Film Review Videos.

we asked a few of our fellow media students to watch and review our 2 minute film, we asked them: 

1. How effective did you find our title sequence? why did/didn't you like it?
2. How effective and authentic did you think our locations looked? 
3. What did you think the genre of our film was? 
4. What did you particularly like about our film? 
5. What did you particularly dislike about our film? 
6. Does our film remind you of any other films?  
7. What do you think of the charcter? is it clear who is the bad character? why?
   
   

reviewed by: kieren lawless, liam fountain and nathan denman


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reviewed by: oliver mitchell and joseph jones.


These reviews tell us that we achieved an overall effective visual impact as our title sequences and locations we're reviewed well. We also managed to represent the characters effectively and clearly as the characters were easily identifiable as good or bad, and so this created a sense of tension and foreboding, giving our sequence its thrilling element. These reviews also tell us that although our title sequence and locations were effective, they are also misleading as the general opinion on genre was that it was a horror when we intended for it to be thriller, meaning that we could've toned down the dark elements of our opening sequence to make it more mysterious rather than grungy and dark.  

Film Analysis: The Lovely Bones

I decided to analyse the film 'The Lovely Bones' as it is of the genres Thriller/Drama/Fantasy and ours is also Thriller/Drama, meaning its genres are similar to the ones in our film. The storyline is also somewhat similar to ours as it features a girl that goes missing (however, within 'The Lovely Bones', the film complies with typical Thriller conventions as the girl's capturer is a male, whereas in our film the capturer is a female), and also features a non-linear narrative. I watched the first 15 minutes of the film and analysed it in terms of cinematography, mis-en-scene, editing and sound. I have split the opening 15 minutes up into 8 different scenes, and so have analysed them all individually.

Scene 1

The scene opens with very calming music playing, and then fades to an extreme close up of a snow globe and slowly zooms out to a close up of it. The film then cuts to a medium close up of a girl, Susie, playing with her toys, an establishing 2 long shot of the room with the Susie and her dad in it, and a medium shot of her dad, all of which are interrupted by medium shots of the snow globe, displaying that it holds some sort of significance. A series of eyeline match, shot reverse shots follow as Susie looks at the snow globe, and there is then a voice over layered over the calming music of the Susie speaking while reflecting on her life as a child. The child walks up to the snow globe during the voice over and the camera pans left and zooms out from the snow globe until there is a close up of the Susie's face and the snow globe. Susie's dad then approaches her, speaks to her so diagetic sound is then layered over the music, shakes the snow globe, and puts it down onto the table where the camera then zooms from a close up of it to an extreme close up of it while the title 'The Lovely Bones' appears over the top of the shot. The scene ends on a close up of the Susie's face that zooms in slowly, cutting quickly to the next scene.

Scene 2

Scene two opens on a medium close up of a girl's face which is half hidden by a book she's reading. There is upbeat music playing which features a quirky guitar riff, and this instantly changes the mood of the film from the delicate nostalgia which is present in scene one to something a bit more youthful and fun. There is then a medium close up of a man's face who is laid in bed with her, and the camera then pans up from his face back to the medium close up of the girl. There is then an establishing 2 medium shot of them both on the bed, and as they kiss the editing pace increases as there are quick cuts of the two in different shot types such as close ups and medium shots. Match on action is demonstrated in this scene as the girl places the book onto the side and the shots change from a medium shot of the two of them and the girl's arm outstretched dropping the book to a close up of the book falling off the side and falling to the floor, and the camera tilts down with it to capture this. This then cuts to a medium close up of the girl turning the lamp on the side off, and a picture of a young Susie is in shot. The room then darkens and cuts to the same room but light once again, panning from some framed child's drawings back to the two people on the bed again, but looking older. This time difference is then indicated once again by the same shot of the woman turning the light off, but this time, Susie looks older in the picture.

Scene 3

The scene begins on a cut to an establishing long shot that zooms into the house the people live in. There is a flash in one of the windows of the house, and the film then cuts to a series of medium close ups of Susie taking photos of herself. These shots are all eyeline matches as it they reflect Susie's and the camera's point of view, and as the camera flashes, the film has been edited to flash, too. The upbeat music from the previous scene is still playing, but layered over this is a voiceover of Susie talking and audio clips of the camera flashing. The pace of this scene is very fast, and it increases all the more so as there are shots of Susie running around the house and outside. Once Susie is outside, the camera pans and follows her as she runs, therefore following the action of the scene. Once she's outside, there are over the shoulder shots of her spying on a neighbour of hers, and as she takes photos of the neighbour, the film pauses for a second or so on the object that has been photographed, therefore showing a still image and representing the photo Susie captured. The upbeat music slowly cross fades into a slower, more eerie sounding music clip, making the audience feel a sense of foreboding for the next scene.

