ALEX WAIN
CANDIDATE NUMBER : 1779
CLAREMONT FAN COURT SCHOOL 64680
Hello moderator, I worked with Charlie Slorick 1770 and Thomas Hutchinson 1733.
We had to produce a promo package for our film, which included two trailers, a teaser and a proper trailer, a poster, a film website and various social media accounts that would all promote our film. The genre we decided to make our film was a thriller/military/horror style film as we have never experimented with those genre's before. We believed it to be an interesting, new experience for us. As such we came up with the idea of two military soldiers hunting down a monster and giving it the title 'silhouette' after the fact that the majority of appearances the monster makes is as a silhouette.
To effectively create the promo pack we needed to research the elements that are needed to create an effective promo pack and to make them as professional as possible. We utilised a large array of creative tools, including adobe photoshop, adobe after affects, and adobe premiere pro. These tools helped us create a professional looking trailer that we would be proud to present as our piece of work. Another part of the promo pack that I created was the social media, namely an instagram and twitter page. This gave me better insight as to how to create a professional campaign.
Directing
This role was taken up by everyone but I gave a-lot of advice on how to do the camerawork, the angles, the editing, etc. I made sure that the production ran as smoothly as possible and that everyone was happy with any creative decisions made by the crew and the cast. I offered advice as a creative consultant to the cast and crew but allowed the cast to express themselves as they wish, which helped to bring together the entire project.
Editing
Tom took this role due to his prior experience with editing in the production of the film Duty Calls, his prior experience allowed him to correctly understand what would work in any situation and how to go about doing what we, the team, wanted to happen. This helped to create a unique film trailer that only we could produce.
Camerawork
Charlie Slorick took on the role as director of cinematography, his experience with cameras in his Photography A level helped to create the film trailer. He utilised a variety of camera angles and shot types, including a panning birds eye shot, a close up, follow pan, worms eye view shots and a variety of others. Due to his masterful camerawork we were able to create visually captivating trailers that show off the quality we were able to produce as a team.
Poster
Trailer
Website - link here
social media
TO SEE THE ACTUAL SOCIAL MEDIA PAGE PLEASE CLICK THE PICTURES AND IT WILL TAKE YOU TO THE RESPECTIVE SOCIAL MEDIA PAGE
To make sure that I was able to understand how social media worked and how film companies used them I created two social media accounts on two separate platforms, Instagram, and Twitter. I chose these two platforms because of how popular and commonly used they are in marketing films, some examples being Captain Marvel's social media campaign, as well as the modern Star Wars films.
Your Silhouette poster features genre conventions (title, tagline, principal talent, billing block, release date, social media). The centre of visual interest is the arresting image of the figure in impressive combat gear with night vision googles and an ominous mask. The monochrome quality of the image fits the tagline ‘It’s in the shadows’ whilst the eye-catching points of light (neon green and purple) promise the high-tech production values that are fulfilled in the film trailers which boast a whole slate of stunning special effects.
ReplyDeleteTrailers From the slick Keyhole Productions that you designed to the whole battery of special effects, convincing mise-en-scène complete with superb costumes, military equipment and realistic locations, the main trailer makes a strong statement about threat and personal courage, delivered in a way that will appeal to its target audience.
ReplyDeleteThe menacing soundtrack along with the voiceovers fits the military horror genre which is developed in a sophisticated way with some excellent editing. Particularly smooth is the wipe transition from the bird’s eye view drone shot of the operatives entering the military building to the wide shot of the Government Mansion with the monster floating above it suspended in space. The colour tones are carefully considered throughout to lend unease (close-ups of boots splashing through rain, foggy wide shots, rainy city streets, barbed wire sharp and spiked fences sharp against grey skies, dark alleyways). Confident green screen editing in the news broadcast scene.
Excellent camerawork / editing includes the arresting silhouette of the ‘burning’ monster with radioactive flames flickering around it, as well as views through the night vision goggles, lending tension and realism as the monster is tracked. The confrontation with the monster, with firepower created cleverly through special effects, culminates in hand-held camerawork to simulate the pursuit and a surprise moment of personal revelation – the photograph of the sweetheart. Following trailer conventions, the trailer ends on a moment of suspense that hooks the audience – will the lone operative succeed in destroying the monster? The trailer also meets all other trailer conventions (production company idents, title, tagline, intertitles, release date, institutional information) and fits the trailer genre well (fast-paced editing, building to a climax, clearly signals genre, engages audiences who seek action / adventure codes as well as horror codes).
Your production team has had to develop creative ways of meeting the requirements of your original treatment (such as cross cuts to live action shots of family) such as replacing them with photos, because of the impossibility of meeting up with your original cast during lockdown, and the difficulties of travelling beyond your local area. You were so efficient in the initial stages that you had completed a substantial amount of your principal photography before constraints, but were nevertheless forced to be innovative in working around the constraints. I have taken all of this into account.