Wednesday, 16 November 2016

Professional Pre-Production: Synopsis Second Draft

Following the feedback that I received on my first draft of my series and episode synopsis', I have made a large amount of changes in important areas that I think have greatly improved my story and structure of the series and each episode.


The Identity Synopsis


LAUREN DANIELS has spent her whole life in Philadelphia, bored of working in the same dull job, meeting the same people and living the same old life, she craves adventure. But when she discovers that her idyllic mother, HELEN DANIELS, isn’t who she thinks she is, she learns that she was stolen from her real parents in London. This adventure could prove to become bigger than she hoped for.

When secretive friend CHRIS HILLMAN confesses to changing Helen’s identity, Lauren abandons her so-called family and heads to London. The attractive, kind stranger ETHAN BRIGGS insists on following Lauren on her journey, but with his secretive texts about her, he clearly isn’t what he seems.

Tracking down Lauren’s birth father FRANK PORTER, the seedy middle-aged man proves to be a disappointment when they catch him cheating with a young woman. Sickened, Lauren’s dreams of her perfect parents crash and burn even more when she discovers that he and her angel-faced mother KATHLEEN PORTER, now have a pretty young daughter; AMANDA PORTER.

In the darkening streets of London, Lauren’s world caves in further when she finds out that Ethan was sent by Chris to stop her from finding her family. But with his decision to turn his back on his mission, and confessing to caring for her, she forgives his truly kind heart. The pair spend the night together, but Lauren decides to return to her own mission alone.

Tracking down the pristine home of her disappointing family, Lauren meets the surprisingly scruffy-looking Amanda. Soon realising in conversation that they’re not related, Lauren discovers that this new daughter was her replacement. Frank and Kathleen confess that the actually Romanian orphan Amanda, was illegally adopted. Sickened to her stomach, Lauren leaves, vowing to never see this mess of a family again.

But when the drug fuelled Amanda later lures Lauren to her house. Amanda brutally attacks and ties up Lauren, planning to kill her. Arriving in the dark hell hole of a house, loving mother Helen is fatally stabbed by Amanda, causing Lauren to finally put her down and kill her too. When the life she knew vanishes before her eyes, Lauren reaches out to Ethan, and they decide to start over.


Changes Made
  • Removed unneeded detail that didn't serve the overall story-line, visuals, character descriptions or atmosphere.
  • Narrowed this synopsis down to the most key moments within the series, accompanied by descriptive writing on the characters and scenes.
  • Adapted the changes made to each episode.


Episode One Synopsis

Its England 1989, an excited and well-presented couple by the name of Kathleen and Frank Porter are preparing for their unborn baby. The couple have put her trust into a gestational surrogate; the gentle young American, Julia Drennen. Although she has no biological relation to the baby, Julia constantly looks down lovingly at her stomach throughout her pregnancy. One day, when Kathleen mentions that if the baby is a girl, she wants to name her Amanda. Over time, Julia loses her grip on reality, convincing herself that she can’t part with the child, and becomes panicked.  Soon, Julia packs her bags in her cluttered London flat, and decides to go into hiding in order to steal the child and raise it as her own, while Kathleen and Frank start becoming more and more panicked over not being able to reach Julia. Eventually, Julia leaves and arrives at an airport. She hands over her new passport, which shows her photo next to the name ‘Helen Daniels’. With a relieved look on her face, she disappears into a crowd of people.

Its twenty-seven years later; 2016. An attractive young woman cleans the bar of a run-down diner, making witty jokes back and forth with the customers, her co-workers address her as Lauren. She finishes up for the evening and walks to her car in a dark, urban street. She sighs as she looks at her boring, dull hometown in Philadelphia. She arrives at her warm but shabby looking house, to an aged Julia (now known as Helen) and addresses her as ‘mom’. The pair talk about their days in routine, with Lauren once again pretending that she’s not bored out of her skull to keep her mother happy. The pair carry on with their evening at home, going through their day to day life that Lauren’s grown so tired of.

The next morning, Lauren smells the sweet smell of her mother’s pancakes. Helen greets her with her usual upbeat tone, but this time Lauren catches sight of occasional pained looks on her face. Helen serves up Lauren’s pancakes with a trembling smile before clutching her chest and crashing to floor, knocking herself unconscious. As Lauren cries down the phone to 911, an ambulance races to their home. Once at the hospital, surrounded by glaring lights and empty space, Lauren is told by the doctor that her mother is stable but is suffering from anaemia which caused her chest pains. With the option of giving Helen some of Lauren’s blood in a transfusion to initially help her, Lauren agrees and undergoes a test. But when the results come through, Lauren is told that her blood type doesn’t genetically match her mothers, signifying that they are not related.

Lauren bursts into Helen’s hospital room, full of emotion she demands the truth. Helen feels unable to continue to lie to her daughter now that she knows, and in a panicking flood of tears admits to her that she’s not her biological mother. Disgusted, Lauren runs out of the hospital, only to bump into Chris Hillman, a friend of Helen’s since childhood who’s known Lauren her whole life. Lauren falls into his arms and tells him what she’s learned. But Chris reveals that he knew, as he was the one that helped her mother change her identity. The pair sit in the cafeteria, talking over a tasteless cup of coffee, Chris reluctantly tells Lauren her mother’s real name, and tells her that all he’s ever known is that her parents are called Frank and Kathleen Porter, that Lauren’s real name was supposed to be Amanda Porter and that Helen ran away from London.

