only using
a different font – making sure that the text goes together, but there's
enough difference to appear more as a logo – rather than just another
piece of text.) Further more the actor's name is in a larger font size to
the text above – meaning the audience know this actor's place in the
show, but are more drawn in/captivated by the name below...

Pre - "Brightness/Contrast." Post - "Brightness/Contrast."
For the background (as it's set in the clouds,) I
used and image of the clouds, adjusting the
"Brightness/Contrast," to get the image to
appear more dark, whilst making shadows
stronger - again helping it gain a more gritty
appearance.
Layers.

Layer. "Hue/Saturation."
To create the ghosted images, I used a combination of using the "Overlay"
(layer setting,) and changing the opacity – which will give it it's main opaque,
ghostly look to it, whilst using the "Eraser Tool" to cut out a border around
the images.
Finally, to finish this of, I applied a colour change (using "Hue/Saturation") -
to give it a final blue tint – achieved checking the colourize box, selecting the
blue tone – with the slider and finishing of by lowing the saturation. By
lowering the saturation (rather than changing the opacity,) I can take out the
original colours, leaving it with the selected "Hue" and "saturation."

Layers.
"Layer 13." + "Layer 14 copy." + "Hue/Saturation 1." + "Brightness/Contrast 4."
+ "Layer 12." + "Layer 13 copy." + "Hue/Saturation 1 copy."
+ "Brightness/Contrast 4 C..." + "Layer 20."
+ "Layer 14 copy."
"Hue/Saturation 1"
and "Hue/Saturation 1 copy."
"Brightness/Contrast 4" and
"Brightness/Contrast 4 C..."
To create the main character, I cut around Luther's costume
(using the "Eraser Tool,") followed by putting tom
Hiddleston's head onto this, finishing it of with applying a
skull over his face – inspired by the underwater time card.
On top of this, I player allot with tone and shadows (using
"Brightness/Contrast,") and colour (using "Hue/Saturation.")
Sticking to the common 60s television (in black and whit,) and
the blue colour scheme/capitalist colour scheme – to black
and white, with a blue-ish colour-wash.

On top of everything, I added a
colour wash (using an overlay,) - to
make the colours seem less repetitive
and bland, but also keeping the
colour scheme. To help ensure I had
the best possible colour wash, I player
with "Brightness/Contrast" and
"Hue/Saturation," whilst pursue to
play with all three layer's opacity.
Opacity -%100
"Hue/Saturation."
Opacity - %71
Layers.
Layers.
"Layer 15 copy." + "Layer 18."
Before additional cloud. After additional cloud.
"Layer 15 copy:"
To help the images blend better into the cloud, I used an additional layer of clouds – by
duplicating the group (that made the cloud background,) then merging the (duplicated)
group together – thus forming a new image. With this new image, I cut out parts of the
center of the image – with the "Eraser" on a low opacity – meaning the brush will erase to
an opacity. Because of this I can blend it into the layer below better.
"Layer 18:"
On top of this, I use the same technique to apply the shadow around the border of the
piece (in a new layer,) only using a black "Brush Tool" - apposed to previously using the
burhs opacity on the "Earaser.

Text: for the text I use the actors name, using a fairly bold font and the
metallic – texture and effect the – the one I used for the logo (only using
a different font – making sure that the text goes together, but there's
enough difference to appear more as a logo – rather than just another
piece of text.) Further more the actor's name is in a larger font size to
the text above – meaning the audience know this actor's place in the
show, but are more drawn in/captivated by the name below...
The Sun: Because this is a title sequence it's allowed to be quite
abstract, through this, I've changed the sun to the sigh for communism
(as this shows set in the 1960s, a time where there was a cold war
between Russian (who's' communist,) against Britain and America (who
were capitalist.) As this character is a Russian spy (as they were often
used at the time – between us and the Russians,) I've visually shown her
character using the sun as a sign to her character trait.
Colour: Being the communist character show throughout the title
sequence, this will be the only slide where the colour red is featured
prominently...
Costume: Again, to push the time period, I've given the actress a very
60s period look, given her both a typical 60s dress and hair style.

