'The Warehouse Killer' Complete Film

The Warehouse Killer Completed from Emma Bailey on Vimeo.

Evaluation 7: Looking back at your preliminary task (the continuity editing task), what do you feel you have learnt in the progression from it to full product?

Through our preliminary production, as a group we have all developed our camerawork and editing skills.
One of these skills I feel I have especially improved upon is adding sound clips in editing when I made our directors commentary on Pinnacle.

Also, I know what we have improved upon the most as a group is the ability to create a match on action edit. On our preliminary production, the only match on action edit we did was one of a door opening and closing using two shots as seen here.

However in the final production, there was a match on action of the character Karen running, which had to match with footsteps and even the lights on the back of the van.

A second skill we had to develop was the 180 degree rule, this rule is explained in the following Slideshare by Levi Wigglesworth in this public post.

180 Degree Rule For Media from leviwigglesworth

The use of the 180 degree rule is to simply avoid confusion within the viewer, this had to be followed perfectly to ensure a professional look to the film. Cameraman Sam Duxbury especially had to develop this skill as he spent most time behind the camera, being the only person in our group who didn’t have an acting role.

An example of this being followed.

Another editing skill used and developed, again mainly by cameraman Sam, was the use of a shot reverse shot. This is when there is a shot of something or someone, usually within speech, and then the shot switches 180 degrees. This is again showed within the following example.

One more of the skills which was developed in the editing by myself and Alex Hetherington was the use of ‘J’ or ‘L’ edits. This is done by locking a layer in the timeline, either video or audio, then moving/cutting/ trimming the other. This was done for the door ‘squeaks’ and for most footsteps whereby numerous match on action edits were needed. This ensured a smoother and again professional look to the production. An example of this is shown below.

An example of ‘J’ cut for door squeak.

An example of ‘L’ cut for footsteps.

                                   

Evaluation 6: What have you learnt about technologies from the process of constructing this product?

Evaluation 4: Who would be the audience for your media product? and Evaluation 5: How did you attract/address your audience?

For the audience feedback, we found that the audience thought that the plot was typical for the thriller genre, but liked the element of action and the added tension with the scream at the end making them want to watch the rest of the film. One person who watched the film, Callum Chadwick, said: "I think that the rest of the film would be really interesting, as this beginning leaves everyone on a bit of a cliff-hanger as to what happens next." Another member of our small audience, Alex Woodfield, said "As someone who enjoys watching more independent films at the cinema, this film really appeals to me. I like that the main character in the beginning seems like a normal, everyday person." However, one person, Ellen Smithies, did say "I think that the plot could be quite predicable, and also I would be more likely to go to the cinema to watch a big blockbuster or something with a famous person in it than to watch a small student thriller." Overall, our audience members seemed to enjoy our production, with a variety of feedback.

Evaluation 3: What kind of media institution might distribute your media product and why?

The official definition of a production company is a company that provides the physical basis for works in the realms of the performing arts, new media art, film, television, radio and video.  The production company is usually responsible for fundraising for the production, handling budgeting, scheduling, scripting, casting and resource supply, the organisational staff, the production itself, post-production, distribution and marketing.

The film distributor is a company or individual responsible for the marketing of a film or production.  These people set the release date for a film and select the viewing platform of the production, for example either straight through DVD release or theatrically.

Independent films like ours generally have a small return.  Most ‘indie’ filmmakers do it for the love of telling a story.  However, there are ways of increasing profit, for example through advertising and product placement.  Films that have been released in the past that would be institutionally similar to ours would be films like Attack the Block, which was a mid-budget British film produced by Big Talk Pictures, Studio Canal, Film4 and the British Film Council.  This film used a variety of production companies (as named above), which would be the source of the productions finance.

We chose Coffee Films as our legitimate production company, as when we researched independent film companies, we saw that they had produced some small-scale films like ours, and we thought they would be a suitable company for our production.  Coffee Films is a British independent film company that was established in 1996  In 2004 the company was recognised as one of Europe's leading young production companies.  We decided that our film would be made by a small production company because it isn't in the same style as other Hollywood films .  The company has produced thrillers such as 'Lucid': a psychological thriller feature set in the Scottish Highlands.  The have also produced several online films, including 'A Plaster, A Paper and a Cheese & Pickle Sandwich': a black comedy thriller short film.  While the company isn't very well know, we think that this production company would be more suited to producing our film.

