Unit: 13: FMP

Final Major Project
Matthew-Burniston

Schedule
Week: Overall Plan: Specific:
Week One Pre-Proposal What Planning Did I Do In Advance For My FMP / What Is My Area Of Interest
For My FMP / If I Had To Choose Right Now, What Would I make? / What
Production Techniques Most Interest Me / How Will My Previous work
Support My FMP / What Are My Inspirations For My Project / Self-Evaluation
/ Skills Audit / Schedule.
Week Two Proposal Concept One / Concept Two / Chosen concept / Chosen Concept Summary
/ What Genres Will I Be Working In / Audience Profile / Mood-board and
Mood-board Analysis.
Week Three Colours And Tones / Fonts / Costumes Mood-board (Protagonist) / Costumes
Mood-board (Love Interest) / Costume Mood-board Analysis / Key Influences
/ What Research Will I Be Doing / Additional Planning Notes And Goals.
Week Four Research Colour Meaning / Product Research: Film / Product Research: Short-Film
/ Product Research Analysis / Secondary Audience Research / Product
Research Analysis.
Week Five Secondary Audience Research / Primary Audience Research / Interview One /
Interview One Analysis / Interview Two / Interview Two Analysis .
Week Six Interview Three / Interview Three Analysis / Conducting My Interview
/ Subject Research / Subject Research
Week Seven Experiments Do three experiments relevant to previous research I've done.
Week Eight

Schedule
Week Nine Pre-Production Rough Draft / Character Research / Character Profiles / Casting Actors And
Crew.
Week Ten Script Drafting / Illustrate Key Shot And Camera Positions/Shot List.
Week Eleven
Week Twelve Location Hunting / Props And Costume / Cast And Crew List / Contingency
Planning / Health And Safety / Filming Schedule / Final Draft.
Week Thirteen Re-Forming My Work Go over all previous so far and check it makes sense, got the information and
if there's anything else I need.
Week Fourteen
Production
Pick up the c100 and gather all my footage, ready to edit when I get back.
Check I have everything I need and always check the footage looks ok!
Week Fifteen
Week Sixteen Edit together all my footage and audio.
Week Seventeen Add a colour-grade and music to my footage.
Week Eighteen Create a poster for my product with additional final touches.
Week Nineteen
Evaluation
Research Evaluation / Research Analysis / Planning Evaluation / Time
Management Evaluation / Time Management Angliss.
Week Twenty Technical Qualities / Aesthetic Qualities.

Schedule
Week Twenty-One Evaluation Audience Appeal / Feedback / Peer Feedback Summary.
Week Twenty-Two Moderation Start preparation for show as my work's being evaluated.
Week Twenty-Three Show Preparation. Prepare Work Display.
Week Twenty-Four Show. The final shows put on.

Why Have I Chosen To Make This?
I want to make this product simply because I love film and for years,
I've wanted to make my own. Over the last two I've (more so-) really
found myself heavily invested in the technical side of writing and
directing a film, again really wanting to achieve their craft and detail.

What Planning Did I Do In Advance For My FMP?
Before really thinking of what I wanted to do for this project, I wanted to
practice my skills with directing and script writing (over the previous
summer), and I started planning a short film which I would later become very
confident in. I constantly thought over what I could do to make this work as
a product and the best way of implementing the ongoing research I did on
directing, writing, and filming to use. An example of implementing things like
this, would be to emphasise the story telling I'd be conveying through
colour; that links in perfectly to the story about an artist, so I could maybe
use colours on character's costumes to convey their emotions?
Furthermore, before Christmas and starting this project, I emailed my tutor
to book out the c100 camera (the highest quality camera) out for over the
Easter holidays, to ensure I can get the best picture quality for this film.

What Is My Area Of Interest For My FMP?
For my FMP (Final Major Project) I’d like to make my first short-film that will
include high elements of visual story telling techniques, like 'show don't tell' ;
conveying information and emotion visually through elements such as
colour, performance, blocking and staging, etc...
I'm also hoping to make this product the defining piece for the three years
I've been at York College and a short film I could hopefully enter to short-film
festivals (getting my foot in the door of the industry as soon as I can, as like
many other directors I praise have). Hopefully having a product to a much
higher standard than previously, now taking in the criticisms from the past,
including audio, casting, scripts and shot lists.

If I Had To Choose Right Now, What Would I make?
Over summer, I've been thinking of stories and eventually landed on
doing a simple, 'everyday' story, so that it's a lot more do-able than a
story which would need difficult locations, props, costumes, casting
and experimental effects (in which I'm inclined to avoid after last year's
disappointing night transition, in my previous FMP). For this, I've
chosen I wanted to make a cute and colourful romance story, with a
focus on mental health, featuring Beatles inspired music (which could
create a potentially interesting contrast with some tones, like the
mental health), and imagery inspired by Van Gogh.

What About My Project Is Important To Me?
To me, it's very important to get the story-telling, details in story-telling
precise. Visual storytelling is something I'm very passionate about, with
this being an opportunity also to get right. Furthermore, in this project I
want to come closer to my approach/style to directing. Finally, I think
the use of colour being used in this product is also an important thing
for me and the product as it's got a strong link to its characters, an
artist and how he adapts to his world.

What Effect Do I Want To Have On The Audience?
I want to make my audience feel a spectrum of emotion – from feeling
joy and laughter in moments (hopefully making it up into a comedy,)
though portraying sadness in others to help the audience empathise
with the character. I also want to further the contrast of the journey
from the start to finish of the story, connecting with protagonist's
saddened emotional state at the start of the story, but also his joy at
the end of the story.

What Is The Tone And Style Of The Product?
For my product, I'm aiming approach a very colour driven film, using
colours to both emote and closely portray the paintings of Van Gogh. I
also wish to make this a very human story, with very human, relatable
characters in it- connecting the audience to the characters in the story.
The reason I've chosen to use this kind of style is because it links in well
with the importance of colour use in artist's paintings and provides that
extra layer of detail, that I'm wanting to include to it.

What Production Techniques Most Interest Me?
I really like the idea of making a complete short film that I can both
watch and enjoy myself, but hopefully others too. On this production I
hope to now get proper cast (of actors), and crew, with a potential
minimal budget for this like locations. Bringing this production the
closest I've ever been to a professional film environment.
On top of the technical aspects I'm really interested in writing clever
and witty dialogue which tells a greater story that it's showing, along
with accompanying concise visuals and transitions which will also help
further tell the story. As I'm fascinated by inventive ways of conveying
information through things like blocking (the placement of
actors), camera angle and/or height, colour, props, etc... A good
example of this would be like the aspect ratio in 'The Grand Budapest
Hotel' to represent the changes of time (1:85:1 1980s, 2:35:1 1960s,
1:37:1 1930s).

How Will My Previous work Support My FMP?
Client Project:
For this I produced a short film (very similar to the one I'm wanting to make for this FMP, only
a far smaller scale), that way I would get to practice filming and writing a romance short-film
and get feedback on it, like an experiment does. Also, through filming this, I would be
researching things such as writing a screen play (now being able to write a screen play
properly since writing my FMP's first draft prior), framing using the rule of thirds, all as well as
lighting which should push me to becoming a stronger film-maker in general.
Factual/Documentary Project:
I wasn't entirely sure on what I'd make, especially something that would contribute to my FMP.
However, I figured, I would study one of my favourite directors - Wes Anderson and his auteur
and try and direct this piece as if I were him, seeing what thing I would like and overall seeing
what experimental contribution this adds to my way of approaching filming, especially since
this is something I was really wanting to on, at the beginning of the year. On top of this,
it would be the first proper time I would use a location to film on (having tried in the past, but
never really going through with it), which will be useful for this as I'm planning and hoping to
get locations, e.g. experience helps.

How Will My Previous work Support My FMP?
Essay:
For my essay, I both wrote about and researched auteur (as stated before – I've really
been hoping to find my style of directing, especially before filming my FMP), looking at
what auteur theory is and what different auteurs directors each have, so I could
observe which kind of methods I find both preferable and effective to further try and
experiment with myself.
Through both of the two-practical projects, I came across many technical issues, from
actors feeling not entirely uncomfortable with the material, struggling to get locations,
actors dropping out last minute, audio and dubbing trouble difficulty and my crew not
turning up on date. From this, I can learn the importance of using a better microphone
on the camera (especially outside), be less ambitious with locations (as the failed
attempt of booking a supermarket for my original attempt of the client project), as well
as the making sure both the cast and crew can be reliable to turn up. Furthermore, I
will be checking that the actors read the script and check that they're comfortable with
what I'm asking of them.

What Are My Inspirations For My Project?
For this FMP, I will take many inspirations for this: whether it be the clever
and witty dialogue, the comedy and transitions of Edgar Wright, with the
visuals and quirks of Wes Anderson. I feel combination of inspiration from a
range of directors I look up to. I especially feel inspired by the techniques
featured in videos essays, usually by the likings of studio binder.
I also really like a lot of short-films and (British) indie films, with happy
endings, creative ways of storytelling, passion and the way they will often
take a reflection on humanity or an alternate theme.
Furthermore, though not a director, I'm a big of Van Gogh and as it's a short
film about an artist and I'm a big fan of colour, I'd like to use his painting to
drive a lot of the visuals of the film.

Self-Evaluation/Skills Audit
Strong at: Ok at: Weak at:
Team working Joining in discussions
x
Working in a group
x
Influencing others
x
Accepting the opinions of others
x
Learning from others
x
Knowing my roles and responsibilities
x
Problem Solving Analysing facts
x
Understanding why things go wrong
x
Finding solutions
x
Working to the requirements of a brief
x
Self-Management Meeting deadlines
x
Getting to class on time
x
Being responsible for my coursework
x

Self-Evaluation/Skills Audit
Strong at: Ok at: Weak at:
Self-Management Working productively in class
x
Not using my mobile phone in class
x
Communication and Literacy Asking questions
x
Listening to others
x
Being accurate with spelling, punctuation and grammar
x
Speaking to a group
x
Communicating my ideas and concepts for production
x
Speaking formally and informally in appropriate situations
x
Writing clearly
x
Application of IT Using computers to file and store information
x
Using Adobe Premiere
x
Using Adobe Photoshop
x
Using basic computer packages like Microsoft Word and
Excel x

Concept One
Concept:
A 50s inspired sci-fi, following a group of stranded space marines on the most
dangerous planet in records. This will follow two misfit leads in a story which will
explore the ideas of survival and the possibility of madness. I would also use
'Forbidden Planet' as a huge inspiration for the look of this film.
Why I chose not to do it:
Though I really like the idea, the characters, and the stylized, colourful look I have
in my head, I feel it's so far from do-able. For the planet I'd want something rocky
like a quarry or even a desert-esc setting, which would be both extremely hard to
locate and/or afford to get there, especially with a cast and the crew. I also
don't know how I'd go about shooting this or map out a complete plotline for this,
as it's a story that only follows these characters fight and nothing else, it'd be hard
to do it justice at the moment.

Concept Two
Concept:
I could finally create a pilot for last year's crime series, putting all my
previous planning and ideas, to expand on and give justice to it by completing it.
The concept would feature an isolated detective as it will focus both on the
murders and his personal life and struggles. Trying to take after shows like BBC's
Luther or classic murder-mysteries like Poirot.
Why I chose not to do it:
Whilst it would also show progress and allow to learn from and fix the problems,
I had with last year's FMP, whilst still maybe being very possible with location
and casting. I feel like it's not really the direction I want to do anymore, preferring
the idea of doing something really colourful (which could add a really interesting
twist, but could also maybe undermine the material?). Furthermore I'm bored of
the material, having already planned a crime series for the last two years and
would much prefer to something new.

Chosen Concept
A struggling artist. To help himself become the artist he aspires to be, he must
stop avoiding his problems and get himself out there and find someone
(a suggestion provided by one his only mates).
Though he starts off quite reluctant, he eventually gets there and meets someone
who takes him away from his troubles (even just for that day). That same night, we
see him develop as a character and suddenly find the energy to paint as he once
had! The next morning he experiments - waking up without them, would he still be
able to do the same? He tries, without success. He calls them and demands to
meet, no questions (but only if they want to?). They agree and meet up. He takes
their hand and brings her down to the same field we first met the protagonist in, as
he failed to paint (thus coming full circle), only this time he manages it far greater
than previously! The production will the end with the character finally finding their
love as their partner remains so confused but content.
Furthermore, if I have time, I will attempt to create a poster to go along with this
film.

Chosen Concept Summary
What are its strengths
• It's a simple concept that doesn't need a huge cast, difficult locations, props or
costumes.
• Because a huge portion of this will be shot outside, it means lighting won't be that
bigger issue as natural light it one of the best to shoot in.
• I've already been planning this idea over for months now and have a solid idea of how
I'll give this product depth, such as the dependence on colour, with the linked
association of this being a film being about an artist.
What are its weaknesses?
• I've had troubles with cast in the crew in the past, so maybe working with actors or
drama students (that I don’t know) might be a little bit risky with them being reliable?
• Being set in a quiet English village, I'll have to both find a village find suitable for the
look I want, but also have to worry about getting there as transport could be an issue?
• Though outside could be good for natural lighting, consistency in weather could be
hard, especially I'm hoping to film in summer-esc conditions.

What Genres Will I Be Working In?
This film will be a kind quirky and stylistic comedy, about an artist
trying to achieve his goal as an artist, whilst exploring romance along
the way, however breaking the mould being that typically rom-com
couple and instead about being about two not so perfect people
finding happiness in each other.
Genres:
Indie Film, Romance, Comedy, Drama....

