Fmp year 2 research(1)

FMP Year 2 Research
Harry Adkins-Pennington

Survey
Since releasing my survey, I have received 13 replies from my audience,
these are the results that I have received
• My first two questions (gender and age), tell me that there are more
guys than girls who enjoy Sci-Fi films
• When looking through the ages, I have noticed that the females were
spread out in age with one under 18, one 18 to 24, one 24 to 34 and
one 35 to 44 whereas there were more males grouped together at
between 18 and 24
• My biggest surprise was that some people aged between 35 and 54
took part in the survey

These two questions ask what makes a good trailer and what examples come
to mind when talking about this
• When looking through the answers, I could see that mostof my audience
agree that a trailer works best when giving enough information to make it
interesting but not too much that it spoils everything in the movie/tv series

These two questions ask what my audiences favourite Sci-Fi movie(s) and why
and if they were given the option to have a microchip that tracks their
wellbeing, would they have this procedure and why.
• For the favourite movies, the only patterns I have seen with favourite
movies are Star Wars and Alien, I believe that this is because the two films
are cult classics and are still having movies be made.
• One of the answers that I didn't expect was Jurassic Park because I
personally never saw it as a Sci-Fi movie however because of the science
elements

These questions ask how likely the microchips are to become reality
and mainstream and if they could be beneficial to mankind
• When asking if this technology could be beneficial to mankind,
my respondentsare spilt on what they think, 2 people said no, 2
said yes and the rest are in the middle, saying both yes and no,
this shows me that most people are unsure about this sort of
technology and probably will not know until it becomes reality

These are the answers that I have received for the final
question which asks my audience how they believe that
this technology could be abused
• When looking through the answers, I have noticed a
small pattern with people's answers, some believe that
the microchips could be hacked which is part of my
FMP

How are trailers made?
• In a universe of Hollywood publicity, a period of month to month blockbusters, mankind
currently faces one unpreventable substance:the film trailer.
• Furthermore, it's getting more grounded. Recall when the much-advertised Vindicators: Time
of Ultron sneak look dropped in 2014 and got an extraordinary 35 million perspectives in a
solitary day? That record has been broken multiple times since. Furthermore, it's been broken
by any semblance of The Extraordinary 2 mystery trailer – a 53-second video exhibiting all
things considered one shot from the movie.
• Presently, three and a half years after the Ultron trailer held its apparently unassailable record,
The Justice fighters: Endlessness War preliminary (see beneath) presently wears the trailer
crown, with its first impression piling on 230 million perspectives in 24 hours. That is over
double the quantity of perspectives on each and every video on YouTube joined on a day in
2006.
• However, stop and think for a minute: for all we watch trailers, we don't have a clue about a
terrible parcel about them. Are executives approached to film scenes explicitly for the trailer?
What amount of the film is made before the trailer is assembled? What's more, for what
reason are some of them stackedwith some truly substantialspoilers?

Filmmakers almost never edit the Trailer
• Direct a film and it's impossible yourself, your editor or even your studio will cut its promotional movie. The individuals in reality
behind that?Temporary workers from the 10 concentratedpromotionoffices situated in London or the 100 in the US.
• However, why? What reason would you need to take your film to an outer organization?Mostlikely, it's simpler – also a ton less
expensive – to get the individuals who really made the film to make a two-minute review, right?
• It isn't so straightforward.Generally producersknow they're not incredible at advertising. They're not individuals who need to lessen
down their cherished undertaking to its class and bankable starsat that point bundle that up to a predetermined objective audience.
• "Producersare splendid at making an accountfilm – incredible at it – however they need another person to make a short type of their
movie with a promoting eye – someone who realizes what will draw in individuals," clarifies Suneil Beri, overseeing chief of film
showcasing organizationMake Publicizing, the people behind the trailers for Child Driver, Dark Puma, Arachnid man: Homecoming and
Coco.
• "We're on the edge of the film business, a spot in a film's life where it goes from a bit of craftsmanshipto a business suggestion.You're
offsettingan inventive eye with business reasonableness. Here and there trailers are made that are staggeringbits of craftsmanship,
yet they haven't guaranteedpotential moviegoers of the film's type or that they will be occupied with its account.Also, that is our
job."
• It is not necessarily the case that producers don't have a stateby any stretchof the imagination. Despite the fact thatthe real trailer is
typically down to a little group (a manager, copyrighter,music boss and maker), regularly the chief of the film is associated with
discussions.
• "David Fincher, Christopher Nolan and Darren Aronofsky are individuals simply like that– movie producerswho positively consider
their trailers and what bearing they'll take," says David Hughes, head of trailer house SynchronicityII and maker of the trailers for
Trainspotting,MashFiction and more.
• "Frequently it's a synergistic procedure – one thatcan take year and a half. The days when you took a trailer to a studio and state,
'what do you think folks?' are a distantmemory."

You won’t see most of the Trailers made for a Film
• Here's the other explanation a film studio will procure out an outside agency:
they can contract out more than each in turn. This implies as opposed to getting
imaginative contribution from one lot of individuals, the studio can source
thoughts from heap groups. Frequently four or five distinct organizations will
make their own trailers for a film, contending with one another to get a
blockbuster publicizing contract.
• Furthermore, the trailers that don't get got? All things considered; they're left on
the cutting room floor. "It happens more frequently than you might suspect,"
says Beri. "There are times where an organization will go through a year on a
battle and cutting various variants of various trailers just for another office to
land the end position. It very well may be an intense game in that sense. It's not
all unpaid work, however you miss out on that pedigree."
• "There's a genuine feeling of rivalry among the organizations," concurs Hughes.
"You get organizations that are hot for a brief period since they got take a shot at
a major film, however it comes in waves. Some of the time you're at the top, now
and then you're at the bottom."

Editors hate those trailer tropes
• Remember when practically all film trailers began with an air piano note? Or then againthat Origin style horn? Or
then again, a touchy revamp of a famous melody? Trailer editors have detected all these buzzwords as well – and
they are as irritated by them as you.
• "The blurs – those find a good pace part," concedes Hughes. "A couple are alright, however individuals who don't
think about trailers will in general put in a ton of them. It just seems as though your eyes are gradually shutting
again and again."
• Anyway, here comes the conspicuous inquiry: in the event that editors despise these banalities so much, at that
point why use them? "There are a huge number of movies out there with a few trailers for each, so not every
person will rehash an already solved problem. On the off chance that a trailer utilizes a successful system, atthat
point different editors will need to utilize it – it's actually similar to how motion pictures themselves advance,"
says Hughes.
• What's more, in some cases piggybacking on a developing figure of speech probably won't be down to the
editorial manager, yet the studio themselves. "Every so often a trailer works and does truly well and it prompts
executives saying, 'I need a trailer simply like that!'" says Beri.
• In any case, there's another response to the inquiry: a few tropes are just excessively powerful to drop.
• Take, 'the catch' for example. That is the piece of the trailer that is served up after the title card toward the end –
the bit with an additional joke or something to give the trailer more "zest", as Hughes puts it.

One trailer may have killed off the voiceovertrope
• Maybe the greatest trailer trope of everything is, obviously,over-emotionalportrayalfrom a sandpaper-throatedman. In
particular, a man called DonaldLeroy LaFontainewho turned his thunder throat to more than 5,000 trailersover his career.
• In any case, you're presumably mindful it's a past buzzword, something that these daysyou're bound to find in a farce trailer
than the certifiable article.
• Why? Some may highlightthe undeniableanswer that LaFontainehimself unfortunatelydied matured 68 out of 2008.
Notwithstanding,this clarificationoverlooks something progressive that occurred in 2002: Comedian.
• The fourth-divider breaking trailer for this Jerry Seinfeld narrativehighlightedregarded voiceover craftsman Hal Douglas
removing the mickey from himself and his whole calling. It sees Douglas on airin his voiceover stall, attempting– and
phenomenallycoming up short – to concoct an opening portrayaloutside the domain of "in a world… "
• "It was extraordinary and weighty," says Hughes. "It shone a light on the inalienableludicrousnessof that style – how senseless
it was. What's more, it quickly declinedafter that."
• Decrease it did: in 2000 and 2001, six of the year's most noteworthyearning films were advertised with trailers highlighting
blunt voiceovers. Be that as it may, this out of nowhere droppedto three out of 10 movies in 2003 and just two of every 2004.
What's more, a year ago? Not a solitary one of the best 10 movies in 2017 utilized any type of voice craftsman in their
fundamentaltrailers.
• Certainly, voiceoversare as yet utilized in trailersfor kids. Solidified,Zootopia,Kung Fu Panda 3, The Supervisor Infant – they're
totallyenclosed by gravelly tones to more readilydisclose the plot to their young crowds. However, other than these special
cases, the thundering voiceover is presently for all intentsand purposes extinct.
• Not excessively it's an extraordinarydisgrace for trailer creators. "I don't miss it!" snickers Hughes. "They generally
accompaniedan enormous bill– they would get two or three thousand dollarsfor 10 words!"

Sometimes a trailereditor will stand in for an actor
• All things considered, assuming that editor is David Hughes. "There are a couple of trailers
out there right now that have my voice in, emulating an entertainer," he says. "It's me
doing an impression of someone since I didn't have the opportunity to get them in."
• Furthermore, this isn't simply something Hughes has done as of late – he says there are a
few trailers during that time where's he's expected to revamp a line that will work better in
a trailer.
• "For example, there's a trailer out there where a character tallies down from 10 with a
firearm to someone's head, yet in the film, he gets a call and gets partially through. Be that
as it may, in the trailer, I needed him to complete the commencement. I was unable to get
the on-screen character in, so I polished off the commencement myself," uncovers Hughes.
• Which trailer would he say he is alluding to? He wouldn't state. What's more, at the hour of
composing, we're yet to reveal it. In any case, we do realize that you've likely heard his
voice previously. You know every one of those limited time promotions for Odeon? In
addition to the fact that Hughes edits a great deal of them, yet he likewise loans them his
voice.

