Q1: In what ways does your media product, use, develop or challenge forms and conventions?

Final Product: Insanity

 

 

I AM OMOLARA LAWAL: 7913

I WORKED WITH;

 

FATMA MUSTAFA: 7107

SUWEDA SHIRE: 7128

MOHYADIN HASSAN: 6070 

 

INSANITY

 

Q7: Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?

Preliminary Task

A preliminary task is a quick shooting and edit of a short film, typically under one minute. There are a few aims of the procedure of this, including it allows you to demonstrate film skills such as acting and camera operating, then see it reflected in the final result. It's also a chance for the cast & crew to work together practically for the first time. Preliminary Tasks are intended to be of a low quality so you are able to identify how you have improved once your final movie is created. The disadvantages of a preliminary task may be that the deliberate low quality could be discouraging to edit. Also, typically more footage that allowed will be filmed, so it's tricky to pick with parts to get rid of, whilst keeping all of the informative sections. These decisions could lead to disagreements within the group.

Our preliminary task is approximately thirty seconds. To achieve this, we had to cut out some of the footage using Final Cut Pro.

The plot is based on two school friends arranging a date on the isolated stairs of Oasis Hadley.

Since the preliminary task was made, we've moved onto a professional production using high-tech programmes, tripods, storyboards, and more. There are four key things revolving around filming and editing, that as a group we feel more confident in performance.

1. Filming - We learnt different shots, when before we struggled to shoot a variety. An example is over the shoulder to allow the audience some key information (what the Professor is so intrigued by).
2. Filming - We learnt how to use the tripod more efficiently. This is reflected in the angles we have included like a high angle on the unstable state of Lara, to emphasise her vulnerability.
3. Editing - We learnt how to transition well so the narrative flows. For the flashbacks, we used a white fade to colour, as this is the conventional transition of time jumps in films.
4. Editing - After doing our secondary research we learnt how to single out all the edit techniques conventional to our particular genre which is a thriller. To make Ivy look more scary and foreboding, we lowered the lighting and included effects such as Bad TV.



1. Over the shoulder - gives the audience info



 

2. Tripod - high angle makes her seem defenceless

3. Transition - fade to white as she gets killed



4. Thriller convention - dark lighting

 

 

Using Final Cut Pro again, we created our final product. There are even more distinct differences in the quality of work which are explained using these three comparisons.

 

1. Our camera framing has improved. This means that the space on either side of the subject is even. In the preliminary, as shown below, there is too much unnecessary space next to Suweda - the staircase doesn't need to be visible. Also to our disadvantage that caused someone on the stair to be captured. Whereas in the final product, as Fatima approaches Lara, there is just as much white wall on her left side as on her right.
 

2. We learnt how to film on action. In the preliminary, the shots start before the actors start acting, causing pauses and delays that shouldn't be there. For the final product, we cropped each scene so it transitions into the narrative. LEFT: you can see Suweda standing and waiting for Mohyadin to talk rather than opening the door - RIGHT: I'm up and throwing the chair, which follows conventions; it's unexpected which was the intended structure of our narrative.

 

3. Our effects improved, or rather became considered, as in the preliminary we had none. Though it was supposed to be a rough idea of a narrative, the effect still does manage to make the clip look a lot more interesting, engaging, and sets certain moods, attitudes, feelings, etc. Without an effect, as shown on the left, it seems like a regular documentary - when added, it becomes a real movie which will earn a big profit.

 

 Our planning consisted of the following:

 

 

 

PERSONAL RELFECTION

 

Did you make a successful thriller and why? Yes, because our aims were to: create an interesting plot, distribute it professionally, while sticking to thriller conventions. I think we achieved all of these goals as our plot is a mixture of various thrillers such as Psycho, Se7en and The Butterfly Effect. We made final touches and changes using professional programmes such as Final Cut Pro, Logic, Garageband, and throughout we kept evaluating ourselves using platforms like Soundcloud and YouTube. It was easy to maintain the thriller aspect in our opening because before we started we did secondary research, which involved looking at other thriller clips on YouTube, analysing their camera tricks, narrative, acting (and more), to become familiar with the genre.