Lauren decides that she needs to find her parents and know who she is, she says an angry goodbye to her mother, grabs some money and hurryingly packs a bag. Then gets on a bus to the airport, once she arrives she stops in a dark and dismal bar and has a drink, looking at her missed calls from Helen. Soon, a seedy looking man approaches her and attempts to grope her. A young, attractive man sitting nearby sees this and goes to step in, but Lauren is quick to jump up and backhand the seedy man across the face. The young man tells him that he should leave and then takes a seat next to Lauren, he introduces himself as Ethan Briggs with a warming grin. They make small talk and Ethan attempts light-hearted conversation, but Lauren leaves once her flight number is called for boarding.

Ethan finishes his drink and leaves soon after. Later, Lauren sits on the plane and notices Ethan. He sits next to her with a smile, and Lauren rolls her eyes in annoyance. But the pair pick up conversation again and he asks her where she’s going, Lauren hesitates but tells him that she’s going to find her family. She looks out of the plane’s window, taking a last look at the town she now despises, as they prepare to take off. With Lauren distracted, Ethan quickly takes his phone out by his side and sends a text to a private number that reads “I’ve got her”. Lauren looks back at Ethan as he puts his phone away and smiles at her again. She looks away once more and Ethan looks forward, his smile fades.


Changes Made
  • Removed unnecessary dialogue and specific details of actions that were not needed.
  • Transformed the entirety of Lauren finding out that Helen isn't her mother, by changing this from grandmother Joyce (who has now been removed from the story) telling Lauren about her mother, to a more dramatic and more likely situation of Helen collapsing and needing a blood transfusion. Leading Lauren to discover that her blood type doesn't match her mothers - meaning that they are not related. I think that this works as a much more dramatic and emotional scene, starting the story off in an exciting way, and allows the scene to be set in a hospital - creating a dark and fearful atmosphere.
  • Incorporated much more descriptive words where appropriate to bring to life people and places with visual impressions.
  • Altered Ethan's initial representation of the good guy to appearing slightly mysterious, by creating a cliff hanger moment of him sending someone a text saying that he has Lauren, and watching his smile fade. I think that this allows for the audience to be surprised that the nice guy isn't who he says he is, and want to find out in the next episode what he's up to, along with being interested in seeing Lauren arrive in England with him.


Episode Two Synopsis

Lauren arrives in England, having told Ethan about her life’s secret and why she’s travelling to England on the plane, he stays by her side as they go through airport security checks, asking her questions and talking to her. Once they leave the airport Ethan offers to buy her breakfast, Lauren agrees. The pair sit in a busy café, talking over hot coffee, Ethan offers to help Lauren find her parents. Suspicious of his generosity, she asks him why he travelled to England, he tells her about a job interview in London and goes on to tell Lauren that she seems nice and that she’s interesting, so he wants to help. With his soft voice and gentle smile, he convinces her to accept.

The pair move on and decide to go to a public library and use a computer, as Lauren knows her parents’ names she decides to look them up and track them down. In a corner of the echoing, dusty library, they hunch over a computer together and search for Frank Porter, a number of results appear, but one important one. Lauren opens a social media page with Frank’s name, picture, workplace, and relationship status that says: ‘Married to Kathleen Porter’. Ethan expresses doubt that they’ll find him but Lauren excitedly prints his picture and work address, and the pair leave in a hurry.

Lauren hires a rental car and they drive through London, parking outside of Frank’s office. Ethan tells Lauren that they don’t have to do this, but with a determined look on her face, Lauren jumps out of the car, enters the reception and asks for Frank, but is refused. Meanwhile Ethan makes a phone call to the private number, telling them that he’s not sure this is going to work. Seeing Lauren, he quickly hangs up, Lauren returns and decides to wait for Frank to come out and follow him, she soon recognises Frank from his picture, getting into his car. Against Ethan’s judgement, Lauren starts the engine and follows Frank through London, seeing him stop at a shop and pick up a huge bouquet of flowers, then drive and park outside of a quiet, well preserved house. Lauren parks at a distance and watches Frank. He gets out of his car and answers his phone, the conversation seems to be with Kathleen. Frank hangs up as a young, blonde woman runs out of the house and lovingly wraps her arms around him. He leaves his phone on the roof of the car and forgets about it as they walk into the house, arm in arm.

With the colour drained from her face, Lauren sees that Frank is cheating on her birth mother. Ethan appears sympathetic and places his hand on hers. He begins to suggest leaving, but Lauren suddenly bursts out of the door and snatches Frank’s phone from the car. She and Ethan look through Frank’s phone, finding messages from Kathleen, flirtatious messages from a woman named Sarah, and messages from someone named Amanda, addressing Frank as ‘dad’. Lauren’s eyes widen as she sits in shock for a moment, hit by the revelation that the family she’d been dreaming of are far from what she’d imagined; her father is cheating on her mother, and she has a sister that she’s never known. Lauren looks at a photo of Frank with what seems to be Kathleen and Amanda. She’s suddenly filled with emotion as she repeatedly hits the wheel of the car in anger and curses. Ethan grabs her and calms her down, they look at each other as a tear rolls down her cheek, and decide to leave.

Parking at a hotel, the pair decide to have a drink at a nearby bar. Under the low lights and depressing music, Lauren looks down at her second drink, with the hope drained from her eyes, she says that she doesn’t want to meet her family. Ethan agrees that nothing good can come from meeting them now, but Lauren looks at him with suspicion, finally realising that he’s seemed to be against this the whole time. Ethan goes to the bathroom, not noticing that his phone was left on his chair. Becoming rapidly suspicious, Lauren grabs the phone, finding the messages between him and the private number. 

