At the start of the course in September, you analysed American Sniper and A Quiet Place in detail. You also conducted extensive genre research using the 'Teaching Trailers' resources. Here, you add in your presentation on deconstructing The Joker. In your Creative Critical Refelcetion, you acknowledge the inspiration of your research, in particular, American Sniper.
YOUR TRAILERS Your editing has made a major contribution to the success of the trailers in every way. You challenged yourself this year with many extra hours of work using Adobe Premiere Pro, Photoshop and After Effects (such as the 3D camera-tracker plugin, as well as the Sabre plugin). You also organised the editing of greenscreen for the newsroom scene, with Premiere’s Ultra Key effect.
Throughout the production, from planning to construction, you have paid close attention to detail and aimed at the highest standards, which is clear from your 33 detailed posts.
From the polished IGNITE Productions that you designed and made 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. The 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. Your excellent 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). You and 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, organising location shoots and specialist equipment, 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.
At the start of the course in September, you analysed American Sniper and A Quiet Place in detail. You also conducted extensive genre research using the 'Teaching Trailers' resources. Here, you add in your presentation on deconstructing The Joker. In your Creative Critical Refelcetion, you acknowledge the inspiration of your research, in particular, American Sniper.
ReplyDeleteYOUR TRAILERS Your editing has made a major contribution to the success of the trailers in every way. You challenged yourself this year with many extra hours of work using Adobe Premiere Pro, Photoshop and After Effects (such as the 3D camera-tracker plugin, as well as the Sabre plugin). You also organised the editing of greenscreen for the newsroom scene, with Premiere’s Ultra Key effect.
ReplyDeleteThroughout the production, from planning to construction, you have paid close attention to detail and aimed at the highest standards, which is clear from your 33 detailed posts.
From the polished IGNITE Productions that you designed and made 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.
The 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.
Your excellent 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).
You and 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, organising location shoots and specialist equipment, 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.