Scene 4

While the eerie music is playing, there is an establishing extreme long shot of an old looking barn, and the camera tilts down while panning right until the camera is hovering above a big hole in the ground. While this happens, another voice over begins, with Susie referencing the big hole in her monologue, providing relation between the image on screen and the voice over. As well as the voice over and the music, there is also the natural, diagetic sound from the actual clip of film. The film then cuts to medium shots of Susie, her father and her siblings all looking very happy trying to push rubbish into the hole, and this happy atmosphere of the film contrasts with the eerie music that is playing to create yet more foreboding and indicate that there is something not quite right within the film. As the voice over continues, Susie mentions another girl, and as she does, there is a medium close up of the girl, once again giving relation to the image on screen and the voice over, but this time the girl's emotions seem to fit with the foreboding atmosphere that is created by the non-diagetic music, hinting that the girl may play a vital role in the events yet to happen within the film. The film then focuses back to the family pushing things down the hill, and the voice over contrasts with the diagetic voices this time as while the family is happy, Susie's voice sounds regretful as she starts to tell the audience of an ordeal she faced.

Scene 5

The voice over continues as the film cuts to a medium close up of a boy's face as he looks like he's in pain. Instantly the audience knows there is something wrong as the colour is very distorted as there appears to be a blue filter over the camera lens to make the scene look cold, lifeless and dull, and this represents the mood of the scene well as it follows Susie discovering her brother choking. The diagetic voices of the children screaming for help are layered over the non-diagetic music that has now took a sinister turn and sounds very dramatic and foreboding. As the children scream, the film cuts to Susie running out of the house. The editing is quickened here to increase the tension and pace of the film to represent Susie's panic as cuts between shots are very quick and even the pans are also done very quickly. As Susie discovers her brother, the music changes once again and this time becomes very intense. As Susie gets into the car, the music changes again from being intense to quite upbeat and quirky. The mood of the film then changes to quite a humorous one as the pace of the editing speeds up once again as Susie drives the car recklessly, managing to arrive at the hospital in time to save her brother, with the music then fading out, suggesting that the panic within the film is to no longer be feared as there will be a good outcome.

Scene 6

The scene opens to serene, calming music, and an extreme close up of the boy from the previous scene's eyes. The lighting within the scene is very bright and serene and so a peaceful atmosphere is created. This scene then uses a lot of close ups of the boy's mother and family to show their relieved expressions, and there is diagetic sound here of all the family speaking all breathing sighs of relief and laughing through happiness, creating a soft, happy atmosphere. A voice over begins once again while layered over the calming music, cutting to a 3 medium shot of Susie's parents speaking to a doctor, which pans left towards a glass window and zooms into a figure on the other side of it, then cutting to a medium shot on the other side of the window to show the Susie's grandmother. There is then an eyeline match as the grandmother beckons Susie over to her, the camera panning right and zooming into her as she approaches her. There is then a series of over the shoulder shot reverse shots as they speak, until the film then cuts to a long shot of the two stood opposite each other, speaking, as the camera zooms out from them speaking until the diagetic sound fades out completely so only the voice over can be heard, and until the shot fades out to white.

Scene 7

Scene seven opens on a shaky white screen with the voice over still playing, but it is distorted and sounds echoey, once again suggesting that something isn't right. The film then cuts to a medium shot of a girl and pans right as it follows her walking. There is then an establishing long shot of a mall and we're shown that there's a fashion show being held. The colours here are very vibrant and diagetic sound of the noise within the mall can be heard, creating a very lively, happy atmosphere. Another voice over then starts, yet the happy atmosphere continues to be shown as the film then focuses on the family going into shops and looking at different toys. The film then focuses on Susie's eyes in a close up, and we're shown an eye line match as it then cuts to a long shot of a boy and his parents in the mall. The music here is jittery and happy to represent the girl's emotions for the boy, and the diagetic sound of her's and her grandmother's conversation then layers over this, but as they stop speaking, another voice over is present and the music changes to sound quite sinister and again suggests foreboding as it's relating to the story Susie is telling in her voiceover. The voiceover continues as the music changes back to being jittery and happy, and the camera follows the boy as he sits down, demonstrating match on action, and the camera then pans around the boys and zooms into Susie sat in a chair behind him, and whilst this happens the focus is pulled from the boy to Susie. The girl's grandmother then joins her and the music stops as they have a conversation, which is made up of a series of over the shoulder shot reverse shots. However, one of the shots of Susie's reaction is a medium shot rather than a medium close up, and a man can be seen in the background looking and Susie, hinting to the audience that he could possibly be the man in the story to cause the chaos. At the end of the conversation, the camera follows this man as he gets up and walks away, again making an audience more suspicious of him, but as this happens, another voice over is introduced and the girl tells us that he's not to be suspected, meaning the image on screen contrasts with the voice over. As the camera follows the man during the voice over, the music becomes very eerie and tense, and we can see the ma carrying a large doll house with a red ribbon on it, and he gets closer to the camera until the ribbon takes up all the screen, the shot ending in a way that sets up a graphic match for the next scene.

