Tuesday, 23 April 2013

CONSTRUCTION Risk Assessment

Filming Risk Assessment Form 


Filming of Motion Picture, Promise Me


Activity /
Area of Concern

i.e.: what is taking place as part of the event?
Hazards Identified

i.e.: what can cause harm?
Persons at Risk

i.e.: who could be harmed by the hazard?
Current Risk Factor
(high, medium or low)
i.e.: determine the level of risk
Actions to be Taken to Minimize each Risk
i.e.: what action can you take to lower the level of risk
New Risk Factor
(high, medium or low)
i.e.: risk factor after action taken to minimize the risk
Filming of motion picture, Promise Me.

Trailing leads

All concerned
Warn everyone on set. Tape leads down. Use caution cones.
Filming of motion picture, Promise Me.

Two-way traffic
Main character
Use caution cones and hazard signs. All members of crew apart from main actors are to wear high visibility clothes.
Filming of motion picture, Promise Me.

Trailing leads, electrical equipment, and students moving around.
All concerned
Corresponded with prior to this event and that all measures are put into place for the health and safety of students, cast, crew, and all members of staff.
Filming of motion picture, Promise Me.

Damage to filming locations i.e. homes.
Damage to households..
Notify all cast and crew of all hazards and items that can be broken. Ensure that we have public liability to work in these locations. Most importantly, ensure that the homeowners and property owners have insurance against property damage.

Friday, 19 April 2013

Media Magazine Cover Analysis

Here is the first part of my media magazine cover creation. It will be followed up by audience feedback and improved from the information received from that feedback.

Sunday, 3 March 2013

Further Development into Shots and Movements

The two images below have been copied from GCSE Revision(another website from www.wordpress.com)

I have found a good website that contains shots and camera angles that I am already familiar with. I would just like to recap on them and even pick the most interesting one to use in my teaser trailer and add to the shooting schedule.

The birds eye view is very important in our teaser trailer we can use it to confuse the audience with the power of status with the main protagonist, Jeremiah as he takes of his clothes in a tense and slow manner when he enters a mysterious dark room with briefcase in hand. We can use it and then make a slow transition into a high angle shot before he opens briefcase and while he is taking off his jacket. The audience will interpret the main protagonist as a weak character but, we can shock and confuse them by using a range of low angel shots along with some worm-eye views, emphasising the power that radiates from our main character and our hero within our teaser trailer.

Camera Angles

We have already decided to use a rang of Pans, Dutch-tilts, and Whip pans because we love the the sense of disorder, quickness, paranoia, and edginess that they can give off if used correctly. These elements are all need within a thriller and crime genre and, even more so in action films. With the current equipment that we have now, many of them will be hard to pull off but, as a group, we have done some research and as seen above, we have improved our knowledge once again to make improvements.

camera movement



Below are all of the post that have been made concerning the Screenplay for my media studies groups. They are all in oder, beggining with the intital ideas for the screenplay and ending with the complted screenplay.


Ken and I have spent some time going over different ideas for a screenplay. We feel that a screenplay is good because it gives use an idea of what we can add to the teaser trailer, what we can take out, or new ideas. These are only ideas:

        Part of Film: Preferably in the middle with a climax
        Character: Male and a Female
        Description: GRIM: A crazy man in his mid-30s. He is a pivotal moment in the actual film and is one of the main antagonist that Jeremiah must face. He is an ex-convict who enjoys torturing young women. He will be tall with long black rock star hair. He will have a western goatee and moustache

                             GIRL: Her face will not be seen but, she is the element that we use to portray the seriousness of our film in addition to the screenplay. He death can not be seen; only heard. This adds suspense and illuminates the thriller component of our teaser trailer.

We could start in a dirty abandoned room which gives of a sinister atmosphere and emphasises the premonition of a bad or horrific event happening in the future or, to be expected. Bloody hand prints could be all over the wall, making sure that the audience understand the seriousness of the film and, they have an idea of the battles that the protagonist(s) may have to face.