Our production company that we made up ourselves is called Red Herring Production, after the plot twists in thrillers such as ours.  We thought the colour scheme: red, white and black, looked quite dramatic, as well as thinking about the connotations of the block colours. 

In 'The Warehouse Killer', the titles were displayed in this order:

- Production Company: Red Herring Productions

- Production Company: Coffee Films

- Actors (as shown in order of appearance)

- Director

- Credit to Coffee Films

The production companies had to be shown first before the film began because that's how they are shown in proper films.  Then the actors names were shown in order of appearance because there were only two actors in the film and it just made more sense to have them in that order than any other. In our production, the overlay titles are displayed in the corner of the screen, so that the audience can concentrate on the action within the frame, rather than on the words.  The text is white with a black outline, looking quite plain to, again, keep the viewers attention on the action within the frame.

Our film would be released on a small scale, much like an Irish independent film called 'Calvary', which came out in 2011 in 66 cinemas.  The film would also later be released via the internet, on sites such as Netflix or Amazon Prime.

Evaluation 2: How does your media product represent particular social groups?

Karen from The Warehouse Killer

The key character in our production is Karen, and she is played by Emma Bailey.  If our opening were to actually be a part of a full feature-length film, the plan would be that Karen wouldn’t feature in the film, but only in the beginning, as it is implied that her character dies at the end of the opening just before the main title, with the high-pitched scream and the sound of something clattering.  This fits in to the stereotype that women are vulnerable, and in thrillers one of the first people to die.  However, we killed the male character first, going against the general thriller convention and stereotype.   This is because we wanted the killing to be a surprise to the audience.  We essentially wanted Karen to be the catalyst of events yet to come in the film. 

The teenage girl from Ils/Them

Her character was partly inspired by the teenage girl from the opening scene of Ils/Them, because she witnessed a crime and tried to run away, but still ended up dead.  Being a young woman in a thriller fits the gender stereotype of weakness and vulnerability.  Although their situations aren’t exactly the same, both of the characters were female, and therefore were portrayed as vulnerable.  Both characters lose people close to them: the girl from Ils lost her Mum, and Karen loses her friend and work colleague, and then dies.  They both have a similar role in each of their films: both are used to set the story and to give the audience an idea of what is to happen to the main characters in the film.  For costume, the teenage girl is dressed more casually than Karen is, because this fits her character better than for her to wear office clothes, as she is portrayed as a rebellious teenage girl.

Anna from Sixth Sense

Another character similar to Karen is Olivia William’s character in Sixth Sense: Anna Crowe.  While Anna is married to the victim in her film, and doesn’t die, she still sees the death of her husband.  In this way, both Karen and Anna show that while they are stereotypically vulnerable, they are also both strong individuals that are capable of dealing with these difficult situations.  Both wear costumes fitting for the locations: while Anna wears a dress because she’s come home from an awards dinner, Karen wears smart office wear because she is at work and she has to look professional.

Evaluation 1: Commentary for 'The Warehouse Killer'

In what ways does your media product use, develop or challenge forms and conventions of real media products?

warehouse killer commentary complete from Emma Bailey on Vimeo.

'The Warehouse Killer' Rough Cut

warehouse Killer rough cut from Emma Bailey on Vimeo.

Shooting Our Opening to a Thriller

The First Shoot:

   We got off to an unsteady start, as we weren't quite as organised as we should have been.  Both of our original actors told us on the day that they couldn’t do it anymore, but we decided to carry on regardless because Alex and Emma both had a little amount of acting experience.

    Also, we had to get used to using the equipment, which took us a little while to get the hang of.  We had some trouble with our microphone, so the footage that we got out of the shoot didn’t have a good enough quality for what we wanted.  Originally we only planned to have one shooting day, as everything was to be shot in the same location, however in the end we didn’t have time to finish all of it, and we had trouble with the lighting in the warehouse.

The Second Shoot:

    On the second shoot, we were a lot more efficient and quick with the filming.  We had to redo a couple of shots from the first shoot because of the quality or the change in natural lighting.  Everything ran a lot more smoothly and we got all of the shots that we needed to, because we had got used to the equipment and we got the correct microphone working, and we were all working together a team more than the first shoot, because with two thirds of our team acting, it would have been difficult to dedicate different people to specific tasks.