Scene 8

Scene eight begins on a close up of a pink rose, and this is a graphic match as the shape and colour are similar to the ones of the ribbon in the previous shot. The eerie music is still playing, hinting to the audience that there's something not quite right in this scene, and this is also complimented by the fact that the diagetic sounds within the clip also sound echoey and distorted. We then notice the girl's parents being handed the roses, but the identity of the man handing them to them is deliberately hidden as his face is either blurred out by shallow or is hidden by another object in the setting. The girl once again is taking photos and so the film is cut into stills to represent this, but the editing is of a much quicker pace this time in an attempt to hide the man's identity all the more so. As Susie's parents walk away from the man, that clip cross fades into a clip of an extreme close up of some flowers similar to the ones before, and someone's hand tending them. There's then an establishing shot of a close up of a bowl and a man sat at a table in the background out of focus, once again having his identity concealed from the audience. The camera then follows the man around the house in a series of long shots and close ups that intentionally have him out of focus within them, and we get to see that he is decorating a doll house. While these clips are being played, they're occasionally interrupted by clips of Susie on her bike, and the brightness of these images contrast with the dark, dingy atmosphere of the house that the man's in, suggesting that the darkness of his world is soon to overshadow hers, once again creating a sense of tension and mystery as the audience anticipate that something bad will happen to her. While these shots are playing, there's eerie, tense music playing, and the sounds of his footsteps are very loud and echoey as he's walking around the house, and the diagetic sound of Susie on her bike is also very echoey and distorted. As these clips come to an end, the diagetic sounds of Susie seem to become louder, and we see a medium close up of the man holding his head, as if to be in pain, until all diagetic sound of Susie is cut out by the diagetic sound of an alarm that the man can hear in his house. This alarm then indicates for the man to close his curtains and turn the lights off in his house. He then settles down with a notebook and through a series of close ups and extreme close ups, we see that he is designing some sort of room, once again creating mystery as the audience don't know what he's doing even though it's not being hidden visually from them. After witnessing his planning, the audience then see the man building something, but from a canted angle, which suggests something isn't right and creates a sense of foreboding. While he's building, the shots are interrupted by Susie and her father also building something themselves, but once again, the lighting within their house is very bright and the atmosphere is serene, whereas the lighting in the man's house is dark, dingy and tense, presenting the different atmospheres in the two houses. The alarm sounds once again while the man is building, and a shot tilts up from his saw to his face, but still keeps his face darkened out as to not give his identity away, and once again, he draws his curtains and turns his lights off with the scene ending there on a long shot of his house.

Evaluation

In what ways does your media product use, develop or challenge forms and conventions of media products?
Our opening sequence for ‘Ebony’ is of the Thriller/Drama genre. To create a thrilling feel within our sequence, we made good use of generic cinematography, sound, editing and mis-en-scene conventions by using a range of angles such as low angled shots to highlight intimidating characters and high angled shots to highlight vulnerable characters, eerie non-diagetic music layered over diagetic sound to create a sense of foreboding, short, snappy cuts to create a sense of tension and mystery by providing glimpses of the storyline at a fast pace without giving too much information away, and believable locations and props to create an authentic feel within each of the scenes within our opening sequence. The drama aspect is reflected through the typical ‘normal’ setting of our film and the ordinary ‘every day’ characters as they converge to indicate that the occurrences within the film are out of the ordinary and so are not anticipated, therefore creating the aspect of drama which also contributes to the thrilling impact the film has the events are more shocking and unanticipated, where as they wouldn’t be in typical Thriller/Horror hybrid films.
Our plot both complies with and deviates from typical thriller film conventions as the run down building (captive place) location within our film has a very dark, grungy feel to it and so has the typical aesthetics that a thriller film has, but the rest of our film is set within college and follows three girls’ lives, deviating from the norm of a male character that generally creates the chaos within a thriller.