Filmmakers don’t shoot scenes just for the trailer
• Consider that shot of Jyn Erso taking on a Tie Fighter in the Rogue One trailer, or the Joker's "I
can hardly wait to show you my toys" line from Suicide Squad's. Both incredible moments, yet
scenes that were cut from the last film. So were they just shot with the trailer in mind?
• Most likely not. "The explanation that happens is definitely not a pessimistic methodology of
'allows simply utilize this in the crusade and not put it in the film'. This is on the grounds that
choices about the advertising material may be made before the film's last alter is made," says
Beri.
• Hughes agrees: "No one engaged with the real creation of the film will be thinking 'gracious,
what do we require for the trailer?'. Shooting a film is such an absurdly costly and complex
thing that that is a factor they frequently don't consider – that can be left to the agency.
• "I have seen circumstances whereproducers have said 'how about we shoot these scenes first
on the off chance that we can' and that recording is then utilized in the trailer. Be that as it may,
it's accidental. Those shots won't be for the unequivocal advantage of the trailer – they'll be
got out the manner in which brisk so the enhanced visualizations folks can begin their work at
the earliest opportunity. Incidentally the large hazardous VFX shots are probably going to be
utilized in the trailer as well."

Trailers are made long before the film is finished
• Actually, on account of postponementsin special visualizationsor general after creation, editors may need to make a trailer
from 20 minutes worth of completedfilm.
• "It resembles pressing a lemon to fill a 16 ounces glass," says Hughes. "At the pointwhen you're managing barely any
recording it very well may be an extraordinarytest for the innovativemind."
• For certain films you're fortunate to try and have a lemon to crush, as indicatedby Beri: "In movement ventures, you can be
taking a shot at a trailer with simply pencil outlines – you're planningfor these defining moments without really observing
them. Alice in Wonderland was a film that existed in green screen for quite a while. Also, that can be, well, suppose, somewhat
of a challenge.
• "The principalphase of making a trailer sees an editorialmanager sort all the shots from the film – the response shots, all the
scale shots, all the on-screen charactershots and potentialID shots. In the event that you have no real film you may need to
developthis database with pen and paper."
• Yet, there is a harder test for editors: now and then they'll need to make a film trailer with no recording by any means. Such
exceptionalconditionsrequire a sizzle reel, a Frankensteintrailer produced using shots from other movies.
• "Now and then there may be a film at content stage that is searching for a merchant, so we'll make a sizzle reel for that,
indicatingpotentialwholesalershow they'd advertise the film," clarifies Beri.
• What's more, as odd as they sound, these half breed trailerscan surely be successful. In a couple of brief minutes, sizzle reels
can pass on the tone of the film while – if the proofreader sources their shots effectively – inconspicuouslyhelpingstudios to
remember the movies accomplishmentof comparativefilms.
• There's only a littleadmonitionwith these sort of trailers:they make definitelyno sense.

Spoilers can accidentally end up in the trailer
• A few spoilers are reasonable:forexample, you were most likely substantiallymore prone to payfor a pass to Thor: Ragnorak subsequent to seeingthe
Divine force of Thunder doingcombatingThe Mass in the principal secret.Others, less understandable.
• For instance, forwhat reason did Eliminator:Genisys'trailer part with the film's just wind (that John Connor has been undermined bythe machines,a
spoiler chief Alan Taylor was distraught about)?For what reason did we need to know Creepycrawly Man would showup in Chief America: Common
War? What's more, for what reason did the Outsider:Pledge trailer part with,well, everything?
• Now and again,it's forthe specific explanation you're thinking."Those indefensible trailersout there are typicallyfrom a dispersionhouse that needs
more nerve to show a sufficient film to spark yourinterest,"says Hughes."There's a genuine dread ofnot getting a decent openingend of the week,
particularlyin the US when the main days after discharge are everything.This could leaveyou to heap in everythingin the trailer."
• In anycase, regardless of whether a studio is focused on sparingtheirinsider facts for the cinema,amazements can at present be blown inadvertently.
"Frequentlyyou can unintentionallyplace in a spoiler since you just don't haveanyacquaintance with it's one,"says Hughes.
• "For example, a trailinghouse maybe approachedto hold out until the keep goingthingon a Fridaynight when the studio will send right now of a boat
slammingor whatever and theyneed to use in the trailer [thinkof the detonatingJuggernaut shots in the Prometheus ad].You'll thinkit looks
astounding,so it goes in. And afterward when you see the film you understand it's 'Gracious god,no! It's noteworthyan essential piece of the plot not
longbefore it happens!
• "Since trailinghouses frequentlychip awayat a film without seeing it,spoilers incidentallyoccur in the event that you join blind luckiness with an
absence of enhanced visualizations shots."
• Be that as it may,now and then spoilers are dropped intentionally – and reasonablyso.Take Evelyn.This 2003 flick follows Penetrate Brosnanas he
fights the Irish courts to pick up guardianshipofhis youngsters – and the trailer parts with the ending.
• "I put in the shot of Penetrate Brosnanrejoiningwith his little girl – that is the finish of the film. Yet, the objectivemarket of that film was my mum and
she wouldn't take a quick trip and see that film except if she knew ahead oftime it had a glad closure,"clarifies Hughes.
• "Here and there individuals are more into the excursion than the goal.ThinkTitanicor Apollo 13 – we definitelyknowwhere it will end however we
despite everythingneeded to watch those movies."

Film trailers are tested often
• The vastmajority of people realizethat huge blockbusters arewidely test screened and changed as needs be. Actually, test screenings arethe motivation behind
why Dodgeballwas transformed froma pitiful to cheerful completion and why James Bond film Permit to Murder wasn'tcalled Permit Disavowed (US testcrowds
pondered 007 confronting a driving ban).
• All things considered, in spite of justa modestlevel of the element film's runtime, trailers will experience comparablethorough testing.
• Itoccurs in two phases. Right off the bat, the trailer is appeared in unique online screenings to gather fundamental input (basically in any case). Furthermore, also
comes the genuine test: a progression of center gatherings wherefive to 20 individuals fromthe film's intended interestgroup meet to talk about the trailer in
detail.
• What number of these test screening bunches proceed? It depends. "The greater the film and the morecash siphoned into it then the higher the stakes, so they
test a ton. Especially in the event that they'reattempting to hit the four-key socioeconomics," saysBeri.
• What's more, those four key socioeconomics are: guys morethan 25, females morethan 25, guys under 25 and – you got it – females under 25. "On the off chance
that it's a major tentpole hero film, for example, the studio is attempting to hit all socioeconomics and it's what's known as a four-quadrantfilm," clarifies Beri.
• This implies in spite of clues fromRon Howard thatthe Han Solo trailer was assembled not long beforeits discharge, such a blockbuster filmwould almost certainly
haveits trailer widely tried and surges of information would havebeen gathered to tell the studio precisely which shots reacted bestwith which quadrants.
• At the end of the day, it's practically unimaginable for the editors to scorea miss with such trailers – they're adequately bowling with the drain watches up.
• However, anyway valuablethey are, anyway much they can anticipate how crowds willrespond on a second-by-second premise, testscreenings aren'tin every
case excessively wellknown with trailer organizations. "I wouldn'tstatethey'rethe foe, however picture that you'reslaving ceaselessly on 50 forms of a trailer for
a half year and afterward it's screened to a lot of 16-year-oldswho statethey abhor it," jokes Beri.
• What's more, individuals like Beri know that film center gatherings can frequently get things, well, plain off-base. For example, 1995 filmSe7en's reasonably dim
completion – [SPOILERS AHOY] whereBrad Pitt finds his dead spouse's head in a case – was gotten appallingly by firsttest crowds. Actually, themain explanation
the now widely praised end resultwasn'tadjusted is on the grounds that Pitt's agreement requested the film's nearby mustbe equivalent to in the firstscript.
• "Atthe point when a film or trailer breaks show, itfrequently doesn'tfind real success at testing stage," says Beri. "I was atFoxwhen they discharged Fallen angel
Wears Prada and on an absolutely numerical premisewith trailer center gatherings, wedidn't know it would havebeen a triumph [it wound up making $325
million worldwide].
• "Atlast testing can regularly push you to an ordinary and unsuitable spot. For example, when you see a trailer whereall the jokes are in there then that is
frequently in light of the factthat a film has been thoroughly tried and they've quite recently placed in whateverybody likes."

