Final Trailer

Final Poster

Final Magazine

Evaluation Question 4

How did you use media technologies in the construction, research and planning, and evaluation stages?

The development within the use of technology from AS level to A2 has been immeasurable. With regards to hardware, the range with which we used the equipment we had at our disposal had increased from simple variations within shot type to a more purposeful use of shot angles, pans, blurs and other such camera techniques. Similarly, the recording of ambient sound which was then layered within final cut was also an improvement as it created a more intense level of verisimilitude, something which is entirely necessary within trailers of the Crime Thriller genre. 

It is not only hardware with which we have improved, however. Within Final Cut itself, shortcuts for the blade and pointer tool increased the speed of editing when taken in conjunction with the magnetic timeline, and then the aesthetics of the trailer was made to look better through a more competent use of effects such as "Colour Match", transitions such as "Fade to colour", and sound layering. This development in software was reflected within Photoshop, whereby the previously non existent knowledge of the programme was improved upon through regular practice throughout the year, from our original making of collages to the final pieces which are our ancillary tasks. There was however some areas with which I had previous experience, those being Adobe AE and Sony Vegas. These were utilised to a great extent within the narrative graphics and the final title, with the effects being made on After Effects various media generators, and then being exported to Sony Vegas whereby a transparent text layer that was made in photoshop was waiting, ready to be edited. This synergy between products was something that wasn't done last year in any shape or form, and as such allowed the final product of this year to become as good as it has.

Moving backwards in time, there has also been a development in digital technology to be found within our research and planning, especially concerning the aforementioned convergence of software, this time with particular reference to blogger. The embedding of SoundCloud, YouTube, Prezi and various images allowed a more comprehensive plan of our trailer and ancillary tasks to be drawn, one which not only makes our blogs looks better, but also allows for easier access to influences and as such a faster production stage.

Examples/Showcases of technologies which have been used can be found below in a presentation from myself and my two partners, and annotated diagrams showing how Photoshop, Sony Vegas and Adobe After Effects CS6 were utilised to produce the products which make up our marketing package. 

Digital Technology analysis:

Ancillary tasks analysis with regards to technology:

PHOTOSHOP IN ANCILLARY TASKS

AFTER EFFECTS AND SONY VEGAS IN TRAILER

Evaluation Question 3

The question "What have you learned from your audience feedback?" is very open ended, and as such we went about answering it in a multitude of ways. One of these was through an audience screening, photos of which can be found below, in which questionnaires were handed out asking both qualitative and quantitative questions concerning our trailer. By doing so, we were able to produce graphs of audience type and correlate them with feedback on the trailer. This can be done so regarding enjoyment of our trailer in comparison to age, but also with age in comparison to films which they have seen. If any of our main influences are regularly being viewed by our target age range (15-24) then we can be sure that we have chosen the correct target audience, and as such continue marketing to that sub-section.

Examples of the questionnaire the sample were filling out can be found below - followed by statistics referring to the quantitative side of the research.

Audience Survey - audience replies to the question, 'What was your favourite part of the trailer and why?'

1. 'Shots of London and strong, clear narrative'.
2. 'High shots of Gabriel running and sliding down banister; the shorter snapshots of film with music near the end'. (montage)
3. 'The interrogation scene, high intensity'. 
4. 'Tense Music, cuts from action to romance'. 
5. 'News shot'.
6. 'Gabriel running through London, news flash, vibrant colours'. 
7. 'Montage sequence, news flash, city shots'.
8. 'Shots of buildings with clear narrative'.
9. 'shots of the city & colouring of overall trailer - nice clear aesthetic'.
10. 'Good use of colour'.
11. 'Use of London settings e.g London eye and the use of blue colour as it established tone'.

Due to 100% of the audience saying that they would go on to watch the film after viewing the trailer (Most of which were within our target age range), and a majority viewing of films such as "The Dark Knight Rises" and "Drive" we can conclude that we have chosen the correct colour and tone for the film; one which appeals to the audience which we are attempting to target.

This, however, only had relevance to our trailer and as such further audience research took place which could relate to our ancillary tasks. Videos of Focus Groups and individual interviews can be found below, regarding all three of our magazine covers and then our decided film poster. 

