Production: Bloopers 1

 Bloopers are a fun way to show behind-the-scenes mistakes. Day one was kind of rough, so we messed up on lines, staying in character, and finding a noncrowded place to film was a little difficult. Bloopers show that mistakes are normal and can lift up the mood. Even when you're struggling with production, bloopers can sure be hilarious to look back on.

Production: Day 1 Filming Behind the Scenes

  Day one of filming was a lot of trial and error. It was very disorganized and we had to change up our filming plans. All of the footage recorded on day 1 did not make it into the final movie. We found that our opening sequence would be too long so we decided to cut it out of the script. We made little progress that day, but we did not give up. We learned from our mistakes and we look back on this day to see how to better our production process in the future.

Behind the Scenes

Production: Cast and Crew

 Here is the cast and the people who worked behind the scenes to create our film 'Through Her Eyes':

Khloe R. 

Khloe R was our director, and film writer, and played Christine in our film. Khloe was responsible for developing the script, managing the time increments of when each shot is captured, decisions in location, improv on set, and collaborating with actors. She was also responsible for adapting the story or developing it by the production team into a plot, to then be translated into a script by the screenwriter(s), determining the storyline or backstories, traits, and characteristics of the characters, the order of the plot in the film, and planning of each shot. 

Lexi M. 

I was our production designer and the wardrobe/makeup artist. I also played Mercedes in the film. I was responsible for all creative aspects of design that go into the entire film such as the aesthetics of the visuals, the color palette, and how it creates mood/ tone, and develops genre in film, using props and objects of significance to highlight key moments of importance, location aesthetics, graphic design (the shapes, structure, and dynamics of each shot), the pacing of each shot, and corresponding the structural elements of the film with the characters and their hair/ makeup. I was also responsible for the aesthetics of actors, costume design, purchasing costumes, makeup application on set, hairstyles included for each character, and color schemes. 

Marley B. 

Marley B was our production manager, casting director, and camera operator, and also played Lizzy. She did the most improv which made the dialogue sound natural.  Marley was responsible for budgeting, production process and time management, purchasing materials, navigating technical aspects of filming, and communication among members. She was also responsible for overseeing the director and film writer to ensure proper representation, professional search and casting of actors, and studying the script to use as a reference for casting each actor in their character roles. Her last responsibility was operating the technical positioning of the camera, planning/scene rehearsals, following the storyboard planning sheet as reference for each shot, ensuring each shot was taken and captured as planned, assembling equipment, adjusting the camera and framing for shots, and camera manipulation. 

Peyton P. 

Peyton P was our cinematographer and the chief editor. She did not play anyone in the film but stayed behind the scenes to make sure everything was in order. Peyton P was responsible for the creative production of the film’s visuals, atmosphere, Mise-en-Scene described in the storyboards created, the artistic elements in recording each shot, the imagery, focus, and emphasis of certain elements in each shot, positioning of the camera to display different angles, shot sizes, framing, lighting, and capturing each shot to complement the story. She was also responsible for transitions, editing styles (graphic, spatial, temporal, etc.), visual editing, using raw footage to create a sequence of cohesive shots, crafting each scene into a full product, editing artificial sound, music, sound effects, and/or internal monologue (Automated Dialogue Replacement), special effects or texts on-screen, and incorporating all of the cast/ crew members. 

Production: Location, Location, Location

 For our setting, we wanted to pick the best locations to film our scenes at. We aimed to find locations that best fit the mood and tone and that would be easy and efficient to film at. Here are the places our film takes place at:

A Bedroom

In a closet

In a hallway

In a bathroom

Pre-production: Script

 Here is the script that most of the movie was based on:

SCENE 1 

Opens with a black screen that fades into a close-up shot of Christine sleeping next to a plushie, with a picture of Mercedes taped onto it. “Tonight, You Belong to Me,” by Pride and Prudence plays in the background as the beginning credits and production logo is shown on screen. 

EXPOSITION: I WILL MAKE YOU MINE (20 SECONDS, NO DIALOGUE) 

The scene begins with an establishing shot of Chrstine’s bedroom walls, covered in images, and love poems of Mercedes  


RISING ACTION: “IS THAT MY BRACELET?” 

 In this scene, a few years later of them in high school, Mercedes bumps into Christine, who questions if Mercedes remembers her, as she glances at Mercedes schedule. Mercedes smugly pretends not to remember her, as she notices Christine is wearing a bracelet her mother gave her, that she lost many years ago. Mercedes confronts her on her robbery and Christine denies her claims, while changing the subject to the fact that both of them “have the same math class.” 

