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I created this look using liquid latex to create a broken skin texture. I then used a mixture of face paints and eyeshadow to create the blood and bruises.

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I created a cut using scar wax to simulate broken skin. I coloured the center black to create depth. I used a textured sponge with red and purple paint to create bruising. I then finished the look off with fake blood.

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I positioned scar wax in a ring to create the appearance of a bullet. Similar to the scar, I created depth with black paint before using a textured sponge to create blood splatter. I created the drips using fake blood.

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For my film NEA I needed to create wounds that found of been done by claws. Both wounds were created with scar wax and used the same method as previous looks. For the neck wound I made sure to smudge the blood downwards as more blood pours out the neck than the face.

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For my Film NEA I wanted to create a fantasy monster. As the monster traps children, I played on the motif of a spider hence the many eyes. I created the eyes using a foam clay to make a lightweight prosthetic. To prevent the eyes from looking jarring, I had my actor close their real eyes during filming to create an uncanny aesthetic. I chose black face paint as it fades out the actors facial features better on camera and juxtaposes the rich greens and blues in the Valley where filming takes place.

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on the first day of the BFI Specialist Course - Art Department we were split into small groups and given a script to break down in preparation to build our own set. We were assigned a nuclear bunker from 1960.

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Using my history GCSE and extra research, I found that the 1960’s was during the Cold War particularly the arms race and Cuban missile crisis. I then used photoshop to create a mood board. We were instructed to take inspiration from various sources, so I used articles and propaganda from the 60s, photographs from the studio, clips from magazines and real children drawings from my brother.

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Next we carried out a location survey. We measured our plain sets then the different props and set dressing that was avalible to us.

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After the location survey, I drew up a scale drawing of our set dressed with the props we thought set the theme better.

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Using industry software SketchUp, I created a 3D simulation of our set.

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Before the set was painted, we played around with the composition of the items in the space.

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After the set was painted, we felt that the green we chose felt to flat. To create a mouldy and damp appearance as well as more texture, we crumpled up newspaper and painted on a darker green.

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Next we started working on graphic props. I helped source Cold War newspaper articles and make some kids drawings. I also used photoshop to create my own tin can label based off of one’s of that era.

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The Final Film

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Inspired by Blumhouse’s adaptation of Five Nights at Freddy’s and with production for the second film ongoing, I wanted to make my own model of what a set of the 2nd location would look like. Using the map from the games and real life sizes of restaurants e.g commercial kitchens.

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This was the final result. It is in a scale of 1cm = 1m. I used foam for the walls and white card for the furniture and smaller details.

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As part of my Film Studies A-Level, I took part in an editing project so I could learn how to use Premier Pro. In my one minute short film I decided to tell the story of a murderous housewife. Before shooting I created a shot list so that I was prepared. You can watch it here: https://youtu.be/Ruhx7k_uStA?si=XomCYMm1w2kTtGha

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To create the door I used cardboard to create the silhouette before wrapping it in paper to give the impression of being wallpapered over.

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I created the portal using scrumpled paper to create a 3D look and add dimension to the overall, piece. I then painted the piece making sure to blend the colours.

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To create the arm, I attached old rake pieces together with wire to give the boney mechanical look. I completed the hand using wires which I bent into shape. As for the Coraline doll, I used crochet to make the main body before sewing small clothes out of felt.

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To sculpt the face, I built up a base using cardboard and Papier-mâché techniques. I then used clay to sculpt the finer details. To prevent cracking, I added another layer of paper on top to seal the clay in.

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For the body of the Other Mother I used Papier-mâché to create natural curves in the paper. I created the dress pattern using a stamp I made out of foam. The head was attached to the door using rake blades as used in creating the arms.

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After deliberating as a group, we decided to create a film about a man being interstates about an act of terrorism while he battles within himself if he actually did the crime. We wanted to take elements from the film noir genre hence the inclusion of an interrogation.

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As we only had one day to film we were limited in locations for shooting and costumes. Throughout the day I worked on both cameras, sound and directing.

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To finish day one, we reviewed the footage to see if we wanted to re-shoot any scenes.

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On the final day I took charge of editing. I learnt various editing techniques on Premier pro including green screen. Whilst I edited the scenes together, another team member worked on the green screen. I then inputted those scenes as well as adjusting the sound.

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Final Film

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Using a 3D printed drawing model, I bettered my understanding of human anatomy.

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Using my scale ruler, I was able to draw a scale image of my house’s downstairs. First I used a tape measure to record the dimensions of each object. After conversion, I then drew the image.

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For my Film Coursework I wanted to explore the governments manipulation of children in order to win popularity of the public. I found that this issue was prevalent in both modern day politics and war time propaganda.

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When storyboarding my film I took inspiration from Adel Toro’s Pans Labyrinth to show a social issue through an allegory of fantasy. I also carried out a location survey to experiment with different shots.

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Next I created a shot list so that I was prepared for filming.

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This was my first draft of the suit of armour. I took reference from suits of armour (both Western and Eastern) from fantasy and reality. I plan to use foam to sew together the different pieces.

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When designing the monster I created a mood board to use for inspiration. I plan to have the eyes and horns made out of foam clay so that they can stick to the actors face.

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To create the monsters mask I used foam clay so that it was lightweight and more durable so it would last during filming. Using a dotting tool I created different textures within the clay in order to give it the appearance of wood bark. For the eyes I used black mesh fabric so that the actor could still see through the mask without their eyes being visible.

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To create the crown I wanted to appear as if it was twine. I captured this by using wire to form a base. I then used foam clay to further build up a wooden look, especially on the base of the head band.

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To create the horns I used foil then covered in foam clay to create texture. I chose to paint the base black to match the face makeup but then a dark brown to blend with my actors hair.

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I sewed together pieces of foam to create a set of armour. I then spray painted it silver to create that metal metallic look. I removed the embroidery that the original design included as I felt it looked too decorative and distracted from the overall feel of the piece.

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I created the front cover using fabric that I painted to give a old book look. I then used a dotting tool to create the gold swirls. I used stamps to write the title of the film “disillusion”.

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This is one of the pages within the book. I created it using watercolours, coloured pencils and chalk pastels.

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A page within the pop-up book.

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To create the spikes, I attached foam to a piece of cardboard cut to look like a spine. I then scored the cardboard so that it fit the curve of the actor’s back. I then attached straps so it could be worn.

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I wanted to experiment with animation to tell part of my story that would be too hard to create effectively using amateur equipment. At first I tried stop motion but found that it was too challenging to keep continuity with lighting. In the end I used 2D Animation whilst experimenting with morph animation.

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As this film had low budget compared to large productions, I opted to create a model for my establishing shot rather than build a large set or use a drone. I created the structure with cardboard then used spray foam to create the silhouette. I then carved in details before painting.

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To create the stairs, I added chunks of clay into divots within the model and carved out the stairs with a clay tool.

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To create the trees, I began by creating a wired frame. I then filled in the trunk using clay. After painting everything, I went back in using flocking to create the impressions of leafs. As I filmed in autumn, I used minimal flocking as to emulate the previous footage.

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I wanted to create more life-like water. To capture the reflection, I spread resin on the model.

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This was the final model. As I was using my smart phone to film my NEA, I left the front open so that I had easy access for my shots.