Ideas for Sound effects and music:

I have research some possible sound effects for our opening, the sound effects that we will need to build tension and suspense are an evil laugh, footsteps, and babies’ music to create the right atmosphere for the audience.
Some possible websites I have found are:
www.pacdv.com
www.partnersinrhyme.com
www.findsounds.com

The music that we are going to use fits the thriller horror genre well, as I feel the music bulids up tension and supsense which is key in the thriller genre. This will help overall, as when we come to the post-production of the opening we will already have the music meaning less time will be wasted in planning and reasearch of different possible music. One of the key problems is the music relates to the baby/child storyline which is not in our opening however we are only suggesting to the audince what may happen in the rest of the film. This suggests that the music will hint on the back story but will not give the narrative away. Also the audience will be intrigued by what the narrative is and want to watch more meaning that we have the audeinces attension right from the beginning of the film.

Target Audience Feedback- Storyboard

I asked ten different people to look at my storyboard and then answer the questions below, regarding what they thought of the storyboard.

Questionnaire

1. Is the storyboard typical of the thriller/horror genre?
    Yes          No

2. Would this film appeal to you?
    Yes          No

3. Do you think a rating of 15+ is suitable?
    Yes          No

4. What do you think the idea of flashbacks would work well with this genre?
    Yes          No

5. Do you think the storyboard is long enough?
    Yes          No


The Results: that we received were very informative and helpful in the development of our opening.
1. Is the storyboard typical of the thriller/horror genre?
    Yes = 9          No = 1

The results for question 1 indicates that 90% of the people questioned believe the storyboard has suitable shots such as CU's of dead bodies that make up a good opening of a horror/thriller film.

2. Would this film appeal to you?
    Yes = 7          No = 3

Again, these results show that most people (70%) would like to watch this type of film opening. Although 30% say they wouldn't watch our film, this is not a problem because it is only a minority who may not be fans of thriller/horror movies, which will not affect the grading of our work. I understand that some people may have different opinions on the opening and this may not suit their film taste personally.

3. Do you think a rating of 15+ is suitable?
    Yes = 5          No = 5

Exactly half of the people we surveyed believe that 15+ is a suitable age rating for this film while the other half did not. This means that as a group, we may have to think more about the age rating we choose so that the correct audience is targeted for our film opening.

4. What do you think the idea of flashbacks would work well with this genre?
    Yes = 7          No = 3

The majority of our audience (70%) believe that the flashbacks would work well in the storyboard. This means that to improve our initial storyboard, we will add extra shots to show flashbacks, possibly of people dying, before the bodies are revealed.

5. Do you think the storyboard is long enough?
    Yes = 2         No = 8

The results for the last question clearly shows that we need to include more shots in the storyboard to make in long and detailed enough. We found this difficult as a group because are film opening is simple and does not need a great amount of shots. However, to improve are group will have to come up with a developed idea for our opening which will allow us to add more in to the storyboard, which will be presented in the planning along with the animatic, this research has really helped us target the weak points of our opening.

Actors Photographed:

These are the actors will are going to use in our opening, we have decided as a group that we will develop our idea from having a doll to an actor, we feel it will be more realstic and fit the trhriller genre better. Also, having an actor instead of a doll means that we are able to do develop our idea because using a doll gave us limitations, which would affect our opening as a whole. Here are the actors profile pictures:

Shotting Schedule: Planning and Starting Shotting

Actors Photographed- 7th dec
Audience Feedback- 7th dec
Music Researched- 30th nov
Fonts Researched- 10th dec
Start Animatic- Week of the 6th dec
Finished Storyboard- 7th dec
Start Filming- Week of the week of the 13th (last week of term.)

Non- diegetic Music:

This is an example of the non- diegetic music we will be having playing in the background of our opening. This is just an example of the music we will be using as we feel it relates to the thriller genre and has spooky undertones.

Location Shots:

At the present time this is were our Thriller opning we take place, we will use the stair to our advantage. It will be in the dark with some spot light (high key) lighting used. It will look like a basement or bedroom when filming. As we don't need a lot of space,we left this would be the best location to film our opening.

Initial Storyboard:

For the opening, my group needed to draw out a hand drawn storyboard. This would show how the opening pans out and what type of shots and transitions we would need to include in the camera work to make our opening successful. We have made some changes to the opening and these will be presented in planning further on in the development of our opening. After re-evaluating this storyboard I feel that we will need more shots to add variety and diversity within our opening, and keep the audience 'guessing'. 

