The Wake Up - Conclusion of our film

Filming Process

Overall it has been fun and intriguing filming our psychological drama and have had no major problems technically, only the availability and arrangements involving the actors. We all worked very well together as a group and took equal turns filming throughout. While this was a strength of our production, the weakness would be the struggle to find actors who had availability at the same as each other and if we hadn't missed the train on our original filming day but we worked with what we could and did the best we could; also happy with the outcome from our efforts. 

Colour

With reference to colour in our film as one of the requirements, our first decision was to give each of the lead characters a colour that they would wear. For example, Lucy’s character was originally meant to wear clothes that were purple such as a purple work shirt and eyeshadow/makeup. However, we struggled to get all of this arranged but we had the character wearing purple nail varnish which is represented in a close up of her unconscious in Grindleford. We researched the meaning behind the colour purple and found it to mean a variety of things such as nobility and wealth, so we implemented this slightly as Rachel would want to bring weakness to Jess. Zoe’s character, Rachel, was given the colour green as this can signify envy and even though our actor wore a blue skirt that may come across as a deliberate colour plan, her colour was meant to be green which is seen on her fingernails during a close up of behind her as she peers round a tree at Jess.

Another colour change we included was in the post-production when the scene where Jess wakes up. We decided to have this featuring a colour change to signify the confusion the  character is experiencing and changed the Grindleford shot to a slightly pink tone.

Lighting

In terms of the lighting, we filmed in quite a bright location in the office scenes and although we originally were going to film in Grindleford during dull days, due to timing we filmed when we could. Although we were lucky enough to have clear weather we edited it slightly to look slightly darker to connote the dramatic ambience. Our lighting change occurs when Jess has got up after waking from her unconsciousness and we see the sun shine brightly behind her head. This adds a juxtaposition to the dramatic theme as audience would associate the sun with happiness and optimism. However, the juxtaposition adds a sense of drama as we expect the narrative to take a twisted turn. We also found it an attractive shot of the sun shining above Jess’ shoulder, as it shines over her. Originally, we wanted to film in darker and foggier conditions but the day consisted of sun throughout most of it so we had to work with what we got.

Sequence shot/Long Take

When Jess is walking up a hill as she finds herself in the woods, we see Rachel walking behind slowly without her realising. However, through our sequence shots and in post-production, we see Jess turn around after a close up of her face, to find Rachel has disappeared. This is to connote the mystery and drama of the film and causes the audience to question where the narrative is going. This is also a long shot as they are walking up to hill, to build tension in the scene. I found it interesting to include this as our sequence shot as it adds to the confusion that Jess has while figuring out what happened to her and where she is.

Point of View

Our film features point of view in both the office and Grindleford scenes and I found it very interesting to film through this technique. The first time we see a character’s point of view is Zoe’s character, Rachel, as she is watching Jess having a phone conversation in an office. We see Rachel peering through the door and then the camera changes to film Jess; signifying the first person point of view. Then, we use this technique again in Grindleford as Rachel peers around a tree as Jess wakes up from her unconscious state. We also use this film technique when Jess is waking up, as we see her through a scene that is hazy and connotes dizziness and confusion. We wanted to signify to the audience how each character was feeling emotionally and their physical states through their point of view.

Editing the film

It was difficult to find a time that all of us in the group were available to sit down and edit so Alex offered to edit while he had the time. We were all keen to go in and help but half of us had work and other were struggling to quickly deal with a problem on another module's project. During Alex's editing session however, I went in to offer any help and I colour corrected some of the office scenes. I was keen to help out with the edit and also get my hands on the colour corrector tools as I hadn't been properly shown before how to use them.

 Alex helped me by telling me what looks good in terms of warm tones and colder tones and I feel I managed to colour correct to present the film in a nice light. I also helped Alex decide which colour to put the 'waking up from unconsciousness' scene as he had brilliantly edited it so that a wide shot is out of focus and represents someone waking up in a daze very cleverly. We both thought about the colours to use in this scene and felt a slightly pink tone would signify the colour change; another requirement for the film. We made sure the film included the 4 key requirements: colour, lighting, point of view and sequence shot. The film is now called 'The Wake Up'.

Filming in Grindleford

We originally planned to film on the Friday a week ago but when we were waiting at the train station for our actress, Lucy, she arrived with only 2 minutes until the train departed and therefore we missed it. Due to the next one being late afternoon we had to cancel filming as our scenes would look too dark and had to contact Brian to cancel the filming shoot, which we were quite annoyed about due to the deadline approaching quickly.

However, the actors still had trouble with availability at the same time so we had to rewrite the script and alter the narrative to feature a female kidnapper and no colleague at the end of the film. We also changed the part including a car and Jess being knocked out so decided to have her drink spiked by the female worker so that she falls into unconsciousness.

Lucy is playing our female lead: Jess.

