Shot List - In Chronological Order

Sequence	Shot	Shot Type	Location	Props	Equipment	Description	Extra Info
1	1	Long Shot (Establishing Shot)	Field	Tactical Vest Tactical Holster Pistol Bag	D3200 Camera 18-55mm Lens Manfrotto Tripod	This will the establishing shot of the field with the protagonist (Ben) walking through it.	Foley walking through field.
1	2	Mid Shot	Field	Tactical Vest Tactical Holster Pistol Phone	D3200 Camera 18-55mm Lens Shoulder Rig	Ben is on the phone to the agency.	Foley noise of phone dialling.
1	3	Mid Shot	Field/Compound Entrance	Tactical Vest Tactical Holster Pistol Phone Bag	D3200 Camera 70-300mm Lens Shoulder Rig	Voice over from phone “It’s a set up”. Ben drops phone.	Phone conversation between ben and agency.
2	1	Close Up	Inside Compound	Tactical Vest Phone Balaclava (Black) AK-74 Rifle	D3200 Camera 70-300mm Lens Shoulder Rig	Dom gets phone call to say mission has changed.	Phone conversation between Dom and agency.
2	2	Low Angle Shot	Field/Compound Entrance	Phone	D3200 Camera 18-55mm Lens Shoulder Rig - Stripped	Low Shot of Ben’s feet in background pulling focus to cracked phone in foreground.	Film title on phone.
2	3	Mid Shot	Inside compound	AK-47 Rifle Tactical Vest Balaclava (Black)	D3200 Camera 70-300mm Lens Shoulder Rig	Dom is standing with rifle waiting to take out ben and recover package.	N/A
3	1	Mid/Wide Shot	Field/Compound Entrance	Tactical Vest Tactical Holster Pistol Bag	D3200 Camera 18–55mm Lens Steadicam	John takes out his gun and moves into position against the wall.	Foley of gun being taken out of holster
3	2	Close Up	Field/Compound Entrance	Tactical Vest Tactical Holster Pistol Bag	D3200 Camera 70-300mm Lens Shoulder Rig	Close up of Ben putting suppressor on pistol and cocks gun.	Sound of metal screwing Foley of gun cock
3	3	Mid/Close Up shot	Compound	AK-47 Rifle Tactical Vest Balaclava (Black)	D3200 Camera 70-300mm Lens Shoulder Rig	Dom is waiting for Ben to arrive whilst checking the area.	N/A
3	4	Mid Shot	Compound	Tactical Vest Tactical Holster Pistol Bag	D3200 Camera 18-55mm Lens Steadicam	John starts to make his way through the compound. As he walks he scans area.	N/A
3	5	Mid Shot	Compound	Tactical Vest Tactical Holster Pistol Bag	D3200 Camera 70-300mm Lens Shoulder Rig	John starts to make his way through the compound. As he walks he scans area.	Fill shots – cuts between steadicam and rig.
3	6	Mid Shot	Compound	Tactical Vest Tactical Holster Pistol AK-47 Rifle Tactical Vest Bag Balaclava (Black) Fake Blood Fake Rock	D3200 Camera 70-300mm Lens 18-55mm Lens Shoulder Rig Steadicam	Fight Scene	Add all Foley Actors live grunts (make sure overly loud)
3	7	Close Up – Wide Dolly Right	Compound	Tactical Vest Tactical Holster Pistol AK-47 Rifle Tactical Vest Bag Balaclava (Black) Fake Blood	D3200 Camera 18-55mm Lens DIY Dolly	Dom is lying on the floor in a pool of blood as Ben walks off with his pistol.	Back up is steadicam reverse and flip in post

Tom and Michael

Final Decision for Location

Final Decision for Location

After looking into possible locations for our film opening we have decided to use the farm complex (the first location we looked at). We decided on this location since it had plenty of space for the shots we wanted while still achieving the gritty theme we were going for. We had also tested the location to see if the shots we wanted worked well or not.

 

Since we had guns and weapons in our opening we needed a place that was fairly isolated and where no members of the general public would see us since they may see the guns and panic or call the police. Additionally we didn’t want anyone walking into the shots or in the background while we were recording causing us to re-shoot the shots. This area seems to work since it is next to a field away from the main road and public areas.

Since this area is private land we had to ask permission to use this. We sent an email to the owner of the land asking for his consent. He agreed that we could use it whenever we needed too.



Michael

Sound

Sound is a very important part of films. The sound design of a film will help to fully immerse the audience in the universe of the film. If the sound design of a film is poorly done then it can distract the audience from the narrative.

A very important part of sound design is Foley. Foley sounds are recorded separately from the visuals, and are used to make the actions being filmed feel more realistic.

Below is an example of a fight scene with Foley compared to the same scene without, to illustrate the difference the sound makes.

When recording the Foley sound effects, we first focused on the fight scene as we knew that it would contain many different layers. These layers and how we recorded them are shown below:

• Slap - slapping a melon
• Thud - hitting a pillow with a wooden spoon
• Crunch - snapping and biting a carrot
• Crack - snapping some celery
• Punches to the tactical vest
• Tactical vest movement
• Clothes movement
• 'Squelch' - hitting, with a wooden spoon, a pillow with a lettuce leaf, covered with a damp cloth
• 'Whoosh' - waving a wooden spoon past the microphone

Once we had recorded these layers, I then layered them in varying, appropriate amounts to achieve the high quality sound. Obviously, some layers were not necessary for all punches, e.g. the 'punches to the tactical vest' layer was not needed where a punch was seen to connect to the face. Alternatively, the 'clothes movement' layer was used for the whole fight scene, as each punch or step would result in clothes moving.

We also used some footstep Foley sounds, which we recorded by aiming the boom-pole at our feet, while walking on the various terrains - grass, concrete etc.

Once these sounds had been recorded, I recorded the sound of my phone vibrating and unlocking to use in the antagonist's phone call. After this, I recorded the sound of me dialling a number into the phone, to be used when the protagonist is dialling the number of his superiors.

The phone calls, as well as most of the other Foley elements, were recorded with a RODE Videomic Pro, as it is a condenser microphone, meaning it has a wide frequency response and so can pick up all of the frequencies the human ear can hear. The phone, vibrating and unlocking sounds were recorded with a Shure SM58 dynamic microphone, meaning that it had a lower frequency response. I used this microphone as the RODE was unavailable at the time.

When recording the fight scene Foley elements, we created a sound booth of sorts out of a mattress and a bed sheet.

This blocked out the noise from outside of the booth, in order to achieve as high quality sound as possible. All windows remained closed, to reduce noise from outside. 

Blocking out as much of the background noise as possible helped to blend the sounds with the piece as I could then decide how much background noise to blend in to the project.


Recording the Fight Scene Foley

Recording the 'whoosh' sound

Preparing to record the 'tactical vest movement' sound

Recording the 'tactical vest movement' sound

With all of the Foley recorded, I then recorded two minutes of plain background noise from our location to blend all of the elements together. I then moved on to scoring the opening.

Score

When composing the score for our film opening, I aimed to build anticipation for the fight scene. 

The score can be found below:

During the fight scene, when John is being strangled by the antagonist, I decided to include a string ensemble that would get louder, up until the point where John hits the antagonist with the rock. This was so that the audience would feel that John's situation was becoming more and more pressured as he ran out of time to get out of the choke hold. 

When John first hits the antagonist with the rock, I decided to alleviate the music, to connote that he had overcome the situation. I then included music during the final shot to connote that he was about to go to find whomever ordered him dead.


Nathan