Evaluation (Final) Edit

Dust - Evaluation Edit from Tom Mallinson on Vimeo.

Evaluation: Task 4

Who are your audience & what have you learned from your audience feedback?

The intended outcome for our production was to create a gritty, atmospheric trailer for a post-apocalyptic thriller, which I think we achieved. This is because of the use of action involved as well as some drama elements, creating emotional interest and depth. The target audience for our production ‘Dust’ would typically be male, around the age of 20-45 years old. This is due to the fact that it is more serious than a 'guns blazing' action film and isn’t your everyday comedy film, which a younger, male audience may be more interested in. The social class would also be more educated and middle class as some of the concepts and themes of the film would encourage intellectual engagement:It would make the audience think about society today and how threats to our survival, such as the risk of nuclear attack, are increasing. 

Due to the emotional content in the production; shown through the use of the photo of the child and the voiceover from Tom, explaining about how his family is missing, it has audience appeal to females as well. However, due to it being a 'gritty' film, it would probably appeal more to older females aged 25-45 as it isn’t a romantic comedy which is the usual target audience for ages under 25. We do think it would still appeal more to males than females due to the violence and the idea that the protagonists are being hunted, adding strong thriller elements to it.

Our likely BBFC rating for our production would be a 15. This is because our film involves gritty realism, violence and some swearing which wouldn't be appropriate for a younger audience. However, not having an 18 certificate opens up the film to a larger audience on its release date. On that note, this would be major film release on an estimated 350 screens within the first week of its UK debut. This is because our film is supported by the same institutions as The Book of Eli (385 screens) and Terminator Salvation (389 screens). The fact that our film would be made by a renowned  Hollywood director which in our case is our friend Daniel Devine (who we are potraying as an already famous director), it would increase the likelihood of our film getting wide release as people would expect high things and a great film from him.However, other directors who would likely do this sort of production are the Hughes Brothers who have had experience doing The Book of Eli which was a dystopian post apocalyptic film that did well review and profit wise. Another director who would do an excellent job is George Miller, who has done the Mad Max trilogy which, once again are very well acclaimed along with him doing a new one coming out in 2014.

We asked our media class as well as some of our friends and family for feedback on our production to gain some qualitative data. The feedback which we received was extremely valuable and helped our production become what it is now by people offering constructive criticism as well as having extra vigilance on any mistakes or errors within our editing. Thanks to this feedback we added more effects onto our production such as the chroma key and colour correction to eliminate the bright blue sky and make the whole production seem darker, dirtier and more desolate.

We also received a lot of praise and positive comments about our production from these responses. We were complimented on the use and variety of camera angles which creatively helped create appropriate meaning such as the low angle mid shot showing Curt in the office. The low angle gives off the impression that he is dominant compared to the shot before which was a high angle of Max connoting that he is weaker. We were also complemented on the use of our music with comments saying it created a sombre, serious and dramatic mood that helped establish the genre and mood that we were aiming for with our trailer. This pleased us as we had put thought and effort into finding the right 'score', contacting the band “If These Trees Could Talk” for permission to use their song. We also included a bible quote at the beginning of our trailer also which a lot of people felt deepened the impact and added weight to the trailer, though some thought it was rather clichéd, as religion as a concept is overdone in a lot of post-apocalyptic films.

We also collected some quantitative data from 20 people asking them what genre they believed our production was. The results showed that the majority immediately recognized that our production was mainly set in a Post-Apocalyptic society whilst the other results show that our production also has influences from other genres making the genre hybrid. We believe that this is due to the appropriate and creative use of mise-en-scene of our production, for example, desolate locations and dirty/ruined clothes as well as the fast paced editing, montage scenes and the obvious connotations of violence from the replica rifle among other things. The drama aspect of the production would probably be due to Tom's family and trying to find them or at least uncover what's happened to them. This information received was very useful during our production as it allowed us to revise and reinforce certain aspects of our film.

