This is a list thrillers which we watched when researching ideas for our thriller sequence
Halloween - 1978
Psycho - 1960
Mirrors -2008
Dead Calm - 1988
Reservoir Dogs - 1991
White of the Eye - 1986
Don't Look Now - 1973
Double Indemnity - 1944
Cal - 1984
Marnie - 1964
Shallow Grave - 1994
Scream - 1996
Texas Chainsaw Massacre - 1974
Sunday, 7 February 2010
Setting up the camera for filming
When filming our preliminary and full thriller sequence we used the digital camera 'Canon XL1s.'
Once unpacking the camera we inserted the battery into the back of the camera. We then inserted a new tape into the cassete player. We had to be careful to wait for the outer case to open (this happens after pressing the eject button) and then the inner case in which the tape is slotted into. It is also vital to close the inner case before the outer as there is a risk of damaging the inner case if this is not done.
The first thing we did when preparing to film was to White balance the camera. There were two options for doing this. The first being the auto-saved method - this is when you press the white balance selector knob until it pops out. The user can now chose between the three different white balances already saved to the camera. The second option is to create the white balance manually, this is the option that my group took. To set it manually you press the white balance button and select the number (you wish to save your white balance too)by turning the knob to the right. The second stage is to point the camera at a white object, preferably a piece of paper and adjust the lens until it fills the entire camera screen. Once this is done the user needs to press down on the WHITE BALANCE SET button. When this is done turn the white balance knob back to the auto setting and push it back in once finished. The white balance has been set. There are many advantages in setting the white balance manually instead of choosing one of the already set options, for example the rapid changing lighting conditions mean that very few locations will have the exact same lighting and will make the completed sequence look strange due to the fact that the different scenes will have lighting not suited to their location.
When filming our preliminary and full thriller sequence we used the digital camera 'Canon XL1s.'
Once unpacking the camera we inserted the battery into the back of the camera. We then inserted a new tape into the cassete player. We had to be careful to wait for the outer case to open (this happens after pressing the eject button) and then the inner case in which the tape is slotted into. It is also vital to close the inner case before the outer as there is a risk of damaging the inner case if this is not done.
The first thing we did when preparing to film was to White balance the camera. There were two options for doing this. The first being the auto-saved method - this is when you press the white balance selector knob until it pops out. The user can now chose between the three different white balances already saved to the camera. The second option is to create the white balance manually, this is the option that my group took. To set it manually you press the white balance button and select the number (you wish to save your white balance too)by turning the knob to the right. The second stage is to point the camera at a white object, preferably a piece of paper and adjust the lens until it fills the entire camera screen. Once this is done the user needs to press down on the WHITE BALANCE SET button. When this is done turn the white balance knob back to the auto setting and push it back in once finished. The white balance has been set. There are many advantages in setting the white balance manually instead of choosing one of the already set options, for example the rapid changing lighting conditions mean that very few locations will have the exact same lighting and will make the completed sequence look strange due to the fact that the different scenes will have lighting not suited to their location.
Saturday, 6 February 2010
Life on Mars
Synopsis:
Life on Mars follows the story of DCI Sam Tyler. In 2006 whilst hunting for a serial killer Sam is involved in a car accident which leaves him lying unconsious in the road. When he wakes he finds himself transported to 1973. He has no idea how or why he got there but is desperate to return home. Unfortunatly for Sam he has no idea how to do this, so until he figures out a way he must continue to live thirty-three years in the past. He joins a group of 70s CID police officers who's policing tactics are very different to those used by Sam. His prinicples are tested to the limit as the series continues and his fight for survival reaches terrifying heights.
Mixed Genres:
Life on Mars mixes action and science fiction to create an incredibly succesful series. The element of 70s cop-shows is attractive to those who enjoy action sequences and witty one-liners, however the entire story has an underlining, unhuman mystery which is greatly appealing to those who prefer much darker, more subtle, surrealist qualities in their television programmes. The combination of the two not only attracts a wider audience but makes the entire programme less two dimensional. It disuades the creaters from of the usual sterotype characters that often occur when creating single genre production and therefore creates a more realistic and human story.
