COSTUMES & PROPS

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In order to communicate the cinema-environment we had created for our first scene, in addition to the lighting effects, I felt it was important to have the appropriate props. With the script featuring popcorn being thrown it was important to have popcorn boxes for this to happen and so, through Amazon, I got my hands on some. Although they were scheduled to arrive on time for the shoot, during my visit to the West End Cinema in Boston I managed to get my hands on some boxes that were perfect for the shoot.

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Through Facebook I could efficiently and easily to each actor or all the actors together and it was using this tool where I discussed costumes. With the “YOUTHS”, Sam, Gareth and Connor, I wanted them to wear darker clothes which could help the audience identify them as menacing and the protagonists. Also, visually this would contrast them and form a barrier between them and Peter who would be wearing clothes such as a white shirt. I wanted him to wear clothes that would communicate his age so the audience empathises with him more and I think this worked on the day of the shoot.

TEST SHOTS

6With the idea of using an old Ford Escort as a significant part of our film, I went to a spot overseeing my home town during “golden hour” which is the first and last hour of sunlight during the daywhen a specific photographic effect is achieved due to the quality of the light. The purpose of the shoot was to experiment with different angles and camera settings to test ideas I had and to try out new ones, which was help in the shooting and storyboarding process of the production.

Primarily using a 50mm lens, I managed to create the set of edited photos you see here. Colour was a big part of editing and was altered using tools such as “Vibrance”, “Colour Balance” and “Hue and Saturation” in the “Adjustments” menu of Photoshop. I also used extensive sharpening to make cleaner-looking photos.

21It’s photo’s like the one above that I was really pleased with in that they really captured what I was imagining in my head. Without being a awkward, weird angle the camera is positioned so that the viewer can see the car clearly but yet the mysterious, creepy driver I was going for remains unknown and eerie.

5Here are some interior shots I did of the cars in their garage. Above you see the lights staring at the camera with is a shot I had in mind to create an uneasy atmosphere where the audience feels perhaps intimidated. Below is what I think is a nice shot where the car’s headlights bounce of the surrounding walls to create a warm atmosphere.

23The shots have definitely helped me gather my ideas and get together new ones that I hadn’t thought of yet. Overall the shoots were very beneficial and if the car was incorporated into our short film they’d have their effect in a positive way.