LO2: Upload Rushes
This rush is from scene four, in which Ellis's character kills Toby's character. To show how our footage met generic conventions of similar products. We have used slow panning camera movements and interesting shots similar to the About a girl short film which we studied before hand. Plus, we used shocking shots similar the 'About a girl', such as Toby's death scene' To highlight conventions of the similar dramatic movies that inspired us. Films like blue story have similar scene in which main characters die in order to convey emotion and dramatise the growth in knife crime. Which we wanted to parody within our film. Similar to this, we used natural lighting techniques and used contrasted lighting by filming Ellis in shade and Toby in bright sunlight to show Binary opposition within the story. Furthermore, when Ellis goes towards Toby's dead body, the shot is completely within shade, which makes it darker, relating to how Toby, Ellis's only hope, has been killed. Plus, it also connotes how Ellis is feeling at the moment within the scene. To achieve this shot I directed Toby to walk backwards when he gets stabbed, so we could move the scene to this area and encapsulate both him and Ellis within the dark. Throughout this scene we portrayed Ellis as a roadman by using Mese-en scene elements such as the:
Props- The knife
Costume-
lighting-
Acting-
The lighting in this scene creates meaning because Toby is shown in the light he is also wearing white clothing which connotes to purity and peace as white is a colour that is known to be pure. and that is why this is a powerful shot as this shows how good Toby is.
An example of an over the shoulder is when ellis is in the bathroom looking in the mirror.
In these rushes we put Toby's character in the light to connote that he is a good person whereas with Ellis's character we put him in darker shots to show that he has got something evil within him. we also edited the video to make the areas with Ellis's character more cold by adding a blue tinge we see this in scene 3.
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