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H@CKED
Meg Masters, Jack Humphreys, Beth Kerry, Luke
Jackson, Harvey Mountford & Connor Christian
We decided to go with an idea initially
proposed during film writing last
semester.This was then formulated into
a script and structured into a 5 minute
short.
Having the same group as we did for our
documentary we already understood
and could fairly reflect on one another’s
abilities and thus some group members
retained their roles whilst others wished
to change and so we had our production
team setup.
Producer: Meg Masters
Director: Jack Humphreys
DOP: Luke Jackson
Editor: Beth Kerry
Sound Recorder: Harvey
Mountford
Sound Design: Connor
Christian
We struggled with finding a
suitable office space as our main
filming location, with many being
too expensive for our budget. A
number of enquiries were made
into locations however the
majority were massively out of our
budget.
This also caused difficulties as it
reduced the amount of
production time that we had to
conclude filming and get to the
edit process.We eventually
found an office space that was
suitable for our price range and
could host us when we needed
and thus we went with this
option.
We put out an advertisement for
an audition tape to be created for
our main actor; this was met with
limited response, which really
narrowed our choices. Our main
actor is in our opinion more suited
to stage acting as he struggled to
grasp some of the concepts of
emotions that we needed
conveying through facial
expressions as well as body
language.
We also struggled with
making arrangements with
our actor due to clashes
between his and our own
university timetables, as well
as other commitments
outside of university. Our
struggle with finding a shoot
location also carried over to
making it difficult to make
arrangements with our
actor, as we had no set date
to film. When both issues
were resolved we met with
our actor on location and
began filming.
Our narrative focused heavily on
a non-linear story as flashbacks
were the driving force of the
characters downfall.This require
the flashback sequence to be
edited in such a way so that it is
easily recognisable as a flashback
through the use of micro
elements e.g distorted sound and
imagery.The rest of the film
needed to be cut to match the
suspense built in the sound
design through concise cuts
throughout.
Sound design was a key aspect of our
film as stated in the brief. We
decided to go with non-sync sound
because it would allow for greater
manipulation in Pro-Tools.We used
this technique also to avoid sound
failures when using sync sound with
a camera.There were a number of
foley sound we decided we wanted
to emphasise and the best way to
achieve this was recording them
after the fact.

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H@cked

  • 1. H@CKED Meg Masters, Jack Humphreys, Beth Kerry, Luke Jackson, Harvey Mountford & Connor Christian
  • 2. We decided to go with an idea initially proposed during film writing last semester.This was then formulated into a script and structured into a 5 minute short. Having the same group as we did for our documentary we already understood and could fairly reflect on one another’s abilities and thus some group members retained their roles whilst others wished to change and so we had our production team setup.
  • 3. Producer: Meg Masters Director: Jack Humphreys DOP: Luke Jackson Editor: Beth Kerry Sound Recorder: Harvey Mountford Sound Design: Connor Christian
  • 4. We struggled with finding a suitable office space as our main filming location, with many being too expensive for our budget. A number of enquiries were made into locations however the majority were massively out of our budget.
  • 5. This also caused difficulties as it reduced the amount of production time that we had to conclude filming and get to the edit process.We eventually found an office space that was suitable for our price range and could host us when we needed and thus we went with this option.
  • 6. We put out an advertisement for an audition tape to be created for our main actor; this was met with limited response, which really narrowed our choices. Our main actor is in our opinion more suited to stage acting as he struggled to grasp some of the concepts of emotions that we needed conveying through facial expressions as well as body language.
  • 7. We also struggled with making arrangements with our actor due to clashes between his and our own university timetables, as well as other commitments outside of university. Our struggle with finding a shoot location also carried over to making it difficult to make arrangements with our actor, as we had no set date to film. When both issues were resolved we met with our actor on location and began filming.
  • 8. Our narrative focused heavily on a non-linear story as flashbacks were the driving force of the characters downfall.This require the flashback sequence to be edited in such a way so that it is easily recognisable as a flashback through the use of micro elements e.g distorted sound and imagery.The rest of the film needed to be cut to match the suspense built in the sound design through concise cuts throughout.
  • 9. Sound design was a key aspect of our film as stated in the brief. We decided to go with non-sync sound because it would allow for greater manipulation in Pro-Tools.We used this technique also to avoid sound failures when using sync sound with a camera.There were a number of foley sound we decided we wanted to emphasise and the best way to achieve this was recording them after the fact.