Shot List:

Corridor/stairs
Tracking > From one end to the other, creating anticipation.

CU's > Blood and dead bodies will create a scary feel, matching the horror/thriller genre.

LS > From the end of the corridor/stairs to the room with the baby/doll, establishing the setting.
                               
Low Angle > At the beginning showing the corridor making it seem big and sinister.

Shaking of the camera > When the music changes and CU's of bodies appear, making the scene jumpy.
                                                                 
Dolls/baby's room
Tracking > Zooming in towards the cot/pram with the doll inside, suggesting the doll is significant.
                                                  
CU's > Dolls face and blood on its face, making a spooky/horror atmosphere.

LS > The room with flickering light in the corner which should create a scary effect.

MS > The doll in its cot/pram.

Planning: Brainstorms

 Brainstorming key ideas for our opening: This is all ideas and some of these will change:

Genre- Thriller/Horror
Audience-15

Mis-en-scene- Blood, Gore and darkness. High key lighting, spotlights, props-dolls, manikins. It will be quite dark and ominous, something’s bad going to happen or about to happen, a sense of foreboding. The location will be down a corridor or hallway and then in a dark room, a child’s bedroom.

Camera- Variety of long shots of the corridor and character walking, CU'S of blood, babies/bodies, MS's Tracking down the corridor and panning to see the setting clearly. Zoom into baby's face slowly tracking in. Clear to the audience what's happened and the location will be down a corridor or hallway and then in a dark room.

Sound- Babies laugh at the end of the opening, non-diegatic, music of babies’ mobiles or Jack in the box music. The Creepy Baby music will make the audience react.

Editing- Fast editing, smooth, consistent throughout, cuts out when baby screams, jump cuts, cuts, varied editing style. The editing will be important in making sure the opening fits together well and flows correctly.

Evaluation of Continuity Editing Task:

Overall, I felt our film showed a competent level of technical ability and we showed in our film that we understood the basic skills of filming. As a group we managed to remember our basic skills for example holding a shot steady, framing a shot accurately, editing so meaning is clear and there is a sense of continuity and the sound is clear as possible. Also we included the key skills that were set including a “shot-reverse-shot”, not breaking the “180 degree rule”, and including a correctly framed “two shot”.


We feel our continuity task is a high level 3 and the mark we gave it was a 43 as we feel it was evident of proficient technical skills and was appropriate for the task set. If we were to do it again I think the sound could be louder, but overall it fit the specification we were given.

Continuity Editing Task:

This is our Continuity Editing Task by Ellie, Tom and Callum.

Marking other students continuity-editing task:

We marked the other student’s continuity-editing task in our groups, we broke down the work and this is the order, best to worst, we felt was suitable when examining there technical ability.


Group 1- Alexandra, Demi, Stephanie and Sareena

We gave this group a high Level 3, Mark 42 as we felt they were evident in a proficient level of technical skills and ability.  They showed a variety of different shots, the shooting material was appropriate for the task set and holding a shot steady. Sound was clear and understandable.
To improve we felt there music could have merged out into dialogue better and that the background sound at the beginning was too loud. Overall a well filmed piece which followed the criteria set for the task.


Group 2- Heather, Laura, Brogan and Sam

We gave this group a level 3, Mark 38, as we felt the technical ability was proficient.

They showed a variety of different shots, the shooting material was appropriate for the task set and holding a shot steady. The sounds disappears at the end of the video which makes it difficult to understand and some cuts are too sudden and do not flow into the next shot well enough.

Group 3- Jessica, Luke, Hannah and Serena

We gave this group a Level 2, Mark 32, as we felt there piece showed a basic level of technical ability. The sound was too quiet and not clear enough to understand what was going on. The editing was rushed and the ending was unfinished it was not clear whether it had ended or not. Also what stopped this group from achieving the higher grade was there was no sound to add to the suspense .

Continuity Editing Task:

Our task was to storyboard and script a continuity-editing task. We had to use the following shot list as a starting point. We were aiming to complete a piece approximately 60 seconds (+) in length.

The basic and key skills we had to include:

Basic skills:
Holding a shot steady.
Framing a shot accurately.
Editing so meaning is clear and there is a sense of continuity.

Key Skills:
Including a “shot-reverse-shot.”
Not breaking the “180 degree rule.”
Including a correctly framed “two shot.”