Opening Sequence:
The opening sequence to 'Life on Mars' is extremely interesting and complex. It uses a variety of techniques including split screens and multiple moving images. The voice over is incredibly important as it gives a complete overview of Sam's situation which allows first-time watchers to understand the story up until that point.
'My name is Sam Tyler. I had an accident and I woke up in 1973, am I mad? In a comma? Or back in time? Whatever's happened its like I've landed on a different plannet, now maybe if I can work out the reason I can get home'
http://www.youtube.com/watch?v=qukVEWv3t_4
Shot-by-Shot anyalisis
Shot 1:
Medium shot:
Information: Sam in 2006 being hit by a passing car. The collision isn't seen as the action happens incredibly fast hence the blur.
Shot 3:
Medium shot: Allows the viewer to see the location where the incident took place
Tilted Frame: The frame is tilted at a 90 degree angle, giving the illusion that Sam is standing, it takes the viewer a second to understand that he is actually lying on the ground
Information: Sam is lying on the ground after he was hit by the passing car
Shot 3
Medium Close Up: Shows Sam's detailed facial expressions. Also shows enough of the surrounding to make it clear to the audience that it is simply a larger version of the previous shot
Information: Sam is lying on the floor after he was hit by a passing car
Shot 4
Close Up: The close up of the car's side mirror allows the camera to pick up Sam's reflection
Information: Now awake in 1973 same checks his apperance in the side mirror of a car and realises the changes in his clothes. The distortion of his face in the mirror replicated the confusion and disorintation felt by Sam at that particular moment.
Shot 6
Long Shot: Shows enough of the surrounding for the viewer to realise the changed location in which the action is taking place
Information: Sam walking confused along a road in 1973. The old fashioned car and period dress of the other characters indicate the different time period
Shot 7
Medium Shot: Shows enough of Sam's facial expression to make the viewer understand his confused emotions, in addition to his clothing and location
Information: Sam stepping through the door of his new police station in 1973
Long Shot: Shows vast space and numerous characters who are visible to Sam
Medium Long Shot: Shows majority of Sam's body but not clear facial expressions or body language.
Medium long shot: Shows the majority of Sam's body, no facial expressions as he is faced away from the camera. The building in which he is walking towards is also visable to the audience.
Split screen: Shows the audience multiple facial expresions of Sam
Split screen: The checked squares cannotate prison bars - The programme is focused on police officers
Split screen:
Medium long shot: Shows image of Sam lying down on a bed, Has clear facial expressions in addition to a good view of his surroundings
Text: 'John Simm' - The name of the actor who play Sam - His name appears infront of the image. The viewer immediatly connects the name to the face.
Medium Close Up: Ability to see facial expression and police warrent card
Medium Close Up: Shows facial expression
Medium Shot: both characters can be seen although the shot is crowded due to the large border surrounding it.
Information: Sam throwing a punch at Gene Hunt (his boss)
Medium Long Shot: The car is the main focus of the shot
Shot 16
Medium Close Up: Fairly nondescript surroundings, viewer focuses on the characters face.
Shot 17
Medium Close Up: Clear Facial expression, Clothes worn indicates the type of person and job he has.
Text - 'Dean Andrews' - Actor who plays the character of Ray
Medium Shot
Medium Shot: Shows contrast between the three characters, their age, costume and facial expressions
Medium Shot: 
Same shot type and information as shot 20
Shot 22 
Shot: Medium Shot
Synopsis:
Life on Mars follows the story of DCI Sam Tyler. In 2006 whilst hunting for a serial killer Sam is involved in a car accident which leaves him lying unconsious in the road. When he wakes he finds himself transported to 1973. He has no idea how or why he got there but is desperate to return home. Unfortunatly for Sam he has no idea how to do this, so until he figures out a way he must continue to live thirty-three years in the past. He joins a group of 70s CID police officers who's policing tactics are very different to those used by Sam. His prinicples are tested to the limit as the series continues and his fight for survival reaches terrifying heights.
