Film log: 09th December (Sunday) – Field near Halfway House

On sunday morning, we walked with the equipment to the chosen location behind ''The Halfway House'' pub in Whitworth. Although we hoped for some frozen dew glazed over the marshlike field, the windflow sweeping across the high, amber hued grass accentuating the atmosphere of emptiness against the grim backdrop of naked, lifeless and blackened trees. We began by quickly filming Kieran as a reporter, which I set up facing an active road simply to show that there is life at this point. When we were editing at school we felt that the intro sequence of the trailer was lacking the clues needed to imply the possible causes of the cataclysm in the film; so we decided to film several sharp shots of action and put them into the static sequence to mix it up as opposed to having on single sequence of static followed by an atomic blast, which in hindsight appears sloppy.

Continuing on from this, I set up the angles of the fight scene between Max and Kieran, to keep the drab environment in the frame. I had to arrange the fight scene differently to how we planned initially to fit it into the setting and look more 'organic' and less contrived. I concluded that in future any fight scenes should incorporate the setting during the planning stages, otherwise, on the day of filming, we sometimes waste time having to change the devised shots. We mutually agreed to carry on with the rest of the shooting without the meticulous detail we generally put into every shot, reasoning that it was too time consuming and every second hurt in the blistering cold.

I played my role in the production as an actor again today also, resuming my part as the 'damaged journalist' protagonist. I performed as best as I could in order to reduce the need for retakes and press onwards so we could get back home in the warmth. After that, we subsequently went home because we decided beforehand that there wasn't much else to do.

Film Log: 21st November (Wednesday) – Office with Curtis

During the schoolweek, I employed the help of my friend, Curtis, to play the role of our main antagonist - the Enclave government leader. I felt he fit the sophisticated yet menacing role we were going for, especially when we fitted him with a suit, which he kindly provided himself. On the day of filming, we used our free hour to film enough shots to convey Curtis' character being the antagonist as a surmisable result of the trailer, though with some enigma surrounding him.

We started by going to our deputy head's office, as the chosen location, and he gave us some privacy to film. We positioned objects in the setting, such as chairs and computers, to make the setting appear like a workstation doubled up as a meeting room, though also containing elements that connote warfare and action. This included us introducing some of our own props for this, including toy gun replicas (for which we asked permission from the school to use out of public, which was granted) and maps sprawled over a table in the centre of the shot. In addition to this we added the composite of homely features, like the Union Jack pillow, to give the room unusual character and comfort which, making a contrast in juxtaposition to the malicious intent of the antagonist and neglect of the country, we thought would make a good effect.

The actual filming ran smoothly as the room was easily accessible and accommodated our equipment nicely, allowing us to make full use of angles in the room. Then we tweaked the settings of the camera to make the picture darker, giving that 'underground gloom' as if the facility is located underground, secluded from the hazardous wastes above. It also made the shots appear sincere and further boded the possibility of the character in the shot being shady, similar to the setting. We had to look for features that would create the connotations, and denotations, needed for us to introduce a character's archetype in a tiny frame of time.

Once the filming had been done, we went to our Media lesson and edited the footage in Pinnacle.

Film log: 17th November (Saturday)

We arrived at the abandoned, decrepit factory near Spotland in the morning and set up our equipment within close proximity of the areas boundaries. We filmed some shots of the buildings facade, and a couple of long shots showing myself and max running from the area to connote some element of peril, though without delving into the source of that peril which forms enigma codes. Following on from this, we made the most of the drab, overcast weather by filming Max and I roaming a road. Kieran manned the camera whilst I had to play my role. For the shot-reverse-shot I used the steady cam to film Max in his role, and he the same for me. Furthermore, we shot a snappy fight sequence including Kieran and myself. I set up the camera angle and then subsequently performed a tackle on Kieran who was portraying a henchman.

We did confront a couple of problems here, such as the sporadic rain showers which sometimes intruded upon the shots we were trying to create. It also meant we had to protect the integrity of the camera with our coats etc. whilst it rained which, given the on and off nature of the rain showers, became time consuming and equally irritating. Fortunately, what boded as another problem, soon became an opportunity to advance our project. A group of local kids came across our filming area and, instead of causing a fuss, suggested I go with them to scout around the abandoned factory with them as they were familiar to the area, so I did hoping I could discover areas of interest and then feed back to the group who remained where we started.

After exploring the building and racking up numerous ideas to discuss with the group, I headed back to inform Max and Kieran. Soon we were inside and making the most of this hidden gem of a location though I had to carry the equipment, again. Inside we met a group of men who were doing a photography project who also advised us on the buildings interesting areas. Being a tad bit of a silver tongued devil I even managed to employ the use of two of them to be in our production as the two gasmasked me; an area of improvisation that I, and I'm sure everyone, believes will contribute to the overall quality of the projects end result.  I filmed the shots in the map room, abandoned storage rooms and the high angle panoramic of the horizon and factory ground from a smashed out window on the facade. Overall, the day went well and we got the work done that we had planed to, with the addition of another unexpected but great shot.