Over the past two years, I have acquired many new useful skills and techniques in regard to to filming and creating my productions. From my initial skills at the start of 2011, I have honed my knowledge and dexterity with practical equipment and learnt how to apply different skills in certain areas as I adapted them to appropriate areas. 
A major improvement, for me, came with my new learnt ability of how to use Pinnacle Studios HD15, which is the editing software we use within Media Studies at BRGS. I can assert that my burgeoning aptitude with editing software bolstered the success of my productions overall, as I have learnt how to perform advanced techniques from editing clips up to 1/24 to mastering J and L cuts. I have also learnt how to apply edits to my footage such as colour correction and chroma key to block out some colours and to add a greyscale/ pallid blue tint to the production, giving it a more apocalyptic ambience. 
When I first started using Pinnacle, I couldn’t use many of the editing tools and struggled to add sound files and edit down the clips to fit into the production. However, now I can do all of these with ease, as well as being able to find new tools such as the slice tool to cut clips up in half, move and place them in different places to create a montage effect on the production, which worked well to create fluidity and diversity. I have also grown accustomed to using a variety of different transitions when I try to split up scenes or show an ellipsis of time. For example, during the production of Dust, we added a fade to black, dissolve and erode transition so that it matches the scene at hand and make the trailer seem more fluid. The erode effect worked especially well as it matched the fire in the next scene making it look like the last scene was being burnt away.

When I first filmed my preliminary production in 2012, I was an absolute novice when it came to   using the camera as I felt perplexed by the sheer amount, though trivial compared to higher tech cams, of settings on the camera, such as changing the iris to make the image darker. Setting up the camera and tripod as well proved troublesome as it took a while to make sure that the camera was perfectly balanced and was the correct height to get a variety of different shots and angles, whilst trying to figure out which shot would suit our production the best. Much of the filming was up to me during the AS course which, although tricky to begin with, gave me the motivation to progress my skills in this department of media production. The same applied to my experience with editing software. Although I grasped the basics quickly, I found that more advanced editing styles were quite complex for an absolute beginner. However, although I wasn't the most integral component of the editing process during AS, I performed what skill I had in the final half of the production which, I believe, allowed me to grow more confident with the software and therefore flourish in later tasks. Now I have had the opportunity to use a diverse range of camera technologies through AS and during the summer, I can assert that I have the ability to control the camera proficiently, along with the tripod, to create a variety of well composed shots with angles appropriate to the demands any task in accompaniment with my greater understanding of editing techniques which I incorporated a lot during this course. 

For instance, during this production, I, along with my group, immediately set about filming and constructing ideas involving some advanced techniques, from framing to settings, as we had developed an aptitude with the cameras over the AS course. My camera skills in particular, I find, have progressed tenfold this year as I had fundamental role in the filming. This year I intended to step it up a notch by incorporating a neat blend of extreme close ups, close ups, medium shots and long shots with various angles (from high to low, to narrow to wide) for desired effect; i.e. high angled shots were implemented during scenes where the survivors ( myself and Max) were blatantly in the midst of peril, accentuating our helplessness and/or the adversity weighted against us, whilst low angle shots used in the scene with Curtis in the office demonstrated my ability to make a subject appear dominant, with more authority and prowess (complemented by the darkness settings which evoke a sense of foreboding).

As a far more active component of a group, I also honed my skills with Adobe Photoshop CS3 as I created the production poster from a captured frame in the production and then transformed it, to the best of my ability within time constraints, into a genuine looking poster for distribution, modified to bleed the ambience of the film. I also found myself exploring completely new areas of media production where I contributed to the design of our poster - mostly concentrating on text, music and formatting where the rest of the group performed other tasks. 

I am proud to say I have made vast improvements with my editing skills as I had to adapt skills I had acquired in AS around a completely new task and then subsequently develop upon them from there. For example, I have definitely grown more competent in regard to using the advanced video editing features; special effects including chroma key and colour correction in post production were used especially, when I toned down bright primary colours, or completely ablated them, in order to make locations look more post apocalyptic (an improvement needed from our first draft edit of the trailer). This meant naturally occurring colours such as greens of foliage and grassland and blues of a clear sky could be removed and replaced with drearier, sallow coloured foliage and bleaker, dark grey skies appropriate for the ubiquitous conception of what a post apocalypse would look like. I also found myself exploring, and therefore becoming more and more capable, with transition edits. This included the development of the static transition which is prevalent in the trailer. Although initially difficult to create to the point we were close to scrapping the idea, I found that exploring and modifying the simpler settings could make static transitions work: we downloaded copyright commons static, but then had to animate it which I ended up doing through using Blur effects and screen modification in conjunction with Key Frames, which I used to frame each differing static pattern in shot that, when played, made an excellent oscillating distortion effect. Another way I reinforced the post-apocalyptic feel whilst also exploring realms of editing I hadnt done in AS, was with the 'erode' transition, which resembled a piece of film burning away over the scene with Tom in front of the fire, and hence had relation to the shot in addition to symbolism of fire. I also found it interestingly similar to our chosen font for the title, Dust, in the way it appears to spread unchecked, like the physical decay or abstract misery a nuclear war would bring. 