 

What did you most enjoy? I was editor, and it was fun playing around with things; even better, very satisfying when a shot or transition finally worked the way I wanted it to (as the programme is really specific thus frustrating). Playing back the movie over and over got tedious, though when watching for changes you've just made, it becomes twice as better to see.

 

What could be improved? There was no action that I could describe as wrong or not good enough, though our teamwork wasn't always up to standard. I think that the camerawork of some shots could be improved, as we had to crop certain scenes due to unexpected jolts of the camera or shaky filming. This is because the amount of work produced between members wasn't even, so more was piled onto others which lead to more frustration and panic over getting everything done. Next time I'd really like to work in a fair team, so there's enough potential time and energy for every aspect of the production; someone doing too much could result in one thing worthy of an A and one thing worthy of a D.

 

What are the main things you have learnt over the whole process? I realised that everything that exists starts from scratch - the hard way, because when we were filming, all I could do was worry about how I'd sort it into a timeline perfectly. When editing, if I had to change something temporarily in order to make another change, I felt as though the whole thing is ruined. so I learnt to take my time and accept any mistake made, because anything can be redone. Practically I got better at using the internet and it's different platforms - another realisation that hit me is that YouTube, Blogger and everything else isn't just for entertainment purposes. These websites offer an opportunity to do some work, be creative and make things, which is where the embed tool comes in handy as everything you do can be merged one way or another.

 

Q6: What have you learnt about the technologies from the process of contructing this media product?

Q5: How did you attract/address your target audience?

Q5: How did you attract/address your target audience?

It is important to carry out secondary research, before attempting to produce a film, in terms of the target audience. This includes drawing up information on other existing movies of your genre; consisting of things such as their target audience, their actual audience, and how they achieved it. Compulsory to filmmaking – every producer needs inspiration for concepts and ideas as well as improvements later on. Getting in tune with how the film world works around different audiences is beneficial to the creation of your own content. Every film needs a target audience because ultimately the profit providers are the general public.

Before producing any kind of product intended for the entertainment of the public, there needs to be a general idea of the target audience. For instance, a thriller movie typically attracts people either aged 15 and over or 18 and over, with an interest in the actual genre. There are more personalised opinions from people about thrillers, rather than just if they like that kind of movie or not. This is why a questionnaire is relevant towards everything about the production of a movie, including finding out about the use of its conventions, connotations and symbolism. Those are just a few subjects which you can carefully embed into a questionnaire through some interesting thriller-related questions. These results are necessary because the potential viewers of your final creation will most likely be more or less the same ones who answered the questions. There is no point in making something for the public if there is no notion on what they want, don't want and what they generally expect. Everything that gets collected from a questionnaire is primary research and beneficial to the adjustments you make to your production, based on what your audience wants.

As a part of my planning, I created my own research into different aspects of my thriller that I was unsure about – sure as the structure in question 20 (they had to pick ‘chronological’ or ‘unexpected’ and explain why). It starts off with the generic demographics and leads into broad questions about what they would want/expect from any new kind of thriller. Then I ask more specific questions to get an idea of how I should make my opening conventional. In addition, some questions focus on the comfort of the viewer, for example being asked about what may offend them.

 What is your name? _________________________________________

2.        Are you a MALE or a FEMALE?

3.        How old are you? 10-15 | 16-22 | 23-27 | 28+

4.        Are you a STUDENT or EMPLOYED or RETIRED?

5.        Do you enjoy watching thrillers? YES | NO

6.        Do you prefer a 15 or an 18 thriller?

7.        If a new thriller were to be made, what would you want? ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

8.        What would you expect? ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

9.        Do you get a chilling response when you watch a thriller? YES | NO

10.     What do you think is the most common dilemma in thriller movies? __________________________________________________________________________________

11.     Do any of these thriller aspects offend you?  RELIGION or SEX & NUDITY or DRUGS or PARANORMAL ACTIVITY or CONTROVERSY or CULTURE or VIOLENCE or RAPE