It was not only through physical interviews that we obtained information, however. Through our education concerning postmodernism we realised that the development of Web 2.0 allowed an entire other audience to be opened up, expanding our marketing to social media in order to get a wider range of feedback. Comments concerning our trailer from Instagram can be seen below, which we useful as we reached out to a wider age range that was not limited to who we could find within schools and families.

From these studies, we learnt a lot which could be applied to both future products and within fine editing of our current products. The social media feedback allowed us to view what people enjoyed the footage in order to categorise our audience, while the individual Vox Pops and interviews allowed more detailed answers to be found concerning various topic areas. This mix of qualitative and quantitative data provides a detailed and useful range of feedback which has hopefully taken our products to the next level, allowing us to remove unnecessary mistakes while simultaneously providing tips for fine tuning our products.

Evaluation Question 2

In order to address the question of "How effective is the combination of your main products and ancillary tasks?" we produced a split screen directors commentary, regarding areas such as lighting, font, central image, and other aesthetic areas. In order to make what we were talking about clearer we motivationally placed images of the respective ancillary tasks/trailer shots - by doing so, we can also show how our influences majorly affected us and expand upon evaluation question 1 with regards to real-media texts.

Evaluation Question 1

Genre - 1

Specific conventions are found among observations of Big-City Crime Thrillers within real media texts, bringing together ideals of high production values and vibrant lighting as seen within Welcome to The Punch, Hummingbird/Redemption and Only God Forgives. Within conventions of trailers, this can then be reflected through motivational editing between an ambiguous antagonist and the city in an attempt to show a claustrophobic atmosphere with the bright lights of the surrounding area acting as an analogy for the emotional and situational manipulation of the antagonist, especially within our trailer. Segments of Act 2 utilise cutaways between Aaron Mays (The protagonist) and the suggested antagonist, further emphasized within the montage, where these cutaways are shown in conjunction with brightly lit shots of the city. Even within the opening shot of the trailer, which is an attempt to show equilibrium, the handheld downwards tilt of the ominously lit building show how the proposed safety found throughout conventions of Act 1 is instantaneously challenged. In this way; conventions of the genre are both questioned and conformed to, reflecting Welcome to The Punch’s opening city shots while contrasting the lighting and intimacy within the bar.

Welcome to The Punch

There are, however, aspects of hybridity which can be found within the trailer. The desire to produce a high production value crime thriller on no budget meant that some shots had to still be stylised, although were not able to take place in the city. Due to this My Brother the Devil-like shots such as the alleyway panning shot found within the montage and enclosed hallway shots through Act 1 paint the genre of the film as more of a drama-cross-thriller film, utilising both locational and lighting tropes of crime thrillers in combination with narrative connotations such as revenge, innocence, and friendship, commonly found within Drama films (Fight Club, American History X, Boyhood). In this way I believe there has been an interaction between genre conventions, both being challenged and conformed to, leading to a development within tropes of the genre. Classic themes, such as The Bourne Trilogy’s revenge, are developed upon in conjunction with dramatic motifs to form a more character based Crime Thriller which still adheres to both trailer conventions and the vibrant, high budget aesthetics found within The Dark Knight Rises.

My Brother the Devil

Location - 2

Particular care was taken when deciding upon location due to the aforementioned tropes of the Crime Thriller genre. We attempted to find an anonymity within the locations chosen, using stylishly lit locations which could be representative of a big city anywhere. By doing so, our trailer moves away from the traditionally British ideals of Social Realism (Shifty) and in to a more American genre of thriller, drawing upon Barthes Cultural code amongst active audience to increase tension and interest in the film. This interaction between traditionally British Guy Ritchie-like isolation and Christopher Nolan’s big-city blockbusters places the audiences focus on the main characters, with the location acting as a suggestive analogy which can be decoded by segments of our wider audience. Examples within our trailer can be found within the RockNRolla type bar, where dark surroundings are used in conjunction with a dim blue wash, joining tropes of the aforementioned directors, as well as bustling city shots such as the handheld tracking shot of Aaron and Georgie through China Town. The merging of the two paint implicit messages regarding the characters situations, again developing upon conventions of real media products through an interaction between cultural tropes concerning location.