Audience Profile
Demographic How will my product appeal to them?
Primary Age: 16 to 21 • Teenagers/young adults are more commonly struggle with some form of mental
health, both the protagonist and the love interest suffer with some form of mental
health, such as insecurity, or further the heavier focus on the protagonist's depression.
• Furthermore, all the characters of the story will be young adults, not much older than
this age demographic.
• Still being quite young, a lot of my audience will still be making mistakes and still trying
to learn from them. A lot my higher audience will also still be making mistakes with
drinking, something the protagonist will still be doing, whilst playing a big part in the
story to push the protagonist to finally take a chance on the potential love interest.
Secondary Age: 21+ • I think it maybe explores more mature themes, though hopefully should widely be
enjoyable? Though will eliminate viewers younger than 16.
Primary Gender Appeal:
Male
• As this will be a romance told from the perspective of a male, men are far more likely
to connect to the protagonist as they can relate.
• Rather than making this quiet an effeminate romance, I plan on making a natural
romance and human – with the love interest being very much a tomboy and both again
having flaws and awkward lines.

Audience Profile
Demographic How will my product appeal to them?
Secondary Gender Appeal:
Female
• Romances primarily appeal more to a female audience however, meaning there will
likely be a tap in secondary audience appeal.
Class: Middle-Class,
Working-Class
• This story doesn't really have focus drawn to class, though the pair both come from a
middle-class/ working-class background.
Psychographic: Strugglers • Again, as this is a story told from the perspective of someone who'd fit into this
category, it adds a set relatability to the role. This will also further have an effect when
it show the protagonist getting out of his struggle and will hopefully give others in this
category help.
Overall, the product will provide an appeal to audiences through its relatability, especially through what I
hope to have very human and down to earth characters. One more thing to note is how this will also prove
that this will predominantly appeal to beta and introvert males, with hopeful outcome of providing that
audience with a more optimism by trying to show them that you don't know what's around the corner
and/or good things can happen at any time.

Mood-board Analysis
What common elements can be seen in my images?
The extremely common two colours used through-out the images I used are blues and yellows,
which is an easy colour scheme to stick to and still very much true to Gogh's paintings.
How does your mood board inspire your project?
I really like the saturated blues and yellows either in Gogh's work or golden cornfields stretching
off into the sunset. Furthermore, I really like the cosy look and feel of the images of the
quaint village.
How will your mood board influence your final product?
So I already know that Van Gogh will be a huge inspiration for the look (and even the protagonist). I
also further know I really like the aesthetic of sunflowers. However when thinking over setting and
looking at images, I really like the look of setting it in a proper English village, which also take up
an aesthetic I'm fond of. One thing I found and really love is the picture of the sunflower field, with
the glare of the sun setting, with both the colours looking like what I have in mind for my final
product, in which it captures the blues and yellows but doesn’t become overbearing. I may even try
including more soft lighting and glares in my product.

Colours And Tones
Before deciding what colours I wanted to
use (though having a very solid idea), I
took a bunch of the images of my mood
board and put them into Photoshop to
break down into 9 main colours (using
'export' > 'save for web (legacy,') that
could later help decide. (I also filled in
the blank space with 'fill' to ensure I only
got the colours selected.)
Not being satisfied with outcome, I instead created a table of 3*3 and
separating them into three different horizontal strips, e.g. Blues,
yellows and additional.
These blues are range of Van Gogh's work.
These will be included in things like costumes,
shadows, night tones and the sky, much like
the artist himself.
I sampled the blues from both Gogh's work
and sunflowers, again ranging in tone. This will
also be used in costumes, as well as building
and sources of light.
For the black and white, I think I want to try
out a strong contrast for my images, as they
did with 'Mad Max', where you can put it in
black and white and image still looks amazing
whilst wanting the green being used to
maintain the greenery of the nature.
In 'Mad Max' the lighting contrast
was so well, they would even create
a black and white edition, allowing
audience a new experience.
(Though colour will remain a greater
priority for this product).

Fonts
As this is an indie film, it tends to appeal to an audience that is drawn to a certain aesthetic, I thought I would further to
appeal to this demographics by including it into my fonts as well as all the other aspects. To achieve this, I researched for
'aesthetic fonts' and fond a YouTube video: https://www.youtube.com/watch?v=tPMWSQu32-g&list=WL&index=5&t=0s
With 'Dk Zesty Lime' I found it possibly too hard to read,
so maybe not the best fit, so it's unlikely I'll use it. I do
however like the hand drawn look to it. Though it could
work for the logo of the film as it is a bolder font.
I really like this font in the way it remind of previous film logo's
(such as; 'Loving Vincent' and 'Call Me By Your Name,' two separate
films released of the same year.) To me it's handwritten style could
almost add the sentiment of being either like diary entry into the
protagonist life or make this product feel more like a personal
signature to their story? So for this I'll be using this as my logo font.
Both logos sampled from the film's posters.Some Unchosen fonts from the video:
Simply 'Keep On Truckin' doesn't fit the branding of
the film, appearing more like it belongs on a 60s
music album, whilst looking to happy. It would also
loose that personal look I was hoping to achieve.
I could use this font for the smaller (non-logo) text throughout my
production, being a lot less styled and readable, but still really fitting in
with the style I'm going for.

Fonts
Below are some more of the fonts showcased in the YouTube video, though I will not be using them
reasons such as either not fitting the branding of the product / I want it be more readable / just personally
didn't like too much.
Looking at this range, you can summarise a lot of the fonts labelled with an aesthetic resemble a
handwritten appearance, proving the best-looking font should consist of handwritten fonts.

Costumes Mood-board (Protagonist)
The Protagonist:
I want the protagonist
to wear a denim jacket,
boot black trouser and
leaving a jumper with
the emotive colour as
the centre piece (this
will change as the
protagonist's emotions
do).
I also like the idea of using
inspiration of Van Gogh to
shape up the costume of my
protagonist (using his art and
life as a huge inspiration for
this project).
A very modern inspired Van
Gogh look I found on Google.
Van Gogh self-
portrait.
I want the protagonist
to wear boots as he's
often painting in fields,
making it suitable
footwear, but never
changes them because
he'd not used to doing
anything else.
Google images
'Male art student'

Costumes Mood-board (Love Interest)
The Love Interest: For the love interests I wanted
her to be parallel to the
protagonist, liking music rather
than his passion for painting.
So they'd be a contrast in
difference, but looking into it,
you'd be able to see the
similarity when reading into
things.
Clara Oswald in 'Under
The Lake/Before The
Flood.'
Doc martins
and leather
jackets are
quite a typical
rocker look
currently.
Really liking the
costume for Clara, I
wanted to
incorporate a
similar design, now
using checked
tartan
trousers instead of
a dress.
The Love Interest: For the shirt I
want a white shirt
to match the rest
of the outfit, but
not without the
colour. To do this I
will use colourful
band shirt.
Google images
'rocker girl'

Costume Mood-board Analysis
What are its strengths?
• A lot of the clothes for the characters are very common and either I or someone else I know will
likely own, meaning that could reduce the cost I'd spend on costumes.
• Both the characters' costumes show of each of the characters personalities – e.g. the love
interest wears both a leather jacket and doc martins (typical to a rocker girl), whilst wearing a T-
shirt showing off her favourite band or the protagonist who wears his favourite colours, but he
also wears boots as they're suitable for all terrains and places (whilst he also doesn't change his
clothes), showing that he's not usually use to going out anywhere but painting.
• The protagonist's costume uses saturated colours that fit into the look of the film I want,
though not so overbearing that it appears unnatural.
What are its weaknesses?
• Though the love interest's costume displays her character well, I worry that it could lack a lot of
the colour that I want in my story? However it could still be ok, as people in the background
also may not abide this rule. Although, that could also be a nice opportunity to separate the
pair out from the crowd.

Key Influences
One of the biggest given influences for this short film will be Vincent
Van Gogh, as being a huge fan of his paintings and being one of the
most well-known struggling artists, in which the story I want to tell is
about a struggling artist. I want this to almost be a modern
interpretation on his life (much like Steven Moffat and Mark Gattis
portrayal of Sherlock), only putting him into a romance story with a
happy ending. From this, I will also aim to only shoot the protagonist
from the left side, in tribute to Gogh cutting of his right ear. I will also
pay tribute to him by using his colours to build up a vibrant colour
grade for my product. Whilst furthermore using his paintings to guide
that which the protagonist's paints.

Key Influences
Another big influence for my product will be the film Man Up, a film
about miracle romance that happened by mistake and worked out
perfect (as mine will also feature a similar kind of scenario). On top of
this, I always loved the how the characters felt genuine and human. I
also really like how small details are set up as when the protagonist was
discussing how she'd keep cats in her wallet (instead of a dead sister,
following a previous joke), to the guys she was on a date with asking
her, telling the audience that he can offer things she wants from a guy.

Key Influences
A third influence on my product is The Grand Budapest Hotel. A film
that, to me, handles all the qualities of the films I would love to make
perfectly – using vibrant colourful colour-pallets (as I will too in this
film), along with his quirky dialogue (though I will not be attempting his
formal, play-write approach to dialogue), masterful composition, and
visual story telling also. Style and substance in an amazing
combination. An achievement I hope to either hope to achieve in this
film or at the least start from it.

Research Intentions
Learning from my previous mistakes, I will be researching into things like better audio and doing so
on set, after it ruined my original short film 'Our Bench', having though it ironically more so fell
flat with the audio turned on). I also want to research and experimenting into lighting a lot more,
always feeling like it could be bettered, with its shadows and highlights being too harsh. On top of
this, running into struggles with lighting in the past, it could also be valuable to research and
experiment with different lenses.
I also want to research into the meaning that colour provides as this will be a colour heavy film.
Furthermore I would like to research people with the way they speak, act, aspire, worry, etc... in
attempt to flesh out my characters further than I have and get my dialogue as perfect as I can. To do
this I will be conducting personal interviews with people (especially those similar to the characters
I'll be writing), to build character profiles for genuine people. I will also be doing further research on
writing both comedy (to try and provide light-hearted moments that bring the audience to laugh),
and ways of keeping it interesting.
Even though I'm making a short film I watch to research into other mediums of film more (both
primary and secondary research), especially looking at films throughout time to get a much broader
range of research.

Additional Planning Notes And Goals
• I want the colours throughout this film to bright and vibrant, connecting with the whole
art world vibe/aesthetic.
• I want the colours on the characters costumes to reflect their mood, like a visible mood
indicator, e.g. green for jealousy, wealth, etc...
• I will also be applying colours in the surrounding of the characters to help promote the
feeling of certain atmospheres, such as more of the colour red could be seen more over
the course of the date, conveying the building of romance between the two.
• At the end of the film, after the titles, we could just hear the voice of the protagonist
finally contacting his family for the first time in years, as a little kind of Easter egg?
• A visual recurring gag with most of the music in this being played through a jukebox or
vinyl, sometimes randomly interrupting a scene just to turn on the next song.

Product Research: Film
What is the product?
This is an action, adventure, comedy following a troubled orphan who finds a foster family and decided to run away after the
passing of his foster mother (Bella), whilst child welfare hunts him and his uncle (Hector) down. The story also puts an emphasis
on the matter of family, especially through the development of Ricky (the protagonist) and Hector.
How does it work with colour and lighting?
This film uses bright, more natural colour palettes, making it colourful but not overbearing, with the main colour being green on
screen – primarily set in 'the bush,' (vast forest land in New Zealand). It also further uses a balanced, soft lighting. Personally, I
found this film more beautiful to look at compared to the previous example of 'Mad Max Fury Road.' I liked and would rather
apply a similar kind of lighting and level of colour, though sticking to the Van Gogh inspired pallet.
How does it work with sound and music?
The majority of this film's score uses an electronic synth music with the opening theme reflecting on the more Nordic side of
things (depicting their journey as like travelling Vikings). The synth music sounded much like a video game track which follows
the story through like an adventure game. The sound-track is similar to that of a John Carpenter film – being one of many traces
of other directors' styles in this film. Ironically, this film acts more in contrast to Carpenter film, with its cheerful tone and
brighter colour pallet.
How does it work with costumes?
The protagonist at the start of the film is dressed in a 'rap-fan' inspired look – highlighted with his modern appearance; his white
shoes, jacket, hoodie and cap. However, this look will change later through the story to appear more like his uncle – with his
uncle dressing in a blue plaid jacket (which will become iconic and synonymous to his character), with a Stetson that reflects on
him as farmer, but also helps push the adventure-side aspect of the story.
What sort of editing and composition does it use?
Through this film they use a range of fade transitions (either the use of on-screen text or montages). This helps add variety to
transitions, even if fades aren't the most creative thing to use. However, I can say within this film, I enjoyed them, never seeming
off put as a viewer (as I often see them in films and feel put off either by because they go on for too long and/or contrast too
much with the previous scene.) Furthermore, the film opens with opening credits and is split up into ten chapters.
What appeal does it have to an audience?
This product appeals to a more niche audience, likely to fans of indie and short films as it's not really a big film on the block
buster scale and isn't a massive release, meaning an audience would've either had to have heard it from someone else or
through themselves. It could also appeal to media students or film fans who follow Taika Waititi as he's a quirky and known
name, but also because only those kind of people that follow a director.
Trailer:
https://www.youtube.com/watch?v
=XGj3AogT9EM

The film opens with open credits
reminiscent of a lot of older films,
especially directed by Tim Burton.
One that particularly comes to
mind, however, is the opening
from 'Beetlejuice' the camera
flying over its setting slowly as
music and credits roll over to
present the film. Unlike
'Beetlejuice', 'Hunt For The Wilder
people' provides a greater variety
than a single long take.
https://www.youtube.com/watch?v=bdRM
MmTzKKY
https://youtu.be/EYP_cqlvhQI
However, this would not be
the only Waititi film to use
an opening credits, being part
of his auteur – two alternate
examples can be seen in
'What We Do In The Shadows'
and 'JoJo Rabbit.'
https://www.youtube.com/watch?v=br
HnpUGFjE4
The protagonist's costume
change, alongside his
uncle Hector
This film is split up into different chapters like
story book, like the books Ricky is established
to like at the start of the story - 'they said you
like to read...'. It could also link to the fact
that this was also based off a book 'Wild Pork
and Watercress.' This kind of formatting is
most associated with Wes Anderson who
adopted it into all of his films since
'Rushmore,' to go alongside his playwright
style, though again differing with use of title
cards, not just font.