Technology has changed trailers but not as much as you
think
• Here's a stun: a great many people don't extend a trailer to full screen when they watch it on the web. Alright, that is most likely not an amazement to, well,
anybody, yetthis reality of the web age has changed how film trailers are thought of.
• How? In the firstplace, the self-evident: the content in online trailers is similarly greater than a film trailer so you can peruseit on a littler screen. Second, and
unquestionably morecritically: trailers currently need to create thumb-halting minutes – something that will make you give more consideration to it than
everything else on the screen. Basically it implies putting a dangerous secrettoward thebeginning of the trailer to snarein a distractible crowd (find in the Venom
trailer below).
• A basic change, perhaps, yetfor the film-cherishing trailers editors – individuals who decided to work in the film business – it's torn their association with the film.
"Positively among old schooltrailer producers such as myself, there's an inclination that you need to make a trailer for the big screen. You need to work for as large
a canvas as could be expected under the circumstances. You need to imagine that the crowd is seeing it on the film screen," says Hughes.
• "In any case, the rude awakening is that it isn't, and you haveto make changes for on the web. That is the reason it's very basic to see a trailer organized for the
film on YouTube or Facebook, yetwith five seconds of grabby stuff in advanceto get your attention."
• Sounds foreboding, isn'tthat so? As the old gatekeeper of trailer producers fallaway, would webe able to wind up with exclusively eye-catching trailers, not five
seconds but rather a couple of moments long? Will there be such a great amountof accentuation on online trailers that their configuration gets standard? Will we
beforelong need to perseverethrough a debilitating string of high-rhythm secrets in the cinema?
• Maybe. Yet, imagine a scenario in which trailers moved a totally other way. Consider the possibility that computer-generated experience trailers started to match
customary adverts? .
• Consider it: a VR advert can give an encounter the crowd will recollect and perhaps examine with others. Also, such trailers can basically presenta sample of the
film without giving an excess of away. Theideal method to lure a crowd of people, right?
• For example, this VR trailer for Stephen Ruler's ITdoes a ton the ordinary trailer does – builds up the ghastliness type, scalawag and even the 1980s setting – yet
downplays spoilers. With a VR headset, you can go through minutes somewheredown in the realmof the film without seeing any genuine footage.
• Things being whatthey are, is the trailer as we probably am awareit going to definitely change? "Right now [VRtrailers] feel similar to exposurestunts. They'll just
take off as much as VR takes off and become standard justif VR becomes standard," says Bari. "It's only an issueof circulation. Itmay be the case that soon there
will be a VR stall in film anterooms, yetI can't see it supplanting the traditional trailer.

References
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With the unfolding of YouTube and online networking, film trailers have a totally different significance in the film making industry and are looking preferable and better fairly over
just as they were made by a high schooler in Eventual outcomes. Before these two-minute smaller than expected movies were only oddities to be seen before your included film.
Presently, we have commencements to the arrival of trailers and extraordinary viewings once they're accessible. With all the publicity, it is essential to acknowledge what makes
some film trailers epic while others tend to disappoint. Here are the best 5 properties of a fruitful film trailer.
It should be Humble
Great film trailers are the ones that needn't bother with reviews from critics or exaggerated titles to disclose to you the film is acceptable. For instance, the trailer for The Hobbit.
This film is profoundly envisioned and could undoubtedly add on cites from for all intents and purposes any pundit.
It should set up the basic premise
As a general rule, trailers end up either uncovering an excess of data on the plot or insufficient. Fruitful trailers locate that sweet spot directly in the middle. It mentions to us what
we can hope to occur in the film without parting with any urgent plot focuses. I think the Harry Potter motion pictures have constantly worked superbly with this. The trailers
remind us the latest relevant point of interest, advise us that we're despite everything battling abhorrent and afterward leave it at that.
Introduce some, but not all, of the main characters
Particularly on the off chance that you have a well-known cast, it is anything but difficult to get enveloped with giving everybody exposure during the trailer. Attempt to
concentrate on a couple of characters that may get the crowd energized as opposed to besieging them with the entire troupe. The more you keep an astonishment, the better
responses you will get during the film itself. Take the Dull Knight trailer for example. We see little looks at great and abhorrence, however the trailer itself doesn't go into
profundity about who will be who. We should make sense of that ourselves, which makes this even more remarkable and energizing.
Use appropriate music
A suitable bit of music can totally represent the deciding moment a trailer. It doesn't generally need to be overly emotional, either. For whatever length of time that the music
truly mirrors the mind-set of the film, you'll be brilliant. For instance, Where the Wild Things Are included a track from The Arcade Fire. Utilizing that band and that particular tune
took a film that may have in any case been viewed as a kids' film and transformed it into an outing through a world of fond memories that any 20 something trendy person would
cherish.
Capture the mood of the movie
On the off chance that you don't catch the general state of mind, at that point what's the point? When cutting your trailer, center around feeling rather than plot focuses. Make
the crowd eager to enter whatever world you're attempting to sell them. Pixar works superbly of this. Consistently they make universes we have never observed, however their
trailers cause us to feel like we've been there multiple times and can hardly wait to return for another experience.
Reference: Storyblocks. (2011). Top 5 Attributes of a Successful Movie Trailer. Available: https://blog.storyblocks.com/inspiration/top-5-attributes-of-a-successful-movie-trailer/.
Top 5 Attributes of a Successful Movie Trailer

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31, 2008.
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from the original on October 11, 2007. Retrieved August 3, 2007.
• "Terminator – Recaps". Fox. Archived from the original on September 8, 2008. Retrieved
September 9, 2008.

How to use a Green ScreenStart with the Right Green
On the off chance that I need to shoot outside, and I don't have command over the splendor, I have to begin with the correct material, and get a legitimate chroma key green. In
the event that I am shooting inside, I ought to get an advanced green, which will give me a decent, clean green. On the off chance that I have RGB-able LEDs and can light with
green, I'll get the correct presentation with substantially less brilliance, and therefore, have less spill.
Separate my Subject from the Green Screen
It's critical to have my green screen and my subject in at about six feet from each other, so I am not debasing your subject with spill from the green. I likewise need to light them
independently (for example I need to light the green screen with green and my ability anyway you want yet guarantee that there is a spotless detachment between the two).
Shooting RAW is best
I should shoot in at least 422, but most probably raw. Raw has a whole separate channel for the green screen, so I can avoid colour contamination, or chroma sub-sampling that
will mess up the edges of your key.
Expose the Background Properly
I will need a 30-40 percent brightness green screen for a clean key. The easiest way is to see a consistent line across your waveform if my camera is capable of displaying one. I
should do this even if my subject is dark. Light the background and foreground separately.
Eliminate Motion Blur
I will also want my shutter speed above 1/100 or 90 degrees if I am using that measurement. This reduces motion blur and stops the green from being dragged into the blurred
elements of my main subject. If I am not aiming for that Saving Private Ryan staccato motion, I can add motion blur back in post, but it’s going to be a lot easier once I have keyed
your subject.
Let the Software do the Work
New keying software, like the Delta Keyer in DaVinci Resolve, can give myself a single-click key because they use artificial intelligence to analyse my image and make educated
guesses about the right settings. I can actually have a “one-click” key if everything else is exposed correctly.
With this kind of software, I can do green screen almost as easily as I can colour grade my footage, so I defiantly should experiment with it! See how I can push back the limits of
storytelling, expand the world I am creating, and generally push my filmmaking to a whole new level.
Reference: Wu, R. (2019). Working with a Green Screen Is Easier than Ever — Here’s Why. Available: https://www.premiumbeat.com/blog/working-with-green-
screen/?pl=PPC_GOO_UK_PB-367664567741&cr=bc&kw=&gclid=CjwKCAiAp5nyBRABEiwApTwjXmtSjt2Heblr5_hJKgp7cBU7eQvyDhO_D1kfgui1HRW9AMOVhkW52RoCihUQAvD_
BwE&gc. Last accessed 14th Feb 2020.

How to Light a Green Screen
Setting up the Green Screen Equipment
One of the foremostexciting things in movies arethe fantasticalbackgrounds,whether or notit’s of collapsing buildings or dragons
flying through the sky. If I wish to attain this in my own videos, I'llbe able to use a green screen. The mostnecessary factor when using
a green screen is lighting it properly. This is always discouraging becausepastattempts with the green screen havenot worked
out, however if I am able to recognizethe way to preparemy equipment, position my lights and subject, and exposemy green screen
properly, I willbe on my way to making my own wonderfulbackgrounds.
Correct Wrinkles, Tears, or Scuffs in the Green Screen Material
These imperfections can and will create shadows when too much light is shoneon the green screen and makes it harder to capturea
smooth and even colour.
If you areusing softfabric like cloth and it’s wrinkled, I should steamor iron the fabric until it’s smooth again. If the fabric is still
bunching, I will need to stretch it out moretightly to eliminate the creases.
If I am using paint, I should check for areas that arechipped or scuffed and repaint them. If thereare a lot of chipped or scuffed areas, I
will need to repaint the entire surfaceto ensureevenness of colour.
Remove Reflective Material in the Room
Items such as glasses or jewellery will bounce light around the roomand make it harder to isolate one solid colour for the green screen.
Beforewe do any recording, I should makesurethat none of my subjects arenot carrying or wearing anything reflective
and suspend black drapes round the spaceto preventlight frombouncing.
Make sure your Camera Shoots in a File Format Compatible with your Computer
Nothing’s worsethan filming an entire scene and then realizing that it can’t be exported to your computer for editing. I should check
my camera beforeI startshooting to savemyself time.
File formats thatcompress my imageless, such as RAW or ProRes, arelarger in file sizebut preserveall the small details of my video file,
giving me a higher-quality image.
Make sure your Lights are all the Same Type
Differentlights will havecompletely differentcolour temperatures which results in an uneven colour balance. I should at least use
identical lights to light the green screen so that all the colours on the green screen match together.

Positioning the Lights andSubject
Place one Light on Either side of the Green Screen
For the best results, I should keep the lights a few feet away from the green screen and angle them at 45 degrees. Because it will create a hotspot, or an area where light
is more concentrated, I shouldn't place a light directly in front of the green screen,.
If my screen is particularly large and the lights on the side can't reach all of it, place an additional two lights at the bottom of the green screen pointing up. Every green
screen is different, however, so start with this basic setup and move the lights as necessary to adjust.
Check that all Areas of the Green Screen are Lit
Take a step back and see if there are any areas that the light hasn’t reached, or where there are shadows. The key is to see one consistent color.
You can add more lights if necessary but using too many lights increases the amount being reflected back, or spilling, onto your subject. This will make it harder to
separate your subject from the green screen in editing.
Position your Subjectfar away fromthe Screen
This will reduce the amount of light being reflected onto them from the green screen. In general, 5 to 10 feet (1.5 to 3.0 m) is a good distance. If your green screen isn’t
big enough, position the subject as far away as possible.
If your subject is standing on part of the green screen, place a differently colored mat underneath them to prevent light bouncing up at them.
Light your Subjectwith a key Light
The key light is the main light used to illuminate your subject. When placing it, consider where light will be coming from in the final scene. Place the key light, accordingly,
making sure that it is a few feet higher than the subject.
Do not light your green screen and subject at the same time. Light your subject separately to reduce shadows and light spilling.
Place a Fill Light Oppositeto the key Light
The fill light is a weaker light used to eliminate any shadows cast by the key light. Start by placing the fill light on the other side of the key light and then adjust it until
there are no shadows on your subject.
The fill light is meant to diffuse the key light, so it should be softer than the key light. Lower the intensity of the fill light or tape a diffuser such as wax paper over the lens
to soften the effect.
Place a Backlight Behind and to the side of the Subject
The backlight will create a halo effect around the subject and separate them from the background. This will help your subject look more 3-dimensional.

