MI - Malac - Treatment

Benjamin King compiled our films treatment, which is as follows:

Treatment

Malac is a story of depth and one in which the set unravels. Heartbreak and emotions run wild and spillover. The mental torture of ones past relationship becomes another ones physical torture. A dark twisted encounter, set in a unforgiving, picture perfect basement reveals a hidden story.

I personally think this treatment sums our groups ideas up really well. Our plot is focused on a serial killer who kills to cleanse herself from a painful past relationship that went sour. The twist to our plot is her next victim is actually her assisstant's partner.
Although the treatment doesnt do justice to the depth and complexity of our narrative, i believe it really shows off the methophorical feeling of our story. We want to convey dark and twisted characters, who are all in pain, one way or another. Whether it be mental, physical or memory based, Malac is a tale of pain and suffering.

While I feel confident on our selected narrative, I can also see potential flaws and setbacks. The biggest potential problem is the complex plot itself. As we have only about 1.30-2mins to convey this plot, I personally fear that we will not be able to show our characters background story well enough in the given time.
This is only a potential problem however, so aslong as we keep that in our minds while we develop the plot and screenplay, hopefully, we can get past it.

Screenplay + Shotlist Concepts

While my main role within the production is direction, it also falls into my role to compile a shot list with the cinematographer. Here are my current ideas for shots and shot types:

- Quick, 'flash' shots of object/character closeups within the room, to build tension within the title sequence. Also revealing plot clues?
- Extreme closeups. Tight shots angled to hide certain unwanted aspects regarding the location.
- Med/Closeup shot of the briefcase, opening, contents unrevealed.
- Panning shot of turtore objects and visual plot clues.
- Over HER shoulder shot. Tracking HIS movements (writhing in pain)?
- Extreme Closeups of hands + HER face, to add tension and contrast between drawn out shots.
- Vertical panning shot revealing photos and end plot twist at end CREDITS.#

Expect the full shotlist and shoot schedule soon!

New year, New Project.

So back again. Fun times.

We have been given a 2 week project to get our teeth in and refresh our minds before the real first assessed piece of work.
The script we are adapting and filming is MALAC... A story which hints at torture, dominating behaviour, physical and mental anguish.

The full script is:

MALac
Fade in from black: white text on black background:
Courage is the belief that there is
something more important than personal safety
Fade to black
Int.Day.Room
HE is sweating. Hard.
SHE stands impassive. Unconcerned.
HE rubs his wrist and we see HE is chained to the chair.
SHE
(Bright. Breezy)
Are you sure you wouldn’t like a drink?
(smiles)
Never too late to change your mind.
HE
(Afraid)
I swear, I swear. Please. Stop. Please?
SHE
(placing a briefcase in front of the chair)
Shush. Be quite quiet. It will no longer be necessary to
lie.
HE
I swear…
HER
Shush, shush.
(popping open the case)
I have here a malac. God it’s beautiful.
Could you hold him please?
MAN steps out of the shadows and forces HE’s hand
horizontal.
HE
Don’t. Don’t. I swear.
SHE
(pleased)
MALacs. Now no more shall we part on this path of truth we
find ourselves on.
Playing with the MALac in the case, its metallic sheen
plays on SHE’s face.
SHE
Pain, enlightening truth. This is what MALac brings.
Shall we continue?
SHE removes the MALac and shutting the case she steps
forward.
HE screams.
THE END

Initally we were put into groups, within which we decided on the roles that we wanted to play for the film project. here is our group and each persons roles:

TOM PIERREPONT : Camerawork + Art direction
BEN KING : Producer + Sound Manager
LEIGH HARRISON : Location Manager + Runner
NATASHA GAYNOR : Editor + Camera Assistant
ERIC YUAN : Wardrobe Manager + Lighting Manager
TOM FRECKNALL : Direction + Screenplay

Flash Quiz Final Outcome

Finally finished my flash quiz.

Although its slightly off what the brief has set (couldnt figure out how to do action arrays for the life of me) i believe its still successful as a stand alone piece of interactive media.


UNI project - FLASH by ~DJ-Analysis on deviantART

Quiz Redesign...

After evaluating my previous design, I decided that graphically it was to a low standard. My revised result is this:

Moving Image - Roles

While im trying to figure out why youtube wont accept our final outcome here are the various roles I furfilled whiled within this project.

Director

One of the most important roles within the industry, directors are more famed then anyone else within the crew.
Their job is to control and direct the actual filming. This can be anything that immediately relevant such as actor performance and review, screenplay and visualisation, artistic and dramatical camera movement and technique and a large portion of input into the final outcome.

Although public knowledge diticts these people as gods within the film industry, their creative power is limited. Usually producers will have the final say and veto any ideas unliked from director or anyone else within the production.

My favourite director is Park Chan-wook (oldboy and the rest of 'the vengance trilogy) seen below:



Park Chan-wook (born August 23, 1963) is a south korean director/filmmaker, specially noted for his brutal and realistic themes and subject matter, alongside immaculate framing and clever storytelling.

While even Tarantino is a massive fan of Park, he is listed as one of South Korea's best and most famed directors, pulling in over 3 million people (in S.Korea alone) to watch his latest films.

Oldboy is a success all around the world, with the film and actors winning 17 globally recognised film awards. These range from the british independent to the golden trailer awards.

And on a more personal note, Park Chan-wook also turned down the chance at remaking the evil dead (something that could be easily done and would pull in a huge amount of profit).. This makes him a film hero in my eyes.

Light and Sound crew

These 'technicians' of the film crew are there to plan and devise appropriate light and sound for the production. While within this project I took on both roles, real life would see a crew of around 3-4, just for the sound aspect.

These would include (from sources at wikipedia):

* Production Sound Mixer

The production sound mixer is head of the sound department on set, responsible for recording all sound during filming. This involves the choice and deployment of microphones, operation of a sound recording device, and sometimes the mixing of audio signals in real time.

* Boom Operator

The boom operator is an assistant to the production sound mixer, responsible for microphone placement and movement during filming. The boom operator uses a boom pole, a long pole made of light aluminum or carbon fiber that allows precise positioning of the microphone above or below the actors, just out of the camera's frame. The boom operator may also place radio microphones and hidden set microphones. In France, the boom operator is called the perchman.

* Utility Sound Technician

The utility sound technician has a dynamic role in the sound department, most typically pulling cables, but often acting as an additional boom operator or mixer when required by complex filming circumstances. Not all films employ a utility sound technician, but the increasing complexities of location sound recording in modern film have made the job more prevalent. This role is sometimes credited as "cable man" or "python wrangler".

Camera Operator

Another role that is taken on by alot of people within the industry, the camera operator is what it says on the tin, someone who operates the camera.

This is actually a really hard role as without professional equiptment alot of the pressure is put onto the operator. Without a clean take of each scene, filming would go on and on, something which the operator is aware of obviously.

Although given credit, operators are never noted for fame within the industry. This is for good reason though, as operators are not meant to give creative input (especially if the production is massive). They are there to simply film what they are told to film.

3d Studio Max - Lighting

Below is my attempt at lighting within studio max, i have used a few different types within the standard lights section of the program.

Omni Light - Produces lights in all directions, good to use with a lightbulb for a realistic effect.

Direct Light - Directs light in one constant direction. This is good to use to fake sunlight.

Spotlight - As youd expect, creates a spot of light in which you can direct at any object. You can either spot

Rendered with a heavy enviroment effect to create a foggy woodland scene:



Rendered without any enviroment effects:



Rendered with a different render device:

Superhero Cave - Research

I have compiled some pictures of superheros and there HQs, specially within a cave like area.