CONSTRUCTION: EDITING

After we finished filming and recorded the narration, it was now time for the editing process. This was perhaps the most challenging part of the experience as it required a lot of effort, partially due to the enormous amount of footage that we had to get through. Some footage that didn't even make it into the final product included the scene in which Ular comes into the house with lots of shopping and exclaims "hello my darlings".  However, we cut this all out due to this footage seeming like unnecessary "padding" and would've added nothing to the film.

We also had to inset intertitles for dramatic effect. For these, most of the titles would feature religious connections. These included some of the ten commandments such as "thou shalt not steal". This is so that we could emphasize the religious connotations that were seen throughout the trailer.
The main editing software that we used was Final Cut Pro. We found it as an extremely effective as we were able to add many different effects that would help improve our trailer. For instance, some scenes such as the moving in scene, there was some shakey cam. Luckily, with Final Cut Pro we were able to sort this out as there was a setting which would decrease any shakiness to the footage.

CONSTRUCTION: NARRATION

After wrapping filming, we decided to record some narration for . As we didn't want to use too much dialogue as we would've had to record. I provided the voiceover for the narration as I played the character of Ular.  I thought of the poem, the Sick Rose by William Blake as something that I could possibly read out whilst in character as Ular. Blake's poem very much features the themes of love and death, both themes play a big part in our trailer. There is also connected symbolism as there is a scene in the trailer where there is a closeup on Ular's hand slowing picking away at the petals of the rose, representing dying love. Ultimately, we recorded me narrating the poem in about five takes, thinking that it was successful enough to be used in the final product.
 

CONSTRUCTION: BEDROOM SCENE

In this scene, we had Adam come into the room, angrily. Through his anger, he smashes many objects in the room, including a picture frame with photos of him and Eve.  For this scene, my specific role was as boom and sound operator.  We laid out many different props in the room in order to make it look like a bedroom. We included books, jars and a picture frame of many different polaroid photos of Adam and Eve. Before this, we had the actors portraying the characters take pictures in order for the shoot to have a layer of authenticity to it.  

 The shot of Adam destroying many of the different objects was one shot that was particularly difficult to do.  We could only shoot this particular shot once due to the fact that many of the objects would ultimately be broken and it would take a lot of time to make the room look like how it once did. So for this shot, we had to make sure everything was perfect and looked right. Me and the cameraman had to be as close to the actor as possible both to make the shot look good as well as having to pick up the sound with the microphone. Ultimately, the shot was done effectively enough that few problems arose out of the creation of the shot.   

One of the most effective shots was a close up of Adam picking up a broken picture frame. For safety reasons, we decided not to use real glass but did find some fake glass online which we used instead. Once again, this shot was extremely effective as it created a layer of emotion and conflict for the character of Adam. The shot of him picking up the picture frame reminds of all the positive aspects of his relationship of Eve but his anger through knocking everything shows that there is a layer of conflict for the character.

CONSTRUCTION: ADAM COMING HOME

This was the scene in which Adam returned from the robbery. He comes to find Eve who questions his actions. Then the police are seen outside and Adam and Eve run off together.  We bought some strobe lighting which would flash blue and red at the house. I handled the lights as they had to be powered by a car which I had to be outside for. As a result, communication was key in this scene. We had the cameraman inside the main hallway of the house as well as the actors. The camera operator would have to text me when to turn on the lights. We had to do many takes for this scene due to this reason alone. The scene ultimately  had to be rehearsed and took nearly an hour to film. Ultimately, it was a effective shot though that added to the tone of the trailer

CONSTRUCTION: MUGGING SCENE

I took role of the camera to film this scene.In this scene, I filmed a bit where Adam mugged a random pedestrian. The scene had to be filmed fairly late at night in order to convey realism and intensity to show the evil nature of the crimes Adam is committing. We filmed it down an alleyway that would allow for a level of intensity We filmed it without a tripod in order to allow for a level of "shakey cam". 
Once the fight was over, we had an overhead shot showing the unconscious body of the victim. This was so we could show what it looks like from Adam's perspective.   This would give the scene a sense of realism, much like how it is used in the Jason Bourne films. The scene was particularly effective as we had Adam run off into the darkness, which perhaps represents the beginning of his life in crime.

CONSTRUCTION: LAMPOST SCENE

For this scene, I took joint responsibility as cameraman.  we shot the scene in which Adam and Eve find the flyer advertising the room for Ular's house. We didn't use a tripod for this scene as we decided to use a handhelding technique instead. This was to get a sense of movement, like the audience is moving along with the characters.  We reshot the scene a couple of times as we didn't get the sense of excitement from the main characters, however it was generally a very quick but effective shoot.
Around this time, we also shot some cutaway shots from a nearby graveyard. These shots were primarily for filler but also allowed us to express some of the religious connotations and symbolic codes that have become such a big part of our story.  

CONSTRUCTIONS:WOODS SHOTS

In this scene, I shared responsibility for shooting a scene in the woods. Primarily most of the shots are mainly filler for the romantic and happy scenes with Adam and Eve. We found different areas in the local woods to use for the particular scene. For example, we used the leaves on the ground and have the two main characters to play with them in order to get a romanticised feeling to the trailer. The couple playing in the woods together has a carefree quality and suggests their moments of innocence as they feel at home in natural surroundings, far away the commercial lures and temptations that are later offered to Eve.  As a result, we were able to use some of these happy shots to contrast with the later elements in the trailer that would feature the darker elements. For Levi-Strauss, the way that audiences understand certain words and visual symbols is through having an idea of their binary opposites.Binary opposites are used in many films, particularly thriller and horror, where the "villain" depends on the difference between that word and the opposing word "hero". Good and evil are common binary opposites in films.