Venatic - my finished Thriller Opening Sequence

Evaluation Question 7: 'Looking back at your preliminary task, what do you feel you have learned in the progression from it to the full product?'

Evaluation Question 6: 'What have you learned about technologies from the process of constructing this product?'

As a group we annotated our opening sequence on youtube so that we could show what programmes, technologies and techniques we used, and at what times they were used, within our thriller. I was responsible for suggesting a few ideas and double checking that they all made sense.

Evaluation Question 5: 'How did you attract/address your audience?'

What pleasures can an audience take?

The audience for my thriller was attracted threw a number of different, yet carefully calculated means. Firstly, the audience could take a number of pleasures from our opening sequence:

• the inclusion of a female character (seen as either attractive or inspiring)
• young and relatable characters
• modern clothing
• recognisable yet mysterious urban setting
• tense atmosphere and circumstance
• peculiar lighting
• atmospheric rain sound effect
• tension and suspense
• unnerving monster noises
• a possible jump-scare
• the storage container being attacked
• indication of plot progression with the group deciding that they have to move on

What type of film is it? Which other films might be influential?

Science Fiction Thriller (sub genre)

Supernatural Thriller (sub genre)

Horror Thriller (sub genre)

Super 8 (science fiction thriller)

Attack the Block (science fiction comedy-horror)

Jurassic Park (adventure science fiction)

Jurassic World (adventure science fiction)

Dawn of the Planet of the Apes (science fiction)

Cloverfield (found footage monster horror)

10 Cloverfield Lane (psychological thriller)

The Mist (science fiction horror)

Setting - why does this appeal to your target audience and why?

A storage container is a mysterious yet relatable location as most people have found themselves within one at one point or another, yet it is not a regular setting to find oneself in. Equally, they are always filled with the most wonderful and strange assortment of items, indicating the possibility for anything to occur.

Narrative - why does this appeal to your target audience and why?

• Youths breaking into a storage container.
• Mild delinquency.
• Poor weather outside.
• Night time.
• Atmosphere of sneaking about - hiding.
• Who are the three characters?
• Why must they be quiet?
• What are they doing in the container?
• Why are they making weapons?
• What makes the noise and why are they scared of it?
• Plot twist of the container being rammed into.
• Why do they get out a map?
• What are they looking for?
• Where are they headed next and why must they leave?
• Linear narrative with single plot twist to build tension.

Which social groups are we appealing to and how?

• Teenagers of both genders.
• The characters are of a similar age and thus relatable.
• The inclusion of a monster element.

Sound - why does this appeal to your target audience and why?

• rain sound effect; sets dark and tension-filled mood.
• eerie and creepy atmosphere.
• large and unnerving monster sounds; an exciting prospect.
• earsplitting crashing sound; shocking.

Editing/film styles - what editing techniques did we use and why do they appeal to your target audience?

• Cross cutting between characters to create tension.
• Slowing down of pace in order to build suspense.
• Close-up on narrative centric props, indicating importance.
• Eye-line match to increase tension.
• Dark atmosphere created through lighting.

Conventions - why does this appeal to your target audience and why?

• Classic use of thriller conventions.
• Quick cuts.
• Suspense.
• Fear.
• Tension.
• Fast pace (and juxtaposition of the slow pace in between).
• Rain SFX.
• Ambiguity and mystery.

Evaluation Question 4: 'Who would be the audience for your media product?'

In order to find my target audience, I interviewed a random selection of people and asked them the following questions:

• How old are you?
• What is your favourite genre of film?
• What’s your favourite film and why?
• Do you like thrillers?
• What do you like about thrillers?
• Would you go and see a thriller about a group of teenagers trying to survive in a world ravaged by monsters?

Based on the participants’ responses and the enthusiasm to which they responded, I thus concluded that the target audience for my media product would be teenagers (of both genders) around the age of 16 or 17. Whilst elder participants were willing to watch the movie, they were less enthusiastic about the idea and perhaps not quite as enticed by the idea of monsters.

Equally, given how we wish to have a very realistic and potentially gritty film, keeping in line with the British Board of Film Classifications, it’d be likely that our thriller were branded a ’15’ - so despite potential interest from younger teenagers, they’d have to be restricted from viewing our film.