In addition, I developed my skill with sound, particularly the soundtrack where I utilised a track but chopped it up and placed segments of the song where we wanted it. I also experimented with layering sounds on top of the soundtrack, for instance, the thunder sound over the bible quote, and the beginning of 'Malabar Front' by If These Trees Could Talk  which features unstable wind and chilling screams which work well to set up the introduction of the trailer, or the point where the melancholic guitars of the song meld with the voiceover ( my voiceover in this example) but then subside slightly as the roaring sound of a helicopter dominates the section of the trailer.

Evaluation Task 3

Evaluation Task 2

What technology have you used during your A2 production, and how have you utilized it? Discuss the pros and cons of the technology and equipment you have used.

In the preliminary stages of producing a post-apocalyptic thriller genre trailer we required knowledge of conventions and techniques used in the trailers of same said genre, otherwise we would risk incorporating more general trailer conventions of trailers into ours when potentially there is little justification/no justification for them. This meant using websites such as YouTube, IMDB and Google Images for research, as well as utilising the computer program, Printkey, to take screen shots of any necessary frame of a trailer or poster.  

To begin with, in order to construct the trailer we produced a mind map with the program Open Mind 2, allowing us to organise our ideas into categories e.g. genres. We also overcame the problem of being unable to embed the image into Blogger by uploading it to the photo-sharing website imgur.

On YouTube and IMDB we watched a multitude of existing post-apocalyptic genres so that we could gather information on trailer attributes and conventions observe and note the most predominant features in all, whilst considering the differences if there were any. This stage proved crucial for us to adequately represent and establish themes and genre. This additional knowledge of post-apocalyptic trailers not only maximised the effectiveness of our trailer by meeting conventions, and therefore audience expectations, but also incorporate slight differences in accordance with our hybrid genre and ‘low budget’. For instance, we utilized Chiaroscuro lighting in our trailer for both effect and it being a recurring convention of thrillers (our production is a post-apocalyptic thriller), even though other post-apocalyptic films do not, such as Mad Max and The Road.

One quite fundamental inspiration, that turned out to be integral to the feel of authenticity and flow of the trailer, was the static transitions; if we hadn’t watched The Road trailer on YouTube and IMDB we probably wouldn’t have decided to include static transitions (which can be seen in use at the start of the trailer). The static transitions are both dynamically engaging and correspond with our post-apocalyptic genre, due to connotations of technological failure and disruption in society. This inclusion, therefore, also helped represent the genre to the audience then. Conclusively, our research here was vital for the final product to excel. 

We also used YouTube for instructions on how to make a practical ‘Hobo Stove’, which is basically an improvised cooking apparatus when resources are low, and how to make realistic looking bruises and lacerations. Later in the production process, it became clear that our use of ‘makeup’ would be limited due to the inconvenience of application being time consuming and requiring constant maintenance – we didn’t have the time or funds for this and had to settle with dirt and basic laceration make up.

Google Images became pivotal when designing the poster for one of our ancillary tasks; getting insight into how professionals incorporate necessary information such as slogans, credits and institutional information gave us vital insight for making our own. It was important to look at mainly post-apocalyptic posters as they would be the most valid representation of what we’d wanted ours to look like. We looked at posters for Monsters, The Road, I Am Legend, The Divide and Mad Max.

