This document provides details about the production and evaluation of a short film. It discusses the various media technologies used during the research, pre-production, production, and evaluation stages. These include blogs, presentation tools, cameras, editing software, and more. It also analyzes several scenes from the film in terms of genre, representation, use of color, lighting, music, and other cinematic techniques. The film explores themes of being lost and features a supernatural character named Kharon who guides the protagonist through different dreamlike locations.

1. Evaluation script

2. Key colours
• Alexa
• Isabel
• Alexandra
• The script includes only the first half of the
video (media technologies, representation and
genre). For the audience feedback, ancillary
tasks and the reflection we engaged into a
conversation.
• We chose 10 different scenes from the film and
analysed them according to the above criteria.

3. Introduction
• Within research, pre-production, production and evaluation we used
different media technologies. For the research phase, we set up the
blog using Blogger, as we were used to it from last year. To make use of
ICT, we tried different online presentation tools such as Prezi and
SlideShare for several posts. This would add to the visual of the blog.
• For pre-production, we kept using Prezi and SlideShare, along with
photographs of location recces. We also used Microsoft Word to fill in
the contact sheets for every outdoor location and for writing the script.
The storyboards were manually drawn, while the moodboards were
done using Publisher.
• For the production stage, we used a DSLR Nikon camera, along with a SD
card and a tripod. When putting behind the scenes and stills from every
filming day, some of us used video players for the videos, while I made a
short clip combining the videos and photos using Animoto. In post-
production, we used Final Cut Pro to edit our footage and a voice
recorder for the voice over.
• For the final part the evaluation, we did a vlog, giving an in-depth
explanation on how we made the film. Prior to that, we posted the
script on our blogs for a better understanding of the vlog. The blog was
the diary to illustrate the journey, preparation and making of the short
film.

4. • Our short film opens with a slow zoom out from our character,
Irene to reveal more of the shot’s surroundings to indicate to
the audience that she’s sleeping. The fact that the zoom is slow
helps add to the calm and relaxed atmosphere, which are
connotations of sleep and therefore enforces the dream like
tone we were aiming for. Additionally, this opening shot of
Irene sleeping is cross dissolved into an establishing shot that
pans slowly from right to left. We made the pan slow to keep
the relaxed atmosphere, but the cross dissolve also attains a
dreamlike nature to the shot. Furthermore, the next shot is a
pan from left to right; we decided that by having one panning
shot into another panning shot it kept a certain flow and
momentum to the sequence and therefore emphasised the
dreamy tone.
•
The short film starts with a medium shot of Irene sleeping. To
achieve the fantasy effect we wanted, we used the studio
lights. The amber light suited the scene the best, as it
emphasises Irene sleeping and drifting into a dream. In pre-
production stages, we did a lighting exercise to test possible
light effects and colours. Back then we used the red-heads for
continuous lighting and flashbacks for a dramatic effect. The
subject was also lit from the back to create mysterious
shadows on the face and lit from above, receiving more light.
While constructing the film, we lit the subject from above, as
we didn’t need any dramatic shadows.

5. • The genre of our movie is Supernatural Fantasy. This is clearly exemplified by the sudden appearance of the magical
character, Kharon. Although this high-angle shot only suggests a black figure pointing to a certain location, the audience
is invited to deduce that there is something ominous about it. The viewers are not yet able to decipher what this
character is supposed to represent, but the fact that he appears in a rather distant wide shot suggests mystery and
suspense. The high-key lighting along with the saturated colours from this location, reflect the fantasy nuance of this
short film, demonstrating that the location is not real and it is in fact a projection of Irene’s subconscious. The wide-
shot affirms that the location is rather isolated, reinforcing the conventions of our genre. Isolated locations tend to yield
danger and fear. The diegetic sounds, ambiance sounds, of the chirping birds reinforce the warmth of this setting,
creating a joyful atmosphere that is abruptly interrupted by the unknown figure. Kharon, with his magical appearance,
connotes that he is not a character that belongs to reality and his mask further reinforces this, hiding his true
identity and making the audience question whether he is a supernatural character, a friend of Irene or a mere chimera.
The mask is a common prop of the supernatural genre as it often hides the villain.
•
When filming outdoors, we couldn’t take any lights with us, so we relied on natural light, shooting only in the mornings.
This didn’t stop us from creating dreamy scenes. While editing the film in post-production, we added different coloured
filters to each location. For Pergola Hill, we matched Irene’s first scarf and the park’s colours, by adding red and orange
filters. To do so in Final Cut Pro, we’d click on video filters and change either the saturation, contrast, whites or the hue.
We maintained the same settings throughout all scenes at this location.
•
Also, how we used colour throughout the film is very prominent. For instance, the opening shot is in amber which has
connotations to oncoming danger; which in our film is true as Irene later realises that she’s about to die in a fire.
However, danger can also be found in our second character, Kharon who is presented to be very mysterious and
threatening through the acting and their costume, specifically their mask which hides their identity. In fact, the first
shot of Kharon is a wide shot and implies loneliness. Both of our characters are often represented as being lonely
through wide shots or by simply just having one of them being in shot throughout the majority of the film. Additionally,
being lonely ties in with our main theme of being lost. This theme is mostly presented through our protagonist Irene as
she is shown to be confused by her surroundings and literally being lost in this strange world. However, this theme is
also a representation of age. Irene is young and many young people feel lost or isolated because they’re unsure of their
place in the world and where they are going in life. This is similar to how we’ve presented Irene being lost in this dream.