Because this scene is set underwater, it needs an underwater background. However,
before I used this, I played around with effect such as - "Brightness/Contrast" and
"Hue/Saturation" - to help give it darker look...
Background.
"Brightness/Contrast." "Hue/Saturation."Layers.

"Layer 36 copy ."
(Colour Dodge – 100%)
By using the two images, playing colour with colour of the images
("Hue/Saturations" - to drain the colour from the picture of the face,) the
"Eraser Tool" (on a lower brush "Hardness," which allows it softer edged,) -
in which I used to cut out the eyes of the skull and the actor's face, and
often playing with the layer adjustment (e.g. "Colour Dodge, "Overlay,"
"Normal,") if not the layer's opacity.
+ "Layer 37"
(Overlay - 100%)
+"Hue/Saturation."
(Normal – 100%)
+"Layer 36 copy ."
(Normal – 74%)
+"Layer 38."
(Normal – 59%)Layers.
"Hue/Saturation."

Text: for the text I use the director's name, using a fairly bold font and
the metallic – texture and effect the – the one I used for the logo (only
using a different font – making sure that the text goes together, but
there's enough difference to appear more as a logo – rather than just
another piece of text.) Further more the director's name is in a larger
font size to the text above – meaning the audience know this actor's
place in the show, but are more drawn in/captivated by the name
below...
The Skull: for the text I use the director's name, using a fairly bold font
and the metallic – texture and effect the – the one I used for the logo
(only using a different font – making sure that the text goes together, but
there's enough difference to appear more as a logo – rather than just
another piece of text.) Further more the director's name is in a larger
font size to the text above – meaning the audience know this actor's
place in the show, but are more drawn in/captivated by the name
below...

As I created this slide after I created the poster, I took
the background the poster and used it – changing the
ratio of the poster – the to fit a television screen,
rather than the ration used for the poster. To do this, I
got rid of everything but the background and the logo
– e.g. the character; followed by cropping the canvas
to fit the newly required ratio (-using the "Crop
Tool,") then ensure it was a roughly close ratio – I
changed the canvas to make sure it was completely
accurate – by doing it this way, ensure least quality
loss and it prevents the image from being squished
allot less that would be if I had just gone straight to
adjusting the canvas size.
With character. Without Character. Cropped down.
"Canvas Size."
"Crop Tool."
Original pixel size.
New pixel size.

Now, having my cropped poster design, all I have to do is move the logo int the
center of the page add some text below it. To move the logo – I selected the
layer and the "CMD"/"CTRL" - "T" - which selects the everything in the group –
meaning it's ready to move. I then put my curser within the box and dragged/
moved my curser down – thus moving the logo down.
I then duplicated the group I created for my logo and moved the text down. I
then edited the text to match the same style used for the other text in the title
sequence, however to a much smaller and space out format – and
because duplicated the text layer (-despite playing around with the text,)
because I've kept textures and the "inner glow," - it fits into the same style type
– as the rest of the text.
Base for my time card.
Logo selected.
Logo Moved.
Layers.
Secondary Text.

Logo: for the logo, I used a bold and basic font – leaving it easy to read;
with a metallically applied texture; as well as overlaying that with a
image of clouds, leaving with a blue wash in bunches/patches -
reminding the audience of cold factor of the title, whilst keeping a grime
element to it (as blue is a typical colour used for gritty dramas;) finally I
used an "inner glow," applying bigger depth to the text – preventing it
from looking like the texture was just cut out, into the shape of the text,
- It also keeps the poster to a similar style as the title, as it uses the same
kind of text, just an alternative font...
Text: To help prevent the page feel less empty, I've spread out the text,
however keeping small enough to draw more attention to the logo (as
the bigger thing are, the more likely we are to look at it – compared to
smaller things.) On top of this I've kept the style of this text, the same as
the previous text through the title sequence – this way it keeps thing
more consistent, and thus more professional.
Background: To help consistency between my two products (my poster
and title sequence,) I kept the background design (as well as the logo –
as that's crucially needs to be consistent – when used,) re-applying the
texture in the background, along with the ghosted images – which both
keep the constancy to the poster and creates a style for the series –
through use of patterns , as well as maintaining the use of the original
effect – using these images to give my audience an idea of the times
(1960s.) Furthermore, with the ghosted images – it removes a little more
of the emptiness that the background had.