In the search for music to complement our trailer we started looking for music with the creative commons certification, allowing us to use it in our trailer without any legal issues, on sites such as Bandcamp and Soundcloud.  It was on Bandcamp that I discovered Cloudkicker, a progressive rock artist, that I believed would fit our trailer with both his slower melodies and grittier metal sounds. However, being fans of progressive rock we knew the perfect song to accompany the trailer was ‘’Malabar Front’’ by If These Trees Could Talk and thus I set out to email them, using Google Mail, enquiring for the permission to use the song in our trailer; much to our joy, they permitted its use. We also sent an enquiry for permission to use a song by The Ink Spots, inspired by the fallout series blend of both nostalgic wartime music and 50’s sci fi/post-apocalyptic theme, to EMI but this was withdrawn after they informed us that we would have to pay a fairly hefty sum of around £200 just to use in a short clip.

We used school's Panasonic mini camcorder, this was capable of high definition 1080p which was definitely useful for getting the most detail out of our locations for the audience’s viewing pleasure; the camera could, after all, capture picture with vast depth and field which was both enjoyable to use, from a cameraman’s perspective, and instrumental to making the best looking trailer possible. The battery life of the camera was excellent too, reaching around 300 mins. We could film for hours a day and not really worry about the equipment failing on us. This was especially useful in dark conditions where we had to utilize the camera to its full extent by incorporating several lighting and focus settings whilst simultaneously filming, which would no doubt use up battery quite quickly. The camera was also versatile in both respects of practicality, where it could attach to the flycam, various tripods and an external microphone. We could also adjust the picture to most environmental conditions, zoom, augment the lighting conditions and use filters.

However, due to the size of HD film, the SD card the camera had for memory storage filled aggravatingly quickly, which limited our ability to shoot lots of shots at a time. In other words, we had to be careful not to film too much and risk deleting previous shots, although you could argue this made us more efficient with our filming – a real world skill practiced by real producers. Unfortunately, it wasn’t until the editing process that we discovered that the HD film wasn’t always compatible with Pinnacle which therefore took away the appeal of glossy shots. This wasn’t a fault of the camera obviously, but an incompatibility between the school computer network and more up to date equipment.  Another drawback in regards to recording was a slight distortion of the picture, which occurred during the Office scene. Luckily for us however, it doesn’t affect the scene which we used the camera for, perhaps because Pinnacle rectified the shot or because it was merely a fault in the camera view-screen and not the actual shot. 

The camera used an SD card for storage and this was a good replacement for the tape which the older school camera’s used. The SD card allowed us to simply insert it into the computer’s SD card slot and drag and drop files into Pinnacle. The only disadvantage would have to be finding relevant files, as all of the names were very similar (number code) and hard to differentiate, but this was only a trivial detail. In hindsight, we have learnt to familiarize ourselves with the computer programs capacity to work with more up to date equipment, such as the HD camera, before committing it to part of the editing process. We did overcome the majority of the problems we faced through initiative and patience though. 

The SD card, though limited by the number of HD shots proved invaluable when not using HD 1080p shots as we could film far more and consequently, we were able to film the bulk of planned shots on the day we set out to film them. The SD also proved to be very practical in the later stages of the production, the editing process. All we had to do with the SD card was remove it from its drive in the camera and insert it into the computer drive and subsequently transfer files into a saved area and then access them on Pinnacle which was very simple and facilitated the editing on Pinnacle. The already generous battery life could technically be expanded by the fact we had a couple of spare rechargeable batteries as well that we could bring with us on filming days, in the unlikely event that a battery ran out of charge. We could recharge batteries that were drained whilst we were filming or overnight and quickly use them when necessary, making the whole filming process flow seamlessly. Rechargeable batteries are definitely more reliable than disposable batteries.

School provided tripod: catered for all needs, with its useful crank for variable height adjustment of the central column, allowing for easy accessibility to relevant adjust controls when changing height and angles. Its sturdy aluminium legs also gave it increased durability and stability for the video camera proved essential for welfare of equipment whilst the rubber grips on the feet ensured no damage to the locations and gave optimum grip for the equipment, reducing the chances of any accidents. The tripod, when fully extended, reaches 120cm which is perfect for getting around intrusive and otherwise meddlesome obstructions when out filming. I would say that filming on locations with rough terrain, such as the grasslands and marshes, wouldn’t have been possible were it not for the versatility of the tripod. Another useful commodity of this tripod would be how lightweight it is, which facilitated on-the-move camera work very well, alleviating us of any need for transport to walkable filming locations. If I had to name a problem with the tripod it would have to be the stiffness of the pan head movement which made smooth panning and tilting cumbersome, although we did manage to reduce the stiffness somewhat the more we used it.