Flashforward to Highschool: 

(Mercedes and Christine collides into each other) 

MERCEDES: 

Oh, I’m so sorry, my bad! I had a little too much espresso today.  

  CHRISTINE: 

Oh, don’t mention it, it’s ok. WAIT- MERCEDES, oh my goodness, do you remember me? (she says enthusiastically, while subtly looking down at Mercedes’ phone) 

MERCEDES: 

Yeah, totally... (Mercedes hides her phone and as she looks down, sees Christine’s arm with her lost bracelet on), hey, where did you get that bracelet, that’s mine? 

 CHRISTINE: 

Oh... this, HAHA, no. I genuinely don’t know how this got here, it must have been your friend Lizzy. She has always had something against me for some reason. 

 (Christine sneakily takes some of Mercedes’ belongings to stuff into her pocket while placing a note in her backpack “meet me in the janitor'scloset, I have something to tell you”) 

MERCEDES: 

(shrugs)Thank you, also it’s fine, it’s just that I specifically remember the last time I had that bracelet was when we were both out of the park, but I apologize for accusing you. 

 CHRISTINE: 

It’s ok, ha-ha, no worries. Also, we are in the same math class, so I look forward to seeing you in class soon.  

 MERCEDES: 

Yeah, see you when I see you! (sarcastically) 

 CHRISTINE: 

Ok, see you around bye, also- (the bell rings, and Lizzy, her friends, calls out to her from the end of the hallway) 

 

MERCEDES:  

Ok, see you later, I have to go now. 

(Mercedes leaves, and walks towards the end of the hall were Lizzy and Elijah, her boyfriend, waited for her) 

*A close-up shot shows Mercedes’ face looking worried, while taking a sip of water, which transitions to the next scene of Lizzy and Mercedes siting in a classroom, as Mercedes sips her water, she reads a note that Christine gave her asking her to meet her in the janitor’s closet after school* 



 The plan of this scene is to show Mercedes venting to Lizzy, Christine changing her schedule to match Mercedes’ schedule, and the locker room scene where Mercedes discovers stolen items in Christine’s backpack, and storms out the room to go confront her in the janitor’s room 

CLIMAX: NO LOOKING BACK! 

 

As Mercedes takes a sip of her water, she vents to Lizzy about her lost bracelet. Lizzy comforts her, while reinforcing her doubts on Christine, but Mercedes decides to defend her by saying that her bracelet was returned, and briefly tells Lizzy about the note she got from Christine, and Lizzy tells her not to go. While Mercedes does not want to go, she still proceeds to go after she notices her missing belongings in Christine’s bag. 

MERCEDES: 

I just don’t understand, Lizzy, she wore my exact same bracelet from two years ago, I knew I was not crazy! 

LIZZY: 

Listen, girl, as I have said for many years, that girl is crazy! She seems like the type of girl to bring you to your death, like that lady from “Get Out.” 

MERCEDES: 

(she scoffs and rolls her eyes) Ok, well listen, giving her the benefit of the doubt she at least gave it back to me,which is important, and hey she gave me a note to meet her in the closet later, so maybe she will apologize. 

 LIZZY: 

Girl, please tell me you’re not going to go into some popped-down closet to meet someone who stole your stuff.  

 

MERCEDES: 

You know what? (chuckles while nodding) You’re right, I don’tknow what I was thinking. 

(Lizzy nods and they both laugh) 

In a cut-away shot, Christine is in the guidance office, asking Mr. Brown to change her schedule to Mercedes’ math class, which he hesitantly agrees to do so because of Christine’s poor grades) 

 MR. BROWN 

Good afternoon, young lady. How can I help you? 

 CHRISTINE: 

Hey, Mr. Brown, really quick, I was wondering if I could please switch into Calculus for sixth period, please. 

