Thriller Storyboard and Shotlist Feedback

Some people we asked had concerns with the original shot-list. This was mainly with the sequencing of scenes and how the protagonist would shift from the countryside to the centre of a busy town in such a short period of time. We took this advice into consideration as we thought it might be an issue. Therefore we changed our storyboard accordingly. The intention for shooting now is to just shoot the car strangulation scene in the film. This will be supplied with the back story of 1956 France, giving the audience an idea that there is some kind of espionage backstory to the protagonist's situation.

Feedback of the story board were far more positive, and this helped us shape the plans for our film:

"Love the idea of having point-of-view shots from both the victim and the killer" JG - Media student

"Using a range of shots is good to show the conventions of the thriller" MM - Media Student

"I think you will struggle to put the shots together in an order that is coherent, and you will struggle to avoid putting in things that ruin the continuity. But if it is right then it should be really good' CC - Media student

"The shot types that your using sound really cool, I like the idea of using the French music in the film!"  EP Media Student

"Building up tension to the final strangulation is a good way to keep the audiences attention, I like it!" CH - Media Student

Test Shots for our Production

The following are some test shots that we took of the car in place where we wish to film. We used the software Picasa to create an evening effect which allows us to use the conventions of Film Noir. The setting in this shot looks like the car is alone and therefore as an audience we will also get the feeling of isolation from help. The close-up test shot of the hand turning the ignition is one that will split the film between the first soundtrack and the second giving a distinct change in atmosphere to the film. The last test shot is one that we use as one whole shot, it will follow the rope from the dead body to the back of the car. This will be where it meets with the titles in the newspaper, interlinking with the strangulation scene.

Location Shots Revised and Lighting

 

We were concerned with the lighting for our production and so we decided as a group to shoot all of the video in the daytime even though most of it would be set at night. We chose to do this because the quality of the video would be much better and more visible for the audience if we simply filmed it in day and used a 'day-to-night' camera effect on our editing software. With this the location for the shoot changed as the street lighting was no longer necessary and chose a street near a local church. The stone walls lobviously fit in the time period set as they belong to the church. We can also, if needed to, film the car against the bavck wall rather than parked next to the others to avoid ruining the scene and including modern cars.

This location will fit the conventions of a thriller because of the abandoned feeling that this scene will produce when a night effect has been put on the footage and the shots of a lone car parked outside a church (and graveyard). In the framing all the audience will see is the car and the abandoned street. This will create the effect of making the protagonist isolated from the world. They will have no help escaping the assassin. There is also a gate separating the path from a river. This reinforces our wish to include elements from Film Noir. The angular structure to the gate gives a tense feeling to area which is only emphasised by the graveyard to the right of the path. Not only this but we hope to record a shot looking through this gate again reinforcing the Film Noir feel.