Risk Assessment

Risk assessment is a fundamental part of managing health and safety and helps you to identify hazards and control the risk they create for those involved in your production.

 Above, is the forms you have to fill out and the requirements you have to meet in risk assessment.
The process requires you to:

• take the time to systematically look at your activities
• decide what hazards they present
• assess the risk of people being exposed to these hazards
• find ways to either eliminate or control them

Me and Sophie will be filling these out right before we start to film.

Mine and Sophie's animatic storyboard- FPP

This is from our lesson yesterday, looking through and choosing which photos to use for our animatic storyboard.
 
Sophie and Emily FPP Animatic from Sophie Mace on Vimeo.

This is our final storyboard. Cal and Elliott are not the chosen actors to play our anti-hero and villain in the actual opening scene, but the were there at the time when we needed someone to play these characters for our storyboard. We haven't got this in our animatic storyboard but at the start there will be the House name and the production studio's name.
00.00-00.04: The femme fatale (who will be played by me) is running away from the killer, this will be a long, tracking shot. I will be wearing a long dress with heels, my hair will be curled, messy and down, and my makeup will be red lipstick and mascara running. The location will be a cobbled street in the city. Fast-paced music will be playing, with ragged breathing, a fast heartbeat and quick, heeled footsteps. It is night-time.
00.05-00.10: The femme fatale trips and falls to the floor at the killer's feet. The shot will be a close up of her body to see her on the floor, upset and in pain. The music will stop at the point where the femme fatale falls.
00.11-00.15: The shot will be looking down on her so it feels like the audience is looking from the killer's perspective.
00.16-00.20: The camera will be looking at the floor where we can see the killer's shadow (not on the wall, we couldn't get the lighting in the right place to take a picture of his shadow on the floor, in the filmed piece we will have a streetlight which will provide the right lighting for this).
00.21-00.35: This is a tilt up the bottom half of the killer's body to him holding a gun that is pointing at her, from this the audience will be getting her perspective. We may have some kind of music playing in the background to build up tension. The killer will be wearing a suit.
00.36-00.40: We will have a close up of the gun, looking up the barrel of it, so the audience feel they are the femme fatale looking at it. The gun will be a small, black pistol gun.
00.41-00.45: A long shot, showing the both of them, the femme fatale at her feet and the killer pointing a gun at her heart (it is crucial that he points the gun at her heart because it shows there is a relationship between them, as he has chosen her most vulnerable point for both her and him).
00.46-00.50: The camera will be behind the anti-hero, tracking him running towards the femme fatale and killer. He will also be wearing a suit and running down the cobble street, there will be no music, just his heavy breathing and quick, heavy footsteps.
00.51-00.55: The anti-hero stops running as soon as he hears the gunshot, we are still behind him and do not see his face. Everything is silent.
00.56-01.04: The scene fades into the opening credits, which will have the name of the film (we have still not chosen this yet) and names of people to do with making the opening scene. It will have a black background and white writing.
01.00-01.12: Still with the black background and white writing. The final title says '18 hours earlier'.
01.13-01.18: The camera will follow the anti-hero into the wedding shop, he will be wearing the same suit as earlier. It is now day-time. It will be a mid shot of him from behind.
01.19-01.23: A mid-shot of the killer, femme fatale and the woman working in the shop, them finishing their conversation (helps the audience realise the femme fatale and killer were together and buying a wedding dress for their wedding). The anti-hero will say something to the woman working in the shop (this will help the audience to understand that he is the manager of the shop). The killer is quite rude to the lady working in the shop.
01.24-01.27: The killer pushes past and into the anti-hero. Mid-shot.
01.28-01.38: Eyeline match between the anti-hero and the femme fatale. To show what has caught her eye. She is wearing the same clothes as in the night-time scene but her makeup and hair is all in place.
01.39-01.48: Over the shoulder shots, over both of their shoulders so that the audience get both of their perspectives and can notice the attraction between them as she strokes his chest/neck when she walks past.
01.49-01.52: A focus pull, of the anti-hero watching the femme fatale walk away, to show what he is focusing on.