RockNRolla (Top) and Shifty (Bottom)

Graphics/Title - 3

Drawing upon the previously mentioned hybridity of our conventions of genre, the narrative graphics and title which were produced have both implications and tropes of Drama and Crime Thriller films. Reflecting the bright and vibrant blue lighting aforementioned, the graphics take on an action-based aesthetic look which draws together the trailers stylistics and the connotations of the colours which are present. The main influences for our narrative graphics was that of Welcome to The Punch’s colour and aesthetics with an expansion upon Only God Forgives’ presence of a motivated background image, with this being found especially within the final title. The raise from 0% opacity to 25% opacity on both the particle stock and the light stock draw upon connotations from both big-city and Western films; using the particle stock to reflect the isolation within the protagonists situation and the flaring red lights which can either symbolise danger or police. The final title then raises up from 0% opacity, with both ‘Two’ and ‘Evils’ utilising a radial blur in an attempt to form an analogy between the text and the narrative. Within the text of the prior narrative graphics; ‘When you are caught between two worlds’, ‘Which way do you turn?’ the same blue lighting is used, however, the motivational editing of both the police and main antagonist group reflect the aforementioned blurred distinctions concerning moral boundaries which are relevant to both Drama and Crime Thriller films. The use of a bold and wide typeface in conjunction with the already thick font both allowed for the background stocks, representative of the city, to be fully appreciated as well as the clear narrative message of the trailer to be taken in to account. In this way we conform to the conventions of genre with regards to graphics; the colour and stylistics of the narrative graphics and title are paralleled to that of Dark Knight Rises, Drive and Gangster Squad, emphasizing the usefulness of our research and planning in to previous graphic influences. 

Drive (Left) and The Dark Knight Rises (Right)

Colour/Style - 4

The emphasis upon colour within the previously mentioned categories is due to me and my partners’ influences within the neon/high budget films of the 21^st century such as Drive, Sin City and Manhunter. Colour within areas such as surroundings, narrative graphics, the title and character affiliations allow a development within narrative and connotations which doesn’t require speech or an increased amount of shots. Starting out with the neon teal lighting of the opening shot, the motifs of danger and 24/7 insecurity are shown throughout the trailer, coming to a head within the montage with the consecutive shots of the London Eye, the purple lit Waterloo Bridge and the similarly lit downward tilt of the shot in which Aaron is on the phone. The movement from the warmly lit, comfortable interior of the board room to the harsh and cold lights of the city emphatically represents the narrative journey of Aaron, moving away from the traditionally British ideal of Social Realism and in to a more connotation based sub-genre of Crime Thrillers.

Drive

Character/Costume - 5

Due to the aforementioned hybridity between genres it was important to create a bond between the characters and audience; this was attempted through motivational editing within the first act where personalised close ups of Aaron are viewed in conjunction with speech reflecting his past and the narrative events which would lead up to the breaking of equilibrium. His sense of power is lost within the first 30 seconds of the trailer, moving from domineering low angled shots within a business like environment to the asymmetric framing of the Bar shot, in which his transition from Suit and Shirt to scruffy polo and jeans reflects the change in his narrative situation. The idea of loss and eventual retention of power is one typical of the genre, being found within staples such as The Dark Knight Rises, Hummingbird, Heat and Lucky Number Slevin. This conformity to both genre and trailer conventions is further enhanced within the casting of Aaron, highlighting the characters metrosexual and appealing nature, reflecting the lead actors of James McAvoy, Ryan Gosling and Ryan Reynolds within previously mentioned films. These actors sometimes adopt the look of vulnerable yet powerful individuals which is further developed within the casting of both the main villain being older and the police boss being a similar age. This de-familiarizes the perceived main villain’s character and allows Barthes Action Code to take effect; playing with ideals of expectations and representations within class, age, and power, something common within the Crime Thriller genre’s conventions.