6. • During pre-production, we tested a Panasonic production camera and a DSLR Nikon camera.
Thinking of our shots and the different locations we had to film at, we chose the Nikon camera.
It has a better quality compared to Panasonic and it’s easier to carry. Looking a this shot, it was
more accessible to film with the small camera, as it was space tight and hand-held.
• In this sequence on the stairs our main aim was to present Kharon as intimidating. We did this
by using a sound motif of thunder striking each time Kharon appears as thunder has very
negative connotations, and many people fear thunder so by using this sound effect we get the
point that Kharon is frightening across easily. However, by also having the character suddenly
appear we also demonstrate that they’re a supernatural being whose powers are unknown;
which is a common convention in the supernatural fantasy genre. Additionally, the framing of
both of our characters implies that Kharon has power over Irene based on how Kharon is
physically higher up than Irene, implying that Kharon is above Irene.

7. • Coming back to the filters, for Brent Park we added blue filters, to match again with Irene’s
second scarf and park’s colours. We’d use the same process; clicking on video filters and turning
the colour wheel towards the blues and greens. Being deeper into the editing process, we
discovered that we could add filters to multiple scenes at one time. All we had to do was select
the scenes, paste the attributes as in filters and change the colours and saturation. For this
location we had to be careful with the colours, as the saturation would turn the character either
blue or green.
• With each location change the music changes, in this change the music becomes more solemn
in order to imply a change in tone. Additionally, as the film goes on the tone changes from a
relaxed dream to a nightmare and we’ve indicated this change in tone through the juxtaposition
of music, the colours and the acting. For instance, the previous location was bright which
implied a carefree atmosphere, however the colours currently on screen are blue and dull
which implies a morbid tone.

8. • The only piece of dialogue we had was the voice over. For the final version we recorded a boy reading the script and
imported it into Final Cut Pro. To make the voice more mysterious and as it was a telephone call, we muffled it and
added sound filters. We adjusted the pitch, sound intensity and the muffle until it sounded right.
• The genre here is established through dramatic irony, so the audience can grasp that Irene is somehow in danger as the
figure appears frantically behind her, creating suspense, however the protagonist is not fully aware of that yet, thus
resulting in a surprised reaction shot. The role of Kharon is to transport Irene through different layers of dream, each
one consisting of a special location that also holds a purpose itself. This reinforces Kharon’s magical powers—being able
to defy the nature’s laws and to fragment the time. This trait is also frequent among dreams and the overall whimsical
world of the unknown, where bits and pieces are glued together to symbolize something and they’re presented in a
chaotic order. Although it may seem chaotic at first, these often predict what could happen in the real world.
• In this shot we used a voice over to give some exposition, but we still kept it vague to keep it mysterious and surreal.
The dialogue refers to a Greek text written by Plato referring to the Greek myth of the ferryman Kharon. We were
inspired by this story and how Kharon would escort the dead to the afterlife, which is what our short film is based on.
Additionally, the prop phone adds to the surreal atmosphere of our film as it makes no sense that the phone is on the
bench in the first place and that is even works. Additionally, this oxymoron is a convention of the supernatural fantasy
genre because of how surreal it is.

9. • With the sequence on the bridge we wanted to emphasise how much control Kharon has compared to Irene by how
they block her path. Additionally, we wanted to emphasise their dominance and how intimidating they are to Irene. So,
to do this Alexa acts intimidating by walking slowly towards Irene, but also we added a heart beat sound effect to
demonstrate how scared Irene is. Furthermore, the heart beat sound effect is in tune with Kharon’s steps; we did this to
establish the link between Kharon’s actions and the effect it has on Irene.
•
We maintained the same filter settings throughout all scenes at this location to respect the continuity in visual effects.
For most of the shots, we used the camera with a tripod, for stability.
•
For the river location, the colours are enhanced through editing in order to stand out and fit the fantasy genre. The
blues and dark blues aim to stand out, illustrating a cold environment opposed to the former warm one. There are
eyeline-matches and reaction shots that display the frightful feeling Irene is manifesting as an escapist character trying
to get rid of the seemingly dangerous Kharon whom she sees as a danger because he keeps following her, appearing
from nowhere. She is seen through the male gaze at the beginning of the sequence as she is the only girl from the short
film whose life is at stake. She is seen as vulnerable, submissive and naïve. She grows stronger throughout the
sequence, though, enhancing her strong character and will power and eventually concluding her own fate.