It is likely that teenagers are more interested in watching our thriller due to its relatable nature. After all, it follows a group of three teens on their survival journey. Whilst stereotypically one might think that my film is more enticing to males, the fact that one of the main characters is an independent, feisty, young female attracts such a gender to equally be interested in the film.

Consequently, our target audience would be both male and females about 16-17 year olds.

Stereotypical summary of our target audience - adolescents of both genders, aged about 16-17:

Evaluation Question 3: 'What kind of media institution might distribute your media product and why?'

Evaluation Question 3 from Harvey Wright

Evaluation Question 2: 'How does your media product represent particular social groups?'

This response will analyse how particular social groups [namely class and status, age, and gender] are represented in my media product, Venatic, via the uses of camera angle, movement, composition, mise-en-scene, sound, and editing. My thriller opening sequence shows the film’s three protagonists [one teenage girl, and two teenage boys], breaking into a storage container where they proceed to scavenge for any useful weapons or resources before the untimely arrival of some horrific, unidentified creature (who serves as one of the film’s antagonists).

Immediately upon commencing and all the way throughout the sequence, mise-en-scene provides a great indication as to the representation of class and status, as well as of age, and gender. In one of the sequence’s opening shots we are shown the three teenagers each dressed in tracksuits and other casual, inexpensive clothes of the same idea, thus denoting that they are of a lower class due to the connotations that tracksuits have with ‘chavs’ and the slang term of ‘road-men’. Equally, the costumes adhere to stereotypical portrayals of adolescents being nothing more than loitering miscreants, and given the fact that the female character is also dressed in the same clothes as the two boys, the gender stereotype of girls being far more prim and proper is subverted - in its place, the sequence presenting a countertype. 

The idea of the sequence’s protagonists being of a lower class is further reinforced by the fact that they have broken into a storage container, where, from what we can see, they are stealing gasoline canisters, nails, piping, knives and tape - all inexpensive, somewhat common items. Comparatively, if the three teens were of a higher class instead, it is first of all unlikely that they’d have needed to have broken into a cramped and cluttered storage container, and secondly, the items that they would have stolen would have been both far more valuable and effective - such as taking a gun. Consequently, props reaffirm the representation of class and status, and likewise, adhere to and support the stereotype of age within the thriller opening sequence; after all, adolescents are often believed to be in the possession of knives and shanks, and in the opinion of many, regularly partake in small-time delinquency. As such, the fact that they are breaking into someone’s storage container, partaking in theft, and are in the possession of some of the more blunt, crude weapons, conforms to such a stereotype regarding age. Once again however, this then subverts the gender stereotype regarding girls being prim and proper as the female character is partaking in the rather shady activities likewise - although however, it is therefore important to note that whilst the boys go for nails and knives, she instead goes for the gasoline canister and lamp fuel - in some ways henceforth actually adhering to the gender stereotype, as it would appear the items she is taking are not for particularly violent means unlike the boys’.

The lighting of the mise-en-scene also denotes the idea of the three teens being of a lower class due to the fact that is has been done entirely by torchlight. The characters are, for the most part, using, large, old and aged torches rather than sleek and small ones, thus implying that they have equally been taken or are hand-me-downs. If the three characters were of a higher class, then perhaps they would have used the torches on their phones and the like, or would simply just have torches of a higher calibre. The fact that each character has a torch also presents the idea that the characters are of equal rank - subverting the stereotype that are men are more powerful than women. This idea of equality is further reinforced by the fact that the boys can be seen to be wearing rings, earrings and other trinkets - stereotypically female accessories. Such accessories, however, also serving to adhere to the stereotype that the characters are of a lower class as such items when in regard to men are considered to be ‘chavvy’ alike the rest of their costumes.

Finally, regarding the mise-en-scene of the sequence, the old, leather-bound map book subverts the stereotype [regarding age] that young people can’t read maps and equally suggests that the three characters have had somewhat of an education - thus implying that perhaps they are not of the lowest possible class and status.

Sound offers further representation of class and status, age, and gender within the sequence. When the elder teenage boy says at the end after having quickly read the map, “We’ve gotta move”, he isn’t overly articulate with his words, failing to annunciate. As such, we could describe such a tone as somewhat colloquial which thus denotes he isn’t of a particularly high social class. This representation conforms to stereotypes regarding the lower class and of youth, as stereotypically adolescents (and lower class adolescents especially) are expected to be lazy with their speech. 