Lauren’s face becomes filled with rage, she drops the phone on the table, and runs out of the bar. Ethan catches sight of her leaving and sees his phone, making the connection. His eyes become panicked and he chases after her, managing to grab her in the street. She angrily pushes him away, realising that he was trying to stop her instead of help her. Angry and emotional she demands to know who he really is. He looks down in shame, and tells her that Chris sent him, as he owed him. He goes on to tell her that Chris could have busted him for identity fraud when he and his mother ran away from drug dealers as a kid, but he didn’t. So in return to Chris, he agreed to try to stop Lauren from finding her parents, so that Chris’s secret of illegally changing Helen’s identity wouldn’t be found out.

But he tells Lauren that he cares about her now, and that he truly wants to help from now on, he says she’s more important than his debt to Chris, and proves it by launching his phone into the air and down the street. Lauren is shocked, but believes his words. She admits to caring for him too, and they soon decide to get some sleep. Getting separate rooms at the hotel they say goodnight, but Lauren changes her mind. Knocking on Ethan’s door, he answers confused. Lauren lightly kisses him on the lips, then they continue to kiss and eventually sleep together, spending the night in his room. Ethan wakes up the next morning to see that Lauren isn’t beside him anymore, just a note saying goodbye.

Lauren sits on a bus, looking hopeful at Frank’s address on his phone. She arrives at the tall, pristine house and nervously approaches the front door. A young, attractive, yet scruffy-looking woman answers; Amanda. After going inside and building up courage through small talk, Lauren tells Amanda that she’s her sister. Amanda doesn’t believe her, but Lauren tells her what she’s learnt so far about their family and that she was stolen as an unborn baby. Amanda sits in silence, processing the information and clenching her fists, while Lauren looks at her, noticing that she looks of a similar age. She asks Amanda when she was born, and realises that her birthday is only a month after her own, meaning that Amanda can’t be her sister. Lauren begins to remember what she’s learnt; that Kathleen couldn’t carry a child, that no known investigation was ever made to find Julia Drennen or a stolen unborn baby from London, then her face turns pale as she realises. At that moment Frank and Kathleen enter the room, Lauren turns to them with devastation across her face and says “you replaced me”.


Changes Made
  • Removed unnecessary dialogue and specific details of actions that were not needed.
  • Incorporated much more descriptive words where appropriate to bring to life people and places with visual impressions.
  • Transformed most of the second episode's story as a whole. By removing Lauren and Ethan travelling to different workplaces in search of Frank (as this read as dull and unrealistic due to how easy it can be to find someone with today's online search abilities), and replacing this with Lauren finding his photo and workplace, and deciding to spy on him and follow him. Only then to find out that he's having an affair (which immediately allows for the impression that her parents aren't going to be what she hoped for) and that he and Kathleen have a daughter (creating another plot twist that makes Lauren think she has a sister). I think that by dramatically changing the content of this episode, it creates more suspense and excitement and creates less of a flat feel to the middle of the episode.
  • Changed the reason of Ethan accompanying Lauren on her journey from looking out for her under Chris's instructions, to trying to sidetrack her from finding her parents, so that Chris's identity fraud secret isn't revealed.
  • Created a new ending for the episode. As Lauren is now already aware of Amanda's existence, she decides to tell her who she is when they meet, creating more of an interaction and altercation between them. This also develops the cliff hanger to be more interesting and suspenseful when she figures out that Amanda was her replacement at the moment her parents walk in. And allows for the next episode to start immediately continuing this drama.
  • Created the idea of a flashback montage moment, where Lauren pieces each piece of evidence and information that she's gathered so far to realise that Amanda was her replacement, allowing for her conclusion of this to make more sense.


Episode Three Synopsis

Kathleen and Frank stare at Lauren with confusion and ask who she is. Lauren tells them that they’re her parents, but Amanda, hysterical and angry, refuses to believe Lauren and wants her parents to deny what’s being said. Kathleen tells them both the truth, while Frank remains silent. Looking ashamed, she tells Lauren that she wanted to find her, but if they wanted to save their family the shame from trusting a woman that ran away with their baby, they were never going to tell the police, and were going to have to pretend that a different baby was the same one they were expecting months later. So they flew to Romania, and illegally adopted a two month old orphan; Amanda.

Frank insists that Lauren isn’t their daughter anymore, and they don’t want to know her. Feeling hurt, Lauren bites back by saying she knows more than he thinks, hinting at his affair as she hands him his phone. Frank realises what she means and appears furious, he suddenly backhands Lauren across the face, stunning everyone into silence. Lauren looks at him with disgust and runs out of the house. Kathleen chases after her, begging her not to leave in floods of tears, but Lauren realises that this isn’t her family.

Lauren walks back to her hotel, she realises that she shouldn’t have gone in search of her so-called parents. She arrives at the hotel, planning to check out and go home, but realises that she left her bag behind at the Porter house. Meanwhile, sat in a dark, disturbing room of a different house, Amanda drinks vodka from a bottle, looking through family photos with disgust, while Lauren’s bag rests next to her, she becomes angry and throws the bottle against the wall, watching it smash. Back at the hotel, Lauren is handed a note left in her room. She leaves and walks along the street, reading. Written by Ethan, the note tells Lauren that he understands why she left, but he’s glad that he met her, and leaves her his new phone number, she smiles faintly and puts the note in her pocket.

Suddenly, Amanda turns up in front of her, looking manic and angry, and wanting to talk. Lauren takes her bag back, not wanting to talk, and walks past her. Amanda grabs her arm, stopping her in her tracks, but Lauren pushes her away and Amanda stumbles, causing a bag of cocaine to fall from her coat. She scrambles on the ground in a panic to pick it up, and Lauren looks at her with sadness. Sympathising with her, Lauren suggests that she gets help, but Amanda aggressively says “fuck you” and storms away. Elsewhere, Frank is still seeing his other woman at her house, while Kathleen searches through his things at their home, finding evidence of his affair, she bursts into tears, smashing a photo of her family.