Vimeo allowed us to upload and share our draft edits of the trailer so we, our class, teacher, friends and family could critique and analyse it for any improvements needed. Vimeo also allowed us to embed any of our productions onto our blogs, offering an easier way to watch our production, and also social networking sites which gave the trailer plenty of exposure to our target audience of older teenage to middle aged audience.

We found it was quick and easy to upload a video and queue multiple videos to upload at one time and, with the updated edition, you don’t have to stay on the site for the video to upload; now videos upload autonomously and Vimeo emails you when it is finished, which is helpful. The only problem we found was that the quality was slightly degraded when the video had been uploaded, but whether this problem stems from Vimeo or Pinnacle we haven’t discovered.

Dropbox has, to the extent of communication and organisation, been one of the most instrumental tools in our media production and group work in general; it allows reliable, fast transfer of files between our home computers, school network and mobile devices. With an ample 2 Gigabytes + of storage we have had plenty of room to upload and share between us any word documents, Prezi’s, PowerPoint’s as well as our soundtrack, archive footage, actual film and any other files we may have needed. This way we could keep up to date with all of our coursework and update each of our blogs in synchrony. https://www.dropbox.com/

We used the website, Blogger, as a platform to document our progress and keep track of where we were up to during the project. Blogger was useful as a neatly organised and easily accessible platform for our coursework, with an abundance of tools and options, ranging from embedding videos to choosing from multiple template layouts – and all of this or free. This allowed us to create a polished and appealing coursework blog displaying text accentuated by pictures and links as opposed to seemingly endless blocks of text. On the whole we have found it simple to use in regards to editing text, adding links and transferring work from other programs, such as Word – despite the occasional problem with background colour, which was easily rectified by editing the code of text. However, it wasn’t without its drawbacks. Adding pictures to the blog became frustratingly difficult at times when the pictures, that aren’t flexible in their positioning anyway, obstructed or even deleted sections of text. Despite this, we all just took precautionary measures by saving a draft of our work in either Microsoft Word or NotePad, which we could then access in the case of Blogger deleting vital information. Furthermore, drafts can be saved to avoid publishing unfinished work, and we could all read each other’s blogs to check for new posts and research carried out meaning we could assist and cooperate with one another for the optimum coursework presentation possible. Finally, Slideshare allowed us to share and embed any PowerPoints produced and gave us a more unique and interesting way to share our ideas.

We used Photoshop to create our production company logo, Writer’s Bloc, and the poster for the production, Dust. For the company logo, we took a photo of a man, cut tool to remove his face and manipulated the colour of the logo to be a murky grey, using a filter and colour gradient tool option. We then rearranged the desired font that we found from urbanfonts.com around the picture in such a fashion that it was instantly recognisable but didn’t impose upon the image. We then, finally, used tools such as burn and clone to remove anything that we did not want to be in the final image, for a polished, genuine production logo.

The poster required more work. We used a still image from the actual production as a canvas upon which to transform it into a conceivably post-apocalyptic setting, whilst maintaining conventions of posters by including appropriate institutional information, cast, reviews and slogans etc. The process of making the poster required cutting out images and layering them into our poster, then subsequently using the clone tool to meld them into the poster without leaving harsh lines and obscuring the authenticity of the poster. This included everything from the background of a destroyed city, to the mangled wreckage of the helicopter and radiation signpost. The text added to the poster had to be black for it to meet conventions and not diminish the professional feel of the poster, but this posed problems because the poster image itself was dark. To overcome this, we used a ‘glow’ tool which was manipulated to make it appear as though a pale glow was emitting from the text, making it both easier to see and reflecting the story (religious element and radioactive emission). Finally, after consultation with our class, friends and family, we opted to make the image appear more dystopian by draining as much colour out of the image as possible, without it looking absurdly bleak, by using a selective colour tool. This turned out to be very effective as it formed an ambience of desolation but also left a tint of lurid yellow after playing with the filter – green, which some would say is a symbolic colour of nuclear fallout. Finally, we also used the Burn tool to darken our storyboard, therefore making them more visible in our animation.