Gender is represented when the female character continuously hushes the two male characters; this subverts the stereotype that women are to listen to men, as it shows the girl holding her own and in a position of power, taking control.

Camera angles, movement and composition also further the representations of class and status, age, and gender within the sequence. One of the initial shots is a low-angle shot of the two boys entering the storage container which denotes power - they are in control of the situation - thus adhering to the gender stereotype of men being in control, but subverting the class and status and age stereotypes that the lower class and the young have no power. Equally, the first shot we see of the female character is also from a low-angle denoting the same sort of power and control over the situation. This however subverts all stereotypes and instead presents countertypes in all three of the representations: age, gender and class and status, as stereotypically the youth, women, and the lower classes are all portrayed as powerless. 

When the elder teenage boy begins gaffer taping the knife to a pipe, we are also presented with another low-angle shot thus denoting yet the same things - adhering to the stereotype of male power and subverting to the stereotype of the youth and lower class’ lack of power. When the three characters are bunched around the map book, there is a high-angle shot, denoting a lack of power following the creature’s attack upon the storage container, conforming to the stereotypes of the youth’s and lower class’ powerless natures.

Finally, editing is also used as a means of representing class and status, age, and gender within the sequence. For the most part, the sequence has fairly swift cuts, indicating an energetic and potentially hurried atmosphere, representing youth and thus adhering to the stereotype that adolescents are always on the move, never stopping. As such, when they do stop and are cautious, a countertype is presented regarding their behaviour when in relation to their age. Equally, the female character is cut to just as much as the male characters, denoting an equality and thus subverting the stereotype that men are above women once again.

Consequently, the clip portrays quite a counter-typical representation of gender, yet a very stereotypical representation of age and class and status - the female and male characters being treated as equals, yet adhering to the stereotypes of being low-life miscreants and not particularly wealthy or respectable members of society.

Evaluation Question 1: 'In what ways does your media product use, develop or challenge forms and conventions of real media products?'