Animatics vs. Storyboard

Animatic vs Storyboards from emlouiise

The main reason why me and Sophie chose to do an animatic over a storyboard is because neither of us are particularly that good at drawing, due to this we thought it would look better and be clearer to understand if we made an animatic storyboard instead.

Example of an animatic:

Example of a storyboard:

Story Summary

The plot to mine and Sophie's opening scene for our film noir is the beginning of the end of the film where the femme fatale is being chased by the villain and he is wanting to kill her, and is also being chased by the anti-hero so that he can save her, but there is a mystery as to whether the villain catches her and shoots her or not, so the audience understand there is an attraction between the anti-hero and femme fatale for him to be chasing after her worriedly. After the credits, it goes back to earlier on in the day with the femme fatale and the villain in a wedding dress shop looking at wedding dresses, so the audience now understand that the villain and the femme fatale are together and soon to be married, however the anti-hero owns the shop and when he enters you see the attraction between them start.

The overall story is that the femme fatale and villain are due to be married, but the villain is abusive towards her and she is not happy in their relationship, when the anti-hero comes along and she sees the attraction between them and how much he likes her she seems him as her hope and escape to get out of the relationship with the villain, because she will run away with the anti-hero and he'll protect her. However, the villain finds out and follows her as she goes to meet with the anti-hero, he is possessive so he is easily jealous, he believes if he can't have her then no one can which is why he chases her and he kills her by shooting her in the heart.

Different audiences and the target audience for mine & Sophie's film noir

The different types of media audiences:

Audience pete buckingham what people go to see from Elaine Humpleby

Mine and Sophie's target audience for our OTS, after discussing what media audience we think would be most appropriate for our film noir, we have decided that Film Fanatics is most likely to be our choice of a target audience. Film Fanatics are male and female, under the age of 25, who plan to go to the cinema and plan what they are going to go see, and people who read reviews about film and decide from them whether they're going to go or not.

First lesson of planning for our opening scene

As of our first lesson of planning, me and Sophie have come up with out plot for our opening scene and the whole story of the film. We have also decided on location, actors to play the three characters and costume for mise-en-scene. We decided on what shots and camera angles to use, how quick the transitions would be and where they would fade in and fade out, which scenes we wanted music in the background of, the script for the opening scene, what non-diegetic sounds we would add in afterwards and where the opening titles would feature.

Straight away after this lesson we went to Billie Bell, a fellow student in our year and asked him if he would mind creating a piece of fast-paced music that would go with a scene of someone scared and running. He said he would see what he could find for us.

Next we would need to create some sort of chat on facebook between me and Sophie so we can always keep in contact with new ideas or any changes or where to meet and when. We could also have a chat with both of us and the actors in so they know what they need to bring and what they will need to do and where beforehand of shooting the opening scene. Also we need to come up with a name for our film.

Continuity Task

Night stab from Cal Ives-Keeler on Vimeo.

In the continuity task we struggled again with timing which explains why we do not have any sound or transitions, because we did not have time to add them in once we'd put it together. In our group was me, Sophie, Cal, Elliott and Ruby. Cal was the cameraman, I was the director, Ruby and Elliott were the actors and Sophie helped me with where they should be and what they should be doing.

Editing techniques in film noir

IMG 5030[1] from Emily Smith on Vimeo.

Experimenting with Foleying

After doing some research with foleying, me and Sophie have decided to experiment with foleying for possible noises for our opening scene for Silent Temptation.

Here we are experimenting creating footsteps:
















The recording of the footsteps noises that we made while foleying:

I am wearing heels while recording this because I will be wearing heels in the actual scene of filming, this way we can make it sound as realistic as possible.

Here we are experimenting creating heavy breathing:











The recording of the heavy breathing noises that we made while foleying:

For the heavy breathing noises I made sure that I'd done quite a bit of running beforehand of recording it, this way it sounds more natural than if I hadn't.

Foleying Research

Miss Humpleby has posted a bit about foleying onto her blog, and after reading into it me and Sophie are considering doing it. We;re not 100% sure that we will include in our final edit of the opening scene to our film noir, but we may play around with it anyway just in case. If we choose not to include any foleying into our final edit, then FindSounds will be helpful.

Research on foleying:

Neo Noir