SSI: Nicolas Winding Refn’s use of Lighting and Colour

Nicolas Winding Refn’s use of Lighting and Colour

Unit 4 – Criteria 3.1 and Unit 2 – Criteria 3.1, 3.2 & 3.3

In this essay I will be analysing and dissecting Nicolas Winding Refn’s films and comparing and contrasting them to his other works to further explain the use of light and colour to express a scene and convey emotion to an audience. I will be looking at two core films, ‘Drive’ and ‘Only God Forgives’. The reason I have selected these two films is because not only are they similar in terms of cinematography, they also share parallels between one another. This is probably down to the fact that they are both directed by Winding Refn.

Despite being colour blind himself, Nicolas Winding Refn’s films are flooded with colour, from the vibrant neon shown throughout Only God Forgives to the subtle backdrops in Drive that focus all the attention on the action taking place. Pictured below are stills that I have taken from Drive.

Drive - Irene

This still from drive is a perfect example as to how Refn uses colour to establish character. This is one of the first time we see Carey Mulligan’s character, Irene, an innocent woman who is taking care of her son whilst his father is in prison. From this single still we can see how Refn deliberately blends her in to the background by dressing her in almost the exact same shade as the wallpaper, a dull and neutral green. This already tells the audience almost everything they need to know about Irene. She is an innocent bystander in a life surrounded by trouble. Her undramatic clothing and general appearance is juxtaposed by Ryan Gosling’s character who remains nameless throughout the entire film. The image below is again a very deliberate attempt at establishing character in the early stages of the film. Like the image above, this is one of the first times a character is introduced to us, in this case the opening scene. Ryan Gosling’s character is immediately shown wearing a light coloured jacket that reflects the light of his surroundings, the jacket also has an embroidered scorpion on the back, a poisonous arachnid that immediately conjures up thoughts of fear, pain and danger. The slightly reflective surface on the jacket immerses the character in the surrounding colour, the neon lights of the city are absorbed by the jacket and thus, Gosling’s character, telling the audience that he is part of the city like the lights themselves.

Drive - Jacket

Picture from


After the Gosling’s and Carey Mulligan’s characters are established, Refn continues to build on the use of colour to portray emotion. In the scene shown above, Gosling’s character is sat in a hotel room having just witnessed Irene’s boyfriend being shot. The hotel room’s wallpaper is almost identical to the wallpaper in Irene’s apartment, a dismal green that is now associated with the ordinary. This, along with the dark, flat colours associated with confinement and sanctuary lulls the audience in to a false sense of security that is later shattered by the sudden appearance of two assassins. The pale green walls continue to play a role in this scene after one assassin shoots through the window to kill Gosling’s accomplice and blood is splattered all over the walls. The vividness of the red blood is dramatized by the colour contrast, green being the direct opposite of red on the colour spectrum (pictured). The still below shows how the red and green contrast to accentuate the blood splatter and add to the violence.



The next scene I’ll be looking at is the scene in the elevator, a well known scene for those who have seen Drive. Refn uses colour once again to portray emotion here. Shown above, the elevator is lit with off orange, beige colours to create a neutral environment. The beige matches the skin tones and hair colour of both Gosling and Carey Mulligans characters but also matches the clothing of the third person in the elevator. The common use of the neutral colours here creates an evenness between the three characters, the only noticeable stand out colour is the blue of Irene’s jacket, separating her from the other two characters and thus foreshadowing some sort of conflict between them. Later on in the scene this is confirmed after Gosling mercilessly stamps the assassin into oblivion. Finally the scene ends with another juxtaposition of colour when the elevator doors open to allow Irene to walk out into a predominantly blue underground car park, the blue of the car park merges with the blue of her clothing, firmly distancing her character from what she just witnessed. Note the stills below that show how Refn uses colour to distance characters from situations.