Music

Below, you can see a video of the main piece of background soundtrack non-diegetic music we used in our production: a free piece of music we found off the internet called ‘Bent and Broken’, which we thought sounded fitting for the thriller genre.  The song by Kevin Macleod was designed for a Horror film; however we thought that the piece had thriller connotations within it.  The piece had to be cut down for our production, as it was too long and it wasn’t appropriate for all parts of the film, however it does run from the very beginning of our production, through the production company logos, as we thought the music sounded quite dramatic and good for the logo title music. This video has been sourced from YouTube.

The second piece of music we use in our production is called All This.  This piece of music plays when Karen sees Joe on the floor of the warehouse near the van.  Again, we thought this sounded fitting for the thriller genre, but as you will hear, the first minute of music isn't used, because we didn't think that that part of the music was appropriate for our piece.  Again, this was a free piece of music made by Kevin MacLeod. Again, this video has been sourced from YouTube.

General Planning

On the day of our filming, we had to take a bus to get to our location to film.  We used rosso.com to organize the time that we should get the bus and helped us to figure out where the nearest bus stop would be to the location we were filming in.

We also used Facebook messenger to communicate with each other about media outside of school. To give the whole group access to our work to put on their blogs, we put finished work on a group Google Drive which we could all access.

Storyboards

Production Logos

Below is our subsidiary production company logo that we have made up for our production.  We chose the name ‘Red Herring’ because in thrillers there are red herrings to make the plot more exciting, leading you to believe one thing when in fact not everything is at it seems.  We thought this would be suitable for the sort of thriller we wanted to produce.

MEDIA Red Herring Productions Logo from Emma Bailey on Vimeo.

Coffee Films is a British independent film company that was established in 1996.  In 2004 it was recognised as one of Europe’s leading young production companies.  We decided that our film would be made by a small production company because it isn’t in the same style as other Hollywood films.  The company has produced thrillers such as ‘Lucid’: a psychological thriller feature set in the Scottish Highlands.  They have also produced several online films, including ‘A Plaster, A Paper and a Cheese & Pickle Sandwich’: a black comedy thriller short film.  While the company isn’t very well known, we think that this production would be more suited to producing our film.

Titles and Fonts

We wanted our thriller to look professional, even though it is not on a high scale, so we decided to use a professional looking font.  We also wanted the titles to connote the dark tone of the plot.  Overall we wanted to target our audience through our use of titles and fonts, so therefore the titles should look sophisticated and easy to read.  Therefore, we could not use fonts such as Comic Sans or Curlz, or any other sans serif, unprofessional fonts.  Instead, we think that using a serif font, to broadcast the seriousness and connote thriller conventions, for example Book Antiqua or Imprint MT Shadow.  We also wanted the focus of the audience to be on the action, rather than on the titles. In the end, we have decided to use Rockwell in bold and in CAPITALS, because it is simple, but will make a statement.

For example:

ALEX HETHERINGTON

SAM DUXBURY

EMMA BAILEY

Script

INT. OFFICE – NIGHT.

KAREN sat at desk. JOE walks in through door.

JOE

Right Karen, I’m off. The van keys are on the table downstairs.

KAREN

Okay, cheers, see you later.

JOE exits through door, leaves slightly ajar.

Loud bang from downstairs.

CUT IN

INT. WAREHOUSE – NIGHT.

KAREN runs to foot. Kneels to take closer look.

KAREN sees body, is visibly shocked.

Hear bang from other end of warehouse. KAREN stands quickly, turning around.
KAREN looks around, turning on the spot slowly.

Another bang. KAREN quickly turns around.

Another sound on the other side of the room. KAREN turns towards it,                        stops.  Sees van keys on counter. Runs towards keys. Another bang, quick reaction.  
Runs towards van.

KAREN

Start! Come on! Start!

CUT IN

INT. VAN – NIGHT.

KAREN gets in van, locks doors, and inserts keys.

CUT AWAY

INT. WAREHOUSE – NIGHT.

Engine starts. KAREN drives.  Doesn’t turn quick enough.

Fade to black. 

END.