To create an authentic thrilling feel, we also took inspiration from the title sequence of ‘Se7en’ as the identity of a character is hidden within it, and the identities of characters are hidden in our title sequence as faces are blurred out and kept out of shots. We also liked the style of the titles within this opening sequence and how they jittered and look distorted, so we also used this idea for our titles.





How does your media product represent particular social groups?
Our product focuses on the representation of teenage girls and the stereotyping that occurs within their lives. To represent this, we have deliberately created characters whose aesthetics appeal strongly to late teenage girls (a large proportion of our target audience, 15 – 25 year old females) and so mean that our audience instantly stereotype the characters within our film. For example, we wanted to portray Lily as the innocent girl within the group, and so made her aesthetically plan and dainty looking through minimal make up and floaty dresses, and also had her speak in a shy, quiet manner to express this further; we wanted to portray Nicole as the popular, self-indulged girl, so we made her look very high maintenance through the use of make up, hair extensions and girly clothes, but also had her speak in a confident, bold tone; and finally, we wanted Ebony to be the outcast of the three girls, and so had her wear dark eye make up, have messy hair and dress differently to make her stand out aesthetically, yet we made her character seem quite withdrawn vocally, but mysterious through the use of camera shots, for example, her eyes as they watch Lily, and so an overall odd, shifty character is created. We believe that all three girls would be instantly stereotyped by our target audience due to their aesthetics and first impressions as we know that teenage girls base a lot of their judgements on people on their aesthetics and first impressions of them, so meaning an understanding is created between audience and characters, leaving room for emotions to be felt for and towards the characters within our film.








What kind of media institution might distribute your media product and why?
We decided that our film would be most appropriate to be made as a British film as it focuses on a specific group of people and the social stereotypes and attitudes these people hold, therefore meaning our film would have a niche audience and so would benefit from being produced with a small budget. Due to our film being British, we then created the name ‘Regal Pictures’ for our production company as it relates directly to the monarchy, something specific to Britain.
Knowing that our film would be a British one, we then decided that the company ‘Optimum Releasing’ would be ideal for distributing our film as it has distributed films such as ‘This is England’ which was also a British film with a niche audience, yet proved to be a very successful film, showing that the company specialises in promoting films with similar themes to ours.
I don’t believe our film would be fit for a lot of franchising or merchandising, so I think it would be successful to have the film distributed to independent cinemas across the UK, and that it would also be ideal for Film4 to support the film and air it on Channel 4 so people around the country could view the film on television, therefore making the film more accessible to the people it is aimed at and potentially widening its audience.

Who would be the audience for your media product?
Our target audience is predominantly females between the ages of 15 – 25, although it could possibly also appeal to males within that age range. We believe that our film will target females mainly as it focuses on how relationships between females can change due to bullying and manipulation, and so we believe our target audience could relate to the film in terms of the setting and the events that unfold within the characters’ lives (for example, our target audience will mainly be in high school/college/university and may have been in one of the situations one of the characters has), and ultimately, their emotions during these times, therefore creating a strong emotional link between characters and the audience, forcing them to become more involved with the film.
We created a questionnaire and asked our peers, both male and female, to answer some questions relating to thriller films. From this, we found that our target audience believe that suspense, jumpy parts and scary music all contribute to creating a good thriller film, and so I believe that our opening sequence would appeal to our target audience as we use eerie music within it to create suspense, and also use the sudden drop of a brick to also create a jumpy part within it.
I believe that the certificate 15 would be most appropriate for our film as it features threatening ideas and subtle violence without dwelling on it, and could possibly also include frequent use of strong language. I also believe this certificate to be appropriate as our film is similar to the film ‘Captivity’, which is rated 18, as both that and our film surround the captivity of a character and how they’re tormented, but our film is less graphic and dwells less on the physical torment of characters and more on the psychological torment and impacts that it can have on relationships and lives, therefore making it a less harsh representation of the idea of torment than ‘Captivity’ is.