Colour continues to help portray emotion throughout Drive. As Gosling character begins to fall in love with Irene, scenes featuring her become lightly coloured, a reflection on the optimism she gives Gosling’s character, similarly scenes without her or scenes depicting violence are often dark or dimly lit to give a bleak and depressing vibe to the picture as shown by the pictures below.

We’ll now take a look at Refn’s most recent film, ‘Only God Forgives’, a gritty crime film based in the streets of Bangkok, Thailand. In this film, Gosling plays a similarly silent protagonist, in fact Gosling speaks just 17 lines in the entire film. With such little dialogue, the use of cinematography and colour is of vital importance to portray feeling and mood and although Only God Forgives was widely criticized for it’s lack of story, the cinematography can not be argued with as Refn immerses the characters in a jungle of kaleidoscopic neon.

The story of this film is based around Ryan Gosling’s character, Julian and Chang, a well respected and god like figure. Throughout the film Chang is only seen wearing black and white, giving him a sharp contrast to the ever present luminescent background and telling the audience that he is unequal and different. The black and white adds to theory that he is god like, Chang connotes light and dark, ying and yang, alpha and omega. Refn dresses Chang in this way as a very deliberate attempt to establish him as at the very least, a very powerful man. Like Gosling, his character is almost completely silent throughout the film, so it is up to the colour and cinematography to portray him and his disposition. This colour technique is used later on in the film with Julian’s mother, Crystal (pictured) who is first shown to us dressed heavily in pink with bright blonde hair. This once again separates the character from the norm, she is instantly viewed as foreign and westernized, not fitting in with her surroundings.


The colour red is relentlessly used throughout this film. The scene above is a great example of how red is used to connote so many different things at the same time. In this lewd scene, Julian is shown being tied up whilst he watches Mai, a prostitute masturbate in front of him. The scene is drenched in red lighting signifying feelings of lustful promiscuity, and passion toward the prostitute but also danger, anger and forbidden pleasure. Without the red lighting in this scene I think the sequence would lose a lot of purpose. It would be viewed as just an aimless sexually suggestive few minutes with no connotations because Julian remains expressionless throughout.


One of the most important aspects of this film is Karaoke and what Karaoke symbolises. Throughout the film, Chang is seen cutting off people’s arms as a form of punishment. This brutal form of discipline is always followed by Chang singing Karaoke. The stills below show the stark contrast of colour between scenes. The scene with Chang cutting off a persons arm is virtually void of colour altogether showing how grim the situation is, whereas the Karaoke scene is bathed in reds, blues and whites accompanied by fairy lights giving it a peaceful and pleasant vibe. It is because of this use of colour and lighting that we can detract that Karaoke acts as a cleansing process for Chang, he is essentially wiping his hands clean of the blood from severing off people’s arms and he does this by singing karaoke.

Nicolas Winding Refn grew up in a house of film makers, his mother was a cinematographer and his father was a director. His parents were both brought up on French New Wave but in a 2012 interview Refn stated [1] “I grew up in a cinema family. My parents were brought up on the French New Wave. That was God to them, but to me it was the antichrist, and how better to rebel against your parents than by watching something your mother is going to hate, which were American horror movies.” Refn’s hatred of French New Wave cinema may have something to do with why he uses colour so effectively in his films, to rebel against a form of cinema he loathes.


[1] Julie Mitchell. (2013). Nicolas Winding Refn and the French New Wave. Available: Last accessed 27/06/2014.

Scott Foundas. (2012). Anger Management. Available: Last accessed 27/06/2014.

Megan Boyle. (2011). Deleted Scenes from Drive. Available: Last accessed 27/06/2014.


Critical Evaluation: Unit 2 Criteria 4.1, 4.2 & 4.3 and Unit 4 Criteria 4.1 & 4.2

Overall, I am pleased with the outcome of my SSI project. I enjoyed taking a deeper look in to the process of how Refn uses colour effectively in his films and I was pleased to find out some new information for myself. This project also made me realise the importance of colour in film and just how effective it can be when used well, it can convey emotion and conjure up thoughts and moods without anybody speaking, a hugely powerful tool in film making that I hope to put in to practice in my own future projects. Although at the beginning of this project I thought there was limited information available online, I was pleased with the amount of information I found by thoroughly researching Refn and his films. Whilst I am pleased with my SSI, I do think it would have been good to attempt a video accompaniment so I could show precise moments in films where colour is used for specific reasons but I think still images did suffice for this project.