12.     What is your opinion on oppression/discrimination/persecution within thrillers? __________________________________________________________________________________

13.     Is censorship important & what would you like to be censored? ____________________________________________________________________________________________________

4.     Should there be any languages other than English spoken in the newest thriller? Specify. ________________________________________________________________________________________________________________________________________________________________________________________________________

15.     What particular genre of music would you like on a thriller soundtrack? POP or ROCK or INDIE or SOUL or JAZZ or SCREAMO or ALTERNATIVE

16.     Does the plot of a thriller seem more appealing when distributed in an INDOOR area or an OUTDOOR area?

17.     At the beginning of a thriller, do you prefer NORMALITY or DISRUPTION?

18.     At the end of a thriller, do you prefer a SOLUTION or a CLIFFHANGER?

19.     Which of these personalised character themes would you be most interested in?  DEPRESSION or MADNESS or SEXUALITY

20.     What kind of a structure suits a thriller – CHRONOLOGICAL or UNEXPECTED? Elaborate why. ________________________________________________________________________________________________________________________________________________________________________________________________________

21.     Should the main character be GOOD or EVIL?

22.     Should the main character be MALE or FEMALE?

23.     Are the victims of thrillers usually MALE or FEMALE?

24.     How many friends or family members do you know that watch thrillers?  0-5 | 6-9 | 

Some specific results caught my eye in which I chose to include when making decisions, such as two ’20. What kind of a structure suits a thriller - CHRONOLOGICAL or UNEXPECTED? Elaborate why.’

·         “I think an unexpected storyline would be best, the whole point of a thriller is to build up to some kind of scenario that we’re not going to expect. It’s alright to have some confusion as everything gets revealed in or near the end.”

·         “I’d say it depends on the plot but really, generally, in the thriller genre there are a lot of jumps and ‘whodunit?’ which of course has to be accompanied by something beyond our imagination. Audiences gets manipulated but we love it.”

On the whole, the people asked settled for unexpected over chronological. It seems like a very specific question, but when put to the test practically, it shapes the way a whole film flows. This is why I place importance on these answers as I am willing to agree. Certain keywords such as ‘best’, ‘we love it’, and ‘generally’, tell me that others would also go for the same option, hence enough reason to stick with unexpected as the typical fan of thrillers appreciates this.

This research of questionnaires has been beneficial to me because previously I could not see the importance of collecting data on a person's opinion, but now I understand that if you collect the right feedback from an intended audience, the outcome of the production is most likely going to be better than it previously would have; without any notion of what the audience, the ones with the money, would or wouldn’t waste time on.  But making my own questionnaire has taught me that it's a massive teamwork between you and the public, the decisions are a mixture of everyone's wants & needs. I think my questionnaire helped me developed my ideas because being new to the entire thriller sector of film world, I had but a vague idea on what the conventions are and which the audiences prefer. My aim was to make a typically conventional opening; so the general opinion has been very useful.

After collecting my results, I analysed the majority of them, I created graphs to represent the data and feedback I received. I talked about why I asked a question and how this relates to my groups’ ideas on the same topic - this is important because both the public and the makers of a production should be satisfied, so a balanced preference on both sides is most ideal.

To the right is an illustration of some of the feedback I collected. On display are questions 5, 6, 9 and 11. Each question has a graph representing the data collected from that question, and an explanation on why I asked, what I found and how it’s impacted my groups’ decisions.

This research thoroughly helped me determine what I would actually do within my production - specifically and generally. For example, generally, a 15 thriller would strike up lots of anticipation. Specifically, members of the audience will sub-consciously feel more in tune with the main character if they are a female. These assumptions are based on questions from my own research.

Overall, analysing the feedback of my questionnaire gave me a stronger awareness on what the thriller audiences’ wants consist of. To my benefits, most of the conclusions matched up to my initial ideas – for example, in question 11, the most offensive aspect was voted paranormal activity. This helps me because in my plan I had formed the idea of a demented woman in an asylum experiencing flashbacks with unstable reactions. Generally, from my research, this theme is liked, so I continued it into my film-making. Next time, I would like to ask a wider range of people (as this questionnaire was handed to only twenty people), and ask more in-depth questions.