Exposing Your Green Screen Correctly
Look at your Camera Monitor to Check the Exposure
Exposure is how much light the camera is taking in, or how bright the picture is. I should aim for a little less brightness than I
would for a normal video to avoidcapturing coloursother than green.
Using a waveform monitoris more accurate than simply looking at the camera monitor. If I do not have a waveform monitor, I can
use a smartphone app such as Cine Meter or Green Screener. These appscan help me check the evenness and exposure of my
lighting.
Adjust your Camera’s Aperture to get the Correct Exposure
The aperture is the hole in my camera lens that allowslight into the camera. If my green screen is underexposed, or too dark,
widen the aperture. If it’s too bright, I need to narrow the aperture.
Lower your ISO to Reduce Digital Noise
Digitalnoise refers to random specks of colour that can appearin my video or photo. ISO is a camera setting that brightens or
darkens a picture, so higher ISOs may lead to more noise, which can make it harder to isolatea single colourfor my green screen.
I don’t want to lower my ISO too much, as this may underexpose my green screen. Experiment with my camera's ISO settings
while making sure that it isn’t making the picture too dark.
Add or Remove Lights as Necessary
If adjustingmy camera’s aperture and ISO is not correcting my exposure problems, I should try adding or removing lights to
brighten or dim the green screen. If my lightsare too harsh, tape a diffuser over the lens to soften the lights.

The Solid State
• The Solid State is a film trailer production
company that have worked with many different
other film companies before, including
Paramount and Roadshow Pictures.
• I discovered them when I was doing research
on trailer production companies and I had tried
to contact them to get some information about
them, but I have gotten no response from
them.
• When looking through their work, I saw that
they had created the trailer for the 2012 shark
movie Bait which I am doing research on as
well.

Terminator: the Sarah Connor Chronicles series
Trailer
• Terminator: The Sarah Connor Chronicles is a sci-fi tv series that was released on Fox on January 13,
2008 and finished on April 2009 with 2 seasons, nine episodes for the first season and 22 for the second
season, making a total of 31 episodes. The show was created by Warner Bros. Television, and C2
pictures (C2 pictures was replaced by The Halcyon Company in season two). the show is a spin-off of the
Terminator films. Following the events of terminator 2: Judgement Day, the show revolves round the
lives of Sarah and John Connor. Production for the series was provided by the producers of Judgement
Day and Rise of the Machines and C2 pictures, Sony Pictures Entertainment (International) co-
presidents Mario Kassar and Andrew G. Vajna, C2 Senior vice president James Middleton, David Nutter
and Josh Friedman, who not only served as the executive producer, but he additionally wrote the script
for the first 2 episodes of the tv show.
• The show had opened mid-season with a shortened run of 9 episodes, January through March 2008. it
had been the highest-rated new written series of the 2007–08 tv season and was revived for a second
season, that began on September 8, 2008, and terminated April 10, 2009 (the same year Warner Bros.
and also the Halcyon Company created McG's Terminator Salvation). On May 18, 2009 Fox
Entertainment president Kevin Reilly declared that Fox wouldn't renew the show for a 3rd season
despite fan efforts.

Plot
Backstory
At the end of Terminator 2: Judgment Day, In the year 1995, Sarah Connor, her son John and also the 800-series Terminator successfully destroy
the T-1000, furthermore because the arm and central processing unit chip from the Terminator that was sent back to 1984 in the 1st film. The T-
800 from the second film, at its own request, destroyed itself in order to eliminate any future technology being reproduced by Skynet through
reverse engineering. Despite this, at the start of the tv series, a T-888 using the name "Cromartie" is sent back to 1999 to kill John. "Cameron", a
Terminator that John sent back from 2029 to keep his younger self safe from the attack, leaps forward in time with John and Sarah to the year
2007 to stop a delayed Judgment Day once and for all. Currently wanted fugitives with the fear of pending leukemia preying on Sarah's mind, they
need to additionally face the fact that different enemies from the future may be after them.
Summary
Four years after the events of the second film, Sarah, her son John, and Cameron (who is a terminator that has been re-programmed to keep John
safe), are being pursued by another evil Terminator named Cromartie that was sent back through time to assassinate John and by a Federal
Bureau of Investigation agent named James Ellison, who at first believes that Sarah is an insane criminal (which is based on the events of
Terminator 2: Judgment Day). Sarah is romantically committed to a paramedic named Charley Dixon however she ends her relationship with him
in order to remain on the run.
During the pilot, Sarah, John, and Cameron create a temporal leap to 2007. Cromartie suffers intensive harm while attempting to kill them
however begins repairing his endoskeleton and artificial flesh and continues his look for John in 2007. As a result of John getting annoyed with
their lifetime of running, Sarah resolves to go on the offensive against Skynet. However the planet in 2007 proves complex: they realize Skynet
has sent extra Terminators back in time to support its own creation, and therefore the resistance movement has sent its own fighters back in time
to interfere with Skynet's plans. As they hunt down an intuitive chess computer known as "the Turk", that they believe could also be a precursor
to Skynet, they forge an alliance with Derek Reese, a resistance fighter who has travelled through time from the post-nuclear future and is John's
uncle. As the series progresses, the Connors are confronted with the truth that they're going to come face to face with a lot of enemies, either at
the present or from the future, they are dead set on reshaping the future for their own goals.

Main Cast and Characters
Lena Headey as Sarah Connor:
Sarah Connoris one of the main character within the Terminatorseries.She is the mother of John Connor,who at some point becomes the leader of the
human resistance in the future.The authorities,however,see her as an insane criminal.Series creator Josh Friedman reviewed more than 300 actresses for
the role and described the actress he was trying to find was somebody"who embodied that spirit and who was believable in that role and not just some
glammed up, Hollywood, actressy thing".
After a friend had suggested English actress Lena Headey for the role, Friedman watched her auditiontape, and thought she was "a tough,tough woman".
Having seen The Terminatorwhen she was younger,which "scared the hell out of" her, Headey was conscious ofthe long-lastingstatus ofthe character and
with regard to Linda Hamilton's portrayal ofthe role within the film series, she remarked,"Linda Hamilton will always be the original Sarah Connor and it's
a very strongprint that she's left, but hopefullypeople will embrace what I bring to Sarah and see it with fresh eyes". When she was asked about her
approach to the role, Headey said "I'm playinga mother who is a single parent,bringingup a teenage son, who also happens to savethe world—as a byline
to her life. And the wayI would playthat is someone who's passionate and scared and angryand a mother,all these things.So I approach that just tryingto
be honest within the boundaries ofher".
The selection to choose Headey, however, was criticized by manyfans and critics who argued that she bore no alikeness to the athletic,muscular lady
establishedbyHamilton,who transformedher bodyinto that ofa muscled person for Terminator 2: Judgement Day.The argument was covered by the Los
Angeles Times, the Boston Herald,and also the Guardian,and in online forums.
Thomas Dekker as John Connor:
John Connor is Sarah's son and becomes the future leader of the human resistance.At the start of the show he was only15 years old and then turning
sixteen by the end of season one.As the series progresses,John struggled with his feelings for Cameron,who is a Terminator.Dekker was casted for the
role of John Connorwhen Headey secured the role of Sarah Connor.relatingto the Terminator films,Dekker says "They are like my favorite films when I
was younger.So it's very ironicthat I'm gettingto do this.And I know forthe younger generation and for myself,John was equallyimportant to me as Sarah
was, and I know a lot of the people that Ihear from really,reallycare about John".
Dekker describes his character as "a continuationofEddie Furlong's character"but "he's in a darker, more mature place now". In the two episodes
titled "Queen's Gambit"and "To the Lighthouse", John De Vito was casted as the youngversion John Connor .