Our Storyboard: This is our Storyboard of our continuity Task

The Script for our continuity Task:

Person A- "Hi Mr Thumblequeef, you wanted to see me?"

Person B- “Yeah, takes a seat Mr Merryfiddle?"

Person A- "Is everything ok?"

Person B- "Another worker told me you have been vandalising the toilets. Is that true?"

Person A- "Errm, Well..."

Person B- "You’re Fired!"

Person A- "You’re an arsehole!"

Person B- "I know Mr Merryfiddler, I know."

Summary of Analysis

What have I learnt from my Research?

By researching the Thriller Genre I have been able to look at the conventions of thrillers and what is key in a realistic thriller. I now know the knowledge of what make a great thriller. I have researched the mis-en-scene; editing, camera and sound, and I know what thrillers do differently to other genres and what differentiates them for other similar genres.  

I have research genre and the different theorists, this have given me knowledge on regenreification and hybrids, a how the thriller genre can cross over to over genres i.e horror thriller. Also I have researched five different opening of the thriller genre. Most of them were very good and it was important for me to see how different directors create different opening and the range of different opening there are when creating a sequence.  I have learnt was makes a good opening and what to avoid when filming and editing the opening sequence.

The questionnaire has given me information on what the audience wants from a thriller and how to produce this when filming. The type of music, certificate, likes and dislikes the audience want to see when watching a thriller.  This has given me valid information which will be key when trying to suit the target audience.  It was very important to see the different certificates 15 and 18 and what the difference is, when deciding the target audience and the certificate of our opening this will be very significant.

Therefore, Overall I feel the research I have made on the Thriller Genre has been very helpful in allowing me to understand about film and genre. This will be very important, as I now have the knowledge and understanding on how to tackle the next areas.

In our groups, next we will be brainstorming ideas on genre, whether our opening sequence will be hybrid or Sub- genre and deciding what kind of Thriller we want to create.

Evaluating Past Students work

Evaluating:

We evaluated past students work; this allowed me to understand what technical skill is involved in gaining a high grade and the different aspects you get marked on.  Also it has given me the understanding of how to make an original opening sequence to a Thriller film and what not to do then making an opening.

When we began marking the openings of Thrillers, at first they looked well made, but as we began analysing them in detailed we realised they weren’t as competent as we first though.  The editing was uneven, timing was off and the filming careless.  These are all feature that our group will have to watch out for when filming and editing. 


Thriller 1: Room to Breathe
Genre: Psychological thriller
Audience: 15 Certificate

Technical Ability- Low Level 3

Mis-en-scene: The use of props were realistic an worked well with the narrative and the storyline, which was well though about.

Sound- The use of sound and music was good because the music contrasted juxtaposed the narrative. This is often a key feature thriller director use, so this group had obviously though about the convention of the thriller genre.

Camera- Although there was a variety of different shots used, the quality of the camera shots were shaky and bumpy meaning that the technical ability wasn’t there affecting the grade.

Editing- The editing was poor as the timing was off and the editing was inconsistent.

This opening sequence of a thriller was good at first glance but as we watched it we noticed many technical errors in the camera work and the editing. However I could see this group had researched the thriller genre well and this is what helped them gain a Level 3.

Thriller 2: Root Case

Genre: Thriller/ horror

Target Audience: Certificate 15

Technical Ability: Very High Level 3

Camera- The camera work was smooth and constant throughout the opening. The group used a variety of shots which was interesting to view.

Editing- The editing technical ability was good, the timing was on and it fitted with the music well.

 Mis-en-scene- The choice of Film Noir made it interesting and the group had obviously thought about the thriller genre. Suitable props, costumes for the characters.

Sound- The music and sound used was Suitable and fitting to the Thriller Genre and worked well with the narrative.

Therefore this opening of a Thriller well thought out and the technical ability was strong.

What have I learnt?

These two thrillers I have analysis show the difference between a high level 3 boarding on a level 4 and a low level 3. The main errors that were made , and what I have learnt not to do in our opening, is that the technical ability of the camera work and the editing was weak and was strong enough to gain a high grade.  In our group, we must make sure the editing is smooth; the timing is on, variety of different types of editing, that the camera work is even and consistent.

Thriller Questionnaire:

In our groups, a memeber of the group made a Questionnaire. This is what our questionnaire looked  like and what we learnt about what the audience want from a Thriller.  We surveyed 20 people and took the best surveys to base our research on. 


