The post production process

Once filming was finished, we uploaded all of our footage onto the computer. Although the thriller was supposed to be only two minutes, the total footage which we had filmed had come to about an hour, as it included a lot of shots which had been messed up (very common when filming in a public area), as well as lots of alternative shots and multiple takes just to make sure we had everything and there were no mistakes.

My job was to sift through all of this footage and find the most appropriate and effective shots, ignoring duplicated shots and any shots with mistakes. I was extremely glad that we had performed multiple takes of every shot, however; as it meant we did not have to go back and do any filming again.

Our storyboarding played an important role in the editing process as it helped me to put each shot in order without too much hassle. Alongside this, it was also helpful that we had found an appropriate soundtrack for our thriller beforehand. This meant that while editing, I was able to make sure that the stings in the soundtrack coincided with what was happening on screen. This added a lot to the overall atmosphere of the thriller.

We decided that the best way of showing the scenes on public transport without losing the interest of the viewer, was to use fades and dissolves to represent time passing but without having to show every second of him being on the train. We then integrated the credits into the opening minute of the film by fading to black and showing the credits, before fading back to another shot. This creates the illusion of time passing and also adds to the atmosphere of the thriller.

The font used in the credits (courier new) was chosen because it is a regular font similar to that used by a typewriter, for example. This represents the apparant normality of our lead character, which is the idea we were trying to put across with the shots of him getting on the train. We spent a lot of time considering how we should show the credits, as if we had simply slapped some credits over the top without thinking it through, it would have completely ruined the atmosphere of the thriller and made the whole thing look unprofessional.

Continuity is also paramount to creating a believeable scenario within our thriller. Therefore, I had to make sure that Tom's appearance did not change from shot to shot, and also that continuity was maintained with the editing. For example, if there is a cut between two shots where he is walking, it is important that his actions match up so that he doees not appear to 'jump'. Overall, I feel that I achieved this successfully.

Third Day of Filming

Third day of filming

Our third day of filming consisted of shooting at Tom Vales house and at Shenfield station. We shot at the house as it was very deceiving, from the outside it looks well maintained and normal, however the inside contrasts with turned up carpet, abandoned and run down. At the station, we needed shots of him coming out and starting his journey to what the audience should think home.


We left from school early in the morning to have time to film; we had to fit in filming in the house and station. The first shots we got once got to the location were of tom entering the house, however we had some problems with cars and people in the background also when shooting the match on action of the opening of the door, the key kept getting stuck. Apart from this we got a variety of shots to save us from having to come back and re-film, with shots that included panning we got a few takes so that we had a choice to be able to select the best one.

Once inside the house we had to sort out the costumes and placing of the torture scene. We improvised with old phone cables to tie Taylor to a old chandler hook on the ceiling, we then used this to bind his feet and used a tie to gag his mouth. A black plastic bag was placed over his head to give the impression he had been then for a while. To shoot the torture seen we used a mixture of handheld shots, point of view and mid with the tripod. We also had to shoot when Tom entered the room and laid out his torturous devices. We shot this from a different room through a whole in the wall in a low angle shot to show that Tom was in control. We had problems getting this angle as the tripod was to small so we had to improvise and use bits of old tiles and wood to make it higher to tom was in the camera lens.

Once we had completed the shooting at the house we left and made our way to Shenfield station. He we got shots of tom walking through the barriers at the, and then coming out of the station. We again got a variety of shots, changing the angle and the place of shooting to have more to work with. We had to take some multiple shots were work men in bring florescent jackets walked through, this would have been no good as footage as it distracts the viewer away from Tom.




Finally, when all the shooting was completed we made our way back to school, uploaded what we had filmed and started the process of editing.

Second Day of Filming

With the travelling montage complete and edited, we pressed on with the warehouse torture sequence on the 30th March 2010. With all the props summed up together within the briefcase, we travelled to the suburbs of Brentwood to locate the warehouse. With us, was main antagonist actor Tom Vale and torture victim Taylor Gladwin. After a reasonably long walk, we finally located the warehouse, which is positioned within the Brentwood industrial estate.

Informed by others that it was abandoned, we made our way in through a broken window, familiarising ourselves with the surroundings. Primarily, the rooms were excessively dark, making the shooting almost impossible. However, after some time, we found our way into a considerably substantial room, which almost resembled a plane hanger.

Initially, the process was running extremely smooth. High angle establishing shots of the interior had been perfected, and the props we’re fundamentally set out for filming. However, just as Taylor had prepared the costume, law enforcements interrupted the session. They were extremely cooperative and understanding once we had informed them of our perception upon the matter, as well as the job in hand.

They explained to us that under the circumstance of danger, we would not be insured, due to the fact that the establishment was dangerous. They further elaborated by stating that the building was in hiatus of being bought, and if we actually wanted to shoot there, we would have to contact DHL, fill out permission paperwork etc.
Somewhat disheartened about the current situation, our group left the site, along with Tom Vale and Taylor Gladwin, and travelled back to the train station. Under a moment of reflection, we analysed the footage at the warehouse, and decided that the amount of recording was unsatisfactory.