Hummingbird

Narrative/Structure - 6

Within the narrative structure of the trailer we have conformed to the conventions which are prominent within the media business, moving from equilibrium and character development in Act 1 to a break in the normality of life and plot progression at the end of Act 1/Start of Act 2 and a high paced montage for the final Act. By adhering to this structure we were not only able to introduce a variety of characters and individual situations clearly but also utilise our extensive research and planning in to the film genre, reflecting Welcome to The Punch’s motivational interweaving of meeting and action. Not only does this draw upon Barthes, but also Todorov’s narrative theory with specific relevance to “The Biter Bit”; Aaron Mayes throwing off his oppressive situation to a suggested positive outcome. Within the narrative development, as aforementioned, an emersion in the characters situations is necessary to best utilise Barthes Semic and Action codes, and as such a voice over was not deemed relevant. We felt that the non-diegetic sound would distract the audience from the characters development, motivational lighting and pathetic fallacy which is put in place to develop upon narrative. While influences such as Memento and Fight Club do not conform to this three act trailer structure causing the definition of trailer conventions to blur within this genre, staples like Se7en, Léon, No Country for Old Men and Reservoir Dogs’ three act structures were definite influences for our own production. 



Editing/Sound - 7

The editing of our trailer was specifically tailored to replicate the increase in tension that comes across through final cut effects such as sudden fades to black and breathing sound effects. Similarly to the aforementioned colour connotations, this sound layering develops upon the aesthetically explanatory images shown to the audience in an attempt to expand upon ideals of stress, desire, insecurity and danger which are staples of the genre. Through increasing pace throughout the trailer after a sudden drop following the conclusion to Act 1, the audience is exposed to the slow degradation of Aaron’s situation with relation to both the police and alternate antagonists. A sense of danger and threat was necessary if the trailer was to conform to conventions of the genre and as such the closing shot was specifically placed there to highlight an unresolved conflict which was to be expanded upon within the final film. Through the previously mentioned development of characters within Act 2, the montage is then intended to have a greater emotional engagement from an active audience due to the relevance of family, friends and protection which is once again drawn upon in Barthes narrative codes. As with Welcome to The Punch, A History of Violence and Kill the Messenger, this emotional development upon surrounding characters relevance within the narrative is a trope of the genre which we definitely conform to.

Magazine Cover Audience Feedback

Graphics Debate

Graphics:

We had difficulty in selecting our graphics in the first place due to the fact that we had multiple graphics to choose from. We decided upon the graphics that were similar in style to the ones seen in our major influence, 'Welcome To The Punch' as we felt they best suited the style of our trailer. Where to place the graphics was also a problem, as we had to deter slightly from our storyboard plans originally. This was because some of the shots we used were shots we had taken whilst filming that we hadn't originally planned for and grew particularly fond of and so decided to place them into our trailer. This way we had to change the placement of our graphics slightly. However, this did not effect the editing process that much.

Audience Feedback and Changes

The editing of the trailer went relatively to plan, however, the original plan of the storyboard was not followed. It was found that especially within the editing of Act 1 the interweaving of the meeting shots and the raid shots worked much better, providing a more stark juxtaposition of equilibrium (In the meeting room) and how that equilibrium was to be broken (The raid). It also served to anchor the narrative with the sound bridges of "This is the bastard that killed my partner" and "He will be in Denmark Hill at 0800 hours" providing a basis for the cutting, and a location and motivation for our protagonists actions.

Moving away from the actual sequence of the shots, which went relatively to plan, our second difficulty came within adhering to the colour and tone aims we had set ourselves. We attempted to go about this through the Final Cut feature 'Colour Match', with examples being shown below as to the various options concerning colouring. Due to our influence within the Chibnall quote concerning the "Dynamic narrative" connoted through the "High Gloss New-London" and Welcome to The Punch's neon gloss, this colouring was a major factor in presenting the stylistics which we had discussed in our research and planning.

As well as the importance of connotations we used this tool to make some shots look more professional, especially due to the mic shadow present within the interrogation scene prior to the darkening of the shot. 

A rough cut can be seen below, with no music attached and incomplete sound.

We received audience feedback on this, both positive and negative, and went about attempting to make these things better. The feedback is as follows:

POSITIVE

• Colouring
• Snappy editing
• clear sense of character

NEGATIVE

• No soundtrack
• Dialogue needs work in terms of sound quality and volume (re recording suggested)
• Narrative somewhat unclear, needs anchoring
• Some colour matching possibly required, maybe ken burns/photoshop?