To make the final product come together and work as we envisioned it in the preliminary planning process, we have to edit it. Editing is a means of expression, with its own language. The editing usually works best if it is completely integrated with the other means of expression used in the given film, i.e. music, sound effects and text. We used Pinnacle Studio 15HD to edit our trailer, as we did our opening last year. Overall, the editing program was appropriately suited to our needs and, with its easily navigated interface and simple to understand layout, easy to use – especially for those not proficient with computers technicalities. There were however some problems with the program.

 Although you could argue it isn’t the most advanced editing program, you must realise that it  is well catered for beginners – intermediate editors such as Media students are. Despite this, it can be frustrating when we believe we have progressed enough to want to utilise more that we cannot access (such as more advanced effects), as we have now, by A2, used Pinnacle to its fullest extent. It would definitely have been more gratifying if we could use more complex material, yet, for all intent and purposes, Pinnacle did meet our demands – at a push. When editing at school, we found it to be very unreliable as it frequently crashed when any clip was edited frame by frame, or when effects were added to shots. We have discovered that this is more likely due to the school network being incompatible with the editing program software, which cannot be helped unfortunately.  Another problem we found early on was that the program would not save our project when prompted and even delete sections of film which caused some frustration and disarray when we couldn’t find edited footage. In order to overcome this, to a degree, we just saved our editing very frequently in the chance it would crash and we were forced to restart the computer. These faults were also likely caused by access problems due to the schools safety settings being incompatible with the software installation.

We found such editing processes as J cuts and L cuts extremely practical and easy to master. We used these techniques to isolate the audio and video on separate editing tracks, which also made it simple to add music and sound effects, and then fade them in and out of the soundtrack when appropriate. The mp3 file we chose was also recognised without any faults in the software. The edit features were also remarkably useful, enabling us to augment the shots with a ‘fallout’ ambience and subsequently making the production more authentic and believable. This ranged from Chroma Key to greyscale filters that we could place onto desired shots. In addition, overlay titles were added for slogan, institutional information and title, perfected with fade in and fade out effects used on them. We made sure to keep text white on black in order to convey mature themes and remain consistent with conventions, aside from the final title which couldn’t be manipulated to do this due to a problem transferring text on a transparent background to Pinnacle from Photoshop.

When exporting the actual file we found some problems with syncing, this was due to lower quality exporting options and so this was fixed easily and quickly. The multitude of editing options is good if you have experience and know the advantages and disadvantages of each, but for beginners this could be daunting and time consuming due to the many different devices they may want to play it on, and subsequent technical issues.

This screenshot shows us in the editing menu on colour correction where we modified the shots to look gloomier.

The above clip shows an audio dub where we locked the video timeline and spliced dialogue from another shot onto it as a voiceover – a well-recognised trope in trailers

And here we have a screenshot showing the interface on Pinnacle where we modified the speed of a shot. We did this on the given example to enhance the sense of an erratic picture distortion, for effects discussed in other parts of the blog - such as to create connotations of technological breakdown.


We probably learnt the most from the editing process overall as acquiring feedback throughout the course of editing to identify any mistakes was integral to time management and the rectification of any these mistakes.

The Wix Website builder offered a free and practical solution for promoting our trailer production in our ancillary task. For a free website, you are provided an array of useful tools to make the most appealing website possible, ranging from an assortment of themes, layouts and designs to various fonts and animations suited to a variety of purposes. We never found it difficult customising the website to look like a film website for a mature themed post-apocalyptic thriller as there was enough versatility in fonts etc. to suit this genre. What made Wix that much better, was how informative the instruction videos were; this made sure that no time was lost having to work out more complex tools, such as adding widgets and links to our website, since helpful videos are attached to every tool. If I had to find a downside to Wix, it would be that the more content you put into the website the clunkier the interface becomes due to the content having to load up every time you customise things, which can simply be dragging an image from one place to another which can get tiring.

Evaluation Task 1: Director's Commentary

directors commentary from Tom Mallinson on Vimeo.

The directors commentary of our final production where we discuss and justify our choices in the trailer through media knowledge and media theorists, whilst addressing particular areas we have used techniques. We also go on to discuss the pragmatic nature, genre and the target audience of our trailer and use real world productions to illustrate our own choices and how they would work in a 'real' context.

Advertising, Marketing and Products

Advertising, Marketing and Products.

