Group 1

Louise – Director

Amarni – Art Director

Marie – Camera Operator

Oscar – Sound Designer

Within the group, I took on the role of the production manager and actor. I worked with Louise, our director, to book our location (room 109) for filming time outside of lesson and consulted with the team about their availability. I ensured that all members were provided with the dates and times of our scheduled bookings as well as what we would be aiming to get completed via email.

All official documents were handled and organised into a file by me; this included the storyboards, logging sheet, recce report and shot list on which we all worked together to fill out. Working with the rest of the group, we decided what type of costume we wanted. After discussing a 1940s detective style, I found that I was able to provide the main components of the costume that we had selected apart from the trench coat. I found that I was able to communicate ideas well within our group which helped largely in the planning and production stages of the project. Whilst a few members needed some prompting when brainstorming for ideas and developing our scenes during filming, they were able to input valuable suggestions and insight into how we might envision our final product.

In our final edit, we aimed to create an air of mystery and suspense. We achieved this by building up the scenes, fitting them together piece by piece and eventually linking them all together before having a reveal at the end of the crime that had occurred within the plot. This resulted in a well-paced sequence that seemed to uncover the layers of the story as the scenes progressed, giving our piece the ability to draw audiences in. Our choice of black and white colour grading, contrast ratio editing and soundtrack complimented our idea to produce an authentic film noir styled production.

In our original edit, we attempted to implement the big reveal throughout the sequence so that what had occurred within the plot gradually became apparent to the viewer as opposed to having it all unveiled only at the end. However, we found that it came across as too confusing because we were trying to slot too many scenes into each other. The problem came from the fact that we were dividing the scenes too frequently which didn’t take into consideration the fact that each scene had its own key sequence. That being said, were we to do this again to create a fast-paced and intriguing edit that isn’t too choppy and confusing, we should study high tension scenes with crosscutting across multiple scenarios within pre-existing films, not limited to film noir, to give us an idea of the best way to sequence and divide the scenes to produce a clearly built edit that is still able to invoke a sense of urgency and suspense.