10. • For this scene, along with others in Brent Park, we had Irene
walking a lot. During editing, we cut the footage so that when she
is walking, the shot shows her on the move. Rather than showing
her how she begins to walk, we show her in the middle of her walk.
This is called cutting on movement. Doing this, we sped up the
pacing of the film and shorten the walking clips.
• We have used a few wide shots similar to a wide shot like this up to
this point in the film, however all of the previous shots have only
had a single character in shot; but this shot includes both Kharon
and Irene. We’ve used wide shots to emphasise loneliness
however, because this is a two shot of our characters which
contradicts the lonely theme that we have built. However, we’ve
decided to do this to portray a change in their perception and
shows character development from Irene. Additionally, there is a
bright filter used to portray Irene and Kharon travelling. The filter is
white because it refers to the phrase “light at the end of the
tunnel” as Irene is about to be warned of her death.
• Both Irene’s and Kharon’s costumes reflect that they are trapped
within a dream. Irene is wearing a long, wavy, white dress that
connotes either a different timeline related to the gothic, Victorian
era or merely aims to present her as a delicate, pure and innocent
creature. Kharon’s black costume fits the supernatural side of our
genre, as black is rather a colour associated with mourning and
death, contrasting the Irene’s dress.

11. • Here we also used the studio’s lights. To achieve the fire truck
sirens, we used the light control panel. It had different knobs
for several colours like white, blue, red, green and amber. We
chose blue and red for the sirens. While Isabel was filming, I’d
move the blue and red knobs up and down, simultaneously.
This is how we achieved the effect.
• The end alternates with the real world, where the audience
can see that Irene is sleeping, thus everything that had
happened was indeed a fantastical dream. The close-up of her
face is the final scene of the short film and aims to inform that
she wakes up eventually, as a result of the alarming
dream/premonition. The music stops at the same moment to
reinforce that this is the actual end of it all and the heroine is
left to dwell on the real world.
• We decided to do this shot as a pan as it gradually reveals that
Irene’s in a fire, similar to how Irene realises. So, it puts the
audience in Irene’s situation which would make the audience
feel sympathy for her.

12. • For St. Mary’s Cemetery, we slightly changed the colour. To match Irene’s third scarf and the park’s colour, we tackled
the hue towards yellow. We left the scene more natural as the sunlight was beautiful and lit the scene as we wanted.
While filming here, Isabel hand-held the camera, as the space was quite tight, and we were in a rush. The only time we
used the tripod was when panning on the gravestone.
•
In this shot the shot first focuses on the lily and then it tilts to Kharon’s hand, and we did this to draw attention to
Kharon whilst at the same time enforcing the idea of a link between Kharon and the lily. Additionally, in each location
the lily changes and ultimately becomes very withered, which represents how Irene is dying.
•
The lily is a symbolical prop. It concludes Irene’s life as lilies usually symbolize death or that the soul of the departed has
received restored innocence after death. Death is a common theme found in supernatural movies. The lily also solves
the mystery and the enigma code– it tells the audience that Irene is indeed dead in her dream—but not in her reality, so
the entire short film acts as a premonition and an alarm that she should be careful when she wakes up as to what might
happen. The lily is given to Kharon as he has been the messenger leading Irene through everything, so he is the one
entitled to give her peace. Towards the end, Kharon does not appear as a negative character anymore.

13. • We ended the short film with the same location and scene as we started it. We kept
the amber light coming from over the head reflectors. To conclude, we used many
media technologies throughout the Advanced Portfolio.
• The final shot is similar to the first shot, meaning that our narrative is a cyclical. We did
this to enforce the idea that it was all a dream. Additionally, the music abruptly stops
when Irene opens her eyes; we made this decision to put emphasis that her dream is
over. Additionally, in terms of our metaphor of the dream being representative of
young people being lost in life the ending seems very bleak. Especially as she was lost
up to the point where she found her grave. However, it is also intended to be a bit
hopeful since Irene woke up at the end, demonstrating that it isn’t too late to find her
way in life and that she still has time.