Summer Glau as Cameron / Allison Young:
Cameron is a terminatorthat was sent back in time from the year 2027 by John Connor to keep his earlier self safe fromother terminators.Her model and
precise capabilities don't seem to be well-known,however she is able to mimic human mannerisms better thanthe T-800 model could,and she also can
consume tinyamounts offood which is new for Terminators.Her name is an homage to James Cameron,the Terminator film franchise creator.Glau had
not seen the Terminatorfilms before beingcasted as Cameron Phillips,whose role within the series was at the start kept hidden however was later
discovered to be a terminatorsent fromthe future to protect John.Friedman had previouslywished to cast Glau in a pilot he wrote four years before The
Sarah ConnorChronicles,howevershe was alreadycommitted to Serenity.Glau nearlyfailed to audition for the role as a result of her preconceptions ofthe
character and she felt that she failed to have"that terminatorlook".On playingCameron,Glau said she was "intimidated"by the role as a result of it being
a challenge for her to balance the human and terminatorcharacteristics.Later within the series it's revealed that Cameron assumed the identityofa
resistance fighter,Allison Young,before beingreprogrammed.
Richard T. Jones as James Ellison:
James Ellison is a Federal Bureau of Investigationagent followingSarah Connor.Initially confused bywhat he thinks is Sarah's freakish story, he later collects
incomprehensible proofofthe Terminators (includingthe bodyof Cromartie)and step bystep realizes the reality.Jones describes his character as a "man
of faith"and likens him to it of TommyLee Jones within the Fugitive.Jones was allowed to improvise a couple of lines to supply"a little bit of comic relief"
to the show.within the second season,Ellison pursues employment with ZeiraCorp,allyinghimselfwith Catherine Weaver (who he doesn't figure out is a
terminatortill the series finale).
Brian Austin Green as Derek Reese:
Derek Reese is a Resistance fighter that was sent to the past by the future John Connor.he's the older brother ofKyle Reese (John Connor's father) and
paternal uncle ofJohn. He is aware of Cameron in the future;however, he still doesn't trust her and becomes paranoidon everyoccasion she's around,
however throughout the series he begins to possess a love–hate relationshiptogether with her.Derek is aware of Jesse Flores who arrives from the future.
he's killed by a terminatorwhile makingan attempt to save Savannah Weaver.Another Derekfrom an alternate timeline is introduced within the series
finale.
Leven Rambin as Riley Dawson:
Riley Dawson is John's new love interest that he meets in class, much to the alarmof Sarah Connor.John doesn't reveal the storyof his life to her, however
as theyget closer, he realizes he's endangeringher life. Unknown to John, a resistance fighter,Jesse, has brought Rileyback from the future to stall John
from gettingtoo close Cameron,and to get close to John. She seems to develop actual romanticfeelings for John.Jesse later kills Riley after a long
struggle.

Garret Dillahunt as Cromartie / John Henry:
Cromartie is a T-888 sent back in time to kill John Connor within the pilot episode, during which he was
represented by Owain Yeoman. He takes damage to his biological covering, revealing his metal endoskeleton.
once he finds a replacement biological covering within the episode "The Turk" in the form of actor George
Laszlo, he continues his hunt for John. after chasing John and Riley into Mexico, Cromartie's chip is destroyed,
and John buries his body in the desert. once John returns later to destroy Cromartie's body, it turns out the
body has been moved. Instead, Ellison has recovered the body for Catherine Weaver, who connects
Cromartie's body to the Babylon A.I. named John Henry. Dillahunt was a recurring character within the 1st
season; howeverhe ends up becoming an everyday character within the last season, depicting Laszlo,
Cromartie and John Henry.
Shirley Manson as Catherine Weaver:
Catherine Weaver is a shape-shifting terminator disguised as the chief executive officer of a technological
advanced corporation referred to as ZeiraCorp. A model T-1001 uses its liquid metal form as she
alters her form to resemble a quicker, a lot of simply convalescent version of the T-1000 which was seen in
Terminator 2: Judgment Day. She is concentrated on developing AI using The Turki which is the intuitive pc
initially believed to be a precursorto Skynet (but later shown that they are separate entities). She targets
different Terminators to reverse-engineer Skynet technology within the present, and to organize for the future
war. She plans on using this analysis to fight Skynet. Despite the revelation that Weaver is an enemy of Skynet,
it's still unknown wherever her allegiance lies. Weaver hints at her motives within the episode "Born to Run"
once she asks Cameron, "Will you join us?" through courier James writer. throughout the episode "Today is the
Day part 2" Cameron explains to Jesse Flores that John Connor asked constant question of the T-1001 in an
effort to forge an alliance against Skynet.

Supporting Cast
Dean Winters as CharleyDixon:
CharleyDixon,a paramedic,is Sarah's fiancé till she leaves him within the pilot episode and travels eight years forward in time. Though he marries another
ladywithin the interim,throughout future episodes he builds a friendlyrelationshipwith the Connors and renders medical help when he requires it.Once
his partner is killed within the second season episode "The Mousetrap",he's not seen again till the episode "To The Lighthouse",that reveals that he
currentlylives in a lighthouse, beinga secure house that Sarah establishedforhim,that he has boobytrapped and afraidto guard against additional
attacks.once the home gets invaded byhuman assassins actingforthe apparentproto-Skynet,Charleyis killed which causes John Connor to flee.
Stephanie Jacobsen as Jesse Flores:
Jesse is an Australian resistance sailorand Derek Reese's loveinterest.In her timeline, she sailed to Australia to deliver supplies aboardthe upgraded
nuclear-powered submarine called the USS Carter, captainedbya reprogrammed terminator named Queegwho is also the militaryofficer. Queeg diverts
the submarine to select up a package and come it to John Connor.Her crew is curious of what's within the package in order that theyopen it. within is a T-
1001 and one of the crew members, a woman,points her gun at it. The T-1001 kills her and takes her shape, then shakes its finger at the remainder ofthe
crew. Queeg kills a crewman once he beat on Jesse. Jesse doesn't trust Queeg therefore she relieves him of command.Queeg doesn't obeyher orders
therefore she terminates himand destroys the submarine in an effort to kill the T-1001. On her way out,she encounters the T-1001 and it tells her, "the
answer is no." In 2007, she is on a voluntarymission to seekout and stop Cameron fromadverselyinfluencingyoungJohn,by recruitingRiley Dawson
within the future and bringingher back to frame Cameron forher murder.within the future from that Jesse comes, John has withdrawn from humans and
speaks solelywith Cameron.it's unclearwhether or not this mission is unauthorized ,however comments by her and also the realityshe was able to access
the time travel machinerywith Rileysuggests others within the Resistance leadership group might share her considerationsregardingCameron's influence
on John. John Connorlater figures out that Jesse killed Riley and informs Derek, however, orders her life to be spared.Derek confronts Jesse. He tells her
that they're from 2 completelydifferent futures which he does not understandwho she is. He tells her, "John Connor wanted to let you go. i'm not John
Connor."He pulls his gun on her and she dashes running.whether or not Derek trulykills her is left ambiguous,thoughhe does pull the trigger on his
pistol.when asked regardingit by John he simplysays,"John Connorwanted to let her go." this might either mean that he obeyed John Connor's order or
since he's not John Connor,he did not wish to let her go and he shot her. shortlyafterward duringa flashback,Cameron is seen talkingto Jesse. Cameron
tells her that she is sorry forher loss. She says that the pressure from leavingthe submarine killed her baby,she was pregnant with Derek's baby.Jesse tells
Cameron,"Tell John Connorit said,"The answer is no"" Then,Jesse asks Cameron,"If the answer is no,what was the question?"Cameron answers with,
"Will you join us?" Cameron tells Derek regardingthe miscarriage and he says he never had anychildren.

Awards
Terminator:The Sarah ConnorChronicles won the following awards:
• Saturn Award: Best Supporting Actress on Television,2007 (Summer Glau) – Tied with ElizabethMitchell for Lost
The series was also nominated for the following awards:
• Saturn Award: Best Actress on Television,2007 (Lena Headey)
• Saturn Award: Best Network TelevisionSeries, 2007
• Teen Choice Awards: Choice TV Actress: Action, 2008 (Summer Glau)
• Teen Choice Awards: Choice TV: Breakout Show, 2008
• Teen Choice Awards: Choice TV: Female Breakout Star, 2008 (Summer Glau)
• Teen Choice Awards: Choice TV: Male Breakout Star, 2008 (ThomasDekker)
• Teen Choice Awards: Choice TV Show: Action, 2008
• Primetime Emmy Award: OutstandingSingle-Camera Picture Editing for a Drama Series, 2008 (Paul Karasick for "Pilot")
• Primetime Emmy Award: OutstandingSpecial Visual Effects, 2008 (James Lima, Chris Zapara, Lane Jolly, Steve Graves, Rick
Schick, Jeff West and BradleyMullennixfor "Pilot")
• Primetime Emmy Award: OutstandingStunt Coordination,2008 (Joel Kramer for "Gnothi Seauton")
• Visual Effects Society Award: OutstandingVisual Effects in a Broadcast Series, 2008 (James Lima, Raoul Bolognini,Andrew
Orloff, Steve Meyer for Episode 108)

TrailerAnalysis
I will be analysing a trailer for the tv series Terminator: the Sarah Connor Chronicals because it closely shows what I
want to do for my FMP with the use of technology being used for evil and how it is all because of one person; one of
my biggest surprises about the trailer is that it is over 4 minutes long and yet it doesn't give away all of the
information.
As a whole, the trailer focuses on Sarah, her son John and Cameron, a Terminator sent back in time to protect Sarah
and John, and how they need to work together to stop the evil Terminators. The trailer also focuses on how the
Terminators will never understand things like beauty and art and how they will never be like humans because of it,
leaving hints on an idea of Terminators becoming intelligent enough to understand, appreciate and create art in a
future installment of the franchise. The Terminators look very fake and animated which makes it really distracting at
times as instead of watching a trailer for a tv series, I feel like I'm watching a trailer for a Terminator video game.
The trailer uses With An Iron Fist by Immediate Music which I believe works really well with the trailer because it
blends in with the video without being too loud and obnoxious while also fitting with the style and tone of the series.
• The trailer starts with a black screen with Sarah Conner saying, "I don't know about God or heaven" before the line
"They have been here before" flies into frame then fading back to black. Sarah then says, "but I do believe that
someone or something wants this world to burn" before the line "They are coming again" using the same effect
and fade to black as before; because of the resolution of the video, it is very obvious that the text is on a dark
grey/light black background instead of a pure black background which kind of distracts me as I think that the
background should match with the screen but I believe it was done that way because tv were not that sort of size
when this series was released.
• The scene fades into a medium, shaking, high angle shot of Sarah on the ground and a Terminator standing above
her, representing how it is far mor powerful that she is, while a building is on fire and soon explodes, engulfing the
Terminator in flames. The scene then cuts to a close up of the Terminator quickly burning its skin, revealing its
metal endoskeleton before cutting to Sarah turning her head to look at the Terminator as a voice over of Sarah says
"machines, Sarah". The scene cuts again to a medium shot of the now shedded Terminator walking towards Sarah
then cutting back to a close up, high angle shot of the Terminator looking down on Sarah as Sarah says, "machines,
they are coming"
• The scene cuts to a close up, moving shot of another Terminator looking at the camera as it moves from the right
to the left, following the camera with its head before running towards it then cuts to another new Terminator with
parts of its skin scratched off looking straight at the camera for a split second then cutting to it grabbing a vault
door handle and pulling it off; during this Sarah says "you can pretend they are not but they are coming and they
are faster and stronger"