In this film, though having ties to
Wes Andersons style, Taika
Waititi doesn't use symmetry,
despite still keeping a visually
satisfying image relying on the
rule of thirds to compose his
shot (something I've been really
looking into doing myself).
Researching his work I came across a video essay
discussing Waititi's style: in which he'll often use social outcasts
as the protagonists, whilst writing using tragic stories to find
comedy in. An additional thing to note is he's occasionally films
short film that will become a full feature (Anderson did this with
his film 'Bottle Rocket' or Damien Chazelle did for 'Whiplash').
(Video used: https://youtu.be/3BbtGqROffs).
A clever and sparingly used feature in this film is that they use
Ricky's haikus to express the characters feelings, most notably
at the end of the film where Hector (for the first time),
expresses himself to Ricky (with his character most notably not
fond of sharing is feelings.
Though this films doesn't really
use visual storytelling to high
amount in this, he does include
close-ups to help prompt the
audience for events that will take
place, for example: when Ricky
winds up Hector about not being
able to read it uses an insert of
close up on his fist before
attacking.

What is the product?
'Loving Vincent,' is a passion project that follows a postman's son as he tries to deliver a letter to Van Gogh's brother and starts
to learn about the tortured life he led and the people around him. Using the form of his animated paintings to bring the visuals
aspect of this film to life.
All the lighting and colours are taken from Van Gogh's paintings – using his (often) bright colour and tones, taking away with his
heavily blue a tones, with dashes of yellows.
They use inserts of orchestral music, which helps convey the emotions within scenes.
It only really uses practical costumes on the reference footage, as it's an animated feature. Though much like they did with
the colours and tones, what they use in the way of costumes, they re-paint people from his painting and turn them into
characters (with the live action reference footage of the actors also being a heavy influence also), thus the costumes with it to
life.
The editing through this film isn't too complicated, only really cutting when a change perspective is needed – e.g. when
somebody's talking or a scene changes. Meanwhile the composites of the pieces are directly used from his paintings, supported
as the camera is still more than half the time to support this ongoing theme.
This will largely appeal to fan of Van Gogh's work, as it tells his story and portray the idea of what those people around him
would've likely felt about him. Not to mention the appeal of seeing his paintings not coming to life. Though it could have appeal
to fan of film and art alike, being told in a really unique way of telling stories- being animated with paintings (-as frames).
Trailer:
=CGzKnyhYDQI

This film is all painstakingly
animated using paintings (and
would become the first film to do
this in history). Furthermore the
painters would also be painted
using live-action references on a
green screen, as well as also using
Gogh's original paintings.
To help indicate the audience which part of the
story is set where (as its set both before and after
his death) they use either the normal colourful
version for the present (post Van Gogh) and black
and white for the past.

Van Gogh's Paintings
Van Gogh being a huge inspiration to my product, I feel like it’s important to my product to break
down the structure and colour he uses in his paintings. (website used to support this
research: http://www.vangoghreproductions.com/art-techniques/van-gogh-art-techniques.html).
A lot of his more recent paintings would become a
lot more colourful – using a mainly blue and yellow
pallet, with occasional touches of green and black.
Paintings are created with a perspective
frame which lays out the composition
for his art. However it's not been
unseen for the rule of thirds and the
golden ratio being used also.

Product Research: Short-FilmWhat is the product?
This was a short film done by a student last year (also for their FMP). The protagonist from this film has been kidnapped and taken to
this entirely white room where he can either talk or eat. This film rellies heavy on mystery and allows the viewer to all have their own
Intergrations heavy on mystery and allows the viewer to all have their own interpretation and discover their own meaning.
The lighting in this film is quite soft. With lighting in the room being very flat and mainly using the colour white – helping saturate the
emptiness of the room and driving in the feeling of madness like the protagonist from within the short film. With the colour grade in
this, it's not too heavy, only being really noticeable at the end with the purple sunset or the start with teals and oranges to make up
the streetlights (with the oranges) and the white artificial light – plus a lot of the whites (with the teals).
The sound in this, mainly consists of the vocals, with added sound effects like snapping. On top of this he uses music electronic
atmospheric music, so it doesn't distract the audience from the product - such as adding tension in the clicking scene (amongst the
clicking) or the use of music as he collects spoons, used to provide the image a growing evolution...
To match the white room that the protagonist is in for the majority of the film, the character wears light grey jogging bottoms and
white shirt to fit the room, although has completely different costume for when outside the room, with darker jeans and a black coat
– acting completely in contrast and helping to empathise the change.
The editing through this is used push ideas such as insanity and frustration – like for example of the clicking. It also helps add a bit of
variety to piece as there's nobody to pass conversation with (and the only other thing there is the eye staring at him, in which he can
only talk at the expense of food) and just being sat in a blank room.
The films mystery a huge appeal to the film – the more we watch the more we want answers to – e.g. why is there, who did and
again why? Though this will likely appeal to film-students (again) being quiet niche – especially as it's a short film, as that usually
URL:
=i_V99hjFpRM&t=1s

A good display of Schoettner's use of writing
and editing is in the scene of the clicking. In
this scene it begins with repetition of 'do
you want to talk, or do you want to eat' as
the protagonist starts of by asking questions
– we too would like to know what's
happening in the story and are frustrated by
the lack of response as the use of
repetition set in a power dynamic – he's
trapped in a room and the only option he
has it answer the voice, otherwise let it
repeat itself and be driven into madness. At
first, he gives up, pressing his back against
the wall and slowly sliding down it, followed
by a quick cut of him onto his makeshift bed
(time seems to of passed and the question
is still being asked), it then fades to a
medium close-up shot (from the previous
wide) and progressively starts to click (over
and over again). These click will now also act
as an aid for a montage of quick cuts of time
passing. Eventually, he snaps! Breaking the
cycle. This quick and harsh change in
passing allows us final release as he finally
ends the repetition of the cycle.
This was filmed of the c100
from college (the very same
camera I will be filming with).
This means that the picture
quality and lighting in this video
should be achievable for my
short-film – as this previous
student had all the same
limitation that I will.
1 2 3
4 5 6
7 8 9
10 11 12

Product Research AnalysisWhat did I find that I liked?
• I really came to like the soft lighting and composition (heavy use of rule of thirds) demonstrated in 'Hunt For The Wilderpeople' and will very likely try
and experiment with it and further attempt it in my final product. I'm also a fan of the bright, but natural saturation used in this film.
• I further love the tone that Waititi uses in 'Hunt For The Wilderpeople' – finding comedy, even the dark moments. Whilst still maintain the essence of
childhood. Personally, I believe this approach for comedy (as well as his use of colour) would really be fitting for my product and could possibly help
improve it – separating it from a range of dreary indie films.
• I really like the way 'Loving Vincent' brings Van Gogh's paintings to life, using them as heavy visual inspiration. In which I further love the heavily blue
and yellow colour scheme he used for the majority of his oil paintings.
• In 'Loving Vincent' I thought that had a really interesting way of telling Van Gogh's story – not actually using him as the protagonist, but instead
hearing about his life through the perspective of his letters and people/characters that once knew him.
• I like the use of music used in 'Monotony', to promote certain emotions subtly. I also really like his use of editing that adds variety – to an otherwise
empty room, with a man and red light in it and (again) promotes certain emotions throughout.
• Furthermore, I like what the director achieved in this short-film, considering the limitation of things to work with (such as minimalistic sets, actors and
props) and the product her turned out with. Not to mention the dedication of even building his own set (the white room).
What did I find that I didn't like?
• I feel like 'Monotony' was maybe too confusing and lacked a bit of sense? It could've maybe hinted a lot more at the answers?
• I don't feel like either 'Monotony' or 'Loving Vincent' bares the same re-watchability that 'Hunt For The Wilderpeople' does – even though I enjoyed
both. Personally believe this is because I personally feel more drawn to re-watching something that make me laugh and/or smile, with both
memorable and loveable scenes and scores – this will be something I'll have to aim for in my film.
• In 'Hunt For The Wilderpeople' though has an abundance of great moments loses momentum toward the latter half of the middle of the film – now
having seen them on the run together for about half the film, the jokes and ideas start to slow down compared to the rest of the film.

Additional Films
Below I've listed some additional films I've watched in preparation for this project – in an attempt to push
myself to start picking up a general style and tone I want to achieve within my work product. when
writing my screen play:
The graduate (1967)
The grand Budapest
Hotel (2014)
JoJo Rabbit (2019) Baby Driver (2017) Mrs. Lowry & Son (2019)
Eternal Sunshine Of The
Spotless Mind (2004)
Shaun Of The Dead (2004) Man Up (2015) Fantastic Mr. Fox (2009) The End Of The F***ing
World (2017/19)

Secondary Audience Research
Though this data (of this time) is outdated, It
shows a clear slight bias in male viewing – of
either equal or slightly above with ages '7 – 14'
(above by 1%) , '15 – 24' (above by 2%), '25 – 34'
(above by 3%), 35 – 44 (being equal). This shows
both the general peak and decline in cinema
viewing – according to ages, where on the whole
younger men are predominately going to see
films, whilst older women also show a slightly
higher interest movies than older men.
This mean with my primary age
demographic (16 to 21), I'll potentially be
targeting a roughly 15% male audience, against
13% female audience - of a cinema audience.
Furthermore, for me secondary audience age
audience (21+), I'll be targeting 26% Male
audience, with a 27% female audience.
URL:
https://www.statista.com/statistics/296240/age-and-
gender-of-the-cinema-audience-uk/

From these statistic we can see that comedy (by
1%), drama (by 9%) and romance (by 22%) are
predominately favoured by women– all which genres
I'm planning to work in. With male audience being
more drawn to genres, such as: adventure (by 1%),
action (by 4%), Fantasy (by 1%), Sci-Fi (by 14%) and
horror (by 10%). These statistic were also taken two
years ago – in 2018, whilst also conducted in the US.
However, despite the larger audience appeal to the
opposite genres as I picked, I still want to proceed
with a primarily male audience, which should allow
me a more unique telling of these kind of stories? -
rather than making something that already exists, for
the same audience, who'd already of seen that.
URL:
https://www.statista.com/statistics/254115/favorite-
movie-genres-in-the-us/

From this statics I found on the BBC I found that when I was
researching the gender difference (in link with my audience
profiles) I would find this article (by the BBC), that displays
not only is mental health on the rise (with young women
pretty much doubling in amounts), but young women
suffering more than young men – my product being aimed at
young people.
Again, even though young men's mental health is in the
bottom percentage, it still leaves something to be said about
to the unspoken struggle – where men shouldn't have to feel
like they have to be big, strong and brave. Especially with
male suicide being at higher rate than women. In product I
hope to show everyone struggles – 'and that's ok'. Through
the use of two characters who defeat the manly or
feminine 'norms'/stereotypes, whilst both struggling with
mental health (even though we see far more of this through a
male prospective (Tom) - which should appeal more to my
audience).
URL:
• https://www.mind.org.uk/information-
support/your-stories/man-up-getting-more-men-
in-mental-health/
URLs:
• https://www.bbc.co.uk/news/entertainment-arts-
37504679
• https://www.menshealthforum.org.uk/key-data-
mental-health

Primary Audience Research
Questions Person 1 Person 2 Person 3
1. What Is you Gender? Male. Male. Female.
2. Which age bracket do you fit in? 16 to 20. 16 to 20. 16 to 20.
3. Which class bracket do you fit in? Middle/Working Class. Middle/Working Class. Middle/Working Class.
4. What makes a film memorable and re-
watchable to you?
Strong visuals combined with a good story, and a
snappy pace
Emotion. The relationship with the audience and the character is what
makes it memorable to me.
5. In detail, explain why. I have a short attention span, so a good pace is
pleasing for me.
if a film invokes some kind of strong emotion for me
then I will be very likely to re-watch it again to
experience that emotion. especially if it is a positive
emotion.
Being able to follow their story is pleasurable and makes you feel
their emotions; you connect with them in ways that leave a mark
on you.
6. Thinking of examples, what instances of
comedy films or scenes appeal to you?
Any of Edgar Wright's work and Fantastic Mr Fox (a
more subtle example).
I can point to the Netflix after life where It does a lot of
comedic moments well.
I particularly like things like JoJo rabbit where the comedy is light-
hearted and yet used in a very well manipulated manner.
7. In detail, explain why. The instinctive actions of characters in Wright's films
are usually unexpected, but funny exactly because of
that.
it doesn't do 'please laugh' marvel moments, it is just
comedy which is funny and not cringe.
This is because even in a dark situation, we are not left feeling
horrible or bad per say. The comedy breaks the darker and more
meaningful moments up so their build is greater and more
effective.
8. What techniques make a film
appear amateur and/or boring to you?
Scenes of making breakfast/something mundane,
regardless of how good it looks. And a slow-paced
story which takes you long to build up.
Bad cinematography, bad colour correction and bad
lenses focus and exposure.
If the camera is extremely shaky or blurry. It looks very amateur-
ish and not very professional.
9. Which kind of music would you prefer to
hear in a short film?
Acoustic covers of rock music. N/A General acoustic based music.
10. If 'Other' please specify to what. N/A Orchestral music. N/A

Questions Person 4 (Not Taken Serious In Places – Bear In Mind) Person 5
1. What Is you Gender? Other. Male.
2. Which age bracket do you fit in? 16 to 20. 16 to 20.
3. Which class bracket do you fit in? Middle/Working Class. Lower Class.
watchable to you?
Believable, relatable and / or endearing characters, an interesting
premise and nuanced themes.
Good film making Engaging story Good characters.
5. In detail, explain why. Big baloney. The story has to be engaging otherwise you’re just gonna be I invested and bored. The characters also have to be
good, otherwise you just won’t care when something bad happens to one of them e.g. getting killed off. The film
making has to convey the realism of the world of the film and trick you into thinking you’re no longer watching a
film and that you exist as a spectator in the lives of the characters.
Hot Fuzz is a fantastic example of well-paced-comedy that utilises a
variety of different visual and audio gags in each scene, making it
difficult to pick a specific humorous moment out above others; it does
a fantastic job at presenting the audience with a joke and leaving the
punchline for later in the film for the observant viewers to appreciate.
Comedy that is subtle but also clever and never forced. Comedy that actually feels like it has a role in the story
rather than just laughs e.g. the Guardians of the Galaxy movies.
The comedy is not only used for laughs. While it’s very good and conveying that, it’s also used to develop the
characters through their comedic banter and spontaneous comic delivery. It’s also used in awkward situations to
show a character that they’ve messed up in some way. E.g. gotten themselves captured.7. In detail, explain why. Doo doo pee pee wee haha.
Abrupt shot / dialogue cuts, generic visual techniques, an excessive
focus on trying to show off technical prowess as opposed to focusing
on the writing, footage recorded in the director's home, place of work
or a park.
Lack of interesting character work and familiar story telling (recycled from other films).
N/A General acoustic based music.
10. If 'Other' please specify to what. Russian Hardbase, specifically for romantic chick-flicks N/A