Male or Female : Circle appropriate

There was a mixture of male and female.

How old are you : state your age


What do you like about thriller ?

We found out that people like suspense, to be scared, storyline twists, keep you on the edge of your seat, good storyline, action and gore.


What do you dislike about Thriller?

We found out that people dislike thriller if they take to long to build up, unrealistic, too long, repetitive and slow moving.


What kind of music do you like in Thriller films?

Most people like music that build up, R and B, drum n bass, suspense in the music, intense music, Indie/ folk, fast pace.

What are your Top 5 favourite Thrillers?

The most common Top 5 were Jaws, Jeepers Keepers, The Ring, The Grudge and Paranormal activity. 

What film certificate do you prefer? 18 or 15

Out of the people we surveyed 18's were more preferred. 

Evaluating t the Research:

From this questionnaire we have found out what the audience who will be viewing our opening want from a Thriller. This has given us the information we need, as we now know that the audince like supence, action and a intresting narrative, as these are relevant in the interest of the audience.

Certificate Guidelines

15 Certifcate

Suitable only for 15 years and over

No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.

Discrimination

The work as a whole must not endorse discriminatory language or behaviour.

Drugs

Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.

Horror

Strong threat and menace are permitted unless sadistic or sexualised.

Imitable behaviour

Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.

Language

There may be frequent use of strong language (for example, ‘fuck’). The strongest  terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.

Nudity

Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.

Sex

Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely  to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.

Theme

No theme is prohibited, provided the treatment is appropriate for 15 year olds.

Violence

Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.

18 Certifcate:

Suitable only for adults

No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.

In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:

• where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
• where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
• where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.

In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.

Sex education at ‘18’

Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.

Sex works at ‘18’

Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.

Reference- http://www.bbfc.co.uk/classification/guidelines/15-2


Whats the difference between a 15-18 :

The real differnce between a 15 and 18 is that 18 are allowed more gore, strong sexual images and worse language. Whereas 15 are allowed less of the following nudity, sex, violence,drugs and language. All must abide by the guidelines.

Thriller Research- Camera Codes

Codes- Editing, Mis-en Scene, Camera, sound and lighting

 Camera-

ELS- This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. It normally shows an EXTERIOR, eg the outside of a building, or a landscape, and is often used to show scenes of thrilling action eg in a war film or disaster movie.

LS-  Is generally a shot which shows the image as approximately "life" size ie corresponding to the real distance between the audience and the screen in a cinema.

MS- Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action.

CU-This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background.

ECU-As its name suggests, an extreme version of the close up, generally magnifying beyond what the human eye would experience in reality.

Thrillers generally use Mid-shot and close-ups as they create tension and suspense, the director may LS to add variety to a scene and establish the setting.

Camera Angles-

Bird’s Eye View- This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd.)

High Angle - Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary).

Eye Level- A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus.

Low Angle- These increase height and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene.

Point-of-view shot (POV) A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot.

In thriller film high and low angles are used to justify what position the different character are in whether they are weak or powerful. Also Bird’s Eye View are used to add variety to the scene.

Camera Movement-

Zoom- In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible as the shot tightens (contrast tracking).

Following pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in front of the subject: the pan 'leads' rather than 'trails'. A pan usually begins and ends with a few seconds of still picture to give greater impact.

Surveying pan- The camera slowly searches the scene: may build to a climax or anticlimax.

Tilt- A vertical movement of the camera - up or down- while the camera mounting stays fixed.

Crab- The camera moves (crabs) right or left.

Tracking (dollying) - Tracking involves the camera itself being moved smoothly towards or away from the subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense relationship with the subject; moving away tends to create emotional distance.

Hand-held camera- A hand-held camera can produce a jerky, bouncy, unsteady image which may create a sense of immediacy or chaos. Its use is a form of subjective treatment.

Process shot- A shot made of action in front of a rear projection screen having on it still or moving images as a background.

Tracking and panning are used in Thrillers to establish and setting and the environment the characters are in. Zooming are used to add pace and suspense to thrillers.

Editing-

Cut- Sudden change of shot from one viewpoint or location to another. On television cuts occur on average about every 7 or 8 seconds.

Matched cut-In a 'matched cut' a familiar relationship between the shots may make the change seem smooth:

Jump cut- Abrupt switch from one scene to another which may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section.