How did you attract/address your audience?
We used camerawork to try and create a sense of empathy between the audience and the characters. For example, within the scenes where Nicole, Ebony and Lily meet, we use high angle shots of Lily to make her look vulnerable, low angle shots of Ebony to make her look menacing, and face on shots of Nicole to make her look neutral; this instantly indicates the hierarchy of the characters to the audience, but also fits in with stereotyping as more information is given out and more assumptions can be made as the story progresses. We also created characters with contrasting personalities so that there is a greater chance of the target audience being able to relate to at least one of the characters within the story.

What have you learnt about technology from the process of constructing the product?
Over the year, we have progressed from using handheld cameras to Sony DV1000 high definition cameras. Overall, I felt that the cameras were easy to work with and provided us with a crisp, clear image that was easy to manipulate afterwards. The only downside to the camera is its zoom as it wasn’t quite long enough to be able to achieve a shot that we’d storyboarded (the one that zooms from Ebony’s eye to Nicole’s legs,) however we overcame this as we believed the shot that we managed to get was adequate, and even if we changed our mind afterwards, there was the option to recreate a more intricate zoom using the Final Cut Express software on the Macs. On a couple occasions we faced problems whilst filming, yet these weren’t due to the camera, they were due to background noise interfering with conversation within some of our shots, and the inaccessibility to our tape on one occasion which lost us valuable filming time, but we made up for this time sharply in order to not fall behind in our project.
The editing software Final Cut Express proved to be brilliant and I feel that I have learnt a significant amount about editing since using it. For example, I have learnt how to distort film and titles, how to overlap film and speech, how to change the volume of overlapping layers and how key frames work to create different visual effects, for example, a screen split into four sections.






Looking back to your preliminary task, what do you feel that you have learnt in the progression from it to the full product?
I believe that pre production is vital as we produced a storyboard, script and shooting script before filming our final piece, whereas we had none of these before filming our preliminary task, and so filming was easier to do as there was a set order to do things in so time was saved as shots didn’t have to be thought about while on set.
I also feel that we felt more confident using the camera equipment as we chose to use different angles and framing in our final product, whereas we stuck to basics in our preliminary task. We also used tilts and pans in a smoother manner and so this helped to contribute to the overall professional look of our final product.
Overall, I believe that our final product fulfils the brief that we were set as it complies with typical Thriller film genre conventions to give it an authentic thrilling feel that we discovered would appeal to our target audience, we used the camera equipment confidently and practiced shots to achieve the best possible outcome, and also made effective use of the editing software available to try and give an overall aesthetically appealing look to our film.

Final Film

make-up application

Title Sequence Analysis: Sin City

The title sequence begins almost black at an extreme close up of a building, and as the camera zooms out, speckles of white and grey begin to appear. As the camera pans around, a long shot of a city full of tall buildings becomes visible, and as the camera continues to pan around and tilt down, it eventually stops, showing the city from a bird's eye view angle. While at this angle, there is a graphic match as the buildings create the outline of the words 'Sin City', the title of the film, and then the text illuminates through a white flash of the buildings' lights. Once the title is visible, red blood starts to pour from the top of the screen and covers the title, suggesting that the film may be violent and bloody, and the red of the title contrasts well with the black background for easy legibility but also suggests an aspect of mystery within the film. The creator's name then fades in at the top left hand corner of the screen in an italic, blocky, capital font which makes it look dynamic and so suggests there is an action element within the film. All of this takes place within seventeen seconds, meaning the introduction is very animate and interest-provoking, meaning someone is going to be intrigued, excited and will want to see more.

In contrast to the very animated opening, the titles then fade out to a black screen which stays on for around three seconds which seems like a long time to wait after how filled with action the opening shots were, meaning the audience is temporarily left on the edge of their seat, interested and waiting tensely for what's next. There is then a series of titles, which are no longer than 4 seconds in length and cut in and fade out, that consist of a black background, a black and white cartoon drawing of a character and a red title of the actor's name which is displayed in a scratchy, dynamic styled font, again suggesting an action/fighting element within the film. The cartoons used represent the fact that the film is based on graphic novels, but also keep some mystery as to how the characters will look within the film, leaving you excited to see how the characters will look. This cartoon style also fits in well with the colour scheme as they're outlined and block shaded, meaning they contrast well with the background, but because they're sketched they look scratchy and edgy, fitting in with the font that is used. Throughout these, some of the name titles pan from left to right, and some pan from right to left, suggesting that the characters displayed may be from opposing sides within the film.

After the series of character titles, there's another series of credits titles that feature the same red, black and white colour scheme and the same scratchy, distorted, 'bullet-holed' styled font to suggest action, violence and danger within the film, but this time there is a stream of red running through the names on the credits, suggesting bloodspill and violence. All of these titles fade in and fade out, and the titles begin central and slowly get bigger and proceed towards you.