As the sun sets, Lauren gets into a taxi and heads for the airport, but receives a call from Amanda, crying for help and sounding panicked. Feeling concerned, Lauren gets her address and makes a detour to her house. Once she gets out of the taxi, she receives a call from Helen and finally answers her. The pair reconcile and Helen seems relieved, she asks Lauren where she is, so she tells her Amanda’s address and says it’s complicated. After hanging up, Lauren approaches Amanda’s house, noticing that the door is ajar. There’s no one to be seen in the rooms, but she’s surrounded by trash, broken items and the sound of loud music as she walks through the dark halls, calling out for Amanda. Looking at the drug den-looking living room, Lauren’s face fills with fear, when suddenly Amanda appears behind her, smashing her across the head with a lamp.

Eventually, Lauren wakes up on the living room floor, realising that her hands and feet have been tied up. She sees Amanda, lent over a table, snorting a line of cocaine. Lauren starts to wriggle and scream, but it’s muffled by the blaring music that fills the house. Amanda hears her and turns around, appearing paranoid and emotional, she looks at Lauren with glassy, unfocused eyes, taking out a knife. With tears rolling down her cheeks, Lauren continues to try to wriggle free. Amanda leans over her with the knife and tells her that she won’t take her family away. Lauren’s scream echoes through the house and Amanda quickly puts her hand over her mouth. But at that moment, Helen bursts into the room, she runs to her daughter but Amanda panics and lunges at her with the knife, stabbing her in the stomach. Lauren manages to free herself, jumping up to reach her mother. Amanda turns to attack Lauren, but Lauren picks up a nearby bat and smashes it across her head. Amanda falls to the floor, killed on impact.

Lauren rushes to her mother and holds her as she lay dying. In floods of tears, Lauren tells her how sorry that she is and that she loves her, and Helen responds with the same emotional words, and soon dies in Lauren’s arms. Sat crying and holding her mother for a moment, she looks over at Amanda’s body, and realises that the police will have been called by neighbours. She’s forced to pull herself together and cleans up evidence of her being there, and has to leave her mother and Amanda behind. Lauren runs out of the house and slows down as she walks down the street. A police car speeds past her with its sirens on, but Lauren goes unnoticed.

The following morning, Lauren stands at a distance from her birth parents’ house, and watches as the police tell them that their daughter Amanda is dead. As she watches her parents react in devastation, a tear roles down her cheek, and she turns and walks away. She later calls Chris and tells him what’s happened, he eventually hangs up and bursts into tears. Lauren then makes another call, asking Ethan if he wants to see her, he answers, sat in the café where they first ate breakfast, and says he was hoping that she’d say that. Lauren later meets Ethan at the café, and he says “let’s start over”, she faintly smiles with hope.


Changes Made
  • Removed unnecessary dialogue and specific details of actions that were not needed.
  • Incorporated much more descriptive words where appropriate to bring to life people and places with visual impressions.
  • Altered the beginning of the episode, changing from Lauren running from Amanda's house to her parents' house and confronting Kathleen. I have changed this to a continued scene from the second episode, where the entire family finally get everything out on the table, building to a dramatic slap from Frank. I think that in order to fully connect the characters, it helps to see all four of the 'family' members in a scene together, along with creating suspense of that moment that Lauren wanted finally happening.
  • Created a number of and variety of story arcs within the episode to give it more depth, detail and excitement, as opposed to building towards the end of the episode and series with simplicity. I did this by extending Lauren's interaction with her parents, creating drama when Lauren hints to Frank that she knows about his affair, causing him to slap her. Witnessing Frank continue this affair, while Kathleen finds out that he's been cheating, causing her to smash a family photo. Along with Ethan leaving Lauren a note at the hotel, which allows him to still remain significant in the episode before the end. And importantly, a singular scene of Amanda that further establishes her character, a new altercation scene between her and Lauren. And Amanda calling Lauren to come to her house in a twisted trap (all to be discussed below). I think that adding all of these extra but relative story arcs to the episode gives it much more depth, chaos and an exciting build up for a climactic episode.
  • The above changes also allow for the story to fully establish that Lauren's biological parents are not what she hoped for, and that her 'family' is a completely broken down unit.
  • Lauren and Amanda have been made a large focus within the episode. By firstly, beginning the family conversation together, where Amanda instantly feels a hatred for Lauren when she comes into her life and changes everything. Then through witnessing Amanda in what seems to be her typical life, sat in a dirty and dark room, taking drugs, drinking and resenting her life - which gives the audience earlier insight into what her character is really like and feeling. Then also through Amanda tracking Lauren down and arguing with her, but growing to hate her more when Lauren sees that she has a drug problem, building an intense relationship between them. And lastly, through witnessing that Lauren feels concerned about Amanda when she agrees to detour from going home and come to her rescue, at the same time as realising that Amanda is devious and conniving when she decides to lure Lauren into a trap and attack her. All of these extended and added interactions between Lauren and Amanda allow for Amanda's character to be explored further and build a more in depth relationship between the two characters.
  • Moved the climactic scene of Amanda's attack and Helen's death to the darker, more dismal and more isolated location of Amanda's creepy, run-down home to get a more intense atmosphere from the scene. This also allows me to remove a high chance of the police suspecting Lauren after the two deaths, as no one would know that Lauren went to Amanda's house - giving her a higher chance of freedom after the story.
  • Changed Ethan's line from "let's go home" to "let's start over". As I feel that the character's don't really have a safe place anymore, so it seems more appropriate for them to start a new life.


