Son of Perdition - final

Son of Perdition - second draft

Son of Perdition - first draft

Shooting Schedule

Click to enlarge.

Animatic Storyboard

I have produced a photomatic instead of drawing the storyboard. This is a series of still photographs presented in a sequence. I took pictures for the frames with an iphone4 to enable a clearer visual. I then recorded the sequence of photos and added a voice-over to explain what is included in that shot (e.g. dialogue and staging).

Script and shooting sequence

SCRIPT
Mother: Don't go in those woods, Matt
Matthew: I won't
Voiceover: From the makers of Inevitable
Car drives
Voiceover: A thrilling tale
Matthew: Honey! (keeps calling the dog)
Noise of spirit
Faster bmp of music- screen goes black, cutting to a range of scenes
Matthew: (voiceover) I laid low when I could've stood hight, I tried to ignore it but I don't know why. It always finds me.
struggling in his sleep, complaining to his girlfriend, isolated from family, creepy pictures overlapping and merging, switches to an isolated house and grandfather clock
Old woman: The spirit is trying to posses you
'Son Of Perdition'
Slows down at mirror scene- washes his face, figure in background
glipse of spirit, and blood
'Coming Soon'



SHOOTING SEQUENCE
http://www.bbc.co.uk/journalism/skills/production/shooting-sequences/shooting-video-tips.shtml
This website has enabled me to use a variety of shots and resources used in my trailer.

Foleying

Foley is a term that describes the process of live recording of sound effects that are created by a Foley artist, which are added in post production to enhance the quality of audio for films/video. Using my phone, I recorded the sound of slamming on a piano, wind chimes and a screech. However, due to an error I couldn't upload these into Premiere Pro. To overcome this, I just had to make sure that the sound I wanted was included when filming the footage.

For example, I set the grandfather clock to a few seconds before a whole number (such as 6 o'clock) and then filmed, waiting for it to chime. The only weakness was that the chime didn't sound as low/deep as I would've hoped, nevertheless, I stuck with the plan. I filmed the clock while it was chiming instead of recording audio of the chime itself. I don't think this hindered the film in anyway, it just gives a clearer visual of the audio transitions and makes the trailer more intense.
A film that uses a grandfather clock similar to my genre is Donnie Darko. It features at 00:59 and 1:50. Like my film, they did not use a foley artist for the grandfather clock.

A good example of Foleying is this:

"This was for "Vroege Vogels" (air date September 22, 2009), where Menno was supposedly peeing in a jar. I created a similar sound with water and two glasses. The microphone is a Neumann TLM 170R" - http://nn.wikipedia.org/wiki/Fil:Foleying_the_water_sound.jpg

Of course, this shows that when you can't obtain the sound you want, you need to use a similar sound. As for mine, there are no 'rude' type aspects for sound like this, so I can just use the actual sound for something I want, not a different chime to the clock. Perhaps because a viewer may have a similar clock, and notice that the sound if different.

SoundWorks Collection: Gary Hecker - Veteran Foley Artist from Michael Coleman on Vimeo.