Q3: What kind of media institution might distribute your media product and why?

Q2: How does your media product represent particular social groups?

Q4: Who would be the target audience for your media product?

Preliminary Task (Mr. S)

Preliminary Task

A preliminary task is a quick shooting and edit of a short film, typically under one minute. It allows you to demonstrate film skills such as acting and camera operating, then see it reflected in the final result. It's also a chance for the cast & crew to work together practically for the first time. Preliminary Tasks are intended to be of a low quality so you are able to identify how you have improved once your final movie is created. The disadvantages of a preliminary task may be that the deliberate low quality could be discouraging to edit. Also, typically more footage that allowed will be filmed, so it's tricky to pick with parts to get rid of, whilst keeping all of the informative sections. These decisions could lead to disagreements within the group.

Roles
Camera Operator & Director: Fatma, because she is steady with the camera, a good improviser and confident in decision-making.
Producer: Lara, because I am good at group-work so can co-operator with the director fluently.
Actor: Mohidin, because he is a student at Oasis and fits the role of a young person asking another young person out.
Actress: Suweda because she is a student at Oasis and fits the role of a young person asking another young person out.

Our preliminary task is approximately thirty seconds. To achieve this, we had to cut out some of the footage using Final Cut Pro.

The plot is based on two school friends arranging a date on the isolated stairs of Oasis Hadley. We've included shots such as over-the-shoulder, movements such as panning and angles such as low angle mixed with a tilt.

Scenario

• The scene begins with Mohidin asking Suweda what she's doing later
• Suweda says that she's doing not much, so Mohidin takes the chance to ask her to the cinema
• After the date is confirmed, they head downstairs as Mohidin offers to escort her to lesson
• Before Suweda exists through the door, Mohidin says he will pick her up at 7
• They say goodbye and the scene closes as Mohidin is shown going all the way downstairs and out of sight.

Difficulties we encountered whilst filming:

• Unfortunately, the place we decided to film is popular of passers-by, so one shot vaguely included a man standing in the background. The other attempt at the shot included laughter which we thought was a bigger issue because it wouldn't make sense to edit out the sound as the sound included important dialogue.

• Camera operating was vaguely difficult as we had limited space, so choosing which frames to use proved to be tricky. We decided to extend the setting down the stairs to overcome the little options we had.
• The actors found it hard to act professionally and laughed at times, causing us to re-take some shots.
• Background noise and people passing by forced us to wait until it was quiet/coast was clear, before filming, which wasted precious time.
• Sometimes the director and producer had different ideas on what the actors should do, so discussion would delay action.

Difficulties we encountered whilst editing:

• We had trouble with the lighting in the shot of Mohidin standing against the window. We noticed this after it was put into Final Cut. It makes the edits before and after seem very choppy and unprofessional. Luckily, it only happened once, as the rest of the shots were clearly filmed. 

• Near the end, a very choppy edit that we couldn't smooth out - or simply didn't know how - slowed the flow of the scene.

• We ended up with too much footage that we had to cut down in order to reach precisely 30 seconds.
• Some mistakes were made while editing, so we had to undo the action and do it again differently.
• We started playing around with sound for a while before we realized we didn't have to.

What have I learned? I've learned that setting is very important as our location seemed unattractive in contrast to the mood of the plot. Acting should be believable, especially in our scenario which required a lot of facial expressions to show the emotion of being asked out. The space of our location should be thought about as well as the actual place - we could hear their voices clearly, but rather loud and echo-like as it was in a compacted space that extended further down like a tunnel. Above all, group work is compulsory as this is not a one-man show and there are multiple roles that need to be fulfilled efficiently without hassle.