Risk Assessment

Each of the locations we used came with their own risks, but we took steps beforehand and minimalised the possibility of injury and any other risks to ensure filming was safe.

Moors

We filmed on the moors for a brief period in the morning which caused some complications. Due to the austere laws in place regarding the public use of anything that could be perceived as an offensive object, such as toy guns etc, and our desire to use at least one exterior shot exposing the gun to connote the constant hazards of a post apocalyptic world, we had to be resourceful in our use of this in order to keep within the law. We were also limited to one exterior shot because of this. Taking all of this into account, we were forced to keep the gun hidden in the bag with only the stock of the toy rifle in sight; I personally found this looked effective anyway, as opposed to conspicuous carrying of it. The shot only lasted a matter of seconds and there was no risk of anyone misinterpreting the situation.

Home Cellar and School Office

The aforementioned constraints to using exterior shots with toy weaponry meant that we had to do interior shots instead, either on our own property or on property where we had permission (our school for example). The law permits this. However, we still had to be cautious at school, making sure that none of the equipment was visible when in the rest of the school grounds as this is not allowed, for obvious reasons.

Factory

The majority of our filming was done at two factories. There were many people around these factories which caused a bit of trouble filming as some of them were stealing lead and copper, which brought up the risk of them stealing our equipment if left unattended. Once inside the factory there were broken glass on the floor which we had to avoid as well as watching out footing as we walked as files and paint were spilt everywhere, however there were adults there taking pictures who helped us around the building. The buildings were both structurally safe, so there wasn’t any need to worry about it collapsing and being unstable.

Institutional information

10. Institutional information – Think about the genre of the trailer you want to make and give the names of real film producers/studios and distributors who would release your film and a planned release date. (You need to show understanding of institutional issues and fully explain these choices). Download their logo and explain stating why they would be appropriate for your production.

A few studios that have done Post-Apocalyptic films:

Silver Pictures:  an American film production company who produced Book of Eli. All movies after Ricochet have been distributed by Warner Bros and its subsidiary New Line Cinema, which we could use as our distributors due to their links with Silver Pictures. It is important to choose a company that have at least some experience with the genre we have, even if it isn't a hugely common one.

Their logo is very enigmatic, using a futuristic square shape. The silver logo on a black background helps it to stand out, as well as connoting modernity, which seems to be important to their image as a contemporary film production company – this can be seen more clearly in their logo animation, as CGI is used to create a futuristic, city-like landscape; showing that the studio is looking to the future. http://vimeo.com/22075879

2929 Entertainment: has a hand in many different media outlets e.g. film and television production, film distribution, theatrical exhibition, home entertainment, television, and syndication. They produced the Post-Apocalyptic film ‘The Road’.

This logo is more traditional, and doesn’t hint at much, apart from possibly the target symbol which resembles a reticule which subtly hints that they produce action-orientated films. The colours used are also quite varied, with blue, black, orange and white which may connote they have lots of variety in the productions they have worked on. This is true if you look at the many films they have produced from many different genres.

Original Film: produced I Am Legend among many other blockbusters such as xXx, Evan Almighty and Fast 5 which shows they have a very good track record of big films. On their website they state this “Original: A Commercial, Film, TV, Digital and Music Video company housing Cannes Gold Lion winning directors, editors, and motion graphic artists that creates innovative content across all forms of media … and of course, in an original way.”  http://www.originalfilm.com/

The logo is similar to Silver Pictures’ in the colour scheme and tone it has employed, using a black background with a silver, sans-serif font. Although it is more detailed, in that it has used a gradient, metallic colour which makes it look as if light has been shined onto it, and it looks more professional than just a standard grey or silver.

Overall, we think Silver Pictures are the best production company for our film, as they have a good track record and links with Warner Bros. who are one of the big American distributors allowing us to reach a worldwide audience, with the actual film, our trailer and advertisement. Their logo is also quite enigmatic, and futuristic, which fits well with our film as it is Post-Apocalyptic, and set in an ‘alternative future’, which is what Book of Eli is also about. Having our production available to distribute in America and Europe means we would be selling to massive and lucrative markets, with the added benefit of plentiful technology allowing the public to access our film website and any corresponding games, music and competitions. We will include the institutional to the trailer to give key information and also promote our movie as a hollywood 'tent pole' production, given weight by the credibility and good reputation of the companies. 

George Miller

George Miller produced the Mad Max Trilogy of films, which are some of the best renowned and respected films in the Post-Apocalyptic genre. He co-founded Kennedy Miller Mitchell Productions, where he made this trilogy and it became the most successful film production company in Australia. They have produced other big budget films such as Babe and Happy Feet which have both been critically and commercially well received.