Motivated cut- Cut made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible (causing us, for instance, to accept compression of time).

Cutting rate-Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize.

Cutting rhythm- A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer.

Cross-cut- A cut from one line of action to another. Also applied as an adjective to sequences which use such cuts.

Reaction shot- Any shot, usually a cutaway, in which a participant reacts to action which has just occurred.

Insert/insert shot- A bridging close-up shot inserted into the larger context, offering an essential detail of the scene (or a reshooting of the action with a different shot size or angle.)

Buffer shot (neutral shot)-A bridging shot (normally taken with a separate camera) to separate two shots which would have reversed the continuity of direction.

Fade, dissolve (mix)-Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction to a scene; a slow fade-out is a peaceful ending. Time lapses are often suggested by a slow fade-out and fade-in. A dissolve (or mix) involves fading out one picture while fading up another on top of it. The impression is of an image merging into and then becoming another. A slow mix usually suggests differences in time and place. Defocus or ripple dissolves are sometimes used to indicate flashbacks in time.

Wipe- An optical effect marking a transition between two shots. It appears to supplant an image by wiping it off the screen (as a line or in some complex pattern, such as by appearing to turn a page). The wipe is a technique which draws attention to itself and acts as a clear marker of change.

Inset- An inset is a special visual effect whereby a reduced shot is superimposed on the main shot. Often used to reveal a close-up detail of the main shot.

Split screen- The division of the screen into parts which can show the viewer several images at the same time (sometimes the same action from slightly different perspectives, sometimes similar actions at different times). This can convey the excitement and frenzy of certain activities, but it can also overload the viewer.

Stock shot- Footage already available and used for another purpose than the one for which it was originally filmed.

In thriller jump cut are films frequently in chase scenes when the editing is fast paced, this add suspense and anticipation to the film which is key in a Thriller film.

Sound-

Direct sound- Live sound. This may have a sense of freshness, spontaneity and 'authentic' atmosphere, but it may not be acoustically ideal.

Studio sound- Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise ('ambient sound'), e.g. dubbed dialogue.

Selective sound-The removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect - to create atmosphere, meaning and emotional nuance. Selective sound (and amplification) may make us aware of a watch or a bomb ticking.

Sound perspective/aural perspective- The impression of distance in sound, usually created through the use of selective sound.

Sound bridge- Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted.

Dubbed dialogue- Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements. Not confined to foreign-language dubbing.

Wildtrack (asynchronous sound)- Sound which was self-evidently recorded separately from the visuals with which it is shown. For example, a studio voice-over added to a visual sequence later.

Parallel (synchronous) sound- Sound 'caused' by some event on screen, and which matches the action.

Sound effects- Any sound from any source other than synchronised dialogue, narration or music. Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking.

Music- Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene. Background music is asynchronous music which accompanies a film. It is not normally intended to be noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action.

Silence- The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel dissociated from reality.

In thriller films the music is very significant in creating tension and anticipation when watching a thriller film, the music accompanies what’s going on screen.

Lighting

Soft and harsh lighting. Soft and harsh lighting can manipulate a viewer's attitude towards a setting or a character. The way light is used can make objects, people and environments look beautiful or ugly, soft or harsh, artificial or real. Light may be used expressively or realistically.

Backlighting. A romantic heroine is often backlit to create a halo effect on her hair.

Mis-en-scene-

Is an expression used to describe the design aspects of a theatre or film production, which essentially means "visual theme" or “what’s in shot”—both in visually artful ways through storyboarding, cinematography and stage design, and in poetically artful ways through direction.  When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement—composition, sets, props, actors, costumes, and lighting. Mise-en-scène also includes the positioning and movement of actors on the set, which is called blocking.

In thriller films the Mise-en-scene is very significant, the setting, lighting and props can make a thriller film seem realistic and believable which is key. Usually most thriller open with a long shot of the setting, letting the audience know where the film is set. Most thriller are set in inner city or urban areas it very important the director gets the location right to make it seem more realistic therefore the mis-en-scene is very important.

What have I learnt from this research on Camera Codes and how will this aid the development of the Thriller opening?

This research has helped me understand the techniques directors and produces use to make a thriller film seem realistic and believable for the audience. Also it has taught me how important it is to create tension and suspense for example the music in Thriller film builds up the tensions and creates anticipation, the directors also use Jump cut a type of editing in car chases to create anticipation and add fast pace editing to place interest on certain key points.