Questions Person 6 (Not Taken Serious In Places – Bear In Mind) Person 7 Person 8
1. What Is you Gender? Male. Male. Male.
2. Which age bracket do you fit in? 16 to 20. 20 Plus. 16 to 20.
3. Which class bracket do you fit in? Middle/Working Class. Middle/Working Class. Middle/Working Class.
watchable to you?
Simple to watch, something you don't have to think
about too much.
The story/ script has to be compelling and then the
pacing has to be right and for to accompany these I
would say appropriate music and appropriate camera
angles.
Some of my favourite movies are dumb action films that you can
turn your brain off for. I think that helps with making it
rewatchable.
5. In detail, explain why. Because of my studies, I can't help but over analyse
films. So something that's simple and easy to watch is
perfect for me.
It creates an atmosphere whether it be tense or
otherwise
See previous answer.
Don't cry in my office. Stuff like the first rush hour, some scenes also from the
hangover
I'm not big on comedy, but I guess good timing and wit.
7. In detail, explain why. Something about it is just amusing. Rush hour got a good mixture of comedy and action but
as for the hangover it isn't all that great, but they do
create an atmosphere which is fairly tense until they
decide to break the atmosphere.
Just fine the funny, hard to explain.
A lack of direction Camera/filming quality, sound effect quality and poor
script
Bad direction and shaky cameras. Poor audio too.
General acoustic based music Rock music. Rock music.
10. If 'Other' please specify to what. N/A N/A N/A

Questions Person 9 Person 10 Person 11
1. What Is you Gender? Female.
2. Which age bracket do you fit in? 20 Plus.
3. Which class bracket do you fit in? Middle/Working Class.
watchable to you?
Good storyline with plot twists and strong characters.
5. In detail, explain why. I need to feel emotionally engaged in the characters
and like the surprise that plot twists give of thinking
you know how it is going to be but then the surprise of
a twist.
The scene in Yesterday where it looks like he is going
to be outed as a fraud when she waves a yellow
submarine but then she's just glad he's keeping the
music alive. Scenes in Bridget Jones Diary where
Bridget is with Mark D'Arcy and then she makes a
mess of things and it all goes horribly wrong.
7. In detail, explain why. The characters vulnerability makes them more human
and believable. I like to support the underdog.
Unengaging storyline or characters. Scenes out of
order with no context eg flashbacks with no apparent
links. Lots of dialogue but without a purpose in story
plot.
N/A
10. If 'Other' please specify to what. Music that fits the emotions of the characters.

What question one, two and three tells me about my audience?
This gives me a profile of the people who answered my survey – telling me that it reached
my audience of; primarily male, 16 to 20, middle/working class, with females and anyone
over 21 (It did not reach this audience) being secondary.
What question four, five tells me about my audience?
This potentially what will bring my audience back to watch my short film (opposed to just
watching it once and being forgotten) - in which my audience seemingly need a strong
emotion connection or something that's quite snappy and fast – to stop my audience
losing their focus to the story and again keeping them my intimate with the story. An
interesting point made (especially having the audience appeal to film students), too much
going on can maybe distract my audience too much (through their means of analysis),
when they'd rather film was a time to relax and escape
What question six, seven tells me about my audience?
As I wanted this to have a colourful spectrum of emotion in my film – comedy as well as
emotional and I worry that comedy's not my strongpoint, I thought it was important to find
out what made them laugh. Edgar Wright was listed twice as example along with mentions
of Taika Waititi (with JoJo Rabbit) and Wes Anderson (Fantastic Mr. Fox) - to me this both
indicated that my audience prefers a more subtle, more story and character – expansive
comedy, opposed to gags, whilst also telling me that the products I've looked at are on
level with captive audience.

What question eight tells me about my audience?
Rather than asking my audience what they wanted, I felt like it was important to ask them
what I should avoid, whilst gaining the mass view of what allows a film to feel amateur
(aiming to make this as a more professional product as humanly possible at this stage in
my career) - Other than avoiding the general film competence such as 'exposure', 'focus',
dull and pointless shots was pointed out, dragged out shots and plot/story/dialogue or
abrupt shots (that could through the audience off).
What question nine, ten tells me about my audience?
As I'm not sure how I want to score this film (and not being a musical artist to compose my
own score) I turned to my audience and asked them what they thought - bearing in mind I
had loose idea of what could work, either wanting 60s rock music or acoustic covers off –
being more fitting in indie and/or short films, whilst being far more likely to have the rights
to use their music. Overall my audience seems to prefer general acoustic base, with
someone showing an interest in rock (on top of two others that would suggest two
completely different music to each other). Overall it seems to be worth using acoustic
based music, with hints of acoustic covers of rock – appeal to as many people as I can.

To hand out my survey I would email it to string of people, whilst asking my tutor to put it on
blackboard (whilst also putting it onto Facebook) to reach an even broader audience – this will also
be a good focus point a film/media students will be a very like audience for my product to appeal
to.

Interview One
What do you find appealing in an indie film romance character (or generally), why?
I find being able to relate to the characters appeal to me as I feel a more emotional response to things I relate
to. For example, a character that has a background where they've had to work hard or have had struggles
relates to my personal life, and so I become more emotive if they are able to achieve their goals or if something
bad happens to them.
How do you think I could apply comedy to my product – in terms of scenarios or gags, why?
I'd apply comedy through the actions of the characters. For example having someone stumble funnily to show
they're awkward can be used as sympathetic comedy. Also the use of satire comedy can help show character's
in defence of their insecurities.
In what way would you like to see Van Gogh's paintings inspire the cinematography, why?
The creative flare that Van Gogh has in his use of colour should really show through this film, as it is inspired by
colour. His palette should be used to help convey emotions or create beautiful scenery. His work is so widely
known and should be given lots of justice in this short film. This is because Van Gogh took care with his work
and made sure the colours worked well together in his paintings.

Interview Analysis One
What question one tells me about my audience?
This says that the way to emotionally invest this person in the characters in product is by making
them relatable.
What question two tells me about my audience?
This person also prefers a much more natural and awkward approach to comedy – avoiding things
like sitcoms approach to comedy, in which they'll rely on gags. They also feel as if it should be
justified as part of their character development - 'Also the use of satire comedy can help show
character's in defence of their insecurities.'
What question three tells me about my audience?
The use of Van Gogh's colour (though not really specifying which colours, with Gogh developing
colour as he did his style, though likely his more commonly known for his use blues and
yellow?) pallet will work as an appeal to this person – using it to help convey emotion. These
colours will also have to work well together.

Interview Two
A quirky and relatable personality. Someone young, experiencing similar life experiences that a teen/young
adult would do.
Try to include relatable situations, but paint the character as being optimistic during these. They could say
quips that reflect what they/the audience are thinking simultaneously. I'd be good to see the character is
awkward situations too, attempting to use comedy, allowing the character to diffuse the awkwardness.
A strong colour pallet would be good, with an emphasis on the 'Blue and Yellow'. Sadder scenes would benefit
from a strong blue tone, maybe some kind of moonlit darkness compared to the contrasting yellow of
optimistic events. Finding a sunflower field would be unlikely, but you could use a wheat field if possible for
yellows?

Interview Analysis Two
Again, this person is drawn to a character that is relatable. But also young (so a similar age to the
person who answered the question), and the specification of life experience?
Sticking to relatable situations, this person feels that this would befit the characters comedically,
but also giving it a level of optimism to the tone. Furthermore using quips that'd speak to the
audience's mind. Comedy could (again) be used as a way to flesh out the characters, similarly, using
it to cover up awkward tensions.
Something colourful, with emphasis on blues and yellows. Further suggesting that these colours
could be utilise to convey emotion (again) - yellow happiness, blues sadness. Whilst taking a lot of
the emotional tones of Van Gogh's life and include it in my product.

Interview Three
Specifically towards romance characters I like it when it’s wholesome yet realistic. I don’t like a lot of characters
in romance films becuase a lot of them are targeted purely towards a female audiance and put unrealistic
expectations on men to bend over backwards and do everything for their partner rather than showing how a
Relationship should be. The relationship should be give and take and it shouldn’t be perfect. Relationships have
arguments and rough patches.
The characters should also have relatable flaws and motivations to make it easier for the audience to like them
Don’t make it please laugh comedy or cringe comedy. Lazy comedy often just comes from the characters being
stupid or just painfully socially awkward.
If you are smart about comedy you can do it while keeping all of the characters integrity intact and without
ruining a moment.
Maybe up the saturation of the shots and try adjusting the colours to similar colours used by Van Gogh

Interview Analysis Three
This person would like to see a positively, realistic character (but not overlook some of the more
realistic low point it could offer). However, this person also isn't a fan of romances (though this
could help appeal to people that aren't fans of the genre and expand my audience?). They also
appear to want a rather different approach to a romance (in which I'm already working on and
instead appealing it more towards a male audience, than the typical female one – this may also help
provide a unique selling point?).
This person also finds a very particular sense of humour (that is very likely going to be difficult to
appeal to and that I was worried about). Wanting avoid socially awkward humour (that may come
natural to the set characters, as well as, somebody also seeing appeal in it – likely use this sparingly
to avoid putting off either side?).
For this stylisation, they suggest the idea of bright, saturated colours and (similarly to what I
proposed) adjusting the colours to something similar to Van Gogh's.

Conducting My Interview
For the surveys, I would ask a lot more questions that I would on my questionaire, email it to
range of friends. However when this was met with less than few, responses, I would email my
tutor requesting he'd send it to other students and classes – that way I'd get more responses,
not to mention far more than I 'd originally would've (even if it succeeded). To get the most out
of the questions I would ask, I would use 'comment box' - to prevent the audience being
confinded to set responses, also allowing them to make multiple responses for the one
question. Furthermore, for some of the questions I would use a secondary comment box that
would back the person into a corner, in which they'd have to expand on their answer.
For my interviews, I would ask people I knew would give an indepth answer – these people
would also understand what my product is and moslty shown a previous interest in my product.
From this I could further work in questions about people general opnions on my conept, I
would repeat the question about comedy (as they again understand my product – allowing
them to think of what comedy would fit into my concept, whilst also simply wanting a deeper
advice of the audience's comedy), and finally a question about styaliasation. Overall, doing an
interview allows to anylise far more intimatley, to what those people's particular perspectives.

Subject Research: Colour Meaning
Because the character's emotions will be reflected through their
clothing, I will be referencing to Plutchik's Wheel Of Emotion to help
convey this.

Subject Research: Colour Grading
Because I've not felt my colour grades in the past, feeling they colour look more professional, whilst
this both heavily colour dependent product and I'm really pushing myself for this to be the best
product I can make it, I'll be looking into how I can bring my grades to a much more professional
standard. (I used this video to base my
research: https://www.youtube.com/watch?v=tMtM4fyGH70).
Place 'Colorista' each
side of a 'Lumetri
Color'. A 'colorista' is
plugin used for things
like colour-correction –
the only problem with
this is that it's a paid
for plugin (This may
have to be taken into
account for may
budget).
This graph (created by Ansel Adams – a
photographer from early twentieth century),
helps to guide us on how bright the exposure
should be – based on different variables. This
is an extremely useful tactic for
when elements that should be entirely black
or entirely white on the screen – such as the
image above, skin being the brightest thing on
the screen, doesn't by brought up to be the
white, you'd instead use the graph as a
reference.
By using 'Lumetri Scopes', we
can see the white points and
black points of my footage –
from this I can play around with
my 'whites' and 'blacks',
stopping them when either side
has reach '0' or '100'.

Subject Research: Colour Grading
To help get these tone
(such as the skin tone),
you can isolate them by
creating a 'Mask'
around the applied
areas, that way you
measure those specific
tones – to help
coordinate using the
scale.
As colours of my video should
be natual (e.g. are the colours
a little bit too much of a set
colour and going more to that
colour) and it's hard to identify
colours with eyes, it's
extremely useful to use
'Vectorscope YUV' - which
shows use which colours are
being used and in what
quantity.

Subject Research: Audio
With a lot of my audio likely being based outdoors and using dialogue, it's important that I get the
audio right (unlike my previous short film which I had to quickly fix with a quick dub.) To avoid this I
will peruse proper methods of recording. (I used this video to base my research
on: https://www.youtube.com/watch?v=5kAoE_Spm_0).
To stop the
microphone picking
up the audio of the
wind, I'd have to use
'a dead-cat or a
fluffy...'
Using a shotgun-mic
mounted on a boom pole
above the subjects could be a
great way to get close to the
focus point of audio, without
getting in shot. In which I
could further use a dead-cat
to prevent the noise of the
wind being picked up, though
this would be preferable to
experiment with on my own.
Whilst to get rid of
background noise,
you only must
simply get closer to
the subjects.
As college don't have
shotgun-mic and
nothing too great in
the way microphones,
it could be worth
buying my own?