Important things:

The time of day must be dawn so that a sunrise can light up a wall that is covered with pictures of tortured women, possibly the women that GRIM has tortured.

GIRL must have a dirty-bloody looking arm in entombed within a shackle or chain to emphasise her long-term imprisonment.

GRIMM'S had must be unsanitary when he goes to pick up PRISTINE looking knife because it shows the contrast between good and evil meeting and clashing together at the same time.

Shots and Angles:
Low-angle shots: this type of shot will show power in contrast to High-angle shots that show weakness.

High-angle shots: this type of shot will emphasise the scary atmosphere as well as the impending doom that approaches GIRL

Point-Of-View shot (POV): we will use this to give the audience a firsthand view of what GRIM is about to do and, it can also emphasise his feeling and emotions.

Handheld shots: gives certain parts of the film/trailer a more realistic feel and also gives the characters a more human identity instead of an actors or fictional wrong.

Voice Over Ideas

After some thought, I recently decided that it would be good to include a voice over in the teaser. Due to the fact that it is only two of us in our group, it will make sense to consider the amount of time that things may take up in filming. To add extra feeling and atmosphere, I have recorded a voice over of a Russian/Bulgarian man that will play at the end of the teaser trailer. It shall act as a cliffhanger and, I have used the skills that I am currently developing as an actor on this piece. 

"You must be careful about the commitments you make to people my friend.
For in the underground it is a dog-eat-dog world.
You either kill, or be killed...."

The skills that I will use are vocal projection to ensure that my voice us heard, articulation and diction which helps me pronounce words clearly when speaking and, enables me to know which part of the mouth to use when speaking in another accent. I will also use tone and pitch to change the sound of my voice so that it seems I have taken on another character entirely. The camera that we are using is a good for filming but, not so good on the sound so, I will record in the quite spare room in my house when it is night time, minimising the level of noise and humming.

Promise Me:

 A Screenplay by Matonga & Mckenzie Entertainment™
In collaboration with South End Studios™
AN EST SHOT of the BOSS’S LOCATION start with an LOW ANGLE CLOSE of the bright SUN. Then, the camera SLOWLY PAN’S DOWN to the direct EST SHOT of the BOSS’S LOCATION.
FADE TO an EXTREME CLOSE UP SHOT with TILTED ANGLE which focuses on the SW17 sign, which comes into view with a SOFT FOCUS and then ends with a normal FOCUS, showing the RED LETTERS of the sign.
CUT to a HIGH ANGLE SHOT that focuses on the BLUE TRAINERS of TREVOR GRIMACE (25, dressed in JEANS, HOODY, JACKET, and TRAINERS) as he gets out of a BLACK TAXI, shutting the door LOUDY while the DIEGETIC sound of the TAXI and its doors add to the REALISM of the scene.
DISSOLVE FADE to BLACK, with only the DIEGETIC sound of TREVOR’S footsteps, which are LOUD and SLOW.
CONGEAL FADE into a DUTCH TILT with MEDIUM CLOSE that shows TREVOR RINGING A DOOR BELL, a ROARING and AGGRESSIVE BARK from a DOG inside the house is the answerer as the camera FADES to BLACK.
IN THE WARMTH of BOSS (MID 40s), AN ESTABLISHING SHOT shows the large LIVING ROOM, where TREVOR GRIMACE (25 YEARS OLD) STANDING directly front BOSS, looking AGITATED. A SR/S takes place between BOTH MEN as they look at each other. THE BOSS, DRESSED IN A SUIT, fixes his BLUE TIES in a SLOW MOTION while looking at TREVOR, dressed in JEANS, JACKET, and TRAINERS.  THE ROOM is dark with the CREAM BLINDS CLOSED and the BROWN FURNITURE makes it even DARKER as the two MEN are silent, building up a tense atmosphere. QUICK CUTS go from the face of the BOSS to TREVOR'S, from the TIE on the BOSS to the ADIDAS LOGO on TREVOR’S HOODY, from the SUIT TROUSERS on the BOSS to the JEANS of TREVOR, and, finally with two REVERSE ZOOMS of the BOSS’S BLACK SMART SHOES to TREVOR’S BLUE TRAINERS.
THE BOSS gestures TREVOR to sit down and so, they begin their conversation.
You step through these doors, there’s no going’ back. You ride till you die. It’s a dog-eat-dog world; sometimes you gotta kill or be killed. This life ain’t for the weak…
(bored, he interrupts)-That ain’t a problem, people are born, and they live, and they die. Some die while living, which is my area of expertise. Just give me the info, I’ll get my team, and the job’s done.
Boy, you don’t call the shots, so keep your mouth shut and listen up; (leans forward with sinister expression) It don’t matter to me who you are, what they say about you on the street; I don’t give a damn about what your daddy did back in the 90s and; I don’t care about what you done coz you work for me know. Just bow down when you’re told and it’ll all be cool. People are replaceable, you understand?
 (less composed, slightly annoyed)Yeah man. I’m not stupid, I’m not some little boy that takes crap from anyone so, watch your mouth mate.
(furious, he jumps up and advances over to Trevor) You idiot, you’re in my world now so I choose if you walk out of it alive or, in one piece! I ain’t your man, or your friend. Its boss or sir to you, and next time you step outta place, imma you’re your nuts as a hood ornament, do you get me, mate? (slowly)
Sorry boss won’t happen again sir.
Good boy. There’s a little…package that needs to be examined. You will go and pick up this package, bring it back to me, and do exactly what you’re told to do. This package may seem innocent and delicate but, handle it with a bit more force than care…
Boss, you want me to kidnap someone? Flip, what am I doing here? Listen, I need to be paid properly for this coz I ain’t ever done this before. I’m gonna need my team and-
If you shut your mouth then I’ll be able to explain to you! The package is a girl. The information in the envelope will tell you what you need to know and what you need to do. You read, you memorise, and then you burn it. You talk to know one except for me and my people; you don’t interfere with the package in any way that you’re not meant to coz if you do, I’ll interfere with you.
OK, I get this. I need transport, I need equipment, and we need to talk money, sir.
£2,000 now, £2,000 when you get back with the package. Mikavich will go with you; he will give you the rest of the information. See this phone? This determines whether you live or die coz if you don’t answer it, you die, you turn it off, you die. You understand? If I don’t reach you; you die. Now, there the blue BMW on the road, Mikavich is waiting for you. Now go.

