Moderator post

Dear Moderator,

My name is Brandon Poonwasie (0660). I am in Group 3, along with Juliette Wileman (0875) Chrystal LI (0470) and Audrey King Lassman (0397).

If you'd like to view any of my A2 work, just click the labels on the right that include A2 in them, i.e. A2 Research and Planning and A2 Prelim.

Thank you,
Brandon

Group 3

Group 3

Our Facebook Group

Here is the link to our facebook group:
Group 3 Facebook Group

Our Music Video

Our Website

Our Website
To get to our website, click the banner above. It will automatically open in a new tab/window.

Our Digipak

Our Digipak

Monday 25 November 2013

Case Study 4: Kill Your Darlings; Internet promotion

1) News article on Daily Record

Source: Daily Record.com
Above or Below: Below
Audience: Daniel Radcliffe fans, Middle class adult readers or the Daily Record

2) Mirror Article

Source: Mirror
Above or Below: Below
Audience: Daniel Radcliffe fans, young adults, 'Gossip' fans

3) Article on FilmNews.co.uk

Source: FilmNews.co.uk
Above or Below: Below
Audience: Daniel Radcliffe fans, Art fans, General film fans

Case Study 3: Desolation of Smaug



3 examples or ways they used the internet to promote the film:

1) TVSpot on Youtube

Source: Warner Bros. Studios
Above or below: Above
Audience: Genre fans, LOTR fans, The Hobbit: An Unexpected Journey fans

2) Competition on website


Source: Warner Bros
Above or Below: Above
Audience: The Hobbit: An Unexpected Journey fans, LOTR fans, Genre fans, Peter Jackson fans, Orlando Bloom fans (aiming for women?)

3) Tumblr tags


Source: Fans, Tumblr users
Above or Below: Below
Audience: Genre fans, Tumblr users, Fans of the cast, Prequel fans

Sunday 24 November 2013

Tracking: KYD week 3

Article on the DailyRecord.co.uk one the 24th Nov 2013

Article on the Evening Standard 21st November 2013

Facebook post about Cut-UP art exhibition, 24th November 2013

Monday 18 November 2013

THE HOBBIT: DESOLATION OF SMAUG - 10 quick questions

1.     UK release date?
13th December 2013

2.     Institutions behind the film’s production and distribution?
Production: MGM (Metro-Goldwyn-Mayer) 
New Line Cinema
WingNut Films

Distribution: Warner Bros.

3.     What’s the film’s production budget?
$250,000,000

4.     Nationality of the film?
USA and New Zealand

5.     What kind of production is it?
Hollywood feature film, High budget

6.     Any connection with other films?
Sequel to 'The Hobbit: An Unexpected Journey', which was based on The Hobbit by JRR Tolkien. The Hobbit is a prequel to The Lord of the Rings trilogy, which were also made into successful films which have very large fan-bases.

7.     Who’s the director?
Peter Jackson

8.     Any star names in the cast?
Martin Freeman AS Bilbo Baggins
Ian McKellen AS Gandalf
Orlando Bloom AS Legolas
Benedict Cumberbatch AS Smaug
Hugo Weaving AS Elrond
Cate Blanchett AS Galadriel
Christopher Lee AS Saruman
Stephen Fry AS Master of Laketown

9.     What’s the film about?
It is a sequel to the first Hobbit film, and prequel to The Lord of the Rings. 

'The dwarves, along with Bilbo Baggins and Gandalf the Grey, continue their quest to reclaim Erebor, their homeland, from Smaug.'

10. Who will this film appeal to?


This film will appeal to Lord of the Rings fans, both of the original LOTR trilogy and of the books, including The Hobbit. It's secondary audience would be fans of action-adventure films, which would probably be from children to older audiences.

10 quick questions: Kill Your Darlings

1. UK release date6th December 2013


2.     Institutions behind the film’s production and distribution?
Production: Killer Films
Benaroya Pictures 
Outpost Studios 

Distribution: Sony Pictures Classics (USA)
The Works UK Distribution (UK)

3.     What’s the film’s production budget?
Quite low-budget (could not find exact number)

4.     Nationality of the film?
USA


5.     What kind of production is it?
Low budget indie film

6.     Any connection with other films?
No

7.     Who’s the director?
John Krokidas

8.     Any star names in the cast?
Daniel Radcliffe as Allen Ginsberg
Dane DeHaan as Lucien Carr
Michael C. Hall as David Kammerer

9.     What’s the film about?
A murder in 1944 draws together the great poets of the beat generation: Allen Ginsberg, Jack Kerouac and William Burroughs

10. Who will this film appeal to?
Those interested in poets of the 'Beat Generation',thriller and drama fans, and fans of Daniel Radcliffe/Harry Potter.

Tuesday 12 November 2013

PAPADOPOLOUS AND SONS: THE INTERVIEW

From the interview, I learnt many things about Marcus and the production of the film:

1) In order to balance costs, the art department and location manager were paid according to the amount of work needed to be done on each set, i.e. the location manager found two shops for Double M Films to use, which needed a little bit of work from the art department, so the location manager would have been paid more.

2) That Marcus's view of being independent as a film-maker is to be using your own money to fund your film, and is how he and his brother made Papadopolous and sons

3) Self-distribution was used for the UK as no reputable/recognisable distributors could be found, so Marcus handed out flyers at the Cineworld locations, made the poster and trailer, in order to raise awareness about his film

4) They looked up areas where the most Greeks were in the UK, in order to decide where they were going to screen the film

5) Some Hollywood films released around that time did not make nearly as much profit as Papadopolous and Sons

6) The film was inspired by Marcus's own experiences of questioning who he was and losing his heritage

7) Prior to making the film, Marcus studied at the Met Film school on a film making course. He had not made films previous to Papadopolous and Sons.

Monday 11 November 2013

Papadopolous and sons

Papadopoulos & Sons is a British comedy-drama feature-film written and directed by indie filmmaker Marcus Markou

Plot summary:
Following the loss of his business due to the financial hardships, Harry Papadopolous, a self-made millionaire, must embark on a journey with his family, and estranged brother to get their lives back.

Production:
The film was inspired by Marcus's own life events. He used his identity crisis and family history/roots, which caused him to use the family-unit as a main theme of focus.

"I came from a very tight knit Greek-Cypriot family. However, as we grew older and grew up, my family, like so many other families, broke apart. I also lost so many of my Hellenic roots. In making the film I reached out to that sense of family that had been lost and I reached out to my Hellenic roots. [The film] is not about being Greek or Cypriot at all. I use that as backdrop. It really is about family unity at a difficult time".

Shot in London, the location manager found two abandoned shops in Morden, South London, which they turned into the kebab shop, where their art department were, and the 'Three Brothers' fish and chip shop. The scenes in the city were shot in Central London, i.e. when they were walking along by the Thames at London Bridge. The mansion was found in Croydon. 

The film was produced by Double M Films, and was distributed by:
  • Hollywood Entertainment (2012) (Greece) (theatrical)
  • Miracle Communications Ltd. (2013) (UK) (theatrical)
  • Neue Visionen Filmverleih (2013) (Germany) (theatrical)

Among the cast were:
Stephen Dillane
Georgia Groome
Ed Stoppard
Frank Dillane
Cosima Shaw
George Corraface
Selina Cadell

Marketing:
The film can be found on Twitter, Facebook, Google+ and Youtube, as well as IMDB. The theatrical trailer was released on the 23rd April 2012, on Youtube. The film also has an official site.




The film was shown in 14 Cineworld cinemas across the UK, originally planned to run for one week with little or no success, but had an unprecedented audience, which caused it to be allowed a longer running time and, in Shaftesbury avenue, it moved from a 100 seat screen to a 500 seat screen.

Friday 25 October 2013

MEAN GIRLS SWEDED

For the swede project, we chose to do mean girls. Below is our poster, Facebook page, twitter and Instagram:

Poster:

Facebook:
Facebook.com/MeanGirlsSweded

Twitter:
https://twitter.com/meangirlsweded

Instagram:
instagram.com/meangirlssweded

Sunday 13 October 2013

DEXTER title sequence re-edit: Evaluation Questions

1. Summarise the conventions of title sequences that were most important to this task. 

In a title sequence, the people involved in the making of the programme/film must be included. It is often a legal requirement for this to happen, with there being different legal requirements for credits in different countries. Titles have to connote the genre by their colour and font, so that anybody watching can work out the genre from the titles as well as the opening sequence. It should introduce key characters,
In a title sequence, titles need to be placed somewhere where they won't draw attention away/cover up the action that is occurring in the shot, so that narrative flow and the suspension of the audience's disbelief isn't broken.

2. How did your group plan to edit the title sequence? (consider timings, industry requirements etc). 

My group planned to edit it by watching it through a few times, and trying to notice where we could place the titles on the titles, who we would put where, whether there could be a dissolve or fade on the title, and where on the shot the title would be placed. Then we went through and paused each time we wanted to place a title, and after the first title we duplicated the track and changed the text so that it would have a continuous font, size and colour throughout. 

3. Explain the creative decisions made by your group. 

We decided to use red as the font colour because it was the colour of the first and last title on the sequence before we put on our own, and red connotes danger, the colour of blood, so seemed appropriate to get the crime-thriller genre across. The font we used was (I believe) Bahaus Neue, due to it's very blocky font and similarity to the other two titles, and fit nicely onto the shots. We also had to decide whether to fade the titles in/out or not, which we did for one of them because it suited the blood travelling across the screen. For the others we had them cut to with the shot, for example we placed one on the knife, so that they didn't slow down the pace of the editing and therefore the entire opening sequence.

4. How does your re-edit compare to the original?

Our re-edit contained far fewer titles, and fades in a few of them, whereas the original constantly had titles on almost every shot, so with regards to that ours was very different, but given more time may have been similar. However, the titles we did place were similarly positioned to the original ones, so perhaps if there was more time to edit, our re-edit would have been similar to the original.

Tuesday 8 October 2013

BLK homework: Sweded

'Sweded' referred to when a film had been erased and recreated. They were usually unedited, with only one take per scene, and were also said to have been from Sweden so that they could increase renting prices and give a reason for long waiting times. Now it is typically a slang term for a cheap spoof or remake of any film or trailer. These remakes are usually about 3 to 5 minutes long, though people can 'swede' an entire film.

The theme of sweding also relates to film history, in that the remakes are representations of people's memories of films (and memories that arise through films).

Examples of Sweded films:




Idea for our sweded film:
I think that we could do a swede of something like twilight, because the props would be relatively simple, and, as most swedes, it would be pretty funny if made correctly. It would also be possible to do it in school.

Sunday 6 October 2013

Preliminary Exercise: Evaluation



1) Who did you work with and how did you manage the task between you?

The task we were set was to film and edit a video that included continuity, of a character walking into a room and dialogue occurring between them and a second character. I worked with Audrey and Maisie on this task. We discussed what we needed to do to conform to the project brief, i.e. what continuity theories we had to use, then how we would go about doing this. None of us were particularly keen on acting, but in the end we decided that Audrey and I should be the ones acting, because I take Theatre Studies and Audrey knew the dialogue. This meant that Maisie would be shooting the majority of the video, which was also understandable on the day as she had lost her voice. We tried to split up the editing evenly, making sure that we took it in turns to edit clips and adjust the timeline, as we'd all had previous media experience so knew how to use editing software, this session allowing us to become accustomed to Adobe Premiere's controls and interface.

2) How did you plan your sequence? What processes did you use? What theories did you take into account?

During the lesson, before we actually started to plan the sequence itself, our group had a discussion about the sort of thing we wanted to do as the project. Originally we came up with an action scene, with the dialogue between the protagonist and villain including well-known movie quotes, but scripting that seemed to be very difficult so we abandoned that idea. We ended up deciding to use a Taylor Swift song's lyrics because it would be very easy to fit in, and anyone who watches it would know the lyrics. Then we made sure we had permission to use PA(?) to film, where we then blocked the sequence. We blocked the sequence as we were storyboarding to ensure that it would work as a video, standing in the area where the camera would be to see if there was enough space and we would be able to get a decent shot without breaking continuity rules. We first storyboarded the setups, with Maisie doing the drawing as she seemed to be the best at it, and then drew in the rest of the shots that would be in the sequence, as they were all from the other setups. We created a shoot board after we finished the storyboard, knowing all the setups we needed and that we would have an hour to shoot.

A page of our storyboard

Our shoot board

While story boarding, we tried to take into account the 30 degree rule, match on action, and 180 degree rule. There were several instances where we had an idea for a shot, but it broke either the 30 degree rule or 180 degree rule, so we had to adjust the shot, or scrap it.

3) What technology did you use to complete the task, and how did you use it?

We didn't use any technology to plan the shoot, other than a computer to look up and print off the lyrics of the song. For the shoot, we used a Canon DB30 camera, a tripod, headphones, and a shotgun microphone. We placed the camera in the area specified on our shoot board, then adjusted the tripod legs and height in order to get the camera in the correct position for the shot. The headphones were used to ensure that the shotgun microphone was registering the sound properly, and also to check that background noise wasn't affecting the shot too much. The tripod was also used to help us keep a steady shot during a pan, as it was easier than trying to do the shoot handheld. We had all used cameras before, I had used this camera or a camera similar for my Year 10 trailer project, so understanding how to use it was relatively easy.

To edit the sequence, we used Adobe Premiere Pro. We didn't end up using any special effects from the programme, only using the source monitor, the timeline and the timeline monitor the majority of the time. We watched videos in the source window and marked the part of the clip that we wanted, plus a second or two so that we could edit it if the selection was wrong. We dragged this onto the timeline and then cut it down to the exact selection that we wanted. We used two tracks on Adobe Premiere Pro, using diagonal editing on the tracks to help us with getting match-on-actions and make sure the dialogue flowed properly. We tried to edit evenly, taking it in turns to do a clip each (and edit the brightness and contrast) so that we all managed to get experience on Adobe Premiere Pro.

4) What factors did you have to take into account when planning, shooting and editing?

When planning, we had to take into account the amount of space there would be to put the camera, whether  we'd have to move any props, what areas would be available and when, if we'd have to bring props, what angles would be best to take the shots from and what the dialogue would be. To check the space, we did a walkthrough of what the scene would be, where the camera would be positioned, and what would have to be moved in order to get the shot. We booked the media room for the lessons so that the area we wanted would be available, but during the shoot in between periods four and five, there was a lot of background noise due to the younger years moving outside, so we had to wait a few minutes before taking the shots. Choosing the dialogue was the hardest part, because we couldn't decide on what to do, so in the end we decided that doing song lyrics would be the simplest option.

During the shoot, we had to ensure that the camera was in the correct space, the framing was correct, that the background noise wouldn't affect the shot, and that we would have a match on action for the shots. Checking the camera space and framing were simple, as we just had to run the scene through before filming, looking at the camera screen to check framing and that there would be a match on action. As I said before, the background noise was slightly harder to control, so we either had to wait for the noise to stop, or use the headphones to check that it wasn't being picked up.

While editing, the main thing we had to take into account was ensuring there was a match on action so that continuity would be there. To do this, after we placed a shot on the track, we'd play the section where it would cut between that and the previous shot, checking whether we would need to move the clip slightly. This was especially true for the shots of Audrey walking in and sitting down, because we tried to get it as accurate as possible in order to meet the demands of the brief. There was at least one time that we failed to get the match on action however, when I delivered a line and the shot reverse shot at 0:12 and 0:13, my arms were crossed and suddenly changed to being on my lap. We did not realise this during the shoot, and although we tried to cut it so that it wouldn't be visible, it is still visible.

During all three stages, we had to think of how the ideas we were coming up with would suit the brief, and if not, how we could adapt the ideas and shots to meet the brief.

5) How successful was your sequence? Please identify what worked well, and with hindsight, what you would improve/do differently.

I think that our sequence was quite successful in meeting the demands of the brief, with the exception of the shot reverse shot mentioned in answer 4. The brief was to create a continuity video that involved filming and editing a character opening a door, crossing a room, sitting down in a chair opposite to another character, and exchanging a few lines of dialogue. We included all of this, following the principles of continuity, making sure not to break the 30 degree or 180 degree rule, including match on actions to ensure that the sequence made sense to the audience, and shot reverse shots to allow the audience to see the character reactions and to help obtain a smooth narrative flow. We use a pan to establish the scene and let the audience know where they are, and we use medium shots to show the audience any hand gestures and still show facial expressions. 

To improve the sequence, I would ensure that actors have a run through of body movement as well as dialogue, so that the mistake made at 0:12 would not occur. I would also try to think of a better ending shot, because the mid shot that we settled on seemed like quite an anti-climatic ending, and the OTS we substituted with the mid-shot looked even less like an ending shot, leaving a lack of closure that is needed at the end of most films. 

6) What have you learnt from completing this task? Looking ahead, how will this learning be significant when completing the rest of your foundation coursework, do you think?

Completing this task has made me realise how hard it is to maintain constant continuity in films. In this 19 second video, we had trouble maintaining continuity, so it's actually a lot harder than I had imagined it would be. It has also taught me about the rules of continuity, such as the 180 degree rule, which I had not heard of before, and shown me why those rules are so important to maintaining a good narrative flow. 

I think that this task will be useful because it has refreshed my Adobe Premiere Pro knowledge after having used Avid instead, and also taught me about what needs to be taken into account when filming, i.e. background noise, match on actions. Our sequence was quite successful, but there were faults, such as the failed match on action at 0:12 and the abrupt ending, so this task has taught me to ensure that actors know what they're doing, have a definite ending, and ensure that when watching shots back, that we pick up on small continuity issues as well as big ones, else this mistake could occur again. 

Thursday 3 October 2013

Art Of The Title Homework: DYM



1) Summarise your film idea. Provide a brief synopsis and outline what happens in your film opening.

Our film is a thriller-horror about a caretaker who kidnaps girls at their schools and dresses them up like babies or children, caring for them before killing them. The main character is called Clarence, as the film is named.

2) What kind of information has been included in your film opening

We are immediately told that this film stars Mari Leach in the graphic, and then we see the main character holding the picture of one of the girls in the previous shot, suggesting an obsession. The bathroom is shown with the introduction of the girl in the photo, establishing a school setting, and an innocent character just doing her make up. We actually show the character waiting outside the bathroom with a baseball bat, and dragging her into the cellar, obviously showing that he's kidnapping her. The girls are both dressed in baby clothes which they weren't wearing previously, so there is a slight character questioning as to why Clarence dresses them up like this, and makes it creepier too. Georgie's eyes are shown to show her fear

3) How do the titles link to the main film idea?

The titles link to the main film idea because of the font and colour. The font used was 'Chiller' which looks stereotypically of the horror-genre, and the red against the dark colours (black where possible) is very iconographic because the combined font and colour make it seem more like the 'blood on the wall' writing which is often seen in horror films.

4) Summarise the expected audience reaction. What should the audience be thinking by the end of your opening? Is your opening clear or ambiguous?
We expect the audience to be quite confused with this opening sequence. We purposefully try not to give too much character information away so that the audience understand that this is obviously a kidnapping, with the shots of her coming out of the bathroom and being dragged away, but also question who this is, why he's doing it, and why these particular girls. The opening is therefore clear on the aspects that we want it to be, but ambiguous, purposefully, on the other specific 'why' details, as this would lead to audience curiosity and make them more likely to continue watching.

5) Identify three things you included in your grid that are important in the construction of an opening sequence and explain their role in understanding the film.


We have included:

  1. A font which connotes the genre - Most films have a font from which the genre can be easily understood, as it clearly defines what the film is and will appeal to the correct audience, i.e. Se7en contained very scratchy fonts, which connote that it is a thriller.
  2. An extreme close up to show the character's fear - connotes the genre as a thriller-horror
  3. Titles - tell the audience who are in the film, and also the name of it


6) How effective is your project as a film opening? Explain your answer.

I think that as a film opening, our project is relatively effective because it establishes character with the shots, and is deliberately ambiguous about who the Clarence character is, or the motives. However, I think it could have been better if we'd established the scene more and had more props, i.e. baby food, to make the shots creepier and give the audience a sense of where they are at the start.

Thursday 26 September 2013

BLK Homework 3: Film Opening Analysis - Continuity


In this opening sequence, the medium shot of the character introduces the character and establishes the setting to be a convenience store. The 180-degree rule is kept to, keeping the ice cream van men on the right of the frame, and the protagonists on the left, stopping the audience from getting disorientated. However, it is broken occasionally towards the end, shots being taken from the right of the manager as he shouts while holding the jar, and then switches back to the left side (where we were placed originally).

We can immediately see that there is a master shot (the first shot) which is used throughout the opening, as the character is shot from the same position and the shot is cut back to several times, i.e. when the two are singing together. This is also the case with the third shot, using the same set-up and shot several times throughout the conversation.

There are shot reverse shots included during the conversation that allow the audience to see the reactions of the ice cream men, and the close-ups of the store keepers face while he dances allows the audience to see the comical, over the top expression, producing comedy with the shots and dialogue. For example, the shot of him combing his few strands of hair is done as a close-up to show the audience the detail, and is done to make the audience laugh at the obscenity/pointlessness of the action, as he is practically bald.

There are match on actions included as well, i.e. when the store keeper says 'hammer time', it cuts to the master shot of them both dancing straight from the last shot, as he had moved to start in the last shot.

BLK homework 3: Prelim continuity task


What techniques did you specifically use to create continuity (narrative flow) in your accident sequence?

To create continuity in this video, we used a range of techniques. For example, we used a wide-shot pan to establish the setting (school field) and introduce the character (Louis), then included several match-on-actions, changing from the wide shot to a medium shot of the character stretching and then to a long shot as he reaches down to the floor to ready himself to run. This then changes to a low angle shot as he jumps the hurdle, continuing the narrative from the previous shot, the low angle making it seem like he is going faster and jumping higher. This then cuts to the long shot of him running into the hurdle and falling, followed by an attempted match on action of him on the floor. The shot is at ground/Louis's level, so puts the audience in quite a voyeuristic position, watching Louis in pain.

 

In hindsight, what could you do to improve the continuity of the sequence?

To improve the continuity of this sequence, I would first of all prevent the 180 degree from being broken, where we had the low angle with Louis on the right of the frame, then switch sides so that we are on his left as we watch him run into the hurdle and fall. Also, I would improve the match on action of him falling, so that rather than just cutting to him on the floor, we show him fall the remaining distance, then hit the floor and groan.

Sunday 22 September 2013

Film opening analysis


The film I've chosen is Black Hawk Down, made in 2001, based in Somalia. It is an American war film, adapted from the book by Mark Bowden. The film is set in 1993, based on true events. 

In the opening sequence, the audience are introduced to the genre with the quote of Plato 'only the dead have seen the end of war', which tells us that this is going to be a war film. The font of the graphics are very military like, as in they use the font that is said to be used in government operations, which connotes the genre. The scene is established by showing a truck driving through the desert area, with the title: 'Somalia, 1992' It then shows us a dead body and people carrying dead bodies across the village, with titles explaining that conflict in Somalia has left famine, and that the main 'villain' uses people's hunger as his weapon to gain control. The progression of following the bodies and people as they tend to the bodies links to the telling of the story as it is showing the results of what has happened, the people who have died because of Aidid. 

The titles explain about the US operations, while the helicopter sound links to that part of the story, as it is talking about the US deploying forces there. 

Aidid is introduced by the use of graphics, explaining that he is one of the most powerful warlords and that he attacks the international food aid in order to gain control, so shows him as the villainous character. The US delta forces are also introduced with graphics, explaining that they have been deployed to stop Aidid, and are therefore our protagonists. The villagers are introduced in the footage, tending to the dead, malnourished, and it shows that they are suffering due to this conflict.

A lot of the story information is told to the audience, but it is all back-story. The details of what is currently happening in the operation are withheld, so intrigue the audience and leave them asking 'what is going on?' enough so that they want to continue watching. 

At the start of a film, the audience needs some semblance of character and setting so that they can identify where they are and who they are following. This helps them to build an image of what is going on, and suspend their disbelief for long enough to get engaged with the story so that it becomes real. 


Thursday 19 September 2013

BLK Homework 1: Film Still analysis


What is the genre?

The genre we chose for our film still was horror, so we chose a basement setting as it is typical for the genre. We decided to have the character crouching behind a stack of boxes because the fact that she is hiding from the unknown assailant connotes that it is dangerous and perhaps that she is being hunted by it in a house. The facial expression on our character in this shot also helps to connote this, as it is a look of panic and fear, and she is leaning as far from the hand as she can. There are chemical bottles included in the mise-en-scene as well, which could suggest that this assailant is more dangerous due to the possession of all of these, and it makes the overall environment feel very unsafe.


How did we achieve the desired effect?

We chose it to be a stack of boxes because it's a situation in which the character's safety can be shattered in seconds if the assailant knocks a box over or comes round the corner slightly, so helps to build suspense and leaves the audience in a voyeuristic experience, waiting to see what will follow. The high angle of the shot also helps to establish the meekness of the protagonist, as well as her pose, leaning away showing that she is fearing the hand and therefore that the assailant is probably more powerful. The long shot allows the audience to see the hand coming around from the corner, so in this situation the level of voyeurism is increased and the audience know what could happen, while the character is unaware, so suspense is created.

How was our shot a success?

The lighting was the main aspect that attributed to the success of our shot, as darkness/low key lighting is one of the key aspects of the horror genre. The low key lighting helps to establish the assailant as dangerous and unknown, due to the light highlighting the hand coming around the corner, looming above the boxes. The character's pose also helps a lot, because the facial expression tells us visibly that she is fearful of the assailant, while her crouching behind the boxes suggests that she is in danger from it.

What would I do differently?

If I had a chance to re-do my shot, I'd adjust the lighting to make the hand much more prominent in the frame and probably go slightly closer in to give the audience a clearer view of what's happening, and engage them more. I would do it as a MS from in front of the character, looking up at the hand while still having the character's torso and face in shot. Also, I would make the character's clothing much dirtier/torn up, to give the sense of her having been there for a while and trying to escape from this dangerous assailant. However, the clothing/make-up would not have been logically able to be done in the time available, so more time would be needed in order to achieve this.