The above link will guide you to Slideshare, where we have made a Powerpoint presentation exhibiting all of the advertising and marketing ventures we would follow in order to broadcast information about our production across the internet, as well as on posters. The more exposure our production gets, the more opportunity there is for us to accrue a bigger audience. We have made sure to consider, and exploit, the fact our modern world is fixated on social networking and 'cyberspace' media; using social networking and the internet as a marketing endeavour is now integral to real world film advertising, and so it will be the same for us.

Title Analysis

We found this font, called Subway, on urbanfonts.com and decided for the following reasons that it would the ideal font choice for our title, Dust, and would furthermore be put into our trailer, website and poster. First of all, the fonts salient features are congruent with, and also reinforces, our post apocalyptic genre; the letters are degraded and are beset with abrasions, smudges ad marks, making it appear as if it has been corroded - as if by radiation etc. We prompted for black lettering to correspond with the dark, mature themes in our production, whilst also rejecting sans serif as we believed it didn't fit the title very well and it didn't link very well to our production - aside from the incorporation of some biblical elements (the bible does generally have gothic typography) but we concluded that the link would be too tenuous for most to pick up. One problem that arose from our chose to use black coloured text was that it was always embedded in a white background when saved as a separate individual file which, when applied to Pinnacle when editing the trailer, abruptly ended the feel of a well polished trailer and effectually ruined the finale with an 'amateur and scruffy' finish. So, to get around this, we had to construct the final shots of the trailer to have a background as close to white as possible so that the title could fade in and immerse with the background.

As for the actual title- 'Dust' - it was a fitting choice since, ultimately, in death everyone and everything becomes dust and reverts back to their/its most microscopic components and obviously in a world following a cataclysm, most is dead. In addition, from the inception of the post apocalyptic genre, we were immediately interested in scriptural quotes as a slogan, given their instrumentally  profound, and sometimes ambiguous, effects on people as well as the tendency of more people being attracted to religion when desperate, such as what we can assume would happen in a global catastrophe - it incites hope. This actually ended up how we decided the title as this planted the seed for the discovery of our chosen quote and from there we chose the word dust from it given the aforementioned connotations. Overall, it is an optimal choice for a title given the correspondence with our production whilst also being quite catchy. 

At one point we liked the idea of the slogan dissipating in the trailer, leaving just the word dust which would then enlarge, centre and become the title. However, this proved too much for Pinnacle and the idea was lost. 

Logo Analysis

After a number of circulated ideas, drafts and disagreement, as a group we finally opted for this design and name pictured above. After seeing a similar design in impertinent booklet on APD of a person removing there face as though it was on a hinge to reveal an empty blackness inside, I was inspired to make something similar. It had quite an effect on me so by replicating it, to some degree, we would have a quite profoundly surreal, dark and yet obscure enough to derive equivocal meaning for the consumer; that can all essentially correspond with the film genre we are making; the dark nature of it would link well with our film trailer.
Not only does the picture of person removing their own façade to reveal an empty black void not only evoke a neurotic and dark ambience, but it also raises questions about the voids purpose - what is it? why is it there? One interpretation is that it is a dark volition, it is the malice of man hidden away by our facial features. This would definitely correspond with our film genre as it is that dark will of mankind that causes the apocalypse in the first place! However, that doesn't go to say it can't link with other genres as interpretations of it can fit many others, even, hypothetically, ones without dark or mature themes as long as the logo is augmented to reflect the genre such as other production logos do i.e. such as the Warner Bros. animation in The Matrix Trilogy appearing as code in the movie or Dreamworks animation for the Shrek series.

We chose the name 'Writer's Bloc' for our production mostly due to its play on the words and it being more phonetically pleasing and understandable than one word names; some ideas were also rejected because they are already used. For example, we had the idea of The Big Empty, inspired by a fictional landmark in Fallout but unfortunately discovered that there was already a production named The Big Empty thus, to reduce confusion or copyright claims (in a hypothetical real world context where we are a real company), we looked for alternatives. In the end, Writer's Bloc was the optimal choice. We are technically a coalition of persons with a common purpose, 'a bloc', and assuredly we do a lot of writing in order to produce the film so the name makes sense. 'Writers bloc’ also plays on ironic humour and play-on-words as, due to similarities with the term writers block, it suggests our production group are lacking fresh, innovative and imaginative and ideas, yet we would have mustered up an entire feature with an accompanying trailer; this furthermore makes the name more memorable as it has a unique and peculiar quality to it that most production companies lack. And finally, the title corresponds with the design as the person is devoid of anything in his head, where a person suffering from writer's block will be devoid, or struggle at least, with ideas - so it is basically an artistic representation of Writer's Block as well.  