Still not entirely sure on what microphone to get (not being an expert or too knowledgeable about
equipment at all), I thought it'd be best to conduct some research and figure out what microphone
would be both cost effective and good quality. (I used this video to base my research
on: https://www.youtube.com/watch?v=Gbwy8BHLM8g&t=172s).
The majority of the views
are 4 stars, followed by 5
stars – though closely
followed by everything else.
https://www.amazon.co.uk/Audio-Technica-ATR-6550-Supercardioid-Condenser-
Microphone/dp/B002GYPS3M?tag=podcastage-21
Overall the video and give positive feedback on the
microphone - 'the microphone is perfectly mediocre, nothing
outstanding and nothing really egregious'. The only problem
is the white noise in the background – with it being
detectable in the video when he's testing it on different
devices and looking through the reviews, there's also been
some comments. Though this could be an issue fixed in post
(as it's very slightly hearable), but best to maybe avoid
altogether unless absolutely necessary?
Audio- Technica ATR-6550: £64.95 - 3.5/5
Looking over the microphone on amazon the reviews
appear to be ok, with a better price that expected
(though this may be a reflection on the quality?).
Another thing that bothers me is the fact that it
needs a battery to power the microphone.

After the previous microphone, I figured (judging on the seeming quality), it'd be best to look at other
microphones. Choosing to this time just stick to Amazon, I'd look up alternative 'Shot Gun
Microphones' (seeing if there was anything recommended by Amazon). (In order to do further
research I would watch this video: https://www.youtube.com/watch?v=Np1C-UeYj4U).
RODE NTG2: £164.00 - 4/5
This microphone though about 3 times the price, has
better reviews. Although this would still require a batter
– despite not including it. In the video, we can now hear
the disappearance of the white noise (hissing), with
few reviews now mentioning this either.
https://www.amazon.co.uk/RODE-NTG2-SHORT-SHOTGUN-MICROPHONE-
Black/dp/B00093ESSI/ref=sr_1_3?keywords=shotgun+mic&qid=1581682155&s
=musical-instruments&sr=1-3
This video even goes as far to test microphone outside, to a relatively good
quality, though warned now when windy (-bearing in mind he's using the
windsock that came free with it, not a dead cat.)
Overall the biggest con is the budget that'd be spent on this to test and risk the
quality of it – especially with one unfortunate customer having a different
experience altogether, with microphone, at which point I could've dedicated
the money elsewhere and gotten the cheaper option. However this could also
be a factor down to the setting, device and postproduction process they took
for this. To further my investigation I looked at more one-star reviews with –
somebody now reporting that it's terrible outside when wind (Though this was
mention in the video).
Note: experiment with college's before trying this one – in order to see if I can save money?

Subject Research
Because I found that in my experiments that the smaller lenses gave a bright
picture than the longer one – from this I wanted to find out whether or not the
length of the lenses could affect the amount of light let it and thus adjust the
picture quality?
From my research I can say that it's not the length –
its combination of both the focal length (the lenses
length) and the lenses diameter. E.g. the smaller the
lenses length and the wider the lese, the brighter it is
– as it allows more light in.

Experiment One – Filming And Lenses
On my day off I requested to take out the c100 (prior to my actual production stage,) to experiment
with lenses, lighting and settings. From the two lenses provided (50mm and 24 – 105mm) I would
find the smaller of the two (50mm) to absorb a lot more lighting and ideal for shooting in darker
lighting, though at the expense of the zoom focus – not being able to adjust it at all. Although the
bigger of them (25 – 105mm) would allow for the zoom, at the focus of light, which would be
effective when outdoors (being far lighter). However, the memory card was broken (which I discover
when the camera refused to film, it wouldn't format the card (using 'Initialise card') and I would
remove the SD card to find the lock switch missing), meaning I had to extend to booking and gather
evidence. On top this I bought some lenses filters that were too small for both of the lenses I had;
this may support the deduction of needing to experiment with further lenses. Some further things
to note is that by using the 'Zebra' function, would highlight the whites of the image on the monitor
– this will help me decide the aperture and help prevent me from overblowing the picture quality;
whilst 'Peaking' would define the edges, with an orange highlight on the monitor, around the area in
focus – this will help show me the area of focus, without requiring me having to zoom in on the
monitor; another thing (though I previously used it on the c100, when filming my documentary)
using 'Cinema-lock', I could film in a cinema profile, which will allow me a far greater control with
the colour, the white and the black in post, when colour grading.

Experiment One – Filming And Lenses
50mm
24-105mm
50mm
24-105mm
24-105mm
When filming these clips, I made sure
to get a varied range of clips – in
terms of lighting and I would further
use both lenses. From this I would
confirm the 50mm is ideal 'go to'
lens, unless in really light
environments – such as outdoors in
broad daylight.

Experiment Two – Colour-Grading
Information Screen Shot Comparison
Pre-Colour-Grade: Here's the footage pre-colour
grading, in which I'd take the footage that I filmed on the
C100 (that was further filmed in cinema lock – e.g. flat
profile, making it ideal to colour grade).
Attempt Colour-Grade: Before doing any real
research and going off my previous accumulated knowledge
of colour-grading, I would attempt my own colour-grade
and see how far I could go on my own. After the process I
find this colour grade inconsistent, bland and occasionally a
bit ugly.
Final Colour-Grade: With this colour-grade I'd feel
like I'd achieve a better result (now following video telling
me how to achieve a strong colour-grade). Firstly I'd feel
like the lighting would become of a far better quality, now
following as a better consistency. Furthermore, I find that
the outdoor shot now looks more like Van Gogh's colours,
with stronger yellows and blue, without the expense of
quality.
Note: Maybe play around with alternate colours – in my final product, to the one in my final colour-grade, as my preference may change and
I'm still not 100% sure on liking it.

Experiment Two – Colour-GradingThe final colour grade in 'Premier Pro'. The main samples of what I've done also come from the outside
footage (the example I'm most proud of). Overall I would use mixture of 'Lumetri Colour' to adjust both
the colour and tone – making the footage black and white to see where the tones were (using an
adjustment colour). When changing the colours in the actual grade, I would place the same
(unedited) footage above the tone corrected layer – with the 'colour' 'blend mode' applied – so it
would only adjust the colour. The reason for this is because the footage will sometimes get blocky if I
play with colour a lot and don't do this. I would further even apply another 'Lumetri Colour' to the
same layer of footage to play with the colours further – wanting a very controlled and colourful,
finished grade.

Experiment Three– Recording Audio
As I'm filming a chunk of my film outside, I figure it was important to experiment with quality of
recording both outside and easy – using college's microphones to start with, seeing if I could
also save myself a lot of money on my budget. To get some of the more accurate results, depicting
different circumstances, I would be recording both indoors and outdoors – to match the different
circumstances I would be using. I would also experiment at different lengths – as I obviously
wouldn't want to film directly next to the actor's mouths, but a fair distance away, so you wouldn't
see it on camera. Overall I'd find the quality to good indoor and ok outdoors – with a bit of the
background ambience being possible to hear. Although, one thing to also note is that the audio files
are extremely quiet, when attempting to actually listen to them on the mac and in Premier.

Experiment Three – Tracking-Shots
The first method I tried for stabilisation - for a long-tracking-shot was the spider rig. To carry out this
experiment I would try out both a forwards and backwards tracking-shot – to experiment with
speed and how stable it would be – both with and without the rig, then I would compare the
difference in post. Overall I found the results to be non-separable in stability. However, I did find it
to be good in achieving smaller booms.

Character Profiles - Tom
Character Tom
Personality Introvertive, creative/artistic, (occasionally) cheeky, pessimistic, depressed and socially
anxious. He often hides away from his issues.
Likes Painting things that brings him that he sees joy in (often things that are colourful), spending time with
friends – or in the current state just James, otherwise eating pizza in front of artsy films.
Dislikes He's often frustrated that his painting aren't right – they're not the way he invisioned them. He also gets
frustrated when people don't really understand what he's going through and ty to advise him – in
connection with his art. He also dislikes a lot of about himself and traist he bares – such as pushing people
away or finding the things he say/does iritating.
Connections to people His friend James is his only real connection to the outer world – having cut off his family a long time ago.
James being a long-time mate from his childhood, but would also be the one to introduce him and Amber
together
Career He's holding down a checkout Job nearby – in which cycles to (as he does most places).
Goals He wants to make an imapact on the world of art and share the world as he sees it.
Fears He fears that someday he'll lose everybody and be completely alone, whilst still not being able to achieve
dreams – becoming an empty, meaningless shell. Dead and forgotten.

Character Profiles - Amber
Character Amber
Personality Childish, creative, energetic, bubbly, impulsive and boisterous, yet covering a deep layer of
insecurity.
Likes Listening to classic (typically more) 80s rock music, writing her own music of her own or band practice
with her mates.
Dislikes Pineapple on pizza – amongst other things. She also take up a dislike about being open with people – as
she scared of how she's perceived by people and could be judged – finding it easier to put on a happy
face.
Connections to people She's currently holding down a flat with a bunch of friends (most of whom are boys) and unlike Tom she
still very much talks to her Dad (her mum having passed away when she was little). She also knows James
from her place of work.
Career She works an office Job.
Goals To feel fulfilled and happy with life. Though succeeding to the point of becoming a Rockstar would be
really cool for her.
Fears She worries she pushes people away from her – worrying her personalities in people faces too much, but
also worries that without the energy and bubbliness, people will find her to depressing to be around –
causing obvious clashes. She also worries about getting into another abusive or unhealthy relationship.

Character Profiles - Tom
Character James
Personality Charming, mature, normal/average, hard working.
Likes A lie in, night out in town – with mates (though not really Tom as he's usually not in the mood, nor mixes
with his other groups of friends.
Dislikes Hang overs, repeating himself and awkward silences.
Connections to people Though neither Tom or Amber are too close in James's life, he get on with them – working with Amber and
Tom being a longtime friend he takes pity on.
Career He holds down an office job – with Amber.
Goals Having a beautiful wife, start up a nice family, travel the world, get a well-paid job expensive car and
house.
Fears Anon.
Originally before coming into this, I was going to interview people to help form my character profile (– for the
characters in this film) based off of the character profiles that I would've made based off real people – using the
interviews. However, I would give up on this idea (especially after having to deal with all the audition videos –
finding that time consuming as it was) mainly due to time and feeling as if I could trust my gut more – already
having people tell me the characters a relatable – reflecting on their belieabiltiy.

Casting Calls – Facebook
In attempt to get the broadest possible range of actor I extended my casting call to
Facebook – on top of still planning to ask the drama department.
Brief description:
Tom, an artist has lost the momentum to paint the way he's always dreamed, with little hope and only one person (a
good friend) to try and keep him afloat, before being set up and having his life changed in this colourful love story.
Protagonist (Tom):
Young male, scrawny, messy/characterful hair. Tom is an artist, struggle's socially and with alcohol, split off from his
family. A lot of his character will also take inspiration form Van Gogh.
Love Interest (Amber):
Youngish female. Amber is an aspiring bass player and typically more into classic rock, who comes of confidently,
though struggles with self-image beneath.
(Preferably both actors ok about fake kissing in a scene and preferably free over the Easter holidays.)

Casting Calls – Facebook
One example I found online and really like is this one. From this I can take a good of the
formatting I should use and the kind of information I need to include. All whilst using at
as huge visual inspiration for my own.
Previously having struggle on casting websites,
I'm going to try other ways of casting outside
college – happening to know somebody in
University Of York, whilst also still being aware
of the drama department there, I figured it
could be worth extending to request that she
could make a post to see if I could get anyone.
Though it may seem likely that I'll have to ask
the drama department from college.

Casting Calls – Emailing/Auditions
For each person that had said they'd like to be a part of this film (from the post
made), I email them – asking for a short video with them acting out a short extract
and a telling me a little bit about themselves.
I would use this email as template to send to each applicant (however changing the
name suit each person).
Furthermore, when having to provide an extract I'd have to re-write the extract for
Tom (having lost the most recent script on my hardrive and only having a very early
draft to go off), whilst making up one for Amber as she didn't really have a
monologue and I was asking for an audition video – meaning I could rely on them to
have someone to read out the script with.
Amber's Extract
Tom's Extract

Star Now
Struggling to find actors for my production I would have to expand the boundaries of casting , for
this I would turn to starnow.com - website I would find from looking at a previous students work
(Sam Schoettner – the director of 'Monotony').