In terms of research techniques, I was pleasantly surprised with the amount of information I found online from various blogs and databases. However, finding information elsewhere did prove difficult, for example trying to find books or journals on my chosen topic proved to be quite challenging. After an extensive search online for published material I was only able to find a couple of books, one on Nicolas Winding Refn which I didn’t buy because according to online reviews it was just basic information that was all available online. The other book I found was entitled ‘Nicolas Winding Refn and the Violence of Art: A Critical Study of the Films ‘ which on reflection I would have liked to read through because this sounds much more valid to my chosen area of research and I would have liked to include some quotes from other sources, rather than just online findings. I would have liked some quotes from published material as I believe it is a much more reliable source of information than finding anything online. Anybody can write anything and post it online, which often gets confused as fact whereas with published materials there is a process of proof reading for accuracy which makes for much more reliable information. This is definitely a valuable lesson for me that I will look to improve on in the Bsc.

The information I have found in this project is something that I hope to invest into all my work for next year on the Bsc both in terms of research techniques and practical elements such as lighting techniques and cinematography. To conclude, I am pleased with the outcome of my research but there are definitely aspects that I will look to improve on for next time, especially taking a more in depth look in to published materials like books and journals to add a more reliable source of information to my findings. But once again, this is something that I look forward to improving on for next year.

Script Proposal

Mind map - enter the pitch


After mind mapping some script ideas for the Enter the Pitch competition (pictured above). I came up with a proposal for my project.

The rules of the competition:

‘The Pitch invites original pitches of up to two (2) minutes in length, showcasing the potential of the entrant to make a film. The entrant will demonstrate this with a pitch for an original contemporary short film (running length 10-20 minutes) that takes inspiration from a biblical story, parable, character or book. Any genre is acceptable, and the pitch may be a simple piece to camera telling the story, or it may be a storyboard, pilot piece, etc.

Each pitch must be accompanied by the official entry form (available from 1 July), which will outline the case for supporting the film maker, cite the biblical source material for the pitch, and include a rationale for the choice of material.

The competition is open to everyone aged 18 years or over.

With all this in mind I aim to create a short video based on the story of Noah’s Arc. The rules state it must have a biblical reference and I think this story can be altered in a way that would tell a completely new narrative. I aim to use simple camera techniques that will allow the idea to be told without much visual distraction because the competition is about the idea, not creating a ‘trailer’ as such. I want the video to reach out to a wide demographic with a target age of anybody 12 years or older. With a limited budget, I will look to use friends as actors and aim to film locally, although I’m willing to travel to locations if I feel they would improve the overall aesthetic of the video. Now I have decided on this idea, the next step is to actually write the script.

Independent: Depict!

Project Design, Implementation and Evaluation – Criteria 1.1, 1.2, 1.3, 1.4, 2.1, 2.2, 2.3, 3.1, 3.2, 3.3, 4.1 & 4.2

For this project, I require an external brief so I looked online for film competitions. My tutor told me to look at, an online competition where the only restriction was the finished video must be 90 seconds or less. This sounded ideal so I went online to look at the competition and the previous winners to see the sort of standard I would be up against. I read through the brief and it suited this task perfectly so I decided to go for it. This competition was much more feasible than GeneroTV or Mo film projects. The Mo film and GeneroTV briefs were all a lot more specific and complex and in terms of budget, time and available resources I think would have been too difficult to do to a decent standard. Personally I would rather attempt to create a video for the depict competition anyway because I like the idea that you can film anything provided its 90 seconds or less and the video must have been completed after September 2013.