Pre-productionPost-production

Process (Title Sequence)
Track 1: To help stylize this titles sequence - to appear more like footage
from the times, I applied "Film Overlay" - using the "Add" track effect –
however, fading the footage as it fades to black, as the track effect
(unlike the "Overlay" effect,) still shows up on black - meaning to prevent
this, I need to fade it in/out when it fades from/to black... On top of this,
by fading it (over the transition,) gives it smother overall transition - as
the effect is more visible (for longer,) than the rest of the footage.
Track 2: To fade the give the footage the fade to black, I inserted
"...Generated Media..." And created a "Solid Colour" - changing the
colour to black, then applying a fade – to create this transition.
Track 3: For the second part of the title sequence (the part set in the
clouds,) I used an overlay in the Photoshop mock up - time card.
However because that was only a mock up and because I had to dissect
it – in order to animate it, and piece it together – to make the final
product, I had to re-apply the overlay over the footage... To apply into
the product, I creating equal planes (around the parts where I'd apply
this overlay,) - as, in Sony Vega Pro, when applying the "Overlay" effect
to a layer, it automatically set the blank spaces to black - which messes
with footage below, so by doing this – I avoid the issue. To do this I
create a "Solid Colour, setting the colour to a colourless, equal grey –
which prevents anything happening to the footage below. On top of this,
made this overlay fade in by merging a fade into the equal plane....
Track 4: This layer is simply just used for the names of the main cast,
director and producer – along with the reveal of the logo...

Actor, Director Names:
For all the text I applied the exact same effects – the only
variation being the text's position and movement speed,
which depended on the scene's movements...
To help apply a smooth transition with some depth, I added a
"Gaussian Blur" and animating to such a stance it could be a
transition...
Then I added a movement using - "Event Pan/Crop,"
"Position." Setting two key positions – one at the start and
one at the end – giving the text a persistent movement to it.
"Gaussian Blur."
"Event Pan/Crop," "Position."

Creating a Solid Plane:
By left clicking on a track, a pop up menu will
appear offering a load of things – just select the -
"Insert Generated Media..." Which will bring up a
window with further options – click on - "Sony Solid
Colour," finally bringing up the window for the
colours options. To change the colour (which will
be on white by default,) click on the box (which
contains the colour,) and select the colour wanted
– using the pop-up menu.
Used To:
• The transition to black...

"Ink Splatter" - file contents.
Note: ".veg.bak" files are files that the software I was
using ("Sony Vegas Pro,") does to back up files....

Creative Notes
• In Photoshop, the reason I used the "Eraser" tool to cut out images, is that I find that it give the
cut a softer edge to it – apposed to the "Magic Wand Tool" and the "Quick Selection Tool" - both
also being harder to control what areas it selects...
• The reason for me using "Sony Vegas Pro" to edit the title sequence together, is as this is for my
final major project – meaning that this project has to be to the highest standards yet, so by
using a software I'm much stronger with, I'd be ensuring that I'd be producing a product to the
best of my ability...
• For all the communist character's used a red alteration of the colour scheme, whilst using a blue
alteration for the capitalists – as this is the cold war, e.g. red vs blue/communist vs capitalists...
Furthermore, these are colours both used because they were suggested to me by my audience
(-through my questionnaire,) and to opposite colours that work well together - in contrast.

6. fmp production reflection

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6. fmp production reflection

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