"DECEDENT" LINKS:

Film Opening: DECEDENT FINAL VERSION

CCR #1: CCR #1 FINAL VERSION

CCR #2: CCR #2 FINAL VERSION

 FINAL REFLECTION:

I want to begin this final reflection by saying that this project has provided me with so many great memories. I’ve learned so much throughout all the stages of the film opening project, and I couldn’t be more grateful to have worked on it with my fellow classmates.

Lejandro Van Tonder Ballola Valeria Olvera Andrea Martinez

These three incredible people have made this process so much more than I imagined. I truly do wish that we created such a great film opening, and I couldn’t have done it without their help.

With my understanding of knowing what I want to do with my career, this project was the best project I feel like I could have produced at this stage of my life. It was what I envisioned from the very start, and I’m so glad it turned out so well. I can say that I’m very proud of the result, and I can’t wait to continue making more films in my future.

CCR POST-PRODUCTION:

 CCR POST-PRODUCTION:

Overall, CCR's post-production has gone fairly easier than post-production for our film opening. It's still definitely challenging, but due to my understanding of how planning is so important, I knew I needed to plan my CCR's out better, which I did, which made this whole process a lot easier.

Implementing voice-overs was something I had never done before in any production I've worked on, so learning how to do it was quite fun and really enjoyable. I could definitely say that my CCR's were both challenging to make but, at the same time, were quite a blast as well.

EDITING TIMELINE PICTURES:

 CCR PRODUCTION:

CCR production has gone super well so far, with the scripts already written out for me and me knowing all my lines. It’s made it so much easier to shoot. I’ve also been shooting insert shots with all my props that I used throughout the film opening to enhance the relationship between the CCR's with the film opening me and my group created.

It's been a privilege to create these CCR's, as to me it's been a way to actually grasp what I did throughout this project. This isn't only about making a film opening but much, much more, and I'm thankful to have been able to go deeper by answering these questions in a way where I can still show my skills as a creator and creative.

UNEDITED FOOTAGE LINKS:

CCR PROP #1

CCR PROP #2

CCR PROP #3

QUESTIONS

QUESTIONS

  Creative Critical Reflection Scripts:

(Production 2)

Question 3?

INTERVIEWER: How did your production skills develop through the project?

INTERVIEWEE: My production skills improved more than I ever expected. I can honestly say they grew immensely. I learned so much throughout this project. One of the biggest things I discovered is that time management and planning are absolutely essential in any production process.

INTERVIEWER:What part of the process taught you that?

INTERVIEWEE: The pre‑production stage. I realized how important it is to have every shot planned, every line of dialogue written, and every prop ready before filming even starts. Learning that was a privilege because it is something I genuinely needed to understand, and I am glad I learned it early in my career.

INTERVIEWER:And what about the actual filming?

INTERVIEWEE: Filming taught me a lot too. The biggest lesson was how challenging audio can be. It is honestly the most annoying part to capture. Micing our actors and making sure there were little to no sound issues was a real challenge. But now I feel confident that I could mic someone up without any problems.

INTERVIEWER: So overall you feel like the project pushed you forward.

INTERVIEWEE: Definitely. Every step of the process taught me something valuable, and I can see how much I have grown because of it.

Question 4?

INTERVIEWER: Now let’s talk about how you integrated technology in this project. How did you approach that?

INTERVIEWEE: As a group, we wanted to use as much real film equipment as possible, even though our budget was low. We wanted hands‑on experience with lighting equipment, tripods, stabilizers, and anything else we could get access to. We feel that using this equipment went really well, and it helped our final product look much stronger.

INTERVIEWER: Can you give an example of where the technology made a difference?

INTERVIEWEE: The beginning sequence is the one I am most proud of. We set it up using only one artificial light source that was meant to mimic the sun. That single light guided the audience’s eyes exactly where they needed to be. I am really proud of how that shot turned out.