Depict Competition


Because the brief states the video can be no longer than 90 seconds, I began to think of things that I could fit in to this time frame. I wanted something that would be simple and easy to film but that shows something interesting and unique at the same time. As I was trying to think of ideas, my brother asked me to help him take some photographs of his car which gave me the idea of creating a short film that shows why people take such pride in their cars. As he was cleaning his car, I got a few shots of him cleaning it and afterwards I asked him to talk about his car and why he loves it so much. I hoped that if I could get some good shots and some decent dialogue then I could create a short documentary style video in a short amount of time. This would be ideal because the filming process would be completed in a matter of a few hours. I wouldn’t have to travel anywhere for filming and as my brother would be the only one in shot, communication and monitoring the filming would be easy without the pressure of trying to direct lots of people or actors.

I used my 600D to film and as I was at home, I had access to all my equipment, lenses, tripods etc. This meant the only problem I had was a flat battery that I was able to replace within minutes. My brother was happy to help me out so didn’t mind me filming him or his car and was more than helpful when I asked him to talk about his passion for cars. I got as many shots as I could to ensure I had enough footage for a decent edit. I wanted the video to feel fluent and natural so I didn’t use a script, instead I just recorded a conversation that me and my brother had about his car and then edited out anything I didn’t want and took the best bits to add over the top of the video. The first time we tried to record the conversation, the camera was picking up a lot of noise from general movement so we tried again but sat still and spoke a bit louder which improved the audio. We finished our conversation when I thought I had enough to add to my video and I packed away all my equipment.

I began to put together an edit while all the shots were fresh in my memory. The first thing I did was get all the visual in place so I could then just drop the audio over the top. Most of the shots I got were good and useable so I put all the best shots together which gave me a 60 second video to work with. I then edited together the best bits of the audio and placed them over the top of the video but the voice recording on their own didn’t sound right so I added a ambient background which greatly improved the edit overall. By the end, I had a minute long video which I thought would be fine for the DepicT! competition as it met all the required criteria, so I uploaded it to the competition (Screenshot below)

Capture depict upload


The finished Video:


I enjoyed this project a lot overall. I really enjoyed having no set restrictions on what you can film and although the time limitation was something to think about, I don’t think it stifled any creativity. It was a relatively easy project to work on in the end, once I had an idea of what I wanted to film the filming and editing process flowed nicely. I like the overall look of the finished video, my only regret is that I didn’t make better use of the audio. I wanted the conversation to flow and sound natural so I didn’t write a script, and whilst the dialogue does sound authentic, I think it lacks substance, I would have liked a bit more in terms of detail about my brother and his feelings towards his car. But this is something I’ll definitely think about in future projects. I think I could have improved the film by recording the audio at a separate time in a more suited environment where the sound quality would be a bit better. I would have also given my brother a list of possible topics to touch upon but not a script, that way I could have more detail on what I wanted to hear but without the pressure of reading a script and it sounding forced.


Script Writing: Task 2

Be able to create script ideas and proposals for moving image fiction.

I chose to write a script for the Enter the Pitch competition because I plan to film my pitch in the summer so I thought it would make sense to combine the two tasks.

The first thing I did was look online at the Enter the Pitch website to ensure the brief was the same as last years competition and it was. So I set about looking for a biblical story portray in my own way. I wanted quite a vague story to interpret so I looked online at some biblical stories and the most obvious choice seemed to be the tale of Noah’s arc. So I set about creating a script that was loosely based on that story but from the point of view of somebody left behind.

Pictured above are the three script drafts that I came up with notes.

Genero Task 3 – Rolo: Shoot

Assessment Task 3: Manage the Production – Unit 80: (Criteria: 3.1, 3.2, 4.1, 4.2 & 4.3)

On the day we planned to shoot our video we learned in the morning that the deadline for the submission was a week earlier than we thought, meaning that the finished video would have to be submitted by the following day before 12.00 noon. This was massively disappointing for us as we had prepared our shoot to last a couple of days. We had purchased foam boards to create the sets, Play-Doh for creating the characters and many other items we thought would add some nice touches to our video such as miniature feathers for the characters head dresses, lollypop sticks to attach props to and stick on facial features to give our characters a comic touch.