Fundamentally, this dilemma had caused a variety of problems, as we literally had nowhere to shoot the second sequence. Lending us a helping hand once again, Tom Vale offered to lend us his dilapidated house upon Hutton Mount, stating that it was ok to shoot there if we want. So therefore, it appears that we will probably pursue this tangent. Once reflecting upon the matter, it would seem that all the Blog work on warehouses would go to waste, however, as long as the house is spacious and derelict, all the theory work we have done would still be relevant and fundamentally apply.

On the other hand, we could also follow the variable option of contacting DHL and requesting permission for the warehouse usage. However, time is extremely precious. So unless we can extend the deadline, Tom Vale’s house is the only option we have left.

First Day of Filming

Despite the minor hindrance here and there, I feel on the whole that the days shooting was fairly successful. Once sorting out authorization to leave school, the group, as well as Tom Vale (our actor) travelled to Liverpool Street Station, where we planned to shoot the opening minute of our thriller.

Once departing the train, we took our first sequence of shots from the platform, away from the public eye. Encapsulating both examples of match-on-action, and shot reverse shot, the process was running efficiently. Occasionally we did however stray away from our storyboard, as we were lucky enough to catch footage of a train pulling into the platform bay.

However, we reached our first hurdle as the group prepared from a high angle establishing shot of Liverpool Street Station. Before even placing the camera upon the tripod the group was consulted by a Liverpool Street employee, who suggested that we should consult the Liverpool Street information office before shooting. It was here that we were informed that shooting inside Liverpool Street was strictly forbidden, unless prior to the shooting, permission forms were signed. So therefore, we followed a variable tangent, where we took an establishing shot from outside Liverpool Street.

To insure that we had enough footage to stretch out for a complete minute, the group then passed through Stratford Station, merely as a back up in case the Liverpool Street footage was insufficient. We followed the same format to the Liverpool Street storyboard, with slight variations here and there. However, one predominant factor that we faced was the timing for trains. The fact that the vast majority of trains terminate at Liverpool Street meant we could perfect the shot-reverse-shot and match on action. However, the unfortunate train timings at Stratford meant we would have sparse time to take any shot whatsoever, as the platform is more compact, and therefore, more and more people would just walk into the shot.

On our journeys back home, we decided that taking a shot of Tom reading the paper would be an effective idea to ground the thriller and enhance reality. However, thinking that the shot had been taken successfully, it was to our surprise in the editing suite that the sequence had been recorded over, which unfortunately meant that we had to sacrifice a shot.

So, despite the trials and tribulations we faced through our transport montage, I still think we managed to accumulate a reasonable amount of footage in the process. Left now was merely the torture sequence, which proved much more demanding than we hoped…

The Soundtrack

We chose the non diegetic sound extremely carefully. Using the webside www.freeplaymusic.com we listened to many different pieces of music until we found one which suited the mood of our thriller. Eventually, we settled on two separate pieces of music. The first one would be used until the end of the credits and was fairly calm, with stings and changes which could be used to highlight certain points in the film. The second one would be used more as a soundscape to represent a change in mood when our character enters the house, as he suddenly transforms from an ordinary person to a twisted, sadistic torturer.

Here are the two pieces of music we used:

Costume- Following Disposition

Now the rough version of disposition was deemed complete, I began to recall a preceding blog post concerning attire for our antagonist. After careful deliberation, I universally consider that the clothing we clothed Tom in reflects our Hybrid Thriller, as well as the themes and messages we are trying to convey.
As I have already said, we summoned most of our attire influence from Michael Douglas’ fictional character in Falling Dawn, as we are using Tom’s exterior shell as a metaphor, to convey the theme of distrust, and an overall sense of trepidation that hopefully looms throughout the two minute sequence.

To anchor the theme deceiving normality, we supported our initial instincts of the predictable white shirt, black tie and formal trousers. I universally feel this unfolded really well, as his intended image fell between a happy medium that conveyed both normality, as well as a somewhat foreboding, quirky zest that really becomes prominent towards the latter end of the sequence.

However, with this meagre success, we suffered a handful of problems. For example, we devised an idea where Tom loosens his tie at the station. This shot was perfected at Brentwood, however, as our location dramatically changed, the continuity would suffer. Therefore, we had to convey this degeneration as he places the knifes, rolling up his sleeves to commit the deed.

When analysing the social grades (target audience), I genuinely believe the Tom is someone they can relate to. I really think that his angst of the mundane commute is conveyed by his lack of general emotion, even when he reaches the house. This form of firm, ridged Non Verbal Communication, accompanied by his fairly standard shirt, tie and glasses fundamentally grounds the film, conjuring up something that is legitimately believable.

To some extent his attire resembles the fellow inspiration of Jack Torrance from the Shining. However, I feel we have replaced this frenetic role with something more resourceful and practical. The fact Jack’s jumper is red subconsciously symbolises danger merely through mise en scene. However, Tom’s attire if anything symbolises innocence with the white shirt, which once again follows the deceptive route we are trying to convey.

Overall, I think the costume was a complete success, and effectively anchored the intending themes and messages we were trying to propose.