Results

I think that the feedback-based changes that I have made to all of my synopsis' have greatly improved my high concept series. From minor changes that have made all the difference, to entire episode content and story transformations, my new synopsis' have allowed me to create more character development and exploration, more excitement and drama and more continuity and sense within my story.


Tuesday, 15 November 2016

Professional Pre-Production: Opening Sequence Feedback Editing

In receiving my feedback on my first fine cut opening sequence, I was given the following advice...

  • Add 'AMC & BBC Present' to the sequence
  • Make the cast names stand out more
  • Make the end titles slightly zoom in
  • Make the sequence have a slightly darker tone
  • Potentially use online footage of my main character to relate the sequence to the show slightly more
  • Remove the sections of the teddy bear as they do not fit with the rest of the sequence

Taking on board this helpful feedback, I made all of the above changes, along with deciding on my own extra effective changes, by doing the following...

  • Removed the teddy bear footage from the sequence, leaving space for main character footage.
  • As my actress (Tatiana Maslany)'s character Lauren Daniels has a similar style and body language to that of her character in the series Orphan Black, I searched through clips from the show for an appropriate piece of footage to use in my sequence.
  • Deciding on a clip from the first episode of Orphan Black, where Maslany walks in slow motion in a dark scene with glimpses of light, I felt that this shot was greatly suited to follow my 'boot' walking shot, along with my maps shots - signifying the main character travelling somewhere. So I then used this in place of the teddy bear shots, colourised the footage to have more blue tones in order to match my own footage and editing style, and repositioned the cast names around her. I also feel that the actors playing her birth parent's names being positioned in front of her as she walks towards them also allows a representation of her being guided to her parents. Below is a screen shot of the edited footage, with the low opacity clouds remaining over the shot as they did with the teddy bear...

Original Tatiana Maslany Footage From:
www.youtube.com/watch?v=ZrOYfbdOEbU

  • I then lowered the volume of the soundtrack, realising that it was too high and causing it to distort slightly. The volume is now of better quality.
  • Made the shot of two people holding hands slightly less vibrant. As I felt that compared to the rest of the sequence, this was a bit too colourful, and it now fits with the other clips much better.
  • Added a slightly vignette effect to each clip, by making the edges of them slightly darker, making the clips have a more dark and moody feel.
  • Made the sections of cloud footage become more obviously less vibrant by recolourising, this involved slightly lowering the saturation bit by bit along with adding more blue tones throughout. As can be seen below, start with the first clouds shot, and ending with the last...




  • Made the end 'The Identity' and 'Created by Megan Waters' titles slightly and slowly zoom in, making them stand out more.
  • Made the cast names more bold and prominent by enlarging the font, changing the surnames of the cast to be in bold for contrast and having them slowly move on the screen. I think this makes a very large difference in how much more noticeable and important the cast names feel to the sequence. Examples can be seen below...



  • Slightly extended the opening clip to allow time to place the 'AMC & BBC Present' text. Then added this text in a similar 'stand out' style to the cast names. Giving the whole sequence the hypothetical credit to the producers and making the sequence more realistic and professional.

I feel that the advised and extra changes made to The Identity's opening title sequence has greatly improved the overall result. Below is my second fine cut of the sequence...





Monday, 14 November 2016

Professional Pre-Production: Schedule & Run Time

In deciding where The Identity best fits on BBC One's time slot, I researched the typical types of programming that are broadcast at certain times and days on the channel. As my series has adult themes, it would need to be post watershed. After conducting research through BBC's schedule page [1], I found that the most appropriate time slot for The Identity is Wednesdays at 9pm. As I found that this is peak time for the channel, airing dramas such as The Missing and Our Girl, both popular drama shows, varying in theme.

Before narrowing down my exact run time lengths, I made sure that they fit with BBC's duration requirements, and made sure to consider opening titles and closing credits within the run time.

Below, BBC's programme duration specifications can be seen [2]...



In regards to the above duration guidelines, The Identity, having three 60 minute time slot episodes, would have a duration of 58 minutes, including the opening titles and closing credits.

As I have created opening titles with a length of 40 seconds, I'm able to incorporate this time into my run time. When considering how long the closing credits would be hypothetically, I found a helpful guide that specifies the typical length of closing credits in relation to programme length and series type [3].



After viewing the above document, I have decided that my hypothetical end credits length is suited to being 30 seconds long. With both credits in mind, this removes an overall 1 minutes and 10 seconds from my run time.


In light of my research, I have created all three episodes' run times below...


Episode One

0 - 40 sec: Opening Titles
40 sec - 10 min: 1989 London; Beginning Julia, Kathleen & Frank Scenes
10 - 20 min: Present Day Philadelphia; Lauren's Life Introduction Scenes
20 - 30 min: Helen's Accident and Hospitalisation Scenes
30 - 40 min: Lauren's Discovery, Talk with Chris, and Preparing to Leave Scenes
40 - 50 min: Lauren's Journey to Airport, Arriving, and Meeting Ethan in Bar Scenes
50 min - 57 min 30 sec: Lauren Boarding the Plane, Ethan Conversation, and Ending Scenes
57 min 30 sec - 58 min: Closing Credits


Episode Two

0 - 40 sec: Opening Titles
40 sec - 10 min: Lauren arriving in London, and Breakfast with Ethan Scenes
10 - 20 min: Library with Ethan, Searching for Family, and Finding Frank Scenes
20 - 30 min: Following Frank, and Revealing His Affair & Daughter Scenes
30 - 40 min: Bar with Ethan, Discovering His Identity, and Sleeping Together Scenes
40 - 50 min: Ethan Left Behind, Lauren Finding Parents' House, and Meeting Amanda Scenes
50 min - 57 min 30 sec: Lauren's Talk with Amanda, Replacement Realisation, and Parents Arrival Scenes
57 min 30 sec - 58 min: Closing Credits