Mixed Genres:
Life on Mars mixes action and science fiction to create an incredibly succesful series. The element of 70s cop-shows is attractive to those who enjoy action sequences and witty one-liners, however the entire story has an underlining, unhuman mystery which is greatly appealing to those who prefer much darker, more subtle, surrealist qualities in their television programmes. The combination of the two not only attracts a wider audience but makes the entire programme less two dimensional. It disuades the creaters from of the usual sterotype characters that often occur when creating single genre production and therefore creates a more realistic and human story.
Opening Sequence:
The opening sequence to 'Life on Mars' is extremely interesting and complex. It uses a variety of techniques including split screens and multiple moving images. The voice over is incredibly important as it gives a complete overview of Sam's situation which allows first-time watchers to understand the story up until that point.
'My name is Sam Tyler. I had an accident and I woke up in 1973, am I mad? In a comma? Or back in time? Whatever's happened its like I've landed on a different plannet, now maybe if I can work out the reason I can get home'
http://www.youtube.com/watch?v=qukVEWv3t_4
Shot-by-Shot anyalisis
Shot 1:
Medium Shot: Allows the viewer to see a clear vision of Sam, in addition to parts of the car
Information: Sam standing outside his car in 2006
Shot 2
Medium shot:
Information: Sam in 2006 being hit by a passing car. The collision isn't seen as the action happens incredibly fast hence the blur.
Shot 3:
Medium shot: Allows the viewer to see the location where the incident took place
Tilted Frame: The frame is tilted at a 90 degree angle, giving the illusion that Sam is standing, it takes the viewer a second to understand that he is actually lying on the ground
Information: Sam is lying on the ground after he was hit by the passing car
Shot 3
Medium Close Up: Shows Sam's detailed facial expressions. Also shows enough of the surrounding to make it clear to the audience that it is simply a larger version of the previous shot
Information: Sam is lying on the floor after he was hit by a passing car
Shot 4
Close Up: The close up of the car's side mirror allows the camera to pick up Sam's reflection
Information: Now awake in 1973 same checks his apperance in the side mirror of a car and realises the changes in his clothes. The distortion of his face in the mirror replicated the confusion and disorintation felt by Sam at that particular moment.
Shot 6
Long Shot: Shows enough of the surrounding for the viewer to realise the changed location in which the action is taking place
Information: Sam walking confused along a road in 1973. The old fashioned car and period dress of the other characters indicate the different time period
Shot 7
Medium Shot: Shows enough of Sam's facial expression to make the viewer understand his confused emotions, in addition to his clothing and location
Information: Sam stepping through the door of his new police station in 1973
Shot 8
Long Shot: Shows vast space and numerous characters who are visible to Sam
POV shot: Shows Sam's prespective of the situation
Information: Sam's view as he enters the 1973 police station, confused and disorentated from the crash
Shot 9
Medium Long Shot: Shows majority of Sam's body but not clear facial expressions or body language.
Low-Angle shot: Makes Sam look taller and more powerful
Information: Sam looking towards the sky
Medium long shot: Shows the majority of Sam's body, no facial expressions as he is faced away from the camera. The building in which he is walking towards is also visable to the audience.
Low angle shot:
Information: Sam walks towards a building in 1973
Shot 10
Shot 10
Split screen: Shows the audience multiple facial expresions of Sam
Extreme Close Up: Camera is only focused on the eyes and nose
Shot 11
Split screen: The checked squares cannotate prison bars - The programme is focused on police officers
Extreme Close up
Text: 'Life on 1973' - The numbers scroll from 0000 incredibly fast until they reach 1973 - this is the year in which Sam finds himself.
Shot 12
Shot 12
Split screen:
Extreme Close Up and Close Up: Each line shows Sam in a different position.
Text: 'Life on Mars' - The title of the programe, the numbers 1973, which were used in the previous shot fade into the letters M-A-R-S
Shot 13
Medium long shot: Shows image of Sam lying down on a bed, Has clear facial expressions in addition to a good view of his surroundings
Text: 'John Simm' - The name of the actor who play Sam - His name appears infront of the image. The viewer immediatly connects the name to the face.
Shot 13
Medium Close Up: Ability to see facial expression and police warrent card
Information: By showing an image of his warrant card the viewer is alerted to the fact that he is a police officer.