There is music playing throughout the title sequence. It begins quite eerily with a bluesy bass line, suggesting jazz and a gangster genre. A saxophone then begins to play over the top of a character title of a female in a raunchy tone, suggesting manipulation through sex within the film. The saxophone fades out and the bass continues until an eerie clap sounds and a high pitched, scratching noise takes over. Among this, there are sound effects such as a also very low pitched, muffled sounds that sound like slowed down, manic laughter, suggesting some form of evil antagonist within the film, and sounds such as gunshots. All of these come together to create a sinister, tense sound that has you on the edge of your seat, and they gradually build up to the title credits where there is a symphony of violins that sound manic and overwhelming, suggesting some downfall within the film, which then quickly stop, leaving the music to start quietly again with the bluesy bass line as it did at the beginning of the title sequence.

Practice Shots

Practice Shot 1 
The zoom was a little bit shaky and blurry, but other than that, it worked as planned. 

Practice Shot 2
This worked as planned.

Practice Shot 3
When we filmed, we couldn't zoom into the eye as far as we wanted, so we discovered that we'd need to compensate for this while filming finally by using the zoom on the camera to find our starting frame and working around it. We then used editing software to mimic a zoom from our desired point (the eye) to make sure that if we couldn't film it the way we want it to look, we have the option to edit it that way, even if the quality won't be as good.

Practice Shot 4
This was an experiment to try out working the camera and looking at different possibilities for within our film.

Practice Shot 5

The tilt ended up a little bit out of line as we tilted back up, but other than that, it worked as planned.

Photo Storyboard.

List Of Tricky Shots.

1. Long zoom out from an EXCU of Ebony's eye to a 2MS of Ebony's body laid on the floor, dead, and of Nicole's calves as she drops a brick.
2. Zoom from a CU of Lily's face to an EXCU of her eyes before flashback.
3. A MCU right pan from Ebony to Nicole.
4. A MCU tilt down from Ebony's face to her iPod.
5. A MCU tilt up from Ebony's iPod to her face.
   

Costumes.

Each of our three characters has two different costumes: one for the scene where they meet and another for the one where Lily is rescued from Ebony.



Nicole's costumes
Throughout both scenes, Nicole is represented as being very girly and stylish. To represent this, we've deliberately chosen to display her in two very different costumes in both scenes to demonstrate her diverse wardrobe. To make her outfits look girly, we have chosen for her to wear shorts and skirts in both scenes and for her to be wearing a frilly pink shirt in the scene where the girls meet.
Nicole's appearance
For the girly image to run throughout Nicole's character, we have decided that she will have long, flowing brown hair, will wear eye make up that accentuates her eyes and a selection of pink and red lipsticks; these characteristics will make her look high maintenance and girly and so represent her how we want our audience to perceive her.




Lily's costumes
We want Lily to look innocent and vulnerable throughout both scenes, so we have decided that she will wear light, pastel and flowery patterned clothes with light, floaty cardigans. Within the scene where she first meets Ebony and Nicole, she will be wearing a flowery dress to connote her purity, and within the scene where she is captive, she will be wearing a white, floaty dress that will contrast with the dark, dingy atmosphere of our chosen location to once again make her purity and innocence stand out within the film.
Lily's appearance
For the innocent image to run throughout Lily's character, we have decided that her make up will be minimalistic with her only wearing mascara, and her hair will be down and in loose, natural curls so that she looks very low maintenance and natural to again represent that she is pure.



Ebony's costumes
Throughout both scenes, we want Ebony to look very dark, mysterious and different. To achieve this, we have chosen to dress her in two very different outfits in both scenes, yet we've chosen for her to be wearing the same leather jacket so it represents her dark personality throughout the film. Within the scene where Ebony is killed, she will be wearing black shorts and a skull t-shirt which will make her look dark and mysterious, and within the scene where she meets Lily, she will be wearing a red skirt that will connote evil and represent the events that will unfold around Ebony throughout the rest of the film.
Ebony's appearance
We want the darkness and mystery to run throughout Ebony's character, so we've decided that she will wear very pale face make up and very dark eye make up that will contrast and make her eyes stand out as they're a main focus within our two minute opening sequence. Her hair will also be very big and back-combed to make it look messy so that she will stand out from a crowd as an individual, and so make it obvious to the audience that her personality differs from the people's around her.

Rough Storyboard.