Some colour matching required? In order to provide an increased dynamism to the narrative of the trailer and properly align the shots in conjunction with the music the backing track was needed, and when sent from our producer Agile, it was found that he had not properly synced to the shot changes as we had asked him to. As such, a manipulation of the sound on the magnetic timeline was necessary in order to prevent awkward cuts and emphasise the growing tension throughout the trailers development. This was also necessary due to the required manipulation of diegetic sound with regards to volume, with the voice overs (Especially during Act 1) being vital in the development of the actual storyline. The sound manipulation on the timeline is shown below.

Finally, we experienced difficulties when syncing our voiceover moments to the shots on screen, especially the moment with the 'news announcement'. This moment was particularly difficult as we wanted it to look and sound professional, especially because it is easy for a news style presentation, as seen in many films, to come across as quite 'amateurish' and so we spent a lot of time recording different voices until we found one that worked with the overall style of our trailer and the one, which sounded most professional. Another difficult moment was in Act 2 whereby we wanted to employ a voiceover of our main protagonist talking about our main antagonist, whilst being overlaid over a shot of the antagonist walking to his car. This was difficult as I had to cut particular moments of speech apart, adjust sound levels and then place each sound bite specifically over the long shot in order to keep with the timing and pace (overall rhythm) of the trailer. Some of the small speech was completely cut out in order to achieve this aim of keeping to the rhythm of the trailer.

Magazine Construction 3

The final magazine construction changed the following points -

• "Featuring" was added underneath the title in the same type face and style in order to both adhere to the genre and make the writing on the cover more evident that it is part of the magazines features.
• A date and price were added - originally these were theorised to go at the top in yellow, but I found the contrast in colours displeasing and the placing of them to derive from the most striking area of the cover. As such, they were added to the bottom. 
• Puffs were added, drawing upon the Little White Lies tradition of having them framing the face of the main image, both in order to not detract from the central art and to draw attention to not only the main feature. Due to my target audience being those who enjoy cult cinema, reference to films such as "Drive" (Enticing Nicholas Winding-Refn fans) and Nightcrawler (Attracting a more modern audience) would increase audience interest in the magazine. Originally, the puffs were to be the same font and colour as the date and time, winding around the head in a sort of Halo arc, however, this was not continued due to the aesthetically pleasing nature of the final choice.
• A title was added, utilising the dichotomy of the word "Two" in presenting two colours with the varying backdrops of white and black, connoting good and evil. The title has a marble overlay which is shown below, and an inversion of colour was used to transform it from light to dark blue.

The final poster, including all mentioned above.

The originally attempted puffs

The original placing of the date and time, not used.

Poster Construction

The production of the poster went as follows - a draft had already been made and as such there were not many difficult decisions to be made.

• The main image was the first thing which was made, first off using the rectangle tool and duplication tool in order to make the lines - adding an outer shadow and black stroke in order to provide depth. The main image was then added, overlaying him over every one of the lines and then duplicating from a different image the gun coming out over the edge. In order to blend the two images the same thing was done as mentioned in a previous magazine post, with an entirely transparent rectangle being overlaid on to the two layers. This was then corroborated through the use of stocks downloaded off the internet, all of which can be seen below. Finally, concerning the main image, the city shot was used, being the same as that previously spoken about in my magazine cover post. 

The layers which are shown here can be explained as such; the Layer 5 and Layer 5 copy are the aforementioned internet downloaded stocks, with Layer 20 also being this. Layer 11, 7, 8, 9, 18 and 19 are all used in order to give the image depth through blur and FX as well as allowing the hands and gun to be found outside of the rectangles. Further down, the image labelled Act 1 is named so due to it being taken from our trailer through the "Save current frame" option in Final Cut Pro. This and then the background image (Layer 1 copy 4) are overlayed on Layer 2 copy 4 which is the merged under layer of the rectangles. Click the image to enlarge. 