Zoe is playing our female kidnapper/killer: Rachel

We took a morning train to make sure it wasn't dark lighting at Grindleford and we were lucky enough to have a bright, clear day apart from a few moments of hailstone but they occurred after we finished filming for a few minutes. Overall the filming that day went very successful! We arrived late morning/early afternoon and walked to the location that the others had spotted on the recce shoot where there was quite a big tree; where Jess would wake up from her unconsciousness. Due to the roles being shared we decided to film a scene or two each and Alex was the first to film the scenes where Jess wakes up. He filmed this in a few close up shots as well as wide shots, as we wanted to include a variety of angles in our finished piece. I took on the role of sound recorder for a few scenes and allowed me to strengthen my skills with the Zoom, as it was an area I had previously felt less confident in. For the close up of Jess laying on the floor, her fingers were filmed close up to show her purple nail varnish; which was the specific colour that she wears that signifies [-----l.

Hannah was the next one to film the scenes of Rachel looking at Jess from behind a tree. She used a shoulder rig to create smooth shots and this scene featured Rachel's hand being seen; where the camera was behind the character and another scene shot from Rachel's point of view. This is to comply with one of the module's requirements to include point of view. This was also to create tension as Jess is unaware of the character's whereabouts at this point. We also see the bright/yellowy green nail varnish Rachel wears, the other colour to signify her character as jealous; something we researched while creating the characters.

Sarah filmed the next scenes when we see Jess walking around her surroundings, through the trees and up a hill; where in the edit we will see Rachel's character walking behind her but when Jess turns around her character has disappeared; creating mystery and drama.

I filmed the moment when Jess was face to face with Rachel and used to shoulder rig to film from behind Jess' shoulder, moving backwards as she did to signify the weakness compared to Rachel's dominating character. It took a few attempts to film while walking backwards as the floor had many rocks and logs that caused me to fall over but we got there in the end! I got used to the shoulder rig as it was new for me and I also filmed parts of the fight scene between the two characters.

As we were leaving to catch the train back to Sheffield, Alex filmed some wide shots of the location and one of them would be used for the moment Jess wakes up  in a haze. We also wanted to take advantage of the beautiful scenery in the clear weather while we could. Overall it was a very successful day as we managed to film everything we wanted in around 3 hours with no problems at all.


Unfortunately I was unable to attend the filming day for the office scenes however it went successfully for the rest of the group and there were no major problems at all throughout the day.

Adapted Script

Due to the actors' availability not being at the same time we had to re-write and adapt the script to include another female replacing the male kidnapper/killer

INT. OFFICE- MORNING

CUJess typing on keyboard

JESS (22) is an office worker with long ashy blonde hair, she has a northern accent and is often told how common she sounds. She's about 5,4" and very well dressed for her mediocre job. She's well kept and always wearing a shade of purple. Today it's her nail varnish and bracelets. She has smart clothes on and a lot of make up on for the type of she does.

The sound of typing fades out.

The sounds of screams fade in.

INT. OFFICE - AFTERNOON

MCU Jess talking with colleague

JESS

God, last night was absolutely amazing, the best night I’ve had in such a long time!

Jess’ coworker nods in agreement whilst drinking her coffee, but does not speak.

JESS

I’m so glad I went out, it cheered us both up. John was telling me about his bitch of a wife and how she’s always working and never having any fun. Having said that mind, she’s like that in the office – I don’t think I’ve ever seen her with a smile, stupid woman. Oh well, atleast he’s rid of her now

Jess’ coworker chuckles in agreement. Little to their knowledge, John’s wife, Rachel, is stood in the doorway, watching Jess with hatred. Her eyes are burning with anger. SLOW ZOOM AND A PULL FOCUS shows her position in the office.

She is very smartly dressed, with a green bracelet. She has a tired, run down appearance as if she has been overworked. Her uniform is creased as if she has been living in it and appears slightly older than her actual age.

CLOSE UP ON CLOCK

CLOSE UP on Jess, as she takes a sip of coffee from a large takeout cup in front of her.

She leans back in her chair casually, leaning her legs against the desk – clearly not doing any work.

POV from Rachel’s point of view - we see Jess in this position, as she takes another sip of her coffee. She watches everything that she does, then smiles to herself as she comes up with a plan.

MS Jess is sitting texting on her phone now, preoccupied. Rachel reaches in her pocket and pulls out a small white tablet.

LOW ANGLE reveals Rachel is smiling down at it, clearly planning something.

Jess’ phone vibrates suddenly, making her jump. She answers it straight away, but leaves her coffee on the desk as she walks away, chatting on the phone – again loudly about last night’s antics.

 SEQUENCE SHOT shows a wide shot of the desk with the steaming coffee cup in the middle, then follows Rachel’s movements from the doorway to the coffee cup. She looks around her, checking she is alone several times as she carries out the movement – first, taking the lid of the cup – then thinking for a second, before dropping the tablet into the coffee, rushing as she places the lid back on as she hears Jess on the phone – obviously near the office door and returning. She walks away quickly, back to her own desk. Sound of her shoes quickly tapping away as she does so.