Conclusion: I am writing this after starting my real AS production, so I can confidently say that the preliminary task was a good and practical preparation for a much more serious task. Looking at the flaws in this video also gives us strong ideas as to what not to do now - such as film a character in an obviously bad angle that results in the poorest lighting. It's warmed us up to our roles which has to be kept throughout the hardships of the practical coursework. During the preliminary, we did not focus majorly on the idea of the audience - just how we thought it looked and no further than that. However, now, I see the importance of doing everything for the audience and not just personal fulfilment. 



Planning: Shot List (Miss. B)

Planning: Shot List

 

The shot list is an extra legal document, created by Lara (me). It briefly describes the camera shots, movements and angles. I've included which frame they are to be considered. This is useful for the camera operator who we have chosen as Fatma.

 



Planning: Pre-Production Paperwork (Miss. B)

Pre-Production Paperwork

We've created five pieces of production paperwork, in preparation for the shooting. These are legal documents used in real supervised productions, thus are compulsory to be accessed at all times. Each document has been read and signed by anybody in the cast, crew, and our media teacher.

•            Production Schedule - created by Lara 

The production schedule is designed to inform members of the cast & crew of what's happening, when, and where. It also includes who needs to be there at specific filming times. The notes at the bottom clarify how props will be handled beyond filming hours. I had some difficulties with organizing the layout. This document is given to all members of the cast and crew.

• Location Recee Form - created by Mohidin

The Location Recee form is designed to inform members of the cast & crew of the different locations used as sets. It provides directions with how to get there, and when. Pictures of the locations BEFORE set-up have been included so people know what to look for as it will look different once we film. This document is given to all members of the cast.

• Client Release Form - created by Mohidin

The client release form is designed to grant us permission to film in locations or areas or locations that may be owned by others. It provides a legal agreement to each of the locations between the cast and anyone who has the right to be shown this document. This document is given to anyone who could sue us e.g homeowners.

 

• Risk Assessment Form - created by Fatma

The risk assessment form is designed to inform all members of the cast & crew what hazards there could be during the makings of the production, how likely they are, and how to resolve them. Explanations are only provided for those with a moderately strong severity. It's important for anyone participating to know the disadvantages before they agree. This document is given to all members of the cast and crew.



 





 

Planning: Micro-Elements (Mr. S)

Planning: Micro-Elements

In this post I am going to discuss the use of micro-elements within my opening. The main aspects within the 'micro' aspect are cinematography, sound & editing. These elements are all a part of any film production, which is the generic answer to why they are so relevant and important. 



CINEMATOGRAPHY
Using a collection of filming techniques, cinematography can act as a direct communication with the audience, or the feel of being 'inside' the movie. Smart and sophisticated camera tricks are distinguished greatly over the thriller genre.

Cinematography is split into three main sectors: shots, angles & movement. Cinematography is important in thrillers because depending on how it is established, the actual 'thrill' response can be created.

Our first camera movement will be a panning shot. We chose this to allow the audience an overview and first impression of the Professor's character before diving into the plot. To contradict that freedom of impression, the panning shot was selected to construct a certain kind. We'll do this by showing him sitting at a desk with coffee, pens/papers, and a laptop. On the wall behind him are photographs and notes, which are all based on the anti-hero. We can see him observing a laptop, scrutinizing facial expression. This immediately has positive connotations of his intentions because as he will be made to look like a well-educated Professor (glasses, lab coat) his purpose can only be research for the means of knowledge/understanding. If we were to give him the opposite imagery, he'd have scruffy hair and perhaps a messy desk of spilt coffee, torn papers in red ink signifying danger.

We are going to use an over-the-shoulder shot as the Professor is observing Lara through a laptop screen. The camera will be directed toward the laptop screen instead of a person, despite this shot generally being used for conversations. The use of over-the-shoulder exposes to the audience what exactly he's watching, and unravels a main theme in the plot - psychosis/psychological/vice versa. It's also important because the next frame is a zoom, which will flow the best if from over-the-shoulder we move the camera straight into the laptop as it's already focused on that subject. Zooming into the scene will make the audience think they're going to find out more about it, more than what the Professor will determine, as the point of view will be INSIDE the room during the event, whereas he's watching it back on footage without first hand experience.