• After the vault Terminator breaks the vault door, the scene cuts to a close up, steady
shot of another new Terminator with his right human eye scratched off, showing his real
right eye, turning his head towards the camera and flashing his right eye red and a flash
of lightning before cutting to the next scene

The Matrix
• The Matrixis a sci-fi action film which was written and directed by the Wachowskis and releasedon March 31, 1999. It stars
Keanu Reeves, Hugo Weaving, Carrie-Anne Moss, Laurence Fishburne and Joe Pantolianoand is that the initial movie within
the Matrix franchise. It depictsa dystopianfuture within which humanityis unwittinglyat bay within a simulated reality, the
Matrix, created by intelligentmachines to distract humanswhereas using their bodies as an energy supply. once computer
programmer Thomas Anderson, underneaththe hacker aliasof "Neo", uncoversthe reality and he "is drawn into a rebellion
against the machines" together with other hackers who are free of the Matrix.
• The Matrixis an example of the cyberpunk subgenre of fantasy.The Wachowskis' approach to action scenes was influencedby
Japanese animationand martial arts films, and also the film's use of fight choreographes and wire fu techniques from urban
center action cinema influencedsucceeding Hollywoodaction film productions. The film is understoodfor popularizinga visual
effect referred to as "bullettime", when the heightened perceptionof specific charactersis portrayedby permitting the action
inside an effort to progress in slow-motion whereas the camera seems to maneuver through the scene at traditional speed,
permitting the sped-up movements of specific charactersto be perceived ordinarily.whereas some critics have praised the film
for its handlingof adverse subjects, others have aforementionedthe deeper themes are for the most part overshadowedby its
action scenes.
• The Matrixgrossed over $460 millionworldwide and had been well-receivedby several critics, won four Academy Awards,
furthermore as alternativeaccolades,together with BAFTA Awards and Saturn Awards. The Matrixwas praised for its
innovativevisual effects, cinematographyand entertainmentvalue.The film is taken into account to be amoungst one of the
best science fiction films of all time and was added to the National Filmregistry for preservation in 2012. The success of the
film had led to the release of 2 more films in 2003, The Matrix Reloadedand then Matrix Revolutions,that were additionally
written and directed by the Wachowskis. The Matrixfranchise was more enlarged through the assembly of comic books, video
games and animatedshort films, with that the Wachowskis were heavilyconcerned. The Matrixfranchise has conjointly
inspired books and theories increasing on a number of the spiritual and philosophicalconceptsalludedto within the films.

Plot
• In an abandoned building of Chicago, a girl (later discovered to be Trinity) is cornered by a police team however quickly overpowersthemwith superhuman skills.
She flees, pursued by the police and a bunch of mysterious suited Agents capable of comparabledivine feats. Sheanswers a ringing public telephone and vanishes.
Computer programmer Thomas Anderson, well-known within the hacking scene by his alias "Neo", feels one thing is wrong with the planet and is perplexed by
recurrentonline encounters with the phrase"the Matrix." Trinity contacts him and tells him a person named Morpheus has the answers heseeks. TheAgents, led
by Agent Smith, apprehend neo and threaten him into helping them capturethe "terrorist" Morpheus. Undeterred, neo later meets Morpheus, who offers hima
choice between 2 differentpills; red to show him the reality regarding the Matrix, and blue to bring him back to his former life. after Neo swallows the red pill, his
reality disintegrates, and he awakens in a liquid-filled pod among innumerable others connected to an elaborate electrical system. he's retrieved and brought
aboard Morpheus'hovercraftcalled the Nebuchadnezzar.
• As Neo wakes up froma lifespan of physicalinactivity within the pod, Morpheus explains the reality. Within the early 21stcentury, there was a war between
humans and intelligent machines. once humans blocked the machines' access to solar power, the machines responded by harvesting the humans'bioelectric
power, keeping them pacified within the Matrix, a shared simulated reality that has been sculptured to look like the real world. While the machines have taken
over the planet, the city of Zion still remains as the last refugeof free humans. Morpheus and his crew are a group of rebels who hack into the Matrix to "unplug"
humans that were trapped and recruits them afterwards; their understanding of the Matrix's simulated nature allows them to bend its physicallaws, granting
them divine skills. Morpheus warns Neo that death inside the Matrix also kills the human body in the real world, which the Agents he met arepowerfulsentient
computer programs thateliminate threats to the system, whilemachines known as Sentinels search to destroy humans within the real world. Neo's superior skill
throughoutvirtual combattraining lends quality to Morpheus's belief that Neo is "the One", an particularly powerfulhuman prophesied to free humanity and end
the war.
• The team enters the Matrix to go to the Oracle, the prophetwho foreseen the emergence of the One. Sheimplies to neo, that he's not the Oneand warns that he
can haveto choosefromMorpheus's life and his own. The team is ambushed by Agents and military science police, tipped by Cypher, a discontented crewman
who seeks to betray Morpheus in exchangefor a snug life within the Matrix. Morpheus permits himself to be captured therefore the remainder of the crew can
escape. Cypher exits the Matrix firstand murders multiple crew members as they lie defenseless within the real world. Before he can kill neo, Tank, a crewman
whomhe had solely wounded, kills him.
• In the Matrix, the Agents interrogateMorpheus to find out his access codes to the mainframecomputer in Zion. Tank proposes killing Morpheus to stop this,
however modern resolves to come to the Matrix to rescueMorpheus, as prophesied by the Oracle; Trinity insists she accompany him. while rescuing Morpheus,
neo gains confidence in his skills, acting feats corresponding to the Agents'. Morpheus and Trinity exit the Matrix; however Smith ambushes and kills neo beforehe
will leave. As a bunch of Sentinels attack the Nebuchadnezzar, Trinity whispers to neo that he can't be dead, becauseshe loves him, and also the Oracletold her
that she would fall infatuated with the One. She kisses neo and he revives with new power to understand and controlthe Matrix. He effortlessly defeats Smith and
leaves the Matrix simply in time for the ship's electromagnetic pulse to disable the Sentinels.
• Later, neo makes a phone call within the Matrix, promising the machines that he can show their prisoners "a world whereanything is possible". Hehangs up and

Cast• Keanu Reeves as Neo:
A coder, born Thomas A. Anderson, who moonlights as a hacker named neo. Reeves represented his characteras somebody who felt
that something was wrong and was looking for Morpheus and also the truth to break free. can Smith turned down the role of neo to
create Wild West, as a result of skepticism over the film's bold bullet time computer effects. He later declared he was "not mature
enough as an actor" at that point, which if given the role, he "would have messed it up". Nicolas Cage was asked for the role, but he
turned it down due to "family obligations" Warner Bros.Then sought-after BradPitt or Val Kilmer for the role but after both of them
declined, the studio pushed for Reeves, who won the role over Johnny Depp, the Wachowskis' 1st selection.
• Laurence Fishburneas Morpheus:
A human that was freed from the Matrixbecame captain of the Nebuchadnezzar.Fishburne expressed that when he read throughthe
script, he failed to perceive why people found it confusing.However, he had a doubt if the film would ever be created,because it
was"so smart". The Wachowskis taught Fishburne to base his performance on the characterMorpheus in Neil Gaiman's sandman
comics. Gary Oldman, Samuel L. Jackson, and Val Kilmer were additionally thought-aboutfor the role. Despite widespread rumors,
Sean Connery was offered the role of the architectwithin the sequels, not that of Morpheus.additionally, Fishburne was impressed by
Marlon Brando'sportrayal as colonel Kurtz for his performance.
• Carrie-Anne Moss as Trinity:
Freed by Morpheus Trinity is one of the crewmembers of the Nebuchadnezzarand the romantic interest of Neo. When reading the
script, moss declared that originally, she didn't believe she had to do the intense gymnastic actions as represented within the script.
She additionally doubted how the Wachowskis would get to direct a film with a budget so massive, however once payment an hour
with them going throughthe storyboard,she understood why some individuals would trust them. moss mentioned that she
underwent a three-hour physical test throughoutcasting,thus she knew what to expect afterwards.The role created moss, who later
aforementioned that "I had no career before. None." Janet Jackson was at the start approachedfor the role, however planning
conflicts prevented her from accepting it. In an interview, she expressed that turning down the role was troublesome for her, therefore
she later documented The Matrix within the 'Intro'and 'Outro' interludes on her tenth studio album Discipline.