JEREMIAH (late 30s to mid 40s) dressed in a black smart shirt, a gangster Crombe jacket, dark blue jeans, and black Desert Clarks boots.
 HIGH ANGLE ESTABLISHING SHOT as he SLOWLY enters a mysterious DARK ROOM with a black briefcase. As he walk across the dark room, extra emphasise is put on the briefcase with a CLOSE UP SHOT.
Putting down the briefcase on the floor, a POINT OF VIEW SHOT shows him UNTIE and then RE-TIE both of his shoe laces.  A PANNING SHOT follows him as he puts the case down on the table, then cuts to a POINT OF VIEW SHOT, putting extra emphasise on the BRIEFCASE. 
WHIP PAN to, focusing on TELEPHONE ringing. The camera then cuts to a excruciating SLOW REVERSE ZOOM of the TELEPHONE, still ringing with the ANNOYING BEEPING growing LOUDER until the DIEGETIC SOUND becomes deafening ROAR.
Then it comes to an ABRUPT STOP, silence dominating the room. The camera goes to an OVER THE SHOULDER SHOT watching JEREMIAH open the BRIEFCASE. EXTREME CLOSE UP of the MONEY in the BRIEFCASE. A LOW ANGLE SHOT with an EXTREME CLOSE UP puts JEREMIAH'S MOUTH into a TIGHT FRAME as he SLOWLY GRINS to himself.
KATE (sixteen-nineteen years old), SCRUFFY looking in a big black jacket, dark blue jeans, and black trainers.
 A HIGH ANGLE SHOT shows her walking RAPIDLY, constantly looking back in a state of overpowering PARANOIA; her large hood hides her face, and despite the massive coat, she SHIVERS UNCONTROLLABLY against the cold.
While she looks back, an OVER THE SHOULDER SHOT sees the LONG BLACK road behind her, many people passing her but, their faces cannot be seen. 
TWO MALE FIGURES spy from distance; only their SUNGLASSES can be seen glinting in the dark. They creep across the road, almost CATLIKE without making any sound. BOTH MEN put some distance between them, no longer WALKING SIDE-BY-SIDE but, now walking a few FEET APART.
AT THE TOP OF the estate, KATE whips her body around, her hood FLYING OF HER FACE while she whimpers in at the sight of the TWO MEN. SHE then burst into a FEAR FILLED RUN, with the TWO MALE FIGURE’S in tow.
Suddenly, they make a bigger gap between them, an OVER THE SHOULDER SHOT emphasising the fear on KATE’S FACE while capturing the SERIOUSNESS of the TWO FIGURES.
 A HANDHELD shot hears the DIETETIC SOUND of KATE’S breathing, HEAVY with FEAR. A WHIP PAN goes from the TWO MEN to KATE and BACK AGAIN as they rounds her in the direction of a CUL-DE-SAC, only light up by the YELLOW STREET LIGHT but, darkened by the BLACK SKY.
THE FOOT STEPS of the MEN stop and the only SOUND is KATE. She whips out her MOBILE PHONE, her hands fumbling with it in fear.
CUT TO A HIGH ANGLE SHOT shows her ring a NUMBER and SHE WAIT; the dialling tone can be head DISTURBING the sinister silence.
EXTREME CLOSE UP emphases her QUIVERING MOUTH as the person answers:

 (panicking) Jeri, please help me, I’ve been running away from them all day and, (hyperventilating) I can’t run any more. You promised you’d help me whenever I need you, you promised Jeri, please help me becu-
(stern, commanding)WHOA! You need to slow down, take some deep breaths, and then tell me exactly what happened. Who you running from? Eh? What happen? Where are you, Kate?
(calming down)On an estate, somewhere called Balham. I think it’s called Old Hospital Close. I don’t know who they are, what they want, just get here because I don’t want to die yet Jeri, you made a promise to help me, (start panicking with fear again) you promised me Jeri, please help-
CUT TO POV as the camera shows KATE being tackled to the ground by the TWO MEN, followed up by a piercing SCREAM as she falls to the ground, the PHONE FALLING with her. A HIGH ANGLE DUTCH TILT shows the phone drop out of her hand, falling on the phone while DIEGETIC SOUND of her struggle fades away. Then, SILENCE. The only sound to be heard is the shouts of JEREMIAH through the phone.
JEREMIAH in a MEDIUM CLOSE UP, CUTS THE ENGINE, and gets out of a BLACK CAR. A LOW ANGLE SHOT focuses on his CROMBE JACKET, showing the SMART JEANS along with his CLASSY BLACK BOOTS in REVOLVING SHOT while he lights up a CIGARETTE.
A DIRECT SHOT emphasises the YELLOW DAISIES in his HAND and the BRIGHT RED end of the CIGARETTE and then cuts to a HIGH ANGLE ESTABLISHING SHOT of the CEMETERY.
A LONG SHOT sees JEREMIAH walking slowly through the CEMETERY, swaying from side to side while WHISTLING A CHEERFUL TUNE. Switch to a TRACKING SHOT of him walking and then cut to a HIGH ANGLE OVER THE SHOULDER SHOT of him approaching a GRAVE, one with the name the audience will not see yet.
THE DIEGETIC CHEERFUL TUNE he whistles turns SOUR and stops. A REVOLVING shot starting from his the RIGHT SIDE OF HIS FACE, which is in SILHOUETTE, slowly goes round exposing all of his facial futures fully for the first time.
CUT TO A LOW ANGLE SHOT behind his legs as he LAYS THE YELLOW FLOWERS down on the grave. Walking back to his car, his phone RINGS:

(suspicious) Who’s asking for him?
Ms. Hamelin. It’s me, Jeremiah. Yeah, I was the last one to speak to her.
(hurt in his voice)I get that she was kidnapped but, how can I get her back without knowing where to start?
Look, there’s no point in blaming yourself, I told here I’d be there for her and I wasn’t. My brother went missing in the same situation and, I won’t let it happen again.
(angry tone)What do you mean she’s dead and gone?
Yes I know that your heart is breaking but-
(shouts with dominance)Ms. Hamelin! Be quite and Listen to me right now! She ain’t dead, she may be missing but she ain’t dead so, get that stupid thought out of you head! I made a promise to that girl, I said that she could come to me for anything she needs and right now, she’s gonna need me more than both of us know.
Yes, I swear to you, by any means necessary, I understand. Call this number, yes, and talk to whom? Say that name again? OK. Then it’s done. Goodbye Ms. Hamelin
(with malice in his voice) When I find them, they will understand that a promise to me is more valuable that life itself. I guess only God can help them now.
SLOW DISSOLVE FADE TO BLACK as JEREMIAH gets back into his car, with the DIEGETIC SOUND of him shutting the door.

A LARGE WALL COVERED IN PICTURES, thousands of explicitly, DEMONIC SNAPS, various WOMEN being tortured. SUNLIGHT floods in from an UNSEEN WINDOW, illuminating the pictures. A TALL SILLOUTE the SUCKS IN the light, the figure of GRIM (mid 30s) drowning out the brightness.

QUICK CUT of a dirty, BLOODY ARM imprisoned in shackles, trembling. Cut to BIRDS EYE VIEW from the ceiling showing the floor, ROOTING FOOD on the floor, garbage, broken glass, and years of decay. PANARAMIC-LOW ANGLE SHOT beginning at the right hand of GRIM, emphasising the dirt and blood in his nail and then swiftly encircling him in a jerky upwards motion from the hand to the back of his head. POINT OF VIEW SHOT cleaning SINISTER looking KNIFES of white table.

SWIFT CUT to a DIRECT LOW ANGLE SHOT of GRIMS dirty reaching for a PRISTINE KNIFE. He cleans it with a WHITE CLOTH. Booming DIEGETIC SOUND of GRIM humming "Momma's Gonna Buy You" nursery rhyme, as he SLOWLY walks over to whimpering girl. He laughs manically and JERKY HIGH ANGLE POV shot shows GRIM looking down on the girl as we quickly FADE TO BLACK. The only thing to be heard is the a few seconds of silence while we SUPER IMPOSE TITLES then, the shocking diegetic sound of GIRLS TERRIFIC SCREAM burst out and then, it is horrifically cut of by a METALIC SLASHING sound which is GRIM'S KNIFE


Thursday, 17 January 2013

New Thoughts

I have recently come to the conclusion that I am now the leader within my group. I have been taking on the responsibility of the greater task such as screenplay's, shooting schedules, filming locations, and trying to get actors'/actresses' for our teaser trailer. I feel that the role of leader is a much harder task and, due to the fact that my organisation skills are not on par, it makes everything a bit difficult. However, organisation, teamwork, and leadership are essential assets needed in order to be successful in the industry of Media so, I will be working hard to improve upon these skills and, ensure that I regularly correspond with my teacher, making sure that I am on the right track.

Recently, my partner and I have been scouting for a cast and we have come up with some good results. Also, location scouting has been successful with both of our areas that we live in showing some brilliant results. My estate could be considered as posh but, at night time, comes alive with the dimmed light and the darkness creating a sinister atmosphere in certain parts of the estate. Easily accessible, quite, and safe,it would be perfect for our chase scene. My partner and I will upload some photos' and one of our favourite effects of the estate is the silhouette effect that the darkness of walkways in contrast with the dimmed yellow lights have on figure when placed correctly. I will make sure that the cast are given actors'/actresses contracts, their script, a risk assessment, and a shooting schedule.