1. Evaluation Question 1: In what ways does your media product use, develop or challenge forms and conventions of real media products? 
2. What have I created? My group and I have created a short, two-minute opening sequence to a film that we have entitled ‘Venatic’. It features three adolescent characters breaking into a storage container where they begin looking for weapons, and whilst doing so, hear the sound of whatever monster is hunting them (or comparatively, they are hunting). The actual film would follow their survival story. What would I compare it to? I could compare ‘Venatic’ to a number of real media products: • Films such as ‘Attack the Block’, ‘Cloverfield’ and ‘Super 8’. • Television programmes such as ‘The Walking Dead’. • Video games such as ‘The Last of Us’. The easiest to compare due to their similarities however, are, specifically: ‘The Mist’, ‘Jurassic Park’ and ‘Until Dawn’ - two films and a video game.
3. ‘The Mist’ (also known as Stephen King's The Mist) is a 2007 American science fiction horror film based on the 1980 novella of the same name by Stephen King. The film was written and directed by Frank Darabont, who had previously adapted King's works ‘The Shawshank Redemption’ (1994 film based on the 1982 novella) and ‘The Green Mile’ (1999 film based on the 1996 novel). The film features an ensemble cast including Thomas Jane, Marcia Gay Harden, Samuel Witwer, Toby Jones, and future The Walking Dead actors Jeffrey DeMunn, Juan Gabriel Pareja, Laurie Holden, and Melissa McBride.
4. We have used a similar convention of characters collectively looking at some kind of horrible creature with some kind of shock. We have changed the convention from as seen in ‘The Mist’ by removing two of the characters but comparatively spreading them out more spatially. As such, the same amount of space is used but with less to look at, making the shot look less cluttered yet just as effective. We have used a similar convention of a single character staring at something, lit only by his single torchlight, somewhat intensely. We have changed the convention slightly however, as the man from ‘The Mist’ is looking up and the shot is from the front, whereas in our film, our character is looking down, and the shot is from the side. We have used a similar convention of there being an almost earthquake- like effect taking place. In both cases, the shot is from behind, and features silhouetted characters being through about a room. We have used a similar convention of two characters having a conversation, lit only by torchlight. In both shots, they are from over the shoulder of one character so that we can see the other - a classic conversationalist shot. The convention has only been changed in ours due to the fact that our shot composition is practically mirrored. We have a similar convention of characters collectively looking towards a closed door in fear, the implication being that there is something scary beyond. We have developed the convention from as seen in ‘The Mist’ by removing most of the characters and by having the shot from a different angle - as if we were one of the characters. In my opinion, this is more effective as it is far more inclusive and immersive.
5. Jurassic Park is a 1993 American adventure science fiction film directed by Steven Spielberg. The first instalment of the Jurassic Park franchise, it is based on the 1990 novel of the same name by Michael Crichton, with a screenplay written by Crichton and David Koepp. The film is set on the fictional Isla Nublar, an islet located off Central America's Pacific Coast, near Costa Rica, where a billionaire philanthropist and a small team of genetic scientists have created a wildlife park of cloned dinosaurs.
6. We used a similar convention of presenting a close-up of something that adds tension or is of importance to the narrative. The shots are mirrored, but nevertheless serve the same purpose and are thus as equally as effective. We have used a similar convention of characters collectively looking at some kind of horrible creature with some kind of shock. We have developed the convention as seen in ‘Jurassic Park’ by having the camera angled at eye-line level, thus implying that we could possibly be seeing from the monster’s perspective and thus heightening the tension. We have used a similar convention of characters, equipped with torches, looking over their shoulders. We have changed this convention by adding an extra character, by changing which shoulder the characters are looking over, and by changing the proxemics so that it is applicable to our setting. We have used a similar convention of the setting (in ‘Jurassic Park’ - the car, in ‘Venatic’ - the storage container) being attacked by the film’s antagonist/monster. We have changed this convention by not showing the creature, however, instead implying that he is outside.
7. Until Dawn is an interactive drama survival horror adventure video game developed by Supermassive Games and published by Sony Computer Entertainment for the PlayStation 4. Until Dawn received positive reviews. It received an aggregated score of 80.37% on GameRankings based on 71 reviews and 79/100 on Metacritic based on 103 reviews.
8. We have used a similar convention of characters collectively looking at some kind of horrible creature with some kind of shock. We have developed the convention from as seen in ‘Until Dawn’ by removing one of the characters. The characters, however, are otherwise of a similar age and in similar clothing. Equally, both shots are mid-shots. We have used a similar convention of an over-the-shoulder conversationalist shot. In both cases, we see the shot from over the male character’s shoulder so that the female character’s face is seen. Likewise, in both cases, she is telling him to be quiet. We have used a similar convention of characters, equipped with torches, looking over their shoulders. We have developed this convention by adding an extra character and by changing which shoulder the characters are looking over. We have used a similar convention of seeing a silhouetted character alone in a room, equipped only with a torch. The convention has been changed by the character in ‘Until Dawn’ being in the centre of the shot, whereas in our film she is to the side. Both shots are fairly wide shots.

Similar media texts

Super 8

• film featuring a group of teenagers (one of which, a girl) discovering the existence of an alien creature. The movie is consequently similar to our thriller due to the naive nature of the characters, their age and the dynamic between them, as well as the situation in which they have found themselves in.

Attack the Block

• film featuring a ragtag group of lower class teenagers based in London, trying to survive against an invasion of otherworldly creatures. The movie is consequently similar to our thriller due to the status of the characters, their age, their location and the similar situation in which they have found themselves in.

Cloverfield

• film featuring five New Yorkers trying to escape from the city as it becomes under siege from a monster of unknown origin - all recorded from the perspective of a hand-held video camera. Whilst the location and nationality/age of the characters aren't similar to our thriller, the plot is.

Jurassic Park

• film featuring a group of individuals (including two children) trying to survive on an island full of freely roaming, living dinosaurs. It is similar to our thriller due to the innocent nature of the children within the movie, as well as the large and scary monsters (i.e: the dinosaurs) which feature.

The Mist

• one of the most similar media texts, this film features a group of people as they struggle to survive against an unnatural mist which envelops the town and conceals vicious, otherworldly monsters - the central theme exploring what ordinary people would be driven to do under extraordinary circumstances. Whilst not based in London or featuring lower-class adolescents, the plot is nevertheless highly similar to ours.