INTERVIEWER: And what about camera movement?

INTERVIEWEE: We used a lot of tracking shots, and that was only possible because of the stabilizers we had. They gave the camera great support and mobility, which let me follow the actors smoothly without the footage looking handheld. Using that equipment was honestly awesome and made a huge difference in the quality of the shots.

 Creative Critical Reflection Scripts:

(Production 1)

Question 1?

INTERVIEWER: How does your product use or challenge conventions, and how does it represent social issues?

INTERVIEWEE: Our film follows two detectives and a mysterious killer, but it is more than a simple chase between them. We challenge the usual conventions by focusing on the idea of how humanity can survive and somehow coexist with evil. Instead of treating the killer as a flat villain, we show the path that led him to this point. We explore his madness, but also his sadness, because nothing in a person appears out of nowhere. Every feeling and every action comes from something.

INTERVIEWER: So you are showing all sides, not just the detectives.

INTERVIEWEE: Yes. We dive into the lives of all three characters in a way that connects them. The film challenges the stereotype that cruel people have always been bad or have no heart. People are not born as monsters. They slowly become them. And we think it is important to show that the way we treat people, the words we use, and the actions we take can push someone toward a certain path.

INTERVIEWER: And that is where the social issue comes in.

INTERVIEWEE: Exactly. The film represents social issues by showing that society plays a role in shaping people. Many of the cruel and heartbreaking actions people take come from the fact that someone was never there for them. We are not excusing what they do, but we are showing how they got there. It asks the audience to think about how much responsibility we all have in the creation of the people we fear.

Question 2?

INTERVIEWER: Let's switch topics how does your product engage with audiences and how would it be distributed as a real media text?

INTERVIEWEE: From the beginning, we knew we wanted to make this film for people between the ages of eighteen and thirty‑five, which is why the film would be rated R. We never focused on gender because our goal was to make the film completely gender‑neutral. We did not want to exclude anyone. The only limitation is the age rating, which we believe is necessary for the themes we explore.

INTERVIEWER:And how do you want the audience to connect with it?

INTERVIEWEE: We want the audience to engage not just with the surface question of how a person can commit these crimes, but with the deeper question of how someone reaches that state of mind in the first place and who pushed them that far. As a creator, I have always wanted to work with a story that seems simple on the outside but goes much deeper into themes like loss, grief, fear, tragedy, and exclusion.

INTERVIEWER: So the emotional side is a big part of the engagement.

INTERVIEWEE: Yes. We want people to connect with the idea that many individuals never receive the help or guidance that others take for granted. It is important to recognize who needs support and to guide them toward it before they reach a breaking point. That emotional understanding is what we hope stays with the audience.

INTERVIEWER: And how would you distribute the film realistically?

INTERVIEWEE: Since it is not a blockbuster‑style film, we believe the best way to reach an audience is by premiering it at film festivals. Festivals are a great place to find viewers who appreciate this kind of story. They also create opportunities for word of mouth, which can help more people discover the film over time.

 Creative Critical Reflection Production Ideas:

CCR #1:

How does your product use or challenge conventions, and how does it represent social issues?

Our idea is to shoot this question by interrogating the person being interviewed. 

We believe it’s an excellent way of combining our film's theme with our Creative Critical Reflection.

CCR #2:

How does your product engage with audiences and how would it be distributed as a real media text?

(Gender, Age, Range, Hobbies, Commonalities)

Our idea to film this question is to just talk to the audience face to face and avoid the "floating head."

It'll be an informational video telling the viewer the answer to the question.

CCR #3:

How did your production skills develop through the project?

Our idea to shoot this CCR question is for a director commentary.

We believe it's the best way to answer this question while showing the audience parts of our film.

CCR #4:

How did you integrate technology in this project?

(Software, Hardline, and Online Technology)

Our idea to film this question is by walking and talking throughout the set of our film and showing all the equipment we used while we were shooting the scenes for our film opening.