Ancillary Task: Website

http://tm12media2013.wix.com/dustthemoviefinaltom

Clicking on the link will direct you to our website created on Wix.com for Dust.

Evaluation edit

Final Shot List

Final Shot list

1)      Shot of institutional information – Warner Bros. animation

2)      Fade to black of shot of institutional information – Writers Bloc.

3)      Static transition to institutional information – Silver Pictures.

4)      Static transition to wide shot of reporter with picture distortion and static.

5)      Static transition to footage of nuclear explosion with intermittent picture distortion.

6)      Cut to black – Fade in white letters of bible quote and then fade to black.

7)      Medium close up of Tom opening cupboard. (Appears as a fade in due to camera being inside cupboard). Hand then covers screen and acts as a match cut to…

8)      Medium wide shot of drab and desolate landscape.

9)      Straight cut to close up shot of map and pen

10)   Straight cut to close up of hand circling area on map

11)   Straight cut to hand circling area on map

12)   Medium long shot of burnt out and decrepit building.

13)Straight cut to low angle shot of Tom clearing a building with his gun.

14)   Dissolve to long shot of Tom walking through a bleak and desolate landscape.

15)   Straight cut to medium close up of Tom walking past a dangling, rusty chain into the distance of an abandoned factory.

16)   Straight cut to long shot of Max and Tom walking down a road and into a grey wooded area. Rises in contrast to a lurid luminance and then briefly fades to black.

17)   Quick fade in close up of Max and Tom hiding from and discussing threat.

18)   Straight cut to wide angle medium close up of Curtis in a dark office.

19)   Straight cut to medium close up of Kieran punching Max.

20)   Screen momentarily goes black.

21)   Medium close up of Max parrying Kieran.

22)   Screen momentarily goes black.

23)   Medium close up of Max stabbing Kieran IN THE JUGULAR.

24)   Screen momentarily goes black.

25)   Long shot of Max laying Kieran’s corpse down to rest in the undergrowth. Fade to black.

26)   Straight cut to medium shot of Curtis pacing in his office drinking tea.

27)   Dissolve to close up of Max taking cover against a mound of earth with brief static, camera glare and distortion of picture revealing disturbing image of child enveloped in hot ash from nuclear fallout.

28)   Straight cut to close up of Tom responding to Max.

29)  Straight cut to medium high angled shot of Max and Tom talking.

30)   Dissolve to close up of Tom by fire.

31)   Jump cut to close up of Tom again by fire.

32)   Jump cut to another close up of Tom by the fire.

33)   Jump cut to close up of Tom by fire showing his distress.

34)   Straight cut to extreme close up of battered and torn photo of a child. (Would be on fire but Pinnacle problems).

35)   Straight cut to medium long shot of Tom falling to his knees in distress.

36)   Brief shot of person consumed by ash.

37)   Straight cut to close up of Tom with pallid light flickering on his face. Again, there is a quick distortion of the picture to reveal a disturbing image of a person enveloped in ash.

38)   Static transition to a medium close up shot of Tom, head in hand.

39)   Straight cut to close up of Max responding and consoling Tom.

40)   Straight cut to wide angled medium shot of Max putting his hand on Tom’s shoulder.

41)   Straight cut to medium long shot of Max and Tom at a different setting walking towards the camera and conversing.

42)   Straight cut to Medium close up shot tracking Tom’s movement as he talks to Max.

43)   Straight cut to reversed angle medium close up tracking Max’s movement as he responds.

44)   Straight cut to medium shot of Curtis slamming desk.

45)   Straight shot to extreme close up of Tom firing rifle.

<46)   Sudden fade to black after shot and then cut to long shot of Max and Tom traversing down a path as the camera pans away from them.

47)   Dissolve to film title.

48)   Dissolve to information regarding film ‘coming soon’, websites, institutions etc.