Episode Three

0 - 40 sec: Opening Titles
40 sec - 10 min: Lauren's Talk with Kathleen, Frank & Amanda, and Frank Hitting Lauren Scenes
10 - 20 min: Lauren Leaves, Note from Ethan, and Amanda Drinking Scenes
20 - 30 min: Amanda Finding Lauren, Frank Continuing Affair, and Kathleen Finding Out Scenes
30 - 40 min: Lauren Leaving for Airport, Call from Amanda, Arriving at Amanda's House, and Call from Helen Scenes
40 - 50 min: Lauren Entering Amanda's House, Amanda's Attack, Helen's Entrance, and Amanda & Helen's Deaths Scenes
50 min - 57 min 30 sec: Lauren Leaving, Witnessing Frank & Kathleen Being Told about Amanda, Calling Chris, Calling Ethan, and Ending Meeting Ethan Scenes
57 min 30 sec - 58 min: Closing Credits


I'm very pleased with how the story content plays out in the 58 minute run time of each episode. I think per ten minutes, a lot happens and changes, with story arcs throughout, and cliff hangers at the end of each episode. With an ending that has climactic chaos, emotion and a slightly happy, but uncertain ending.

With a professional, realistic run time, the series feels more ready for hypothetical broadcasting on BBC One and AMC.


References

3. Durations for End Credits Document


Professional Pre-Production: Creative Producer Role Research

As for this project I am acting as a Creative Producer, it's important to learn more about the role that I'm currently in, in order to complete the tasks in the same way that a professional in this role typically would. Conducting research into this role can also provide me with advice on ways to approach my work and different skill sets required. Therefore I have found a number of different sources that define a Creative Producer, explore the role, and talk with experienced Creative Producers.


What is a Creative Producer?


'A Creative Producer is the individual who pulls the strings and brings each piece of the creative project together.' [1]

In the first definition of the role, the article author states that a Creative Producer brings all of the pieces of a project together. Which can include but isn't limited to being responsible for finances, making a creative plan, scouting for talent, and overseeing promotion and marketing. It's also explained that whether the idea for the project belongs to the Creative Producer or not, they need to know exactly what's needed to achieve the goals of the project. Such as why one director or designer is more appropriate than another. [1]

In another definition, it's said that a Creative Producers skills are...

  • Spotting the right material for the right time
  • Identifying and successfully attaching the right combination of talents and experience to turn promising story material into an irresistible script
  • Finding the right director and other creative collaborators to transform that irresistible script into a great film
  • Defending the creative integrity of the film’s authors while simultaneously ensuring they go far enough, but not too far, in meeting expectations of public and private financiers, distributors, broadcasters, all of whom need some form of cultural or commercial return on their investment
  • Positioning and marketing the film to maximise its impact and, ideally but not always, maximise its audience [2]

Summarising that the Creative Producer ensures that the project suits current cultural interests, finding appropriate talent, finding an appropriate and strong crew, making sure that the project suits the broadcasters etc. and will be beneficial for them, and handling the promotions and marketing of the project to appeal to it's audience.



Creative Producers' Insights


Firstly, Creative Producer Sarah Green (who started as a producer), gave her insight into the role in one article. Talking about her own skill set, she says 'I’ve gotten good at the creative side of it. And it’s not to say I could write a script, to save my life, but I’m a good editor. I know when something itches, and I don’t necessarily know what to do but I can say “that piece…” and I can discuss it'. She also goes on to say that in comparison to a producer role, 'the Creative Producer [tasks] are going to be harder to encapsulate, precisely because it touches on creativity, which really means that there is an “It Depends” component to every situation'. But the author states that with this in mind, the Creative Producer is essential for filmmakers. [3]

It seems that in reviewing my own skill sets, Sarah Green confirms that it's possible to both succeed and enjoy working as a Creative Producer when you're interested in or have a talent in editing and using creative opinions and expressions.

In an interview with Creative Producer Tiffany Wen, she's asked what she does in her role. To which Wen responds 'I've got this problem to solve, this creative team, these clients, this timeline, this much money, and these unanswered questions and assumptions. I then ask myself, what creative processes and ideas are best to move this project forward and make sure it comes to life within the guidelines we've all co-created?'. [4]
It's interesting to learn the thought process that may run through a Creative Producer's mind when faced with a new project, along with learning from this response that the main goal is to bring the project to life and move it forward.

In the video below, at the Sundance Institute's annual Creative Producing Labs and Summit, a number of Creative Producers give their opinions and insights into the purpose of a Creative Producer, and what they bring to a project.



The quoted opinions and definitions on the role that I found to be the most useful and insightful were 'Basically, a producer makes a movie happen', and that producers are 'insulating the artists and insuring that everyone remembers what the original vision was'. [5]


From the research gathered on my role, I found it extremely helpful in realising how crucial the Creative Producer role is to the industry. And that while I may not be handling a financial aspect within my project as a producer usually would (due to focusing more on the visual sides of the project), I'm undertaking all other tasks that are typically recognised of a Creative Producer, and then some.


References

Sunday, 13 November 2016

Professional Pre-Production: Opening Sequence Post-Production

In creating my 40 second long opening titles sequence, I went through the stages of two rough cuts before reaching a fine cut that I feel happy with. In the changes from the first rough cut to the fine cut, the steps were...