Dawn of the Planet of the Apes

• film following a group of people in San Francisco who struggle to stay alive in the aftermath of a plague that is wiping out humanity, while a group of intelligent apes maintain control. Again, whilst not similar in location, plot, or characters - the story once again revolves around a ragtag group of people trying to survive against the odds (including some monster-like character: the apes). As such, it is a similar media text to our thriller.

The Walking Dead

• television programme featuring a post-apocalyptic world overrun by zombies. Whilst not alike in plot, location or characters - the programme is similar to our thriller due to the idea of it being about surviving with a ragtag group and a lack of resources against some kind of monster - in this case, zombies.

The Last of Us

• a video game featuring people surviving in a post-apocalyptic world which is being terrorised by cannibalistic monster-turned-humans. The game features a young, female protagonist (like our thriller) and explores the survival of such a character (among others), which as such makes it a similar media text despite the difference in location, etc.

Until Dawn

• video game featuring the survival of a group of young adults against a strange creature which is terrorising their cabin in the woods. Whilst their characters are even more naive then ours and unaware of the circumstance in which they are in, they are of a fairly similar age and predicament. Equally, the reclusive cabin could be compared to the storage container as seen within our opening sequence.

Naming my Thriller Opening Sequence

With filming and editing out of the way, our thriller opening sequence just needed one more thing: the perfect name. Our working title thus far had been quite simply ‘The Hunt’, and whilst we felt it would be a fine title for our piece, we simply felt that there were plenty of better options out there. Consequently, we began hunt-ing for the perfect film title. 

To start with, we looked up actual thriller film titles.

Stereotypically, they are titled with one word, striking and powerful in nature, and as such it could in fact be implied that part of the traditional iconography for a thriller is to have such a title. Henceforth, we decided to look for a single world that would perfectly summarise our film.

Initial favourites included ‘Pursuit’, ‘Trackers’, ‘Hounded’ and ‘Chase’, although we couldn’t help but feel that they all felt a little over-used, unnatural or cliche. Consequently, we took a different approach and tried testing the names of weapons: ‘Shank’, ‘Spearhead’, ‘Axe’, ‘Hatchet’, and ‘Mace’ were once again all greatly considered at length, although the group couldn’t decide on which to use. As such, we decided to enlist in help - surveying others as to which title they preferred.

Whilst 'Pursuit' was the most popular title, the group all liked a couple of the suggestions that had been given. Namely, 'Torchlight' and 'Venatic' - especially the latter due to its ability to be about the entirety of the film, rather than just the opening sequence as 'Torchlight' would suggest.

After double-checking its meaning, and with the whole group's approval, we decided to go ahead with 'Venatic' - suggested by the brilliant Sophie Jackson. As such, our thriller opening sequence was complete.

Editing my Thriller Opening Sequence

Editing is the art, technique, and practise of assembling shots into a coherent sequence. As a process, I personally found it somewhat tedious, due to its relentless and repetitive nature. Every time I thought my group and I were progressing towards our final product, we’d find another job to do or another way to improve the sequence. Despite this, it was to some extent an enriching and interesting experience and hopefully in the end, it will be a worthwhile one too.

Expectations established before editing our sequence, regarding on what we wanted to achieve by half-term, was that my group and I wished to have a rough picture-cut which we could then clean up and perfect following the break. At the end of the process, our intended outcome was quite simply to have an effective two-minute thriller opening sequence, containing an engaging narrative jam-packed with both suspense and tension.

Originally when commencing the editing process, my group and I went through all of our footage, reviewing the shots and deciding to select any which either looked good cinematically or showed useful narrative detail. We kept track of what shots we wanted to use and include within our sequence, by dragging our chosen shots onto the timeline where we then grouped and ordered them according to what narrative detail they showed (for example, we made a cluster of shots upon the timeline focused around our female character investigating the gasoline canisters). The framing of shots influenced whether they were used, dependent on whether or not they contained interesting angles or perspectives and how striking the mise-en-scene was within them. Unfortunately, however, because of reasons regarding continuity (or occasionally lighting or focus) a lot of our desired footage had to be cropped.