Casting - Tom (Baillie Dobson)
Appearance:
When auditioning, the actor would provide two videos, with two different looks – one
with the hat on and the hair down, the other with the hat off and his hair tied up.
Though this wasn't the look I was originally expecting and I'm still not sure about the
over-grown hair and beard, I could also see it being realistic representation of the
character Tom. One thing to bear in mind is that the actor should work as believable
couple – both in the way they talk and act, but also their appearance (as realistically
these are all real contributors in a romance.
Performance:
At the start of the audition I wasn't entirely sure on the performance – feeling like they
were overly acting (though this could be due to the lack of context given in the extract,
as pointing out by a friend later on. It may also be an easy fix on set, by asking them to
tone it down). However as the audition progressed, I found it grip me and see the
speech/monologue I wrote really piece together. Something to note, will be that Baillie
is a very powerful actor, meaning the female actor will have to powerful as he's meant
to be a lot shyer than Amber.
Further Details And Reliability:
As I know this person, it may be easier to work with them – being more casual and
hopefully more reliable as there's more ties with this person.. The actor has (also) stated
they'd be back down from university – in time for filming.
Details:
Email: bailliedobson@gmail.com
Mobile: N/A

Casting - Tom (Elisha Kira)
Appearance:
In terms of appearance, Elisha's maybe not the right look for the introvertive artist
type? - looking far too well built – looking potentially too rough and/or athletic than
Tom.
Performance:
Elisha came off very aggressive in this performance – not only completely missing the
characteristic – with Tom being an introvert, but also missing the point of the speech (to
the point that even without of the lack of context suggests that his really isn't the part
for him to play). Furthermore, what he's doing with his hands and the way he's moving
is way to dramatic and will come as unnatural.
With audition, he would fully deliver on what I asked for – giving me video and a bit
about himself. Not to mention his qualifications that would help support his audition to
the role (though the performance not living up to what I was looking for). On top of this,
as he's from Manchester, it'd bring a high cost for me to cover his travel down here,
whilst also being a long journey for him to take – especially spread across three days,
anywhere across two weeks. Though could be reliable based on his current enthusiasm
displayed.
Details:
Email: elishakkira@icloud.com
Mobile: 07470 388736

Casting - Tom (Charles Harrison)
Appearance:
Charles's appearance isn't entirely what I was looking for – the idea of Tom now having
a beard though growing on me, I'm unsure about the gelled back hair – hoping for
something a little more mess and/or characteristic.
Performance:
Sadly, I found Charles's performance to be a bit flat layered– lacking the passion that I
was looking for in the speech. Although, from the description he provided about
himself, he seems to have a shared traits to the character.
Charles being 29 will be a much harder paring with other actors – as I want them to be
of very similar/close age to each other. However, when auditioning he would give a
good explanation to my why he wanted to role and a bit about himself (something the
majority of my audition haven't achieve.) Not to mention how fast he took to reply to
reply – sending in his audition the following day. Overall he seems reliable and likely to
turn up – though the distance age and performance may be a struggle for the role.
Details:
Email: c_harrison2020@hotmail.com
Mobile: 07480232432

Casting - Tom (Sebastian Alonso)
Appearance:
In terms of appearance, Sebastian looks very close to what I want for the look of the
character Tom – with a beard and almost characteristic hair. He also looks a lot more
believably as an artist than the others.
Performance:
Sebastian seems to give a relatively good performance, still lacking maybe some of the
passion I was looking for. Though this performance could pair well with somebody like
Gill – being more subtle and natural, whilst at a similar age. However it's a little hard to
judge too much as he's quietly spoken in this video with poor microphone quality –
whilst not being worth asking for a new video under the circumstance of being too far
away to really be worth investing myself too much into. Overall, I think I want to feel a
lot more of the sadness and passion in his performance – something that will really help
the audience connect and like Tom.
Sabastian is also too far away – in fact further away than any of the previous actors I've
had to audition. This means that the other factors aren't relevant – it's not worth the
costs. However, he would give me everything I would ask for – bot the video and details
I requested and all on time.
Details:
Email: saguirreortega@live.com
Mobile: 47784835468

Casting - Tom (James Wall)
Appearance:
Like Sebastian tom partake in qualities that I want in Tom – with the bears and scruffy
hair (maybe lacking in as much character as I was hoping for, however?). Not mention
having a scrawny build I was also wanting. Even vaguely having eyes that look quite tired
– as if he'd been through a lot.
Performance:
His performance in my eyes was a little weak for me – not really feeling his passion for
this speech as his character would provide – occasionally seeming more aggressive
instead of frustrated. Even with a lot of the dill every brought across with too longer
pauses in-between.. However, he would provide both side of the script for me – both
Tom and James.
James in another actor in the following theme of actors who live far too far away to cast
in my performance. Though he would include his details neatly at the start of the video
– opposed to some of the lengthy in-depth paragraphs I'd receive from somebody such
as Elisha.
Details:
Email: Walljames286@gmail.com
Mobile: 07505707677

Casting - Amber (Gill Yue)
Appearance:
Personally, I find Gill to fit the look I was wanting Amber to have – seeming to look quite
small and taking on a bubbly and human look.
Performance:
On first watching Gills performance, I found myself to really enjoy the performance (and
still do). However, since seeing Baillie's Performance (Gill's audition being the first one I
saw) I worry her acting could play up too subtle for Amber (this may mean I have to see
a broader showcase of her acting ability and/or get to know her better – personally).
Furthermore, one of the worries I have about this, I have slight sense that she may be
slightly uncomfortable on camera – something I will have to think about as this is in her
room, so how will she feel when in public? And how could this affect her performance if
my suspicions are correct?
Unlike somebody like Baillie, I don't know Gill on any personal scale. On top of no real
mention of being available over Easter (I'm currently planning to set up an interview to
get to know her better). Some of this doubt (at this current time) could be furthered as
she's not really been replying to last email and is yet to send me the video telling about
herself – that she said she would (though there could be a reasonable explanation for
this, but again something to bear in mind).
Details:
Email: gfy500@york.ac.uk
Mobile: N/A

Casting - Amber (Naomi Beckel)
Appearance:
With her appearance, I don't have too stronger opinions for it - not disagreeing with
anything, though not totally creating such a connection as too call her the perfect look
for the role of Amber.
Performance:
Much like Elisha, I sadly found Naomi's performance to be well of for Amber - coming
across far more sarcastic and too malicious for her character – opposed to the bubbly
yet insecure person she's meant to be. As for the extract, she sounded more like she
didn't actually mean the words she was saying, not feeling the insecurities, nor feeling
like she was trying to distract the tone from a completely serious and raw one - with the
small joke, about how she can be petty.
From the reflection of her response to my email with her audition, like the earlier ones,
she didn't include a segment about herself. Furthermore, another issue is that she lives
in London – too far for the transport cost to be worth wile.
Details:
Email: edenbecklnaomi@gmail.com
Mobile: 07504526322

Casting - Amber (Sherri Khan)
Appearance:
I could see Sherri quite easily fitting into Ambers 'aesthetic' of a leather jacket and band
shirt. Though maybe lacks some of the energy in her appearance I was looking for –
looking more tough than bubbly?
Performance:
In her email with her audition she would also provide two different videos – as she
was unsure on tone of the extract - 'when I was recording for Amber's tape, I felt the
need to ask if this character is situational comedy or physical comedy' - though when I
was watching both videos, I didn't really pick this up? Certainly not picking up Amber's
bubbly energy – coming across more sarcastic, rather than the self-doubt and
discomfort with realness of what she was saying.
Sherri being 29, the only condition she'd get of having the part is sadly if there was
someone of similar age and local – with only Charles fitting into the age range, but too
far away to be worth it. Although, Sherri herself is from Leeds (just like Baillie). She
would also provide her previous genres of work in the email, alongside her audition
videos.
Details:
Email: worldtourist2011@gmail.com
Mobile: 00447383509024

Casting - Amber (Ellen Carnazza)
Appearance:
In terms of appearance I think she carries this energetic, yet sincere appearance to her
and could see her fitting into the kind of rocker-girl type Amber is.
Performance:
I found the delivery of the extract to be just how I wanted it – with enough insecurity
but enough energy to reflect her bubbly side – in the joke where she attempts to
distract from some of the tone, though also wanting to get a response from a question
she didn't entirely want to ask. Unlike someone like Gill (who up until now I thought I
wanted to give the role to) had a lot more energy and didn't seem afraid to be on
camera.
Thankfully, this candidate is a very much local to the area of York – coming from
Harrogate. She's also provided further details about herself in the video. Looking at her
'Starnow' profile, I can see '8 recommendation' and further comment at the bottom of
her profile complimenting her on how nice she was to work with. The only possible
concern is her age, being 23, a little older than some of the actor I'm bearing in mind.
She further has background based independent film and talks about how she 'loves
supporting people' - reflecting more on how reliable she'll be in turning up.
Details:
Email: ellen.carnazza@outlook.com
Mobile: 07342655388

Casting
Looking through a lot of the casting, I can already find an interest in my
product – with a huge amount of people who are auditioning saying they
relate to the chracter (either in their video or in texts or emails) - something I
was hoping for and was a succeful appeal in my last short film - 'Our Bench'.

Conducting My Casting
As the start of sending out my casting call I would get strong range of results
– of people telling me they were interested in the role of Tom/Amber,
however, from there on I would struggle to get results for the perused
request of a bit about themselves and an their audition with a short extract –
getting less than half the original group of people that said they would.
When coming to choosing the casting parts (made far easier the limited
responses to choose from), I would break down their different factors such
as – how much they looked the part they're auditioning for,
their performance – as obviously that's biggest contribution of an actor to a
story and finally how reliable they are to this product – in terms of thing like
turning up (as this has been a massive struggle over the past).

Social Media
In attempt to try and build up and
further the hype for my short
film, I would make it, its own
social media page in which I'll
post things like trailers, posters,
cast, crew and partnership (as in
shops who'll work with us in the
sense of things like locations, as
well as the fact that I'm hoping to
turn the end of year show – by
selling tickets in aid of said
charity) reveals. I would even pull
out stop such as watermarks to
appear professional.

TV/Film Quotes
To much of Edgar Wright's inspiration (as he often uses 'Easter-Eggs' - this was a feature used
more visibly in 'Baby Driver') and as a strong way communicate Tom's thoughts in my
screenplay – during the drunk montage scene, I will be using quotes from either some of my
favourite shows and film or general ones that really some up his mind set well.
Film/Show Quote Why
Fantastic Mr. Fox 'I think I have this thing where everybody has to think I'm the
greatest, the quote unquote "Fantastic Mr. Fox" and if they
aren't completely knocked out and dazzled and slightly
intimidated by me, I don't feel good about myself.
Beyond just having this film as one of my favorite
(the quote too), it’s a film about self-discovery –
something Tom's going through. It relates to
some of his ambition.
Moonrise
Kingdom
'But something also happened. Which we didn't do on
purpose. When we first met each other. Something happened
to us.'
This is a film about an accidental romance and
this film perfectly captures that. The protagonist
in this is also an amazing oil painter.
Man Up 'Ladies and gentlemen, boys and girls, friends and Nancy’s
family who I have never met before in my life. I met a girl
today. The wrong girl. Except she turned out to be the right
girl. And this girl, who took a chance on me, in the most
bizarre and romantic way possible, wanted me to take a
chance on her too.'
This film was a huge inspiration on my short film.
This quote talks about taking a chance and doing
something reckless and stupid - at the end where
it all worked out (a story that Tom will soon
similarly take himself).

More TV/Film Quotes
"You're stupid. Love is the strongest
thing in the world".

Drafting – First Draft
I would write this draft over last summer – meaning a lot in my planning has changed since –
including things such as basic formatting, now using a writing software that specialises in writing
screenplays.
• From the first draft, a lot of people would make passing comments – on the lines of asking if this was a
story of Vincent Van Gogh? For my next draft I hope to make this inspiration by renaming the protagonist
to Tom.
• Furthermore as I feel like I want to have different approach character's names – not feeling the need to
name them after something, rather than choosing names I found preferable for the characters; therefore I
will change Victoria (named after the song by the kinks) to amber – a name I find to suit her tomboyish
personality; as well as Arthur to James.
• I also want to now add tv quotes that will speak the character's emotions to the audience,
without being expositional or having to straight up saying it to the audience
• Between first wrighting my first draft and all the experience I've gained over the past couple
moths is the limiations of budget. In an attempt to be far more realistic – in terms of money and
achievable locations.

Drafting – Second Draft
After writing my first clean and proper re-draft/second draft of the script, I would send it to my
tutor in order to gather notes, whilst further sending to friends and family for further notes.
• First of all, I will be seeing where I can get all the location I want (-if not find an alternative write up, if I can,
keep it) and the same for cast.
• Two of the thing suggested in my feedback was cut down of the swearing (find other words to the same
effect, but appropriate - 'Though people do talk like this in real life it always comes across poorly in a
student film'), the other was provide more narrative drive (as the lack of it will lose the audience's interest)
– e.g. What does the protagonist want to achieve by end of the film? - like does he need to get in a bit of
artwork, though he gets distracted by Amber and by the end he has choose between love and art.

Emails:

I would later break Scott's emails down into sections of how I'll change
them – including extensions of research.
• Some of my writing is a bit bogged down and needs condensing – for this I will print off
my screenplay and go through it with a highlighter, marking over all the absolutely
essential dialogue, so that I can either cut parts out (entirely) or keep them, but shorten
it to fewer lines – but with the same result.
• The protagonist's background is lacking, with both character's lacking in dimension
and What more could happen to expand the story? - I've covered these points through
further research in the further slides.
• Who are Tom and Amber? - I've created character profiles going to a greater depth
about this, though I need to find a way to implicate it more (something I've attempted
with dialog yet bogged it down).

• Who's this story for? - This story is for people who struggle mentally and socially – the
'outcasts' and 'losers' of the world.
• Amber's too much of device in the story for Tom (maybe add a bit more of her prior to
the date?) - One thing I could do to prevent this is by not comply and warm up to Tom
as much – a way I think I could do this is when Tom rings up to plan second date, she's
speak her mind and state she's unsure she wants to as she dare risk getting her heart
broken again and even carry this attitude when they meet up again – which may in turn
put more pressure on Tom? I could also get her to voice the reason for her trusting Tom
(under poor circumstances) is because of her trust in James' nature – to one of her flat
mates after the phone call.
• A longer duration between the set up and the date is needed - I'm currently unsure
how to do this, though it could be worth delving into some of his past – in terms of
relationships with parents, friends, work, etc...