MCU of Rachel sitting at desk, peering over at the coffee cup. She waits.

INT. OFFICE

Jess slowly paces back to her desk, checks the time on a watch and sits down, placing her legs on the table again. She appears happy, as if she has just had a great phone conversation. She picks up the coffee cup and takes a large gulp, before yawning and taking out her phone to text again.

CU. Rachel at desk – smirking. She types quickly as to look like she is busy working.

CU. Clock – we see time has passed – around half an hour.

MCU. Jess as she begins to clear her throat.  Then she puts her hand to head, as if slowly becoming unwell but trying to fight hard to shake it off.

POV. Jess as her vision blurs – camera out of focus. Sounds of panicking, trying to ask for help and then nothing. Blackness.
 

INT. Office.

We see Rachel’s car keys on the desk next to her. She grabs them, scraping them across her desk making a sound before picking them up in a fist.

Rachel logs off her computer, pushes her chair in neatly to the desk and double checks one last time that Rachel is passed out.

Jess has her head and hands on the desk, unconscious.

FADE TO BLACK:

EXT. FORREST.

CU Jess is lying on the floor, she has dirt on her face and leaves in her hair. Her make up is smudged. A TRACKING shot shows her lying in the dirt, visibly in need of help. For now she looks like she’s dead.

Rachel’s POV we can see Jess lying in the dirt, in the same position as the last shot. This shot is behind a tree like someone is hiding behind it as if not to be seen. This persons hand is on the tree, it is Rachel’s. We know this because she wears the same coloured nail varnish we saw before.  

CU Jess is in the same position. Time has passed - the blood has dried in her hair and her hair is more ruffled. She suddenly wakes up, groans loudly slowly, coming to - and is sniffling from the cold. As she tries to rise the camera ZOOMS OUT she eventually gets up and rubs her face, confused, making struggling sounds (as if waking up after a very bad night’s sleep.)

Clearly distressed, she starts to cry. She gathers herself and quickly gets up to run for help, struggling to do so. A TRACKING shot follows her. From over her shoulder we see Rachel appear from behind the tree. She stands there still, just staring at Jess.

Jess looks over and sees Rachel from the office, who she now knows attacked her. She is shocked by this and screams.

CU Rachel is laughing, a mean cackle that is loud -but no actual dialogue comes out. Her eyes appear evil, but content at what she has done. She smiles to herself, a mean grin.

MS Jess looks over her shoulder again, panicking and hyperventilating. Her hair gets into her eyes and she trips over and she scrambles in the dirt to try and get back up -  but a ZOOM OUT reveals Rachel over her and she drags her by her hair. A CU shows the rock in her hand.

CU shows Jess’s feet struggling to get back up and her legs moving with her heels digging into the dirt. All of a sudden her legs drop and she’s still. Her feet then slowly start to move away from the camera.

MS shows Rachel struggling to drag something along the forest and a CU shows her pulling on a girl’s hands with purple nail varnish on and purple bracelets and the sound of dragging along the dirt and dried leaves.

CU Jess' feet hanging above the ground to signify death/the murder

FADE TO BLACK:

Sequence shots: Long Good Friday final scene

https://www.youtube.com/watch?v=_9SG-zYvPjk

One of the films I watched at university was The Long Good Friday which features a very powerful and successful long shot at the end of the film. Audiences see the male lead, Harold, confident in his success against other enemies yet as he gets into a car and finds it to be those against him taking him hostage, there is a very long shot to end the film. This shot lasts at least 25 seconds and the close up shows all of the emotion in the character's face as he realises his defeat; we see his shock, confusion and anger all in this very long shot. We also see a long shot of the enemies in the front of the car giving him angry stares but also full of confidence that they defeated him.

Lighting - Raging Bull (1980)

http://youtu.be/5wwItkoapuA

Raging Bull features a fight scene in the boxing ring, where lighting is cleverly used to dramatises and create a fantastic scene in the film. As the boxers hit each other, the film is black and white throughout, however bright lights are used to signify certain moments such as camera flashes. The scene slows down and as Sugar Ray Robinson is standing in front of Jake, the camera goes to quite a low angle with bright lights either side of Robinson; this signifies his power and strength he has over Jake. This also foreshadows the events where Robinson defeats him at the end of the match and is a very clever way of using lighting to represent a powerful moment in cinema.

Lighting - Matilda (1994)

http://youtu.be/REkalwqS3a8

In this scene for Matilda, we see her laying in bed after being told to when she spoke back to her strict father. As we are aware that she is not a misbehaving child and witness the offputting attitudes of her parents, she lays in her bed angry and wanting revenge. Her bedroom begins dark to signify night time yet when she gets an idea the lighting brightens the room and connoting this revelation of what action she should take. It also signifies the change in daytime; speeding up the process of night to day in the film through post-production.