A close up will be used on the anti-hero's angry reaction after the first flashback. This offers the audience the chance to connect with the character, as in the flashback she's shown as happy despite it being out of an affair. When shown currently she is no longer in that beneficial situation and therefore it makes sense for her to respond to the memory in a negative manner. It's also a sign to the audience that she does have mental instability and split personality; it should take something drastic to remember events that lead to feeling scarred however the memory sparks up out of the blue, and her response itself it drastic and fast. The audience are made to respond with sympathy for her response OR respond with anger toward her initial anger because of the idea that she ruined the relationship between herself and the lover, and the relationship between Ivy and the same lover. Much like she has multiple personalities, the audience has multiple choice as to how their response unfolds, too.

There will be a long shot used during the scene of the antagonist's arrival. This frame involves  a clear, full shot of the closed door; representing 'pathways', 'alternatives' - conventional to a thriller, as generally they are made to be interpreted in different ways by different members of the audience. The door will be opened revealing something new and bringing forth content to add to the plot. In the scene the door actually slowly opens, so is not a still frame of the closed door. This creates a further response because as we see the full door, we wonder who will walk through: will they be tall or short, big or small, human or supernatural? Will it be the Professor? A closed door sparks up the imagination that is key for audience engagement, because once they see the identity, the tension vanishes.

A point of view will be used to see things from the anti hero's perspective when she is aware of the antagonist's presence. I considered point of view not just being what 'you' see, but how you see it. This is why I aim for the camera to be held quite still to represent the anti-hero's shock. The only movement is of the antagonist walking toward her. What we see is plainly the antagonist's facial expression, which has no expression. Instead of making her look malicious or vengeful, we thought the most effective symbolism of her death would be to actually make her face look ridden of emotion. The point of view is conventional because the distinction between antagonist and victim is made clear because of the antagonist walking toward the camera, which the audience knows is a person in a vulnerable state. This direct targeting also sparks interest and reflection on the first flashback of the affair, and anticipation on what might happen now because of that event.

We've also included a high angle during the anti-hero's episode of insanity. As she is acting crazy, the camera will be slightly looking down on her. The most obvious meaning created by this is that she is vulnerable - but it links to authority, too. One being the Professor who is 'watching over' her by observing her behavior. He is obviously qualified to do so. And the second being the antagonist - the high angle foreshadows the low angle combined with P.O.V when we meet the antagonist. Both of these tricks are again a clear distinction of who is the bad and who is the good. This could be argued to not be true as the Professor's figure of authority is not intended to be perceived as a bad one.

An extreme long shot makes up the scene of the anti-hero shooting the antagonist. This allows the audience to visually witness the full crime scene and connotations attached to it such as darkness in an isolated road. 

SOUND

Using a collection of props and/or editing techniques, sound can assist the audience into following the story or plot. Sounds are a part of daily life and contribute to our feelings, instincts and emotions, the same effect can be achieved by using sound within a production. 

Sound is important in thrillers because, when considering onomatopoeia, there are many different kinds of sounds that are conventional to a typical scene in a thriller - for example a bunch of violin strings mashed together to create that 'huh?' effect when a character has just heard something ELSE, like a BANG! another kind of sound previously, that was shady. Sound has to flow for understanding to be kept. 

We will use digetic sound when the anti hero shoots the antagonist. During this flashback, their roles are completely different - the antagonist is made to be the victim. So, in correlation to the 'anti-hero's' actions, we need the sound of a gunshot when we see her pull the trigger. This may create shock, but I would rather say the audience would be frightened instead, because there will be no other mellow sounds to warm them up: the gun is abrupt. I think they would be more frightened, considering we see the gun in her hand BEFORE she shoots, which would be the actual point of shock and start-up of tension. 

We will use parallel sound when the anti hero and the lover are caught by the antagonist. In this scene she is not going to be portrayed as an antagonist, so the sounds we use need to match the idea of her feeling emotion such as shock, betrayal and hurt. She's going to react to what she's seen with gasps, which I think is the typical behaviour of someone who has just been cheated on. The audience will be able to sympathize with her situation, and have more understanding of the anti-hero too. It isn't made clear if they know each other personally, there's no expected dialogue, because we wanted the audience to ponder on this.