The first bit of research I would do is on giving my characters depth, using a
YouTube video (with additional notes being made on the video) to help fix my
characters (something I originally thought to be fine).
• Making your character likeable, doesn't always mean you've got a good
character – the main fix for having a 'good-character' is making them
interesting. To make your character interesting, you must address three
qualities: likeability (how much will the audience like this
character?), competency (how good are they at what they do?) and activity
(how much do they perceiver?). Though never doing this with all three as you'll
end up with a 'superman'.
• When making a character you need to get your audience to care about them –
but not through the use of huge amounts of detail – giving them as many traits
as we can. However, what does make an audience care about a character is
only to factors: their weakness and the characters goal in the story. This
weakness should be ruining their life and the whole story is going to play out
by solving that problem. The way the character's going to solve this problem is
by going after a particular goal, in which they will have to face their weakness.
• Important: plot also comes from character - achieved by getting to face their
great weakness whilst going after their goal.
URL:
• https://www.youtube.com/watc
h?v=QM1tUwpy-yQ
h?v=xt2PcwKHbxc

Drafting – Second DraftWhilst doing some further research whilst taking a quick break, I would watch
another video that would reinforce what I've just learnt whilst further
expanding on it also.
• In this video, they start to discuss want and need - want being character's
visible goal and will make up the events in the plot, but why does the
character want this? - what do they think it'll do for them? The need is
what the character must discover about themselves or the world to
become complete.
• 'The character will spend most of the story pursing his outer goal - the
thing he wants. But what the story is really about, on a deeper level, is his
growth into a place where he, first subconsciously, then subconsciously,
recognises and peruses his inner goal – the thing he needs'. This will come
from the lie your character believes – which stops the character from
achieving what he really needs to become complete.
• The characters want can change through the progression of the story –
leading up to 'the ultimate want'.
• A character is engaging when we are interested in his or her struggle and
want to know what's going to happen next.
URL:
h?v=4BxfV1sBRJs&list=PL2F-
QswQwYWMFNb9udsCAnK0aJ7
igJWLt&index=4&t=361s

Putting my characters through what I've just learned – Tom:
• Tom tries to go after his Goal of being a great painter – but he's restricted by his self-confidence,
something he can only overcome with the help of someone like or is Amber. But to that, he must face
both the same eternal weakness of self-confidence in combination with his anxiety to do so – putting Tom
in a moral dilemma.
• At the start of the story Tom's ultimate-want is to be an amazing artist, with smaller-wants along the way
being – wanting his inner pain (depression) to stop – when he's drinking, whilst as the date progresses, his
want becomes not messing up with Amber. Although, at the end of the story, his smaller wants all build
up and show him his need – in which he needs to stop his ambitions taking over his life and putting him
isolation – he'll leave his art as it's not important then, Amber is. In choosing her, he'll cease to be lonely
and can seek that balance in his life.
Amber:
• Amber's goal in this story is to feel loved by somebody, having just come out of a really unhealthy
relationship and feeling really insecure she feels like this could help her. However, the
healthy resolve/need is she needs to consider her general well-being in a relationship, not weather she
feels love – e.g. is it a healthy relationship or is she just living in an idea and hurting herself in the long run.

Getting some further notes (other than simple corrections) on my second draft – in order to help
perfect it before sending of as soon as possible: I would further find that I need to make the ending:
For the ending I will be choosing to keep the adjusted editing as before, just with a couple more changes – as I found that in this
alternative, Amber had more of a backbone in the sense she didn't just go for everything that Tom did, even though a lot of it
was drawn to him, where's now she's more cautious about being used to a degree. However, she does appear to become overly
upset, very quick – from her really bubbly personality.
To overcome this issue I will slowly introduce Tom getting distracted from with his art – like when they're eating, he could be
drawing on a napkin. I will also change the ending so that instead of painting a landscape, he starts to paint her instead, though
still keeping her thinking she's been dragged around just for him to ignore her and paint, so that when it's revealed to her she's
flattered and given a rush that'll help push for the happier ending I was wanting. This would also help me keep in her frustration
and have realisation in Tom as he realises his mistakes, it's just his way of making it up to her.
And I'd have fix Amber's ark and furtherly explore Tom's:
Tom's ark through this film isn’t always consistent in sense that there's a big over ark, that’s put aside for part of the film and
not developed through the date. To change this, I will have to make Tom's passion for art get in the way of parts of the date –
building to the finale – so he's interested in the date, but every now and then he'll get distracted from her. He could do
something like take her into an art gallery?
In general Amber is lacking a proper ark in this film, making her lack in character – though I've still furthered some dimension in
her character. One of the ideas I'm thinking over she starts off with her want being to feel loved and/or appreciated by
somebody – regardless if they actually did, however over time she find that her need is to put forward her well-being – freaking
out over taking something like a selfie and finds more confidence in herself after seeing Tom's painting.

I would do some further research before making my final draft:
This video covers a range of myths about short film, but my main focus of points
from this video would be the conflict provided in the example ('The Stutterer') of
structure. It would talk over a short film about a romance with a protagonist with
insecurities, with the love interest also having apposing philosophical world view
that he needs – e.g. she has beliefs the protagonist must accept. This is something I
could carry over to my short film, to help Tom realise his priorities aren't perfect –
even though she'd love to become part of a big rock band like queen, she accepts
that the rest of her life shouldn't be sacrificed for this goal – opposed to Tom who's
too distracted by his want of becoming a great artist, he's isolated and unhappy.
However to make this work, we need her to show Tom that somehow this is better.
The Change:
Prior to the date Tom will be really negative about the date (figuring he'll hate it as
it'll end up an awkward mess), but finds out that he really enjoys the time he
spends with Amber and slowly sees that there's more to be had than being 'the
greatest artist that ever was'.
URL:
h?v=wMqIQcTMlA0&t=64s

Visual Notes
• I always want to avoid filming Tom (Bailie) on the right side of his face or at least straight on – as tribute
to Van Gogh – who'd cut his left ear off.
• One possibility might be (and if I've got time) worth trying is adding small stop-motion creatures into
the background of a few shot and maybe give it handmade feel and sense of Tom's child-like
imagination spilling out onto the world around him – though this would be a subtle Easter egg
moment. Two good examples of stop-motion in a live action film is both 'The Science Of Dreams'
(suggested by Scott when providing notes) and 'Eagle Vs Shark' (a Watiti film – a director who I really
enjoy).
• Another idea I like is having a screen ratio expand (inspired by 'The Grand Budapest Hotel') to convey
meaning in the story – starting off at 4:3 expanding slowly to 16:9 (since Tom meets Amber) to
show Tom's mindset develop and broaden – he sees the bigger picture.
• When filming Tom's dialogue, I want there to be a difference between the way I film it – making it very
choppy when talking to James – using back and forth single shot to shot the divide between them,
however double shots with Amber to show their connection – not mention how long takes will help
display that awkwardness between the pair.
• Everytime a Tom speaks about one of his beliefs but is wrong, to communicate to the audience that
what he's saying is wrong – as they are a way of saying something's wrong to the audience.
• Somewhere at the start of the film I want the I want a short clip of an old tape being put into VHS
player – reading 'blue and yellow', whilst held by two pairs of older hands both old and female.

DVD And Poster Mood-board
Mockup Poster

Music
Over the time, building up to this point in my FMP, I would build up a short list of two sets of music - the first general rock
music (which would maybe help set my short film out from the other, but be hard to get permission for) and the second
acoustic music and covers (often used in short films, far more easy to get permission to use in my film). I would then
implement a question into my survey to help me further – with acoustic being more preferable to my audience, followed
by rock music, not to mention a displayed appreciation for acoustic covers. From this this I concur that the best and safest
option will be using a mix of acoustic covers (which will appeal to both audiences), with general acoustic music – being
voted most preferable. From all this I would then go into a final playlist and add my favourites (that fit into the
specification of music I was looking for) and give them a place in the film for context.
Songs Artists Placement And Why?
Here Comes The Sun Imaginary Future Opening scene – it's very sunny and optimistic, helping set up the scene before the
abrupt tone change – all for comedic affect.
Hotel California Passanger TV montage – It's very downbeat – talking about ghosts of the past and a girl – creating
links to Amber?
Let Me Down Easy Gang Of Youths Montage of tom being late and Tom's sudden impulse to paint – it's a lot more upbeat
than the other pieces, whilst taking about love and spontaneity.
Yesterday Imaginary Future When the two characters split – talks about the past and the change of how things used
to be easier – he's made a mistake and not yet fixed it.
Heroes Gang Of Youths Final connection between the two characters – The song builds up like the powerful
feelings of that are growing inside them – in this scene.

Wackers – Gillygate, York
I originally thought of filming in this place
when I was writing my final draft of my screen
play and would originally email them at the
time – to no response. In further pursuit of
this, as I thought it to be an amazing place to
film (soft mood lighting, spacious and booths),
so I would ask in person. They told me that
though Easter was busy they'd try, passing my
number and name to the manager – further
offering that I could maybe try before (not
wishing to take from their business. On top of
this, they further mentioned with working
with students in past – meaning they'll be far
more comfortable with me filming in there.
Location Hunting- 'The Pizza cafe
Cosy Time – Foss Gate, York
Cosy time was the first place we could get
a definitive name from (9am Thursday 9th
April). Making this a great back up – as it's
a very cramped location to film in and
doesn't really have the look of somewhere
which would serve hot savoury food.
I would also get a number to contact in
situation of no longer needing the
situation: 0797 0684141
Ill Paradiso Del Cibo
8th 12 to 2
This would be the second place to allow me
permission and appeal a lot more ideal (than
cosy time), having a very yellow colour pallet
– yellow being a large part of my own colour
scheme. It would also be the first (actual)
place that serves pizza, with the owners who
seemed enthusiastic to have us. However, a
big problem being we may struggle to get
spacing for the camera as it's also an
extremely tight space – though hopefully it'll
be so quiet that we won't have to be as space
conscious. They would book us in for 12am to
2pm (being what they suggested would be a
quiet time for them, Wednesday 8th April.

Cast And Crew List
Person Role
Matt Burniston (Me) Director, Writer, James. (Last-Resort, Back-Up Tom).
Tamazier Chowdury Boom Mic Operator. (Last-Resort, Back-Up Amber).
Charlie Davison Cinematographer.
Ballie Dobson Tom.
Callum Tuff Tom (Back-up).
Ellen Carnazza Amber.
Sophie Schultz Amber (Back-Up).
Charlie Davison Amber's Friend.
Charlotte Howe Waitress/Waiter.

Props And Equipment
Category Item Checklist
Props
Easel
Paint Palletes
Plain Canvases
Paint
Old Bike
Beer (Carbonated iced tea)
2 Beer Glasses
Glass Vase/Jug
Sunflowers
Torn up paper with Amber's number on it
Vodka Bottles
Fake Menus – Pizza Cafe
2 Plates
Peporoni Pizza
Mexican Pizza
Category Item Checklist
Props
Can Of Coke
Can Of Sprite
Equipment
Dead Cat
Shot-gun Mic
Recorder
Boompole
Reflector And Diffuser
Camera
Tripod
Lightstand
LED Light

Costume - Tom
Item Of Clothing Do I Need to Buy Said Item Purchase Details
Denim Jacket
Spotted with old paint?
Get if possible?
(The actor owns one, though I feel it could be nicer?)
Mustard Jumper
Before Tom's changed his mindset
and wanting to go on the date.
Potential fit?
(I have a potential fitting mustard jumper.)
Burgundy/Red Jumper
Third encounter – when he's actually
Interested in Amber and changed.
Possible Alternative?
(I could change the colour of the other jumper in post to
match the required colour?)
Black Jeans Got.
Brown Leather Boots Potential fit?
(I already own boots to the size they claimed to need.)

Costume - Amber
Item Of Clothing Do I Need to Buy Said Item
Leather Jacket Got.
Band T-Shirt Need to get.
(Usually size 14 – though do check before purchase.)
Red Plaid Trousers Need to get.
(Usually size 14 – though do check before purchase.)
Doc Martins
Got.
(Though not docs speciffically, they've got black lace up
boots will do just fine – to save money.)

Contingency Planning – what Could Go Wrong?
Potential Risk Solution Level Of Risk
Having a lot of planning and theory work to
complete, I could use up a lot of storage on my
computer – not to mention the vast amount of
video files I'll need for my actual projects.
By putting my files onto my onedrive – not only will be
able to access and edit my files from anywhere with a
computer and wifi (which will allow me to easily catch
up and check my work in my time), with 1024.00 GB
(minuse the 883.19 GB I've already used – though I'm
able to delete old files for storage if nessecary?).
Low
From previous experience I've had cast and crew
either drop out, not turn up or arrive late –
proving that this could be a potential risk to my
film.
When casting I've kept this in mind – even pushing
myself to think over the possibilty in my written
planning to try and cut down this possibilty in the first
place. I will also be pushing for back up actors in case
of anything – failling that (as a last restort) I myself NS
my girlfriend (who've acted in my previous work) will
have to fill in the gap (though this would mead I'd have
to supply a backup actor for James – who I'm acting
as). Though if their attendance is due to illness, there's
two-week period in which to film another day.
In terms of crew I would ask friends and people I've
known to be reliable.
High

Despite a minamal cast and crew, and despite not
paying them (as I don't have the money) I did say
I’d cover the cost of travel and provide food for
them.
To keep these costs on the low (so I can spend the
money elsewhere on the film) I will be keeping these
shoot days to minimal, use people and locations in a
really close proximity – this will mean I won't have to
feed my cast and crew that much, nor worry massively
about having to cover high travel costs – as the further
and more you travel, the higher the costs.
Medium
Having quite an amount of my story being set
outside – in public space, in Easter, I'm bound to
have problems with people in the background –
either having them looking into the lenses or
when trying to change the angle and by which
time I've got a completely different crowd in the
background.
To try and prevent this lack of continuity, I could do it
all as a long-tracking-shot. Whilst using people walking
in front of the camera to either help cut and have a
break, also using extreme close-ups if
necessary (filmed after) - as this will also hide the
background.
Medium
Taking long tracking shots (on its own) could be a
risky – likely going to end up shaky and slow – as
whoever's trying to hold the camera will struggle
to walk steadily and fast enough.
The first thig that came to mind was using a gimbal –
however the gimbal can only take so much weight,
meaning I'd have to see how heavy it is – does it exceed
the capable weight limit of a gimble. But even then,
you'd still have the camera operator steady walking
backwards – though minnuse the shakiness. Meaning it
could be usefull to experiment with different riggs and
college and see if there's a better alternative to this
Medium

For my film I really want my filming to be done in
bright sunny conditions – with raining obviously
being an un-doable condition to film in, with the
look for the film I want. However this in the UK,
known for our unreliable weather and rain...
Though the weather is out of anybodies hands, I have
two-week period to find my shoot days (despite having
to consider the days my actors are avalible (with crew
being less of a worry as they can be more easily
replaced than what's on screen)). This will allow me to
work more the forecast than before – with about 60%
of my film being based indoors, I can priortise the
weather to the days when I need to film outside.
Furhermore, filming on cloudy day isn't too badder
thing – as this will allow me a far more evenly lit
picture and I won't have to worry about filming in the
shadows.
Medium
Having scenes outside and having a lot of previous
issues with audio – the audio could be an issue on
this film.
To try and cut down this risk I've researched into
microphones – finding out that the 'dead-cat' is good
prevention for wind affecting the audio of my film –
though this could still also still come down to the
quality of my microphone and my budgets limited – so
I'll experiment with the colleges small range and make
a final decision from there.
High

Because I have some character's drinking in
certain scenes, I need something that makes them
look like they're drinking alchol, though actually
not – as that would be really inapropiate on set.
To overcome this, I looked up solution of how films
overcame this. Instead of beer, they use carbonated
iced tea (according to google). As for when Tom gets
soley drunk by himself (and I've been collecting empty
vodka bottle) I could sumplement vodka with water –
as that'd be a really easy and cost effective sollution as
water's free.
Small
Keeping comunication between eneryone through
indvidual messages on different messaging
sysetems can be a hassle.
To help take out this issue, I would make a group
chaton Facebook messenger – asking my cast and
crew's permission before adding them. This would also
allow me to be more relaxed about messaging and not
have to worry about being as formal.
Small

Contingency Planning - Corona Virus
Though there's no real way around the virus interfiring – I've assured I would have equipment if I change my
mind on filming or anything changes. Origianlly having booked the camera over the easter holiday - at which
point we could end up in quarintine or cut off from college prior, I have set up an alliance with some who's
booking out the c100 the week prior and we can swap it between us – esspecially as he's coincidentally also my
camera operator (-though I'd originally emailed to take the c100 out early when I heard about the potential
closure of college). On top of this I would also talk to a friend about borrowing his equipment if need to be.
Though it seems far more likely that I'd push back filming (as I told everyone in the filming group chat).