At first we were so dissapointed that we decided to just cut our losses, give up on the Rolo project and look for another project that we could do instead. But after much thought and encouragement from tutors, we decided to just go for it and see what we could acomplish in the single day.

The first thing we did was sit down and think logically about where we could save time. So we created a very rough storyboard and cut out some scenes that were going to do to free up some time. As Frankie set about creating a storyboard to follow, I went to find some equipment Fortunately, I still had my camera, lenses and tripods in my car from the previous day so I went to get them and we filmed with a standard 18-55mm lens so we had the option of zooming in if we didn’t want to move the sets. We also needed a Mac, DragonFrame software and some spare batteries. After some rushing about we finally had all the equipment we needed to film so I began to set up. We were filming our video in D8 because there were no windows which meant it would be a bit easier to control the lighting and temperature, something very important for stop motion and using play doh which is very difficult to mould if it gets too hot or too cold. Pictured below is the set up and Frank making slight alterations to characters before we began shooting.

After we set up all the equipment and drew the sets we were ready to begin shooting. Frankie and I drew up a shot list (pictured below) so we tried to follow it as best we could. By the time everything was ready for filming it was gone midday so the afternoon was spent entirely on trying to get something completed and after hours of slight adjustments to set and characters we had done all we could. We ended up leaving college at 6.45 so we felt we had given a good effort regardless. We left so late because after we had finished the shooting, we had some issues with exporting the final sequence as a video, with thought this might have something to do with the amount of space on the hard drive or our settings stopping it from exporting. We ended up exporting the project as an image sequence and then importing them into premiere for the edit.


The Edit:


During the editing process we needed to find some sounds to go over the top. We wanted tribal sounding chanting to match the visuals so we looked on to see if there was anything suitable and we found exactly what we wanted.

Sounds sourced from

Obviously the main problem we had was time. We were so set on getting something completed before the end of the day that the quality of our video definitely suffered as a result. On previous animation projects we had to start again a few times because of lighting differences or the clay drying out, however in this case we simply didn’t have the time to start again. I think our initial idea was good and with better planning and more time I think we could have done it justice but because of the surprise lack of time we definitely missed a good opportunity to make something decent. Areas to improve on for future projects will obviously be to ensure I read and fully understand the dates, rules and restrictions of competitions to avoid anything like this happening again. Although I was initially pleased that we had actually finished something on the day, the quality of the finished video was so disappointing I didn’t think it was even worth submitting but we did anyway so we could at least say we met the deadline in time.

After we submitted the video, I showed it a couple of friends to get some feedback and they all agreed that the initial idea was good but the finished video was obviously rushed and had some quite noticeable flaws, for example some of the frames don’t quite sync up in terms of lighting or shape of characters, which I didn’t notice at first but I was pleased it was pointed out for the sake of future improvement. I completely agree with the feedback received and was pleased that people at least acknowledged the amount of effort it took to get anything completed in such a short amount of time, however this was completely our own fault. I was very dissapointed to have wasted such a good idea but it was good experience that has taught me a lot for future projects, first and foremost to firmly establish a deadline date to have the project completed, preferably before the competition deadline itself.

Proposal Idea: Mo Film

Research and Originate a detailed 2 sided A4 proposal – Assessment Task 2 (Criteria 2.1 & 2.2)

Because there was no suitable projects for Genero TV, me and Frankie decided to enter a Mo Film competition instead. Mo film competitions offer a brief and certain requirements for the videos so it met the criteria for this project nicely.

Myself and Frankie looked over all the live projects and opted for the ROLO competition because we liked the sound of the brief. So after we downloaded the brief, we set about storyboarding our idea.