There is still a frame of other close-up and extreme close up images of Sam.
Shot 14
Medium Close Up: Shows facial expression
Information: Name of the actor connected with the face alerts the viewer of the connection. Borderline of Sam's face reminds the viewer that the although a different character is the main focus of the shot he is still the main character.
Shot 15
Medium Shot: both characters can be seen although the shot is crowded due to the large border surrounding it.
Information: Sam throwing a punch at Gene Hunt (his boss)
Shot 16
Medium Long Shot: The car is the main focus of the shot
Text: 'Liz White'
Information: The car is used throughout the series and associated with the programme.
Shot 16
Medium Close Up: Fairly nondescript surroundings, viewer focuses on the characters face.
Text: 'Liz White' - Viewer connects the name of the actor with the face of the character
Shot 17
Medium Close Up: Clear Facial expression, Clothes worn indicates the type of person and job he has.
Text - 'Dean Andrews' - Actor who plays the character of Ray
Shot 18
Medium Shot
Text - 'Marshall Lancaster' - name connects with the face of the character
Information - The character is noticably younger than those shown prevously in the sequence
Shot 19
Medium Shot: Shows contrast between the three characters, their age, costume and facial expressions
Information: Obvious conflict between Sam and Gene with Chris (Marshall Lancaster) in the background.
Shot 20
Medium Shot:
Information: Still shot from the programme. The women is in handcuffs being pulled by Gene Hunt who it seems has arrested her. This shot highlights the police-show nature of the programme
Text: 'Co-Created by Mathew Grahman
Shot 21:
Same shot type and information as shot 20
Text: Co-Created by Tony Jordan - by using the same background when crediting the co-creators they seem of equal importance.
Shot 22
Shot: Medium Shot
Information: A closer, more direct and clearer version of shot 20 and 21
Text: 'Co-created by Ashley Pujrolm
Medium Close Up: See basic facial expressions of the characters 
Medium Close up: See clear facial expressions of the two characters 
Medium Close Up: Clear facial expression of the character. 
Medium Shot - See enough detail to establish the type of car in the shot 
Medium Shot - The characters detailed expressions and clothing are harder to see the further away they are from the camera 
Medium shot: Clear sight of both character's backs 
Medium shot
Text: 'Co-created by Ashley Pujrolm
Shot 23
Medium Close Up: See basic facial expressions of the characters
Over the shoulder shot: Shows the other two characters from the thirds point of view
Information: Still shot from the programme - the border has again increased making the shot smaller and less significant
Information: Still shot from the programme - the border has again increased making the shot smaller and less significant
Text: 'Written by Chris CanonBall'
Shot 24
Medium Close up: See clear facial expressions of the two characters
Two Shot: Their closeness and body langauge suggest that they are comfortable in each others presence.
Information: Shot of Sam and Annie - their romance becames a key feature in the programme.
Text: Produced by Cameron Roach
Shot 25
Medium Close Up: Clear facial expression of the character.
Information: Shot of Character Gene Hunt. The shot has the same text as the previous shot. The fact that the producer is worth two shots higlights his significance to the programme
Text: 'Produced by Cameron Roache
Shot 26
Medium Shot - See enough detail to establish the type of car in the shot
Information - The car is iconic throughout the series. The previous shot shows the character Gene Hunt who appears to be driving. This shot establishes that this was the car he was driving
Produced by Cameron Roach
Produced by Cameron Roach
Shot 27
Medium Shot - The characters detailed expressions and clothing are harder to see the further away they are from the camera
Information - A line of the four most important characters in the programme. Standing so close together creates a sense of unity and trust in each other.
Shot 28
Medium shot: Clear sight of both character's backs
Information: Sam and Gene are standing close together which shows a sense of companionship. Sam's right hand is clenched in a fist which cannotates violence of some sort.
Text 'Directed by Sj Clarkson
Shot 29
Medium shot
Infomation: The body language of Gene and Sam suggests that they have just thrown a punch at the man falling towards the camera. Their unity in this violent action suggests a bond between the two characters.
Text: 'Directed by Sj Clarkson
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