  • Selecting a soundtrack: After searching through a number of royalty free music websites, I decided on a track called Slow Motion from Bensound. This song was exactly what I was looking for, as it starts softly, but quickly picks up with a beat, and had a perfect point in the track for me to cut at 40 seconds. The track also has a slightly intense, but sad feel that I was looking for.
  • Getting a starting point: Which I felt was best as time lapse clouds, as this serves as a sort of beginning, middle and end for the titles. Followed by crayon drawings, as I feel that they were effective in starting the sequence innocently, but immediately change the atmosphere once burning.
  • Immediately cutting to the music: By using the soundtrack as a basis for timing right from the start, I was able to cut each clip in time with the song's beat.
  • Testing overlaying and chopping clips: Before adding each clip together, I decided to test putting one clip over another and dropping the opacity. I felt that the perfect combination for this was the candle footage overlaying the burning picture footage. By doing this, it gave me a feel for how I wanted to continue the sequence, instead of placing clips side by side and seeing where it goes. I also feel that this technique makes the sequence more three dimensional. I then eventually continued to do this by overlaying knife footage, autumn leaves footage and cloud footage. Below are screenshots of the candle and burning picture combination from all three cuts...

Rough Cut Version One (Original Unedited Footage)

Rough Cut Version Two (Original Unedited Footage with Text Added)

Fine Cut Version One (Edited Footage with Text Added)

  • Reserving space for text, then adding it: In some areas of the sequence, I decided to deliberately hold on a shot or make sure some sections weren't too cut up, to allow me to add my cast names to the sequence. Using a font called Lulo Clean that I found to be neat, modern and bold (and most likely using as my branding font for The Identity), I added cast names in order of character importance and where I felt they fit with the images. Such as Tatiana Maslany (main character Lauren) fitting with her 'burning' family, Felicity Huffman (mother character Helen) fitting with letting go of her daughter's hand - combined with the knife that will later kill her, and Liam Cunningham and Olivia Williams (birth parents Frank and Kathleen) fitting with before and after shots of a childhood bear - signifying the loss of their daughter's childhood. Below are screenshot examples of the latter two cast names and their pairings, along with before and after examples of the rough cuts and fine cut...

Rough Cut Version One (Original Unedited Footage,
Knife Footage Overlaying Hand Holding Footage)

Fine Cut Version One (Edited Footage with Text Added)

Rough Cut Version One (Original Unedited Footage,
Cloud Footage Overlaying 'Before' Bear Footage)

Fine Cut Version One (Edited Footage with Text Added)

Rough Cut Version One (Original Unedited Footage,
Cloud Footage Overlaying 'After' Bear Footage)

Fine Cut Version One (Edited Footage with Continued Text)

  • In relation, added the title: I also added the text at the end of the sequence - I feel that this is appropriate for the sequence based on my research and so that the sequence builds up to revealing the programme's name. I used the current font and logo that I'm considering for my branding, dropped the opacity slightly for a professional and suitable appearance, placed the text over the clouds, and had the sequence fade to a clean white. I'm very pleased with the results. Here is a before and after from Rough Cut Version Two and Fine Cut Version One...

Rough Cut Version Two (Original Unedited Footage with Text Added)

Fine Cut Version One (Edited Footage)

  • Made cuts where appropriate: I removed footage of an empty swing that I simply felt didn't fit with the rest of the sequence, and tied the clips before and after this together, which fit much better. This also gave me a few extra seconds to add my 'Created By Megan Waters' credit at the end of the sequence.
  • Added effects and colour corrections: The most important part (in my opinion) that made the fine cut stand apart from the rough cuts was adding tones, contrast, saturation and colourising each individual clip. By giving the clouds a warm tone with high saturation (that eventually turns more cold during the sequence to symbolise the atmosphere change), I was able to give the clouds much more definition. By adding mixed tones of warm and cold to the burning crayon drawings I was able to greatly combine the contrasting moods of what's happening in the footage, along with brightening the flame to stand out. By brightening and colourising the autumn leaves and black boot footage, I was able to make this contrast with the blue colourised map footage it was combined with for a dimensional look. By giving the 'before' bear warm tones and the 'after' bear a creepy green/blue tone, I was able to make the moods of both shots greatly contrast. And by overall brightening, contrasting, correcting and colourising each shot, I was able to bring the sequence to life and make each moment stand out.

Rough Cut Version One (Original Unedited Footage)
The Opening Cloud Shot

Fine Cut Version One (Edited Footage of the Above):
Colourising, Saturation & Exposure Changes

Rough Cut Version One (Original Unedited Footage)
Candle Shot

Fine Cut Version One (Edited Footage):
Colourising & Saturation Changes

Rough Cut Version One (Original Unedited Footage)
Middle Cloud Shot

Fine Cut Version One (Edited Footage):
Cast Name Added
Slight Lowering of Saturation from Edited Opening Cloud Shot

Rough Cut Version One (Original Unedited Footage)
Pennsylvania Map Shot

Rough Cut Version Two (Unedited Footage with Autumn Leaves
Footage Overlayed)

Fine Cut Version One (Edited Footage):
Colourising, Saturation & Exposure Changes Made to Both

Rough Cut Version One (Original Unedited Footage with Map
and Leaves/Boot Footage Mixed)

Fine Cut Version One (Edited Footage):
Cast Name Added
Colourising, Saturation & Exposure Changes Made to Both


I'm extremely pleased with the end result of my fine cut. The editing process consisted of a lot of trial and error, but I think that soon my ideas started to tie together and the footage naturally worked. I think the biggest improvement were my colourising etc. changes, but I think overall, the sequence well represents the themes and roughly the locations of the series. I think that it also gives the sad, slightly down beaten tone that the series had and that I planned for, while also including bright colours to include the contrast of positivity and negativity - which is experienced in the story of The Identity. My next step now is having my tutor review my fine cut and to then create a completed, final cut based on their feedback.