Furthermore, beyond just the equipment, it would seem vastly inevitable that I'd also lose all my location and actors in
process of the next couple weeks (being told that Italy wasn't far ahead of us in time of situation but also being told no social
gatherings and to only leave the house where's necessary). One idea I've produced that could solve this is making my whole
film look like a painting coming to life – using a software called Ebsynth. This would allow me to film rough footage, possibly
take out the location but keep the action for movement, whilst cutting out the background to suit the location it would be,
but it's of no longer available access... I will produce a small experiment to test out this, though it's seems very much the
only solution I've gotten. Furthermore, to get the actual painted look in the first place, I will be following a tutorial I found
for photoshop. (Videos
used: https://www.youtube.com/watch?v=0RLtHuu5jV4&t=63s and https://www.youtube.com/watch?v=zwpMoDe1xFg&t=1
6s).
Ebsynth takes frames of a video and uses AI to
morph key frames (you input – of the painted
version) to animate it – now appearing as if
the painting's moving.
However one problem is that I would
have to completely have to ditch the idea
of giving my product the look of super 8
film.... With another danger being the
change in ratio may risk looking far more
out place here?

A big concern I do bare about this painted look to the film is that aside from maybe looking a bit off
putting and weird to a general audience – as 'Loving Vincent' could do? I also worry could go down
look as bad as a film called 'A Scanner Darkly' (which would use rotoscoping ('Loving Vincent' would
also use a form of rotoscoping – through projections onto the canvas) make itself appear more like
as it's based on a graphic novel of the same name – much like the reason I'm going to make my film
look painted because it's about an artist) - which had a filtered look and becoming extremely
distracting for me. Which mean it could either be making point or breaking point.

Health And Safety
Somebody could trip over – either uneven terrain
or equipment and wires.
To ensure this doesn't happen, I will ensure to look out
for uneven terrain and make sure that all equipment is
out of the way – all whilst advising crew and actors
alike to do the same.
Low
With coronavirus looming around (currently) this
will extend the health and safety of this project.
To help prevent this I will be looking out for the news
for regular government advisements and bring hand
sanitiser to set – to which I will heavily encourage my
actors and crew to wash their hands.
High
When doing a tracking shot the camera operator
(either me or Charlie) will have to walk backwards
to which I could also trip over backwards or bump
into somebody.
To avoid this I will have somebody look out for that
person, I will assess the terrain prior and I will make
the crew wear high-vis to make people around aware. High

Filming shedual
Day/Lesson Task

End Of Year Show
Though the 'end of year show' is a long way off and I've not even made
my product yet, I would still like to explore the possibility of whether
it'd be possibility of setting up charity screening of my film at a cinema.
One cinema I've had my eye on is the Everyman on blossom street.

Research Anylisis
What were its strengths?
• Example
What were its weaknesses?
• Example

Planning Anylisis
• Example
• Example

Time Management Evalutation
Example

Time Management Anylisis
• Example
• Example

Technical Qualities
Comapere work to similar exsisiting product,
whilst picking out visible examples and
displaying the exsisiting product.

Aesthtic Qualities
Evalutate my work – does it look good? What
went well and did I like?
Discuss the strengths and weaknesses of my
product.
Display my pieces.

Feedback 1
What did you like about the product?
• Example
What Improvements could be made?
• Example

Feedback 2
• Example
• Example

Feedback 3
• Example
• Example

Peer Feedback Summary
What feedback do I agree with?
• Example
What feedback to do I disagree with?
• Example

Bibliography
Films/Short-films/TV Shows:
• Anderson, W. (2014) The Grand Budapest Hotel.
• Burniston, M. (2019) Our Bench.
• Miller, G. (2014) Mad Max Fury Road.
• Kobiela, D and Welchman, H. (2017) Loving Vincent.
• Guadagnino, L. (2017) Call Me By Your Name.
• Moffat, S and Gatiss, M (2010) Sherlock. Series 1 to series 4.
• Palmer, B. (2015) Man Up.
• Waititi, T. (2016) Hunt For The Wilderpeople.
• Burton, T. (1988) Beetlejuice.
• Waititi, T. (2014) What We Do In The Shadows.
• Waititi, T. (2019) JoJo Rabbit.
• Anderson, W. (1998) Rushmore.
• Anderson, W. (1994) Bottle Rocket.

Bibliography
• Anderson, W. (1996) Bottle Rocket.
• Chazelle, D. (2012) Whiplash.
• Chazelle, D. (2013) Whiplash.
• Schoettner, S. (2019) Monotony.
• Nicholls, M. (1967) The Graduate.
• Wright, E. (2017) Baby Driver.
• Noble, A. (2019) Mrs. Lowry And Son.
• Gondry, M. (2004) Eternal Sunshine Of The Spotless Mind.
• Wright, E. (2004) Shaun Of The Dead.
• Anderson, W. (2009) Fantastic Mr. Fox.
• Entwistle, J. (2017) The End Of The F***ing World. Series 1 Episode – Gone.

Bibliography
• Chandor, J.C.(2014) A Most Violent Year.
• Stallone, S. (2006) Rocky Balboa.
• Scherfig, L. (2011) One Day.
• Muccino, G.(2006) The Pursuit Of Happynes.
• Gondry, M. (2006) The Science Of Dreams.
• Waititi, T. (2007) Eagle Vs Shark.
• Linklater, R. (2006) A Scanner Darkly.

Bibliography
YouTube/Websites
• Lie, J. (2018). aesthetic fonts. Available: https://www.youtube.com/watch?v=tPMWSQu32-
g&list=WL&index=5&t=0s. Last accessed 11th Jan 2020.
• Kerkhoff, D. (2016). DK Zesty Lime. Available: https://www.dafont.com/dk-zesty-lime.font. Last
accessed 11th Jan 2020.
• BLKBK. (2017). Golden Plains. Available: https://www.dafont.com/golden-plains.font. Last
• O. Nelson, B. (2005). Keep On Truckin. Available: https://www.dafont.com/keep-on-truckin-
fw.font. Last accessed 11th Jan 2020.
• BLKBK. (2018). Sweet Nothings. Available: https://www.dafont.com/sweet-nothings.font. Last
• Gomez, D. (2017). Whoa Baby. Available: https://www.dafont.com/search.php?q=whoa+baby.
Last accessed 11th Jan 2019.
• Ijemrockart. (2016). Contento Scripts. Available: https://www.dafont.com/contento-script.font.
Last accessed 11th Jan 2019.

Bibliography
YouTube/Websites
• Nazara, S. (2014). Dotcirful. Available: https://www.dafont.com/dotcirful.font. Last accessed
11th Jan 2019.
• Kurniawan, E. (2014). Angeline Vintage. Available: https://www.dafont.com/angeline-
vintage.font. Last accessed 11th Jan 2019.
• Tsunekawa, R. (2010). Bebas Neue. Available: https://www.dafont.com/bebas-neue.font. Last
• Huse, R. (2014). Fox In The Snow. Available: https://www.dafont.com/fox-in-the-snow.font. Last
• Larabie, B. (2012). Budmo. Available: https://www.dafont.com/budmo.font. Last accessed 11th
Jan 2019.
• Haro, F. (2016). Lucemita. Available: https://www.dafont.com/lucemita.font. Last accessed 11th
Jan 2019.
• Saridezra. (2017). Shutter Stone. Available: https://www.dafont.com/shutter-stone.font. Last

Bibliography
YouTube/Websites
• Darrel, F. (2017). Cute Notes. Available: https://www.dafont.com/cute-notes.font. Last
• Fandor. (2018). 3 Lessons from Taika
Waititi. Available: https://www.youtube.com/watch?v=3BbtGqROffs&feature=youtu.be. Last
• Lincoln Centre. (2010). Van Gogh Art
Techniques. Available: http://www.vangoghreproductions.com/art-techniques/van-gogh-art-
techniques.html. Last accessed 28th Jan 2020.
• Statista Research Department. (2014). Cinema audience profile in the United Kingdom (UK) as of
2014, by age and gender Published by Statista Research Department, Sep 19, 2019 This statistic
displays the age and gender distribution of the. Available:
https://www.statista.com/statistics/296240/age-and-gender-of-the-cinema-audience-uk/. Last
accessed 11th Feb 2020.
• Greenfield, M. (2018). Favorite film genres in the U.S. 2018, by gender Published by Amy Watson,
Dec 12, 2019 Like music, movies can be hard to pin down when it comes to which genre they are
most aligned with. Cross-genre . Available: https://www.statista.com/statistics/254115/favorite-
movie-genres-in-the-us. Last accessed 23rd Feb 2020.

Bibliography
YouTube/Websites
• Anon. (2016). Young women at 'highest mental health risk'. Available:
https://www.bbc.co.uk/news/entertainment-arts-37504679. Last accessed 24th Feb 2020.
• Anon. (2016). Statistics on mental health and men. Available:
https://www.menshealthforum.org.uk/key-data-mental-health. Last accessed 24th Feb 2020.
• Cambule, L. (2017). “Man up”? Getting more “men” in mental health. Available:
https://www.mind.org.uk/information-support/your-stories/man-up-getting-more-men-in-
mental-health/. Last accessed 24th Feb 2020.
• Burniston, M. (2020). Matt Burniston - FMP
Survey. Available: https://www.surveymonkey.co.uk/r/5DQ6NH2. Last accessed 14th Feb 2020.
• Haapoja, M. (2019). COLOR CORRECT Like
A PRO. Available: https://www.youtube.com/watch?v=tMtM4fyGH70. Last accessed 24th Jan
2020.
• Video Upskills. (2014). How to
get good audio outdoors. Available: https://www.youtube.com/watch?v=5kAoE_Spm_0. Last
accessed 21st Jan 2020.

Bibliography
YouTube/Websites
• Anon. (accessed 2020). Lens Focal Length and F-
stop. Available: https://av.jpn.support.panasonic.com/support/global/cs/dsc/knowhow/knowhow11.ht
ml. Last accessed 30th Jan 2020.
• Podcastage. (2019). Audio-Technica ATR-6550 Budget Shotgun Mic Review /
Test. Available: https://www.youtube.com/watch?v=Gbwy8BHLM8g&t=172s. Last accessed 14th Feb
2020.
• Audio-Technica. (2009). Audio-Technica ATR-6550 ATR Series Condenser Shotgun Microphone -
Black. Available: https://www.amazon.co.uk/Audio-Technica-ATR-6550-Supercardioid-Condenser-
Microphone/dp/B002GYPS3M?tag=podcastage-21. Last accessed 14th Feb 2020.
• Lo knows, Sort Of. (2017). Rode NTG2 ($269) vs Sennheiser MKH 416 ($999). Available:
https://www.youtube.com/watch?v=Np1C-UeYj4U. Last accessed 14th Feb 2020.
• RØDE Microphones. (2007). RODE NTG2 SHORT SHOTGUN MICROPHONE. Available:
https://www.amazon.co.uk/RODE-NTG2-SHORT-SHOTGUN-MICROPHONE-
Black/dp/B00093ESSI/ref=sr_1_3?keywords=shotgun+mic&qid=1581682155&s=musical-
instruments&sr=1-3. Last accessed 14th Feb 2020.

Bibliography
YouTube/Websites
• The Closer Look. (2017). How To Create A Great Character. Available:
https://www.youtube.com/watch?v=QM1tUwpy-yQ. Last accessed 4th Mar 2020.
• Mowery, T. (2019). How to Create Dramatic Characters. Available:
https://www.youtube.com/watch?v=4BxfV1sBRJs&list=PL2F-
QswQwYWMFNb9udsCAnK0aJ7igJWLt&index=4&t=361s. Last accessed 7th Mar 2020.
• Film Courage. (2012). How To Make The Audience Care About Your Characters by John
Truby. Available: https://www.youtube.com/watch?v=xt2PcwKHbxc. Last accessed 4th Mar 2020.
• Mowery, T. (2019). How to Write a Short Film. Available:
https://www.youtube.com/watch?v=wMqIQcTMlA0&t=64sn. Last accessed 4th Mar 2020.
• Secret Weapons. (2019). EbSynth - Tutorial. Available:
https://www.youtube.com/watch?v=0RLtHuu5jV4&t=63s . Last accessed 17th Mar 2020.
• Photoshop Training Channel. (2019). Oil Painting Effect From Your Photos - Photoshop Mixer Brush
Technique | 90-Second Tip #20. Available:
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Bibliography
Books
• Crump, B (1986). Wild Pork and Watercress. New Zealand: Beckett Auckland. p0-240.
• K. Dick,P (1999). A Scanner Darkly. Gateway: New Ed edition. p0-224.

Unit: 13: FMP

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Unit: 13: FMP