• Following the making of the main image the titles were then made, consisting of the film title "Two Evils" and the release date, "August 2015". The same effects were used on both of these, utilising a black colour overlay with a red stroke and black drop shadow to add depth. They were placed around the outside of the gun to link the danger associated with firearms to our main character and the moralistic suggestions that the title has. The certification was a stock photo taken from the BBFC website and given a transparent background through the use of the magic wand tool.

• The completion of the right hand side of the poster was done in the addition of a slate, critics views, awards and actors names. The actors names used the same font effects as the title, while they used a bold version of the type face used in the "August 2015" font shown above. Above this, the critics reviews consisted of the same type face once again except with a black overlay and placed next to stars taken from a stock image website and given a black overlay. Finally on the right hand section of the poster, the slate used the cinema type face along with the media trope of mixing all capitals and all lower case in order to highlight important names and companies. Below this, the social media logos were taken from stock websites and google images, and placed next to colorised links to our Facebook, Instagram and Twitter pages which could then be followed post-viewing of the poster. 

• The final section of the poster came in the form of the tag line, first presented within the trailers narrative graphics. Again using the same type face as the title, "When you are caught between two worlds… Which way do you turn" is an all capitalised tag line rotated 45 degrees anti clockwise. It can be seen below.

Magazine Construction 2

Many developments were made between my previous construction post and this one due to my focus being on producing poster development posts. A list of improvements can be found below, with exemplar images at the bottom of the post. 

• The title was made bigger in order to fit the space at the top and provide a more eye catching spectacle, with the tag line being changed from "Definitive movie reviews" to "Definitive Move News and Reviews" in order to promote a more journalistic based criticism instead of just a media-critique magazine. 
• The image and beard were replaced due to the spots on Gabriel's head in the previous image, and through the use of the spot healing tool, were removed. The image and false beard were then merged in to one layer in order to make manipulation easier. The new foreground layer was duplicated twice; the first duplication had the cutout effect added to it and then lowered the opacity to 80% in order to provide the detail of the real life face but the artistic intention of the filter. The second duplication was placed underneath and enlarged by 0.1 in order to provide an outer glow which the simple outer glow effect found within the FX tab couldn't provide. 
• A barcode was added, simply through taking a stock photo from a google search and placing it in the bottom left hand corner.
• The main image looked relatively out of place with the three different versions of the same layer clashing in some parts. In order to overcome this I created a rectangle and placed it over all three of the layers, colouring the rectangle the same shade of teal as I did the title, and changing the blend mode to hue in order to provide a limited area colour correction and blend the three layers together. Not only did this blend the entirety of the three layers but also allowed the beard to look more in place.
• Finally, two separate images which were taken when I was on the south bank were blended, with both reflected a 75% opacity and gaussian blur at 5 pixels. This provided the perfect, stylised backdrop for the magazine cover and increased the idea of anonymity within the city, expanding upon Barthes enigma code. The image was much more subtle than the stock photo which was used prior to that, also shown below. 

The revised tagline and enlarged title

The rectangle which was used to blend the three layers and beard

The second draft of the poster, only now requiring a title and puffs

The highly colorised photo of myself which was not chosen to be in the background of the poster.

Magazine Construction 1

Starting off on my cover, my previously mentioned influence in Little White Lies and ALA-Champ will have a major effect on the way in which the magazine comes out. Starting out, the masthead was the most intriguing thing for me due to the decision to make the background black. I wanted to create a neon-styled title which reflected my film, and did so as shown below. 

Using the neon type base, the following effects were used in order to present the blue glow and the depth which creates the verisimilitude of the title. The top layer is the one which is seen on the foreground of the above image, with the one below providing the depth to the text, utilising a Gaussian blur and 15 pixels. This shadow gives the title depth in my opinion, something adding to the professionally aesthetic title of the magazine. Following this I added the main image through the Photoshop RAW image editing software. Not changing much apart from the saturation of the image, reducing the contrast and heightening the vividness of the colours in order to again provide depth, the image was taken on a digital SLR and originally with a white background, although after importing I used the magical wand tool and inverted selection in order to remove this and allow a transparent background. It was found, however, that the image chosen had our protagonist looking considerably younger than we wanted him to, and as a result utilised the brush tool in conjunction with the brush presets in order to give him a beard and make him look older. Examples of this can be found below, providing the look of my magazine covers first draft.