Below are all three cuts so far...


Rough Cut Version One



Rough Cut Version Two



Fine Cut Version One



Professional Pre-Production: Opening Sequence Tips & Research

I'd had an idea of the type of opening sequence that I wanted to create after researching professional and student examples, along with considering the type of titles that would suit The Identity before planning and filming. However, before beginning post-production on my own sequence, I thought it would be useful to conduct further research into advice on opening titles, along with more professional examples before beginning the editing process.


Research

Interested in learning about what seems to make a professional and effective opening sequence, I researched a number of tips on what to include and consider, and what to avoid or potentially change. I found a source that consisted of five tips for creating a title sequence, these are...

  • Keep the font small: Find 'a size that is just comfortable enough to read without squinting your eyes, but not much bigger than that. The main title card with the film’s name is the exception to this rule, and you can always have that title appear much larger so it stands out from the rest. However, for any and all other titles, small is almost always better – so never up your font size unless absolutely necessary.'
  • Choose a tasteful font: 'Fonts that have a grungy or spray painted look (or anything else overly stylized) can look very cheap. Again, there are exceptions to this rule as well, but typically clean and simple fonts will always work better.'
  • Don’t animate the titles: 'Simple is always better ... and 9 times out of 10, you are going to be better off just fading in a static title over picture (or black) than animating it to achieve an unoriginal effect.'
  • Use framing guides: It's obvious 'when an editor hasn’t used framing guides with their titles. One title will fade into the next and they will just be slightly off from each other. Or a main title that is supposed to be centered will feel like it’s off to one side or the other.'
  • Avoid drop shadows: 'Drop shadows can look okay in certain circumstances, especially when they are part of the overall aesthetic of the film’s brand, however they should never be used simply because the text needs to stand out more.' [1]

Each and every tip in this guide was helpful for considerations on my own work in order to keep it tasteful and professional.


Suits Opening Sequence


  • 30 seconds in length.
  • Upbeat soundtrack, fits the slick feel to the show.
  • Modern and calculated grid FX - matching a business theme.
  • Montage of footage featuring the main characters and their preparations for and journey to their office. Along with footage of New York, the show's location.
  • Blue tones for the first 10 seconds, changing to warm, orange tones. To me, this represents a transition from waking up in the morning, to the sun rising and the day beginning.
  • Small, modern and neat text.
  • Text consists of main cast, the title and created by, featured in that order.
  • An overall very routine, slick, polished feel to the titles.


Sherlock Opening Sequence


  • 32 seconds in length.
  • Dramatic, slightly fast paced soundtrack, fitting to a mystery crime drama.
  • FX of footage blending and fading together, along with time lapse shots. Matching the theme of investigation and gathering evidence - all blending together.
  • Montage of footage featuring shots such as London (the show's location), weapons, graffiti, a character's eye, a droplet of blood, and a picture of Sherlock.
  • Bright colours initially that turn to slightly warm tones, that mostly have a vintage, sepia styled colour to the sequence. Representing a story that dates far back in English history.
  • Small, modern, but slightly decayed-looking text.
  • Text consists of title, main cast, written by, co-created with and based on the works of, in that order.
  • An overall very summative, vintage feel to the titles.


Se7en Opening Sequence


  • 2 minutes and 10 seconds in length.
  • Dark, chaotic and creepy soundtrack, fitting the footage of a killer's actions being seen.
  • FX used in making the text hover in a deliberately messy style, images flashing in quick frames, blending footage together, creating a ghosting style of overlaying footage on top of other footage and creating a scratch-like effect over the footage.
  • Montage of footage featuring shots such as crime scene investigation evidence, fingers playing with and using a razor blade, a book being written in, clipping of images being added to the book, taped up finger tips stroking their work and drawing over the eyes of a face in a picture.
  • Lots of darkness and shadows, accompanied by yellow and green tones that create a creepy feel that suits the actions being seen in the sequence.
  • Small, handwritten-styled text, with an almost vibrating effect. Suiting the chaotic/'scratchy' feel of the FX and footage.
  • Text consists of production company presents, the producer's production, a film by, the beginning of the main cast, the title, contuining of the main cast, casting by, music by, costumes designed by, edited by, production designed by, director of photography, co-producers, co-executive producers, executive producers, written by, the title briefly shown again and produced by. Featured in that order.
  • An overall unsettling, dark and theme explanatory opening titles.

By reviewing and analysing the appearance and sound of three seperate opening titles, I was able to analyse the compenents of each one that made them fit their show/film/themes so well. I was also able to take note of their length, how the soundtrack fits, the FX used, footage, tone/colouring, text style and how the text was used for crediting. Taking from each sequence example, I plan to draw inspiration from the following compenents...

  • Switching from cool, blue tones, and warm, orange tones where appropriate. [2]
  • Small, modern and neat text. [2]
  • Text consisting of main cast, title and created by. However potentially not in that order. [2]
  • FX of time lapse footage and blending/fading shots together. [3]
  • FX of images flashing between frames and potentially overlaying footage in a ghosting style. [4]
  • The use of darkness and shadows in appropriate shots/moments. [4]

Areas that I plan for my sequence to differ in however, are features such as before and after styled shots, an overall different theme due to the difference of my series to the examples above, and most likely a difference in length, as I currently plan for 40 seconds.


References

1. 5 Easy Tips For Creating an Awesome Title Sequence

2. Suits Opening Credits

3. Sherlock 2010 - Opening Credits

4. Se7en Opening Titles