The editing software used within our sequence was Adobe Premiere Pro. In particular, the tool of razor was especially useful due to it allowing us to make quick cuts that had clean transitions.

Once we had tidied the shots and trimmed them down, we arranged their order based on how they would create and affect the pace and tension of the sequence, and when positioning them upon the timeline, we used multiple layers, venturing between V1, V2 and V3, in order to keep our timeline neat and easy to read, placing effective and coherent shots one after the other.

Throughout the sequence, we tried to match shots on action or graphic (such as when our characters all reach over for something). On one occasion, we used an eye-line match (when they look towards the source of the startling noise) in order to build tension.

When editing, I took charge of the process although by no means did it by myself. The group worked well together - often editing in twos for sake of ease and practically (i.e: fitting about the computer). And in total, the process took us about two weeks although we didn’t visit the suite every day.

When adding titles to our opening sequence, we followed the traditional order: the distribution company, the production company and the director. We decided not to include cast titles as we thought they might distract from the scene. Finally, following the sequence, we finished with our film’s title.

The distribution company, Temple Hill Pictures, was named due to the fact that originally Temple Hill, Dartford, was to be the location of our thriller and consequently the name of it - thus following the likes of ‘Jurassic Park’, etc. The production company was decided due to referencing each member of our group. ‘MAHT’ in the House of MAHT referring to Millie, Alejandro, Harvey and Theresa. Our director was a made up person in order to keep all members of our group happy.

In terms of sound editing, we went through all of our audio and removed the white noise, thus sharpening the other sounds within the scene. In shots where one of us could be heard directing or giving suggestions whilst the acting was ongoing, we had to remove the audio. In its place, we used more fitting sound from other shots.

These sounds, distinguished and labelled as ‘diegetic sounds’, we edited first, just using Adobe Premiere Pro. We placed them all into the A1 timeline to keep track of them, and then applied a ‘Constant Gain’ edit to each audio transition in order to make sure they were all at the same volume and didn’t sound unnatural when next to one another.

After that, we were able to play around with the more exciting audio features - such as the monster’s roar and the sound of the container being hit. In order to create the monster’s cry, we found a royalty-free sound of a very strident echo which could easily be misidentified as an alien-like creature’s roar and from there layered a lion’s growl upon it. Wanting to make it sound distanced from the container and also as if it were echoing against the container’s metal walls, we added a reverb to the sound upon the audio editing software of Adobe Audition CC.

The container being hit, similarly, was entirely made up of layers. We used another strident echo (albeit a quieter, more shrill one - from the same royalty-free audio track, in fact) and from there placing upon it the sound of a car crashing into a house, another growling noise (this time from a bear), and the sound of a bird’s rather sinister squarks. We wanted this sound to be shocking and intrusive, and upon playing it to an unsuspecting viewer of our opening sequence, their jump signified that the amalgamation of sounds had been a success.

Tension was as such created in the time between the two somewhat unnatural sounds due to the stillness of the contrast - the juxtaposition becoming incredibly unnerving.

We also added a suspenseful drone to the title cards within our sequence, although we unfortunately had to remove the initial three due to an odd matter regarding the file’s compressing. All the same, the ultimate one which appeared alongside our film’s title remained.

Finally, regarding the rest of the scene, we decided collectively as a group that some sound was needed, either as a tool for building tension or in order to build the world of the film. Trying out an assortment of dramatic beats and drums, we decided that the former idea for tension just wouldn’t work without the right soundtrack - something hard to find considering the need for it to be royalty free. Consequently, we went with the latter idea and picked an audio track that would help build the world of the film. 

We settled on rain due to its connotations of grim situations and miserable circumstances, editing the track only minutely, in order to make it sound like the rain was coming from outside the container rather than from inside as it initially did.

Finally, we added a few fades upon the initial shot and title cards in order to commence our opening sequence in a stylish and professional way.

All in all, I am very pleased with how the editing process went. It taught me a great deal about the skill that goes into making movies and thus gave me a better appreciation for such an art, as well as teaching me how to better navigate myself around a couple of highly useful editing programmes. Equally, I learnt a lot about the value of patience and organisation, as when we were better prepared we performed better as a group. I cannot wait to see the final product and for the next opportunity I get to edit something like this again, now knowing what I know.