• Hugo Weaving as Agent Smith:
A sentient "Agent" program of the Matrix whose purpose is to destroy Zion and stop humans from obtainingout of the Matrix.
in contrast to different agents, he has ambitionsto free himself from his duties. Weaving declared that the character was
gratifying to play as a result of it pleased him. He developeda neutral accent however with additional specificcharacterfor the
role. He needed Smith to sound neither robotic nor human, and additionallyaforementionedthat the Wachowskis' voices had
influenced his voice within the film. once filming began, Weaving mentioned that he was excited to be a part of one thing that
will extend him. Jean Reno was offered the role, however declined,unwillingto move to Australiafor the production.
• Joe Pantolianoas Cypher:
Another human freed by Morpheus took the red pill and seeked out to be returned to the Matrix, ultimatelyrevealingthe
rebels to Agent Smith. Pantolianohad worked with the Wachowskis before showing up within the Matrix, leading in their 1996
film Bound.
• Marcus Chong as Tank:
The "operator"of the Nebuchadnezzar,he is the brother of
Dozer, and was born outside the Matrixjust like him.
• AnthonyRay Parker as Dozer:
A "natural"human who was born outside of the Matrixand
is the pilot of the Nebuchadnezzar.
• JulianArahangaas Apoc:
A freed human and crew member on the Nebuchadnezzar.
• Matt Doran as Mouse:
A freed human and programmer on the Nebuchadnezzar.
• Paul Goddard as Agent Brown:
One of two sentient "Agent" programs in the Matrixwho
work with Agent Smith to destroy Zion and stop
humans escaping the system.
• Robert Tayloras Agent Jones:
Second sentient "Agent" program working with Agent Smith.
• Gloria Foster as The Oracle:
A prophet who still resides in the Matrix, helping the freed
humans with her foresight and wisdom.
• BelindaMcClory as Switch:
A human freed by Morpheus, and crew member
of the Nebuchadnezzar.

Production-Development
• In 1994, the Wachowskis bestowedthe script for the film Assassins to Warner Bros. Pictures.
when Lorenzo di Bonaventura, the president of production of the company at the time, read
the script, he set to shop for rights to it and enclosed 2 additional photos, certain and the
Matrix, within the contract. the first film the Wachowskis directed, Bound, then became an
important success.using this momentum, the siblings later asked to direct The Matrix.
• In 1996 the Wachowskis pitched the role of Neo to Will Smith, but he explained on his YouTube
channel that the original concept was for him to be Neo and Val Kilmer was to play Morpheus.
He later explained that he failed to quite perceive the conception and he turned down the role
to instead film Wild West.
• Producer Joel Silver shortly joined the project. The Matrix was still an enormous investment for
Warner Bros, that had to invest $60 million to make a film with deep
philosophical conceptsand troublesome special effects even though the project had key
supporters like Silver and Di Bonaventura to influence the company. The Wachowskis thus
employed underground comic book artists Geof Darrow and Steve Skroce to draw a 600-page,
shot-by-shot storyboard for the whole film. The storyboard eventually earned the studio's
approval, and it had been determined to film in Australia to create the foremost of the budget.
Soon, The Matrix became a co-production of Warner Bros. and Village Roadshow Pictures.

Production-Pre-Production
• The actors of the film were needed to be able to perceive and explain The Matrix and mostof the cast and crew
had to read Simulacra and Simulation by French philosopher Jean Baudrillard's. Reeves expressed that before
they opened up the script, the Wachowskis had him read the book as well as Kevin Kelly's Out of Control: The New
Biology of Machines, Social Systems, and the Economic World, and Dylan Evans’s ideas on evolutionary
psychology, and eventually he was able to understand and explain all the philosophical nuances that were
involved, however Moss commented that she had a couple of small problems with using this method.
• The directors have admirered Hong Kong action cinema for an extended time, so the team decided to hire the
Chinese martial arts choreographer and director Yuen Woo-ping to help out on some of the fight scenes. the
actors had to train extremely hard for many months in order to prepare for the wire fu. The Wachowskis 1st
scheduled four months for training. Yuen was optimistic before understooding how unfit the actors were which
caused him to stress out about the film.
• Yuen let their body style develop and then worked with all of the actor's strengths and weaknesses. He built on
Reeves' diligence, Weaving's precision, Fishburne's resilience, and Moss's female grace. Yuen designed Moss'
moves to suit her adaptness and lightness. before the pre-production, Reeves suffered a two-level fusion of his
cervical spine that had begun to caused his legs to become paralysed which requiring him to endure neck surgery.
He was still recovering by the time of pre-production, however he insisted on training, thus Yuen let him practice
punches and lighter moves. Reeves trained arduous and even requested to train on days off. However, the surgery
still created him unable do much martial arts for 2 out of 4 months of training. As a result, Reeves didn't do much
martial arts a lot of within the film. Weaving had to endure hip surgery when he sustained an injury during the
coaching method.

Production-Production Designs
• In the movie, the codethat composes the Matrix itself is usually described as downward-flowing inexperienced characters. This codeuses a custominterface that
was designed by Simon Whiteley, it incorporates mirror images of half-width kana characters and Western Latin letters and numerals. during a 2017 interview at
CNET, he attributed the design to his wife, who is fromJapan, and added, "I like to tell everybody thatThe Matrix's code is made out of Japanese sushirecipes".
"The colour green reflects the green tint commonly used on early monochromecomputer monitors". LynneCartwright, theVisual Effects Supervisor atAnimal
Logic, supervised the creation of the film's opening title sequence, furthermorebecausethe generallook of the Matrix code throughoutthe film, together with
Lindsay Fleay and Justen Marshall. The portrayalresembles theopening credits of the 1995 Japanesecyberpunk film, Ghostin the Shell, that had a powerful
influence on the Matrix series. it had been conjointly employed in the next set of films, on the connected website, and within the game The Matrix: Path of Neo,
and its drop-down impactis mirrored within the styleof some posters for theMatrix series. The code received the runner-up Award within the 1999 JesseGarson
Award for In-filmtypography or opening credit sequence.
• The Matrix's production designer, Owen Paterson, used different strategies to help the audience tell the differencebetween the "real world" and also the Matrix in
a very pervasiveapproach. theassembly design team typically placed a bias towards the Matrix code's distinctive green colour in scenes set during the simulation,
whereas there's an emphasis on the colour blue throughoutscenes set within the "real world". additionally, the Matrix scenes'sets wereslightly moredecayed,
monolithic, and grid-like, to convey the cold, logical and artificial natureof that setting. For the "realworld", the actors' hair was less styled, their article of clothing
had additional textile content, and also the cinematographers used longer lenses to soften the backgrounds and emphasizethe actors.
• The Nebuchadnezzar was designed to possess an old and patched-up look, rather than clean, cold and sterile spacecraftinterior sets as used in films like Star Trek.
The wires were purposely created to be visible to allow the audience to see the ship's operating internals, and every composition was carefully designed to convey
the ship as "a marriage between Man and Machine". For the scenewhen Neo wakes up within the pod connected to the Matrix, the pod was created to appear
dirty, used, and sinister. Throughoutthe testing of a respiratory system within the pod, the tester ends up suffering from hypothermia in under eight minutes, in
order to counter this, pod had to be heated.
• KymBarrett who was the costumedesigner for the movie, aforementioned that sheoutlined the characters and their atmosphereby their costume. as an example,
Reeves' officecostume was designed for Thomas Anderson to appear uncomfortable, dishevelled, and out of place Barrett generally used 3 variations of material
for every costume, and additionally had to think about the usefulness of the acting. The actors were required to be able to performself-defenceactions in their
costume, suspended while hung upside down, and be able to work the wires while they are strapped into the harnesses. For Trinity, Barrettexperimented with
how every material absorbed and mirrored differing kinds of light and was eventually able to create Trinity's costumemercury-likeand oil-slick to suit the
character. For the Agents, their costume was designed to forma secretservice, undercover look, resembling the film Kennedy and classic Men in Black movie
franchise.
• The staple to the film's aesthetics, the sunglasses, werecommissioned for thefilm by designer Richard Walker fromsunglass maker Blinde Design.

Production-Filming
• All but a couple of scenes wererecorded at FoxStudios in state capital, and within the town itself, though recognizablelandmarks weren'tenclosed so as to keep
up the impression of a generic American town. The cinematography helped establish New South Wales as a serious film production centre. cinematography began
in March 1998 and wrapped in August1998; principalphotography took 118 days.
• Due to Reeves' neck injury, a number of the action scenes had to be rescheduled to attend for his full recovery. As a result, the cinematography began with scenes
that failed to need a lot of physicalexercise, like the scene in Thomas Anderson's workplace, theinterrogation space, or the automobile ride within which modern
is taken to examine the Oracle. Locations for these scenes enclosed Martin Place's fountain in statecapital, half-way between it and also the adjacentColonial
Building, and also the Colonial Building itself. throughoutthe scene attack an edifice top, the team recorded further footageof modern dodging bullets justin case
the bullet time method failed to work. The bullet-time fight scene was recorded on the roof of Symantec Corporation building in Kent Street, opposite of
geographic region Street.
• Moss performed the shots that includes Trinity at the startof the film and everyonethe wire stunts herself. The top set that Trinity uses to flee fromAgent Brown
early within the film was left over fromthe assembly of Dark town, that has prompted comments because of the thematic similarities of the films. throughoutthe
rehearsalof the lobby scene, within which Trinity runs on a wall, nonvascular plantcontusion her leg and was ultimately unable to film the shotin one take. She
expressed that she was beneath tons of pressureatthe time and was destroyed onceshe realised that she would be unable to try to it.
• The dojo set was engineered well beforethe particular cinematography. throughoutthecinematography of those action sequences, there was vital physical
contact between the actors, earning them bruises. as a result of Reeves's injury and his light coaching with wires beforethe cinematography, hewas unableto
performthe triple kicks satisfactorily and havebecomeannoyed with himself, inflicting the scene to be delayed. The scene was shotwith success a couple of days
later, with Reeves victimization solely 3 takes. Yuen altered the choreography and created the actors pull their punches within the last sequence of the scene,
making a coaching feel.
• The filmmakers originally planned to shootthe subway scenein Associatein Nursing actual terminal, however the quality of the fight and connected wirework
needed shooting the sceneon a group. The set was engineered around Associatein Nursing existing train storagefacility, that had real train tracks. cinematography
the sceneonce modern slammed Smith into the ceiling, Chad Stahelski, Reeves' stuntdouble, sustained many injuries, as well as broken ribs, knees, and an injured
shoulder. Another stuntman was contained by a hydraulic puller throughoutan endeavour wherever modern was slammed into a booth. The edifice within which
Smith interrogated deity was an oversized set, and also the outside read fromwithin the building was an oversized, 3 story high panorama. Thechopper was an all-
out light-weight simulation suspended by a wire ropeoperated a tilting mechanism mounted to the studio roofbeams. The chopper had facet mounted to that a
true minigun, that was set to cycle at [*fr1] traditional full (3000 roundsper min) firing rate. The visual impact of the helicopters rotating blades was accomplished
by victimization strobelight lighting.
• To preparefor the scene within which modern wakes up in an exceedingly pod, Reeves lostfifteen pounds and well-shaven his whole body to relinquish modern a
wasted look. The scenewithin which modern fell into the facility finished the principal photography. in keeping with The Art of the Matrix, a minimum of one