Our pitch:

The ROLO project brief stated that the video must be based around the tagline ‘Do you love anyone enough to give them your last ROLO?’.

Our idea is based around a sacrifice in ancient Azetc times. A few characters will carry a Rolo to the foot of a Azetc style pyramid where there will be a tribe awaiting the sacrifice of the Rolo to a God like figure, however when the time comes to sacrifice the Rolo, the character holding the sword will change his mind and run away with Rolo for himself. We realised early on that this would be quite ambitious with our time  limits and budget so instead of filming real life characters with expensive costumes and sets, we decided it would suit us to try and film it as a stop motion animation.

Shooting as a stop motion animation benefited us because we would only need a small amount of space to film, we had DragonFrame software available at college and we wouldn’t have to worry about locations, talent release forms or organising actors. All we would need is some Play-Doh to create the small characters , some foam boards for the set and our own camera equipment.We took inspiration for our video idea from watching Michael Gondry style animations on Vimeo, we felt it was something we were capable of creating with enough time and effort, plus we have some experience in animation from previous projects.

Requirements for the video:

Must feature the Rolo Product.

It must end on the Nestle end frame.

No children can be used in the advert.

It must contain the tagline provided.

The target audience: Adults aged 20+ and will be shown globally.

Needs to have a humorous and playful feel.

We felt that our idea would fit these requirements perfectly, provided we used the play-doh well enough to create funny, non-threatening looking characters and made it very obvious the sword would be made out of either play-doh or cardboard. The advert can last between 30-60 seconds which, again, we thought was an ideal time constraint for what we wanted to do.

SSI Proposal Form

Unit 4 – Criteria 1.1, 1.2 & 1.3

My submitted SSI proposal form:

Pictured above is my proposal form for my SSI research project. I chose to conduct my research on Nicolas Winding Refn and his use of lighting and colour in his films. I am a personal fan on both Drive and Only God Forgives, two of his more well known films. The first time I saw both of these films I was interested in the lack of dialogue and how Refn made up for it with his unique style of cinematography. The cinematography in both the films fascinated me when I first saw them so I took this as an opportunity to explore how and why he uses the lights and colours the way he does. I also looked briefly at Winding Refn in my Auteur Theory essay so I have some prior knowledge that I hope will help my research.

Producing: Task 4

(Criteria 4.1 & 4.2) Critical Evaluation:

On reflection, I enjoyed this task. It was interesting to see just how important a producers role is in film making. Even though we were only in charge of a small scale shoot with a handful of people, there was still plenty to think about and arrange which put in to context the sheer scale of a feature length film producer’s role. Although I was disappointed  we weren’t able to shoot the film, it’s just one of those things that happens a lot in the industry and did not detract anything from the job me and Richard did. Film and TV productions are cancelled all the time so it is just one of those things. There are plenty of reasons why productions get cancelled or ‘shelved’. Sometimes there is not a suitable crew available, actors unavailable at certain times or even just the timing not being right for public release, for example after 9/11 many films were shelved or cancelled all together because of how the public would react to the plot so soon after the attacks. The films listed below are just a few examples of films that have been cancelled or delayed due to timing.

I was really pleased with everything we accomplished from start to finish. I also made some useful contacts in the production which I plan to use in my own future productions.  We did occasionally have some problems with getting in touch with people but nothing that we weren’t able to overcome. If I get the opportunity to produce anything again then I’ll be sure to include everybody at an earlier date. Myself and Richard only met the full group on the final week so there were times when we didn’t have enough people to get all necessary jobs done. In this case it was simply a matter of people not turning up when they were supposed to but in future I’ll be sure to make more of an effort to get all members of the shoot involved as early as possible so the whole production crew are on the same page and up to speed with proceedings. Again, this project has made me realise the importance of a good producer in film making. I would definitely like to work on projects with a producer in future because it’s good to know that somebody is chasing down locations, organising actors and doing all the jobs that could be a distraction from filming if you were to do it all yourself. Having a producer allows you to concentrate on the creative side of the film making knowing that somebody is taking care of cast, crew and other important aspects of the production.

