SOUND
In accordance with the adaption of our idea our sound palette has been updated. No longer will we use the 1930's jazz-style music or the white noise. However, to emphasise the tension of the piece and to depict the protagonist's intoxicated state, enhanced diegetic sound will be used as the noise emitted from the overhead lights.
Possible sounds for the voicemail recording at the beginning of the sequence are listed below:
- A message that describes the phone as being disconnected. This sound may be useful as it implies that the owner of the phone is stranded/ unwillingly unable to answer this phone; which attributes to the narrative of the opening (the protagonist has been kidnapped and is being held hostage).
- This standard voicemail message would be effective because it's mundane tone contrasts the eery and unusual atmosphere of the opening.
- However, both of the sounds above are voicemail greetings and it may be more adequete to use something like ' you have 9 new messages ' so that the audience are listening to the protagonist's voicemail. To achieve this we will needn to record this sound ourselves.
COLOUR
Our colour palette was altered because our credit sequence vision was no longer compatible with the opening after the narrative was changed (it was designed to accompany a montage of shots). Also, the red and pink tones have been replaced with a deeper red because the walls of the basement are this colour and we didn't want to cause the owner of the set any inconvienance by setting up red neon lighting in the basement. This decision did not have a huge effect on the overall feel of the opening as when we took the footage for the test shoot we found that the wall and pained glass nightstands gave the room warm red lighting.
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