Production-Visual Effects
• As for inventiveinspirationfor bullet time, i might credit Otomo Katsuhiro,World Health Organizationco-wrote and directed
Akira, that positively blew ME away, at the side of director Michel Gondry. His music videosexperimented with a special
variety of techniquereferred to as view-morphing and it absolutelywas simply a part of the start of uncovering the artistic
approaches toward victimization still camerasfor lighting tricks. Our techniquewas considerablytotallydifferent as a result of
we tend to engineered it to maneuver aroundobjects that were themselves in motion, and that we were conjointlyready to
produce slow-motion events that 'virtual cameras' might move around– insteadof the static action in Gondry's music videos
with restricted camera moves.
• The film is understoodfor popularizinga visible impact referred to as "bullet time", that permits an attempt to progress in
slow-motion whereas the camera seems to maneuver through the scene at traditionalspeed. Bullet time has been
represented as "a visual analogy for privileged moments of consciousness inside the Matrix", and throughout the film, the
impact is employedfor instance characters' travailof management over time and house. The Wachowskis initialfanciful an
action sequence that slowed time whereas the camera pivotedquickly round the subjects and plannedthe impact in their
playscriptfor the film. once John Gaeta browse the script, he pleadedwith an effect's producer at Mass.Illusionto let him work
on the project and created a model that light-emitting diode to him changing into the film's visualeffects supervisor.
• The method used for making these effects concerned a technicallydilatedversion of a recent art photography technique
referred to as time-slice photography,during which an array of cameras are placed around an object and triggered at the same
time. every camera captures a still image, contributory one frame to the video sequence, that creates the impact of "virtual
camera movement"; the illusionof a viewpointtouring Associate in Nursing object that seems frozen in time.

• The bullet time result is analogous however slightly additional sophisticated, incorporating temporal motion in order that instead of showing
altogether frozen, the scene progresses in slow and variable motion. The cameras' positions and exposures were previsualized employing a 3D
simulation. rather than firing the cameras at the same time, the visual result team discharged the cameras fractions of a second once one
another, in order that every camera may capture the action because it progressed, making an excellent slow-motion result. once the frames
were place along, the ensuing slow-motion effects reached a frame frequency of twelve,000 per second, as opposition the traditional twenty-
four frames per second of film. normal picture cameras were placed at the ends of the array to choose up the traditional speed action before
and once. as a result of the cameras circle the topic nearly fully in most of the sequences, engineering was accustomed alter the cameras that
appeared within the background on the opposite facet. to make backgrounds, Gaeta employed George Borshukov, UN agency created 3D
models supported the pure mathematics of buildings and used the pictures of the buildings themselves as texture.
• The photo-realistic surroundings generated by this methodology were incorporated into the bullet time scene, associated algorithms
supported optical flow were accustomed interpolate between the still pictures to provide a fluent dynamic motion; the computer-generated
"lead in" and "lead out" slides were crammed in between frames in sequence to induce an illusion of orbiting the scene. Manex Visual Effects
used a cluster farm running the Unix-like software package FreeBSD to render several of the film's visual effects.
• Manex additionally handled creature effects, like Sentinels and machines in globe scenes; Animal Logic created the code hall and also the
exploding Agent at the top of the film. DFilm managed scenes that needed serious use of digital compositing, like Neo's get down a building
and also the eggbeater crash into a building. The ripple result within the latter scene was created digitally, however the shot additionally
enclosed sensible parts, and months of in depth analysis were required to seek out the right quite glass and explosives to use. The scene was
shot by colliding a quarter-scale eggbeater simulation into a glass wall wired to concentrical rings of explosives; the explosives were then
triggered in sequence from the middle outward, to make a wave of exploding glass.
• The photogrammetric and image-based computer-generated background approaches within the Matrix's bullet time evolved into innovations
undraped within the sequels The Matrix Reloaded and also the Matrix Revolutions. the tactic of exploitation real pictures of buildings as
texture for 3D models eventually light-emitting diode the visual result team to digitise all knowledge, like scenes, characters' motions and
expressions. It additionally light-emitting diode to the event of "Universal Capture", a method that samples and stores facial details and
expressions at high resolution. With these extremely elaborate collected knowledge, the team were ready to produce virtual picture taking
within which characters, locations, and events will all be created digitally and viewed through virtual cameras, eliminating the restrictions of
real cameras.

Production-Sound Effects and Music
• Dane A. Davis was accountable for making the sound effects for the film. The fight scene
sound effects, like the whipping sounds of punches were created victimization skinny metal
rods and recording them, then piece of writing the sounds. The sound of the pod
containing an individual's baby closing needed virtually fifty sounds place along.
• The film's score was composed by Don Davis. He noted that mirrors seem often within the
film: reflections of the blue and red pills square measure seen in Morpheus's glasses;
modern's capture by Agents is viewed through the rear-view mirror of Trinity's Triumph
Speed Triple motorcycle; Neo observes a broken mirror mending itself; reflections warp as
a spoon is bent; the reflection of a whirlybird is visible because it approaches a building.
Davis targeted on this theme of reflections once making his score, alternating between
sections of the orchestra and trying to include contrapuntal concepts. Davis' score
combines musical group, choral and synthesizer parts; the balance between these
elements varies reckoning on whether or not humans or machines square measure the
dominant subject of a given scene. additionally to Davis' score, The Matrix audio recording
additionally options music from acts like Rammstein, Rob Dougan, Rage Against the
Machine, Propellerheads, Ministry, Lunatic Calm, Deftones, Monster Magnet, The Prodigy,
Rob Zombie, Meat Beat declaration, and Marilyn Manson.

Awards
Award Category Name Outcome
Academy
Awards
Best Film Editing Zach Staenberg Won
Best Sound John Reitz, Gregg Rudloff, David Campbell, David Lee Won
Best Sound Effects Editing Dane A. Davis Won
Best Visual Effects John Gaeta, Janek Sirrs, SteveCourtley, Jon Thum Won
British
Academy
Film and
Television
Awards
Best Cinematography Bill Pope Nominated
Best Editing Zach Staenberg Nominated
Best Production Design Owen Paterson Nominated
Best Sound David Lee, John Reitz, Gregg Rudloff, David Campbell, DaneA. Davis Won
Best Special Visual Effects John Gaeta, SteveCourtley, Janek Sirrs, Jon Thum Won
Saturn
Awards
Best Science Fiction Film The Matrix Won
Best Director The Wachowskis Won
Best Writer Nominated
Best Actor Keanu Reeves Nominated
Best Actress Carrie-AnneMoss Nominated
Best Supporting Actor LaurenceFishburne Nominated
Best Costumes KymBarrett Nominated
Best Make-up Nikki Gooley, Bob McCarron, Wendy Sainsbury Nominated
Best Special Effects John Gaeta, Janek Sirrs, SteveCourtley, Jon Thum Nominated

TrailerAnalysis
I will be analysing one of the trailers for the 1999 Sci-Fi action film The Matrix because, similar to the Sarah
Connor Chronicles, it closely follows roughly what I want to do for my project. When watching the trailer, I
noticed many white flashes and cuts to black for the transitions between scenes which doesn't work well
for me because it is similar to the fade to black cliché which I have always seen as a lazy way of
transitioning between scenes, especially when it is used so often.
• The trailer opens up with the logos of the of the creators Warner Bros and Village Roadshow Pictures
changing from their original style to a more hacker colour scheme with dark greens and blacks and white
flashes as the transition between the logos which have a tv static effect on them, further showing the
hacker themes of the film; by the end of this section, there are a couple of flashes to a set of monitors
showing a man in what appears to be an interrogation room before flashing back to the Village
Roadshow logo and cutting to black, ending the scene
• The trailer flashes to a slightly shaky far, eye level shot of Trinity, played by Carrie-Anne Moss, running to
the right side of the frame before cutting to black and flashing to a medium shot for a split second
before cutting to black again; another flash appears to a medium, panning, birds eye view shot of Trinity
jumping from one building to another before cutting back to black and slowing flashing to a medium
close up shot of Neo, played by Keanu Reeves, at the left hand side of the frame looking to the right side
of the frame, similar to an interview, Neo says "whoa" before the camera suddenly zooms in on his face
to an extreme close up before another cut to black and flash of white in the speed of a lightning strike
• The next few shots are fast shots that cut to the timing of the music used; the first two shots are a low
angle shot to a high angle shot of two buildings in a thunderstorm before fading to black then fading to a
close up of Neo asleep before flashing to far low angle shot of someone hanging from a ceiling like in a
spy movie then flashing to a close up of Neo with his mouth changed to look like his mouth was
removed and all that's left is a strange hole where his mouth was; the scene then cuts to an upside
down, medium panning shot of someone falling off a building; during these shots Morpheus, played by
Laurence Fishburne, asks Neo "have you ever had a dream Neo that you were so sure was real?"

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