Within the anti-hero's present reality we're going to include on screen sound such as crying in response to the memory of the murder which gives off vibes like guilt and regret because of where she is today. This, along with other on screen sound, is important because it is proof to the audience that she is mentally disturbed as she will act in different ways in different times, an indication of insanity. The different sounds we actually see her performing will emphasize this as her facial expression and body language will be visible too.

Non diegetic sound is to be used through a soundtrack that sounds dark and is accompanied by a high tempo. This will be played when the antagonist is approaching the anti-hero; her response being to back away from her in a somewhat slow movement to exaggerate that tension created by the soundtrack. Audience will think that the climax of the plot is approaching but will be rewarded with a frustrating cliff hanger as the music stops on the last frame that looks like it ought to have more footage. This is why the non diegetic sound we've picked is really effective.

Our last significant aspect of sound is off screen sound. This is present during the first flashback and includes traffic, birds chirping, and any other natural but non-disruptive sounds. This clearly shows that the couple are in public and in danger of being caught Further, the birds chirping could signify the idea of gossip which leads to being exposed. And, the traffic could foreshadow the antagonists' death - although she dies by a bullet, not by a car. This is conventional to a thriller genre because modern romance films are set in urban locations so it is logical to incorporate that into the romance sector of our thriller. Audience may be able to relate to this event because of it's urban feel and the youth of the couple.


EDITING
Editing is important in the flow of a production. This means the transition from one shot into another without it being obvious or messy to the audience. It's a powerful tool, when combined with sound especially, to stir specific moods within the audience.

There's going to be a reaction shot when the antagonist catches the affair between the anti-hero and the lover. This allows the audience to see her reaction to the event, and create sympathy toward her character. These feelings will be stirred because her facial expression will look hurt. This is conventional to the thriller genre because within a thriller, themes such as shock and tragedy are very typical. 
A slow edit will be put in place when the antagonist enters the anti-hero's room. The audience will respond with the feeling of being chilled/creeped out due to the tension that, by the example of legendary iconic thrillers such as Psycho, so obviously indicates alarm bells as something serious is about to happen which will steal away the atmosphere of tension and replace it with shock, confusion, fear. The slow edit of Ivy approaching Lara is what creates that temporary suspense.
When the antagonist walks toward the anti-hero we're going to use shot reverse shot. This is really handy as it creates more intense suspense though it's the exact opposite technique of the slow editing, as shot reverse shot is commonly quite fast. This, unlike other things such as a close up, allows the audience to establish both character's feelings and emotions in a short space of time - without being confused. This is conventional to a thriller because the tension is circled around the two characters which is reflected in the way the camera works between them. 
To make the transition between the laptop screen and the empty room, we're going to use a wipe cut. We think this will be the smoothest option available because the shots literally have to merge from one to the other and the wipe cut seemed the closest to this professional looking edit as possible. This edit fascinates the audience and prepares them for their 'journey' into the room with the crazy lady. They may feel they're about to gain an insight into her situation, which the Professor won't, because he remains behind the laptop screen. 
A fade to white will be used three times - each being the switch from reality to flashback. The flashbacks will be in black and white, indicating a past time, so fading to white seems more appropriate to the grayscale in brightly lit situations. A contrast may seem painful to the audience eye. Essentially the white is also a symbolism of an outcome of each flashback. White is what the antagonist wears in present time. White is the color of the walls in the asylum room. White is what we see heaven as, which relates to the idea of the antagonists' death. These all contradict each other as she clearly doesn't go to heaven and is not pure, in the end. However it's effective in creating these illusions because the idea of purity cloaked around her skin while she has sinful intentions, to hurt, is thrilling. 


To conclude, I've identified and explained some of the important features in our opening of cinematography, sound and editing. When written there seems to be many connotations, but I am fully aware that these may not actually be established visually unless somebody actually analyses the scene. This is why I've stated the main purpose of the technique, referring to our production as closely as possible.