Overall, I thoroughly enjoyed working with Richard who was consistently  punctual and I definitely look forward to working with him again in our own respective projects.

Script Writing (Task 1)

Understand the markets and commissioning process for moving image fiction scripts.

Script writing is a very difficult industry to find work in and getting your script read by the right people can be a very tricky process. But there are companies, websites and competition that offer new script writers the opportunity to get their name out there. The BBC have a specific sub section that offers script writers the opportunity to send in their scripts. BBC Writers Room offer excellent advice, guidance and opportunities for script writers, they also provide a list of companies that you can send your script to. There are also plenty of script writing competitions to go for, which can be useful for exposure and sometimes valuable in terms of feedback. Kaos Films and Red Planet Pictures are two high profile competitions open to script writers and although competition is high it’s definitely worth entering if you’re confident in your work. Although getting an agent can be difficult, and getting a decent one even harder, working with a good agent can open up a lot of opportunities. Agencies are always on the lookout for new, fresh talent so it’s worth trying to get your work to them. Sending copies of your work can grab somebody’s attention so it’s always worth a go, if you’re good enough then you will be picked up by an agent eventually. Although having an agent is not essential, it will help you to find work because an agent’s job, essentially, is to find you work and will be able to do so through acquired contacts and knowledge on the industry.

The commissioning process for script writing again varies immensely. For somebody who has written a script, getting it noticed can be very difficult and take a lot of effort. So, you have a script but don’t know what to do next. Looking at online competitions can be a great way to get your script read, and if it’s decent then it definitely worth doing, some competitions will simply buy your script, others will offer you the opportunity to get it made in to a film but either way competitions are a great thing to get involved with. Networking can also be a very useful and helpful thing to get involved with, attending lectures, seminars, workshops and film festivals is a great way to meet people who can help develop your script and offer useful advice on how to improve your script and take steps in the right direction, the important thing is to get yourself known and get your name heard by the right people.

The Black List is a great online presence in script writing. By registering with writers are given the opportunity to submit their scripts and screenplays and if they’re good they will be picked up by studios, producers and entire teams wanting to turn your script into a film or series. The Black List boasts an impressive 225 screenplays that have been made in to feature length films and if you take the time to scroll through the list of previous success stories, you will almost certainly recognise at least one. Out of all the competitions and websites I’ve found, I think this looks the most impressive, if you’re confident in your script then I registering here is definitely worth doing. The statistics in The Blacklist Annual Report speak for themselves and is a very impressive, interesting read.

Overall, I think script writing is very similar to film making. Although it is difficult to get yourself known and get your projects out there, there are definitely things you can do to help yourself. With worldwide competitions and ever expending online media platforms and social media there has never been an easier time to get your projects seen. I think the important thing is to try and get your work everywhere and wherever you can. Enter competitions, apply for positions, ask for favours and use the web to your advantage and eventually, if you’re good, you’ll get noticed by the right people.

The Making Of Documentary – Media & Make Up

Film Editing Criteria 1.1, 1.2,3.1 & 3.2

On 12th March myself, Frankie, Craig,  Andrew, Vicky and Sam were asked to film a ‘making of’ style video for the Media Make-Up Department as they helped out the BSC students with a short, zombie based film. We arrived in the morning and began to shoot straight away. Throughout the day we followed the media make up students as they prepared actors and got them looking the part. In the afternoon we focused more on the behind the scenes action of the BSC students as they shot the film.

The day was a great experience and I enjoyed helping out. It was a useful insight in to how the BSC students shoot their films compared to us and it was nice getting to know some of the Media Make-Up students.

Below is a screenshot of the editing process after I had acquired all the footage we had. There was an issue when Sam’s video footage went missing but we had to just use the footage we already had and stills.

Screen Shot

Here is my final edit of the day: