Finished

We have now finished our evaluation questions.

Crowdfunding article

Here is a link to an online article which I find very interesting and helpful in terms of the way it talks about the new ways of crowdfunding.

Magazine cover

We have decided that the cover of the magazine appears to dark so we are going to brighten it slightly to make it more visible. We are also going to change some of the adverts on the magazine to look more realistic and better represent a real magazine.

New poster

We have now added credits and a BBFC rating of 15 to the bottom of the poster.

What Now?

Now that we have finished editing our trailer, and are pretty much done with our poster and magazine cover we are moving on to the questions.

Final Trailer

We decided to add to our almost complete trailer by adding text. These bits of text help to guide the audience along what the story will be like as well as making it seem more like a trailer.

Magazine Cover

Poster

Here is the final version of the poster

Credits

We have almost finished out trailer, the core content is finished and done but there are just a few things that we need to add to make it feel slightly more like a trailer.
These are present in almost all trailers not just noir ones, for example here are the credits at the end of the trailer for The Revenant.

Here is another example from the neo noir film Brick.

Trailer version 1

Here is an unfinished version of the noir trailer, there are a few scene which we must change such as the first one. We are aiming to refilm the scene tomorrow and to edit on Thursday. We are doing this as we had an independent film expert view the trailer and make some suggestions as to how we could improve. We have dealt with most of these issues such as the music and tone already.

Changes Needed

Colour

1. Colour No Longer Distracts

Clothing, colour temperature differences in ambient light sources, cars and colourful background distractions have stopped being an issue. I still focus on my backgrounds, but I care more about the relationship between my subject and background, rather than a distracting colour. It’s freed up that part of my brain. Black and white allows you to begin to think about these key elements (lighting, composition, elements in and out of the frame) that you might otherwise not focus on as much when you’re thinking about making colours work together, or pop.

The colour temperatures here all over the place here from multiple sources. I focused more on using some negative space to separate her silhouette and play with leading lines from the wall mounted slats.

The colour of everyone's clothing here was super distracting. Black and white allowed me to just focus on the interplay with people and light on a busy commute in Manhattan and pick out this guy in his shades walking determinedly to work.

2. You’ll See Light Differently

What you lose from not being able to capture beautiful golden hour light, you’ll gain back in focusing more on the direction, quantity and quality of light around you. Learning how to read and play with different elements of light in this way is a fantastic skill that parlays directly into shooting video or studio strobes too, trust me.

Light and dark and the interplay between the two contrasting elements can be more interesting to focus on than colour relationships

Light and the relationship with your subject (and the shadows that form) as well as other complementary elements (like the lined pattern of this woman's skirt) become the focus, rather than the colour of elements in the frame

I liked how the subject's head was outlined by the stark light of his room here, as he looked out onto the street.

3. It Helps Emphasize Emotion

Looking at someone’s face, or into their eyes, without the distraction of colour can provide a stronger emotional connection to your subject. It’s not necessarily always the case, but if like me, you often feel more connected to a person in a black and white image over a colour image, this could be the reason why. With colour gone, it’s purely about the connection you have with the subject.

The colour of the trees and shrubs, buildings and lamp posts are all irrelevant as the focus becomes the emotional bond between the embracing couple

If this was in colour, you'd have at least 4 colours in the background and middle ground elements alone, excluding the colours of their clothing and bags. Instead I just focused straight on the split second connection between them as they share a kiss

The love and security this child gets from her mother is palpable. She briefly looked up and I took the shot, her eyes and the tonality of the skin tones here is really interesting to me for some reason

4. The Timeless / Classic Quality From Black And White

One of the most common reasons people want to shoot in black and white today is because it lends a certain timeless quality to the images. This is because we still think of black and white as being a throwback to the photographic past. Of course, it is in terms of black and white was much more prevalent before colour, but this is still a great reason to shoot black and white.

This could be a look out of the 1950s. The colour of the dress was more of a contemporary peach but without the colour of the clothing or accessories, it's more difficult to suggest the era

Here the bride has more of timeless look. In colour, the tattoo and mix of natural and yellow chandelier light would have been jarring.

In New York, you'll often see people dressed like they are from another era. Again, black and white provides a mystery for the era he could be from, especially as it has muted the colourful inside of the bus

Again this dapper fellow looks like he could easily have been out of the 1950s. Colour in the subway, and the person in the background would have certainly not created as much ambiguity in the image

5. It Amplifies How You Use Negative Space

Negative space – the areas of the frame that have nothing in them, are easier to showcase and highlight when shooting black and white. This relates back to minimizing distractions from not shooting in colour. You tend to focus on light and dark areas of the frame – and their inter-relationship. Playing with negative space is also useful in separating your subject nicely from the background and give added depth to the image.

Playing with negative space - and the elements in the frame - is much easier to visualize when you see things in black, white and greys

With a similar concept of reflection and negative space, a puddle can become a playground into seeing different spatial arrangements.

Fog atop Twin Peaks in San Francisco provides a great amount of negative space to juxtapose the two view seekers. Their clothing and other elements are muted as distractions because of the lack of colour

6. It Highlights Shape, Form and Pattern In The Image

I tend to focus a lot more than I used to on the elements in the frame, both in terms of their shape and form, but also how they relate to one another. You feel like there is a world to explore when you see connecting elements in the foreground and background). Again, colour would be distracting here – black and white simplifies the ability to see these elements and play with them.

Without the distraction of colour, we see the interplay in lines and patterns between two museum visitors clothing and a background painting at the Met

A woman's dark blue hat (here in dark black) becomes a key element in the interplay between her and the table at which she sits.

7. To Highlight Beauty and Skin Tones

It doesn’t matter what race, colour or background you happen to be – black and white photography provides wonderful tonal range between the deepest blacks and the whitest whites. Garishly colourful makeup is no longer distracting.  Pigments, discoloration and distracting elements of the skin can become less obvious. It’s not hard to see why fashion photographers like Peter Lindbergh have built their entire careers shooting almost exclusively in black and white.

Simple natural window light bathe this young lady in soft light while a black board behind separates her from her environment and focuses our attention

Similarly, this darker skinned model has glowing skin really just from the natural window light and strobe camera right to provide some specular highlight to her skin

8. It Helps Focus On Composition

This reason (and focusing on lighting), are the two strongest reasons for me to shoot in black and white. Of course, composition is not colour-dependent. A strong composition is a strong composition. The reason this is important is because – like the others points in this list – black and white compositional elements do away with the distraction of colour. Suddenly elements within the frame can relate in a way that might otherwise have been throw off because of jarring colour.

Without the background colour to distract, here I simply focused on waiting patiently for someone to pass by the guy leaning on the railing to see if I could time a shot to get two elements in the fore and mid ground to match up at the right moment

The two men on Coney Island boardwalk balance one another without their colourful attire being distracting. The contrast between the dark lines in the wooden planks and railing also draw the eye through the image

Using negative fill and not having to worry about colourful clothing, this inverted reflection shot in the rain focuses our attention on the ghostly images walking in a strange, reflected upside down world

So What About Colour?

The argument of not shooting black and white because it’s a thing of the past is a little odd to me, especially given that colour photography is not necessarily a modern invention. Kodachrome for 35mm cameras has been around since the 1930s. The far more interesting (and possibly meaningful question) may be: "Why is black and white still so prevalent today, given we've been able to shoot colour for so long?”.
I still shoot colour and love playing with it, but I certainly enjoy the challenge and creative push from shooting in black and white.

Colour has it's place. Here, I shot an image with a Fujifilm 400 Superia. I just don't think the reflection of the flag in the rainy table top would have worked if I'd shot this with the black and white Tri-X film I usually shoot

There are very good reasons black and white stills exists today. I challenge anyone not shooting much in black and white to at least shoot RAW and change the setting on your camera LCD to display those JPEGs in ‘monochrome’. See whether or not it yields any change in how – or why – you shoot what you do. The results might surprise you.

https://fstoppers.com/education/why-its-still-important-shoot-black-and-white-48141

When we make film, we will have to decide weather to film in colour or in black and white, in order to be a classic noir, it must be black and white. However we could make a neo-noir in colour. due to us only being able to use basic technology, we may struggle to make descent lighting in black and white, and as a result the film may be too dark.

As a result we are going to make two trailers, one in black and white, and the other in colour. we will then choses the best film based on customer feedback.