                                                    

Hughes Brothers 

The Hughes Brothers directed and co- produced the Book of Eli with Silver Pictures, which would make the creative and co-operative process with them much more hassle free, as they have worked together before, and achieved a good result. They have also worked with Warner Bros. before, which would also make distribution to a wide audience a much smoother process.

Problems on shoot

When filming, it is imperative that you and your group are fully prepared and organised to the utmost standard otherwise potentially challenging circumstances may arise. Some variables can be easily averted by planning to do filming at certain times of the day, evaluating the surroundings and checking weather forecasts. However, other variables can be unpredictable and spontaneous, such as people interfering with filming.

People entering filming area

People entering the area of filming is often an unpredictable circumstance whilst shooting; especially in areas nearby populated areas or that attract dog walkers, runners and chavs. When we filmed close to an abandoned factory in Rochdale, some filming was briefly interrupted by a small posse of kids aiming to loot the place of any diminished amount of copper, although they did help by finding ways into the factory for us. Later on in the day at the same location, a group of men, filming and taking pictures themselves, inadvertently entered some shots/made noise in the background which spoilt a few shots. Obviously, all this required to prevent was to inform them of our filming and the conditions we needed for it to work as we planned. Once again, this meet resulted in more help, when two of the photographers possessed gas masks and volunteered to be in the production. The same group gave us all some practical, lightweight respirators which proved to be useful in the dustier recesses of the building.

Weather

Though weather can be unpredictable sometimes, such as the sporadic rain showers we were subject to one weekend of filming that WASN’T forecast, it is generally easy to avoid problematic weather conditions like rain and gusty wind by accessing forecasts. Simply planning around times of bad weather is a start, but you must also take daylight hours into account. For instance, with winter drawing nearer, the time we have to film after school is drastically reduced since darkness sets in around 4 30 – 5:00pm and that is the time we get home on a typical day. Therefore, we have to film at the weekends on days that all members of the group are free.   

Sometimes it is inevitable facing film-unfriendly weather conditions which means the group should be dressed appropriately, that means plenty of warm and waterproof clothing when outside. This was made easier by the fact that we required coats and warm clothing for our actual production.
Wind was another weather condition that complicated filming due to the sound often overwhelming the dialogue in shots, meaning we had to adjust where and how we were filming to reduce this. It also made filming increasingly difficult when the weather got colder. Again, this is rectified by wearing suitable clothing, including gloves and wind resistant clothing. Sometimes the sound cannot be resolved and you have to just make the most of the situations.

Lighting

Lighting in buildings can be a problem; if there is too much or too little light in the environment it can ruin the mood of the shot, or even make the shot completely illegible. In addition to this, when rooms are partially shadowed and then partially deluged with light, the shots can come across obscured and therefore useless. Although this can be tricky because relocating to another location isn't always available, we did prevent some shadow problems by bringing a torch with a wide lighting radius.

The Law

Obviously the law isn't a problem, it is put in place to protect us, but, following the set rules regarding use of toys/replicas resembling real weaponry did cause strife with our initial plans to shoot several exterior shots with toy gun replicas. On the first day of filming we researched the field around this issue and discovered that we were not permitted to do exterior shots with replicas unless we got authorisation from a local council, but that would take weeks. Precious time that we did not have. Instead, we had to to replace the exterior shots with improvised interior shots at our homes (and a school office with permission during a lesson so it wasn't bustling with students). We did want at least one exterior shot with the replica so we decided to put it in the bag, which would conceal the majority of it and only reveal the rifle butt. 

Feedback from Rough Cut, and improvements needed.

We were unsure where to take our trailer by the point we were required to make a rough cut, so the feedback from other groups was extremely helpful considering they will be a demographic we want to please. The trailer at this point was far from what we want in the final product, and we know this. We just needed others opinions to decide how to structure the trailer in a satisfying way. 

The good elements

• Lots of good, atmospheric shots, but needs to be more like a trailer - remove some or cut them shorter. Be less precious about each individual shot. 
• The music choice is very good and accentuates the melancholy of the story and general atmosphere.
• Lots of enigma. Maybe too much, requires some changes.
• Made it very clear that the world, or area, has suffered a cataclysm - good job considering it's very hard to do nearby towns etc.

Very Rough Cut Improvements

1. Remove car sounds and other annoying background noise. Affects the overall quality.
2. Add dialogue scenes + news reports for narrative exposition and characterisation
3. More sound effects.
4. Start with disruption, then create pace and drama to separate parts - structure. 
5. Add more colour filters such as Chroma key to wash out certain colours and keep a gloomy atmosphere of desolation. (some shots appear slightly too colourful for instance). 
6. More action - perhaps in montage.