 MR. BROWN 

(laughs, while looking at Christine like she is crazy) 

Do you see your GPA (Grade Point Average)? Hey, if you can handle it, go for it, but I expect to see at least a 2.5 GPAby the end of this quarter (he chuckles, while slightly looking up at her while lowering his glasses) 

CHRISTINE: 

Yes, of course, sir. Thank you so much! Have a great day! (sheturns around, in slow motion, while smirking as she walks out) 

 

*dramatic, cool music plays (incidental music) and in a bird's eye view, the camera rotates on Christine (like in Black Panther movie) 

 

*The camera fades, and transitions to Mercedes in the locker room* 

 MERCEDES: 

(she sings a song and dances, while changing into her uniform, but then looks over her right to see Christine’s backpack wide open with her perfume and clothes in it)  

WAIT- Wait, is that MY PERFUME? I WAS LOOKING ALL OVER FOR THAT! AND THAT’S MY SHIRT?! WHERE’S THAT GIRL, I’M GON FIND HER?! 

 

*Mercedes storms out the locker room, and the scene immediately cuts to her in the media studies room closet* 

(she hears thudding and screams from the closet, and stops, walks slowly, but as they scream help, she notices it is her boyfriend) 

 

 

MERCEDES: 

OH MY GOODNESS, (insert pet name of endearment, ARE YOU OK? 

 ELIJAH: 

YESS, YESS, I’M IN HERE (insert pet name of endearment), PLEASE HELP ME! 

 

MERCEDES: 

OK, DON’T WORRY, I’M COMING! 

(as she approaches the door, it swings open on its own, and the creepy incidental music starts playing, as she jumps back and walks slowly) 

ELIJAH: 

(calls out in the darkness of the closet)  

please, please hurry! 

 

MERCEDES: 

OK... (walks slowly, turns on the light, and sees her boyfriend tied up, and quickly runs untie him) 

 

*Christine quickly walks in the room, so Mercedes runs to quickly hide behind the door, while texting Lizzy to come help them* 

 CHRISTINE: 

Well, well, well, what do we have here? Oh, hey Elijah, you missed me? (extremeclose up of her psychotic wide smile, and unnerving laugh, as the camera distorts, and immediately cuts to her about to heat Elijah with a stick) 

 

You know you have it all (chuckles) your perfect girlfriend, perfect life, soon all to be mine! 

 

(She raises her hand about to beat him, and a close up shot of Elijah begins, and he flinches, but before Christine could hit him, Mercedes strikes her) 

MERCEDES: 

(Hits her with book) well, say hello, to your perfect afterlife. Haha let’s go Elijah. 

 ELIJAH: 

HAHA, YESS! GO (insert pet name of endearment), wait please, quickly untie me first! 

 

MERCEDES: 

Ok, yea hold on.... (Does not move, and grins while standing there staring at Elijah) 

 ELIJAH: 

Umm... Mercedes, please untie me. 

MERCEDES: 

You know I can’t untie you, right Elijah? 

MERCEDES: 

NOOOO, NO, MERCEDES, PLEASE DON’T DO THIS! 

 

(In a p.o.v dolly push out shot; the camera leaves behind Mercedes hitting her boyfriend, and does a pan movement, to Lizzy, running through the door, and sees Mercedes almost hitting her boyfriend) 
FALLING ACTION (NO RESOLUTION, SINCE THERE IS A CLIFF HANGER: “WOULD YOU PLEASE JUST TRUST ME?” 

 

In this final scene, Lizzy confronts Mercedes, and Mercedes explains why she did all this, in which Lizzy thinks she is crazy, and is confused by all that has transpired. This scene will end in a cliff hanger not revealing Lizzy’s next move. 

LIZZY: 

(Medium close up shot of Lizzy’s confused, disturbed reaction, as she is frozen in shock) 

MERCEDES, STOP! WHAT ARE YOU DOING, GIRL WHAT’S WRONG WITH YOU?! 

MERCEDES: 

WAIT- NO, THIS IS NOT WHAT IT LOOKS LIKE! YOU WERE’NT SUPPOSED TO SEE THIS! Please let me explain. 

LIZZY: 

(looks over at her mofriends, who is begging and pleading for his life frantically, mouthing words asking her to help untie him, while demonstrating and urging her to untie him) 

*Rolls her eyes* Girl, you got five seconds to explain yourself.  

MERCEDES: 

Ok, so look this could be a good thing for us, you know, all our lives our parents have struggled to care for us, we have to live in fear, be ignored by our peers, I mean, the fact that no security or anyone in here, but instead you, is proof of that so- 

 

(Lizzy counts down faintly in the background) 

  

LIZZY: 

5, 4, 1! Ok, I am going to security, this is too much. 

 

(Lizzy quickly attempts to escape and run away, but in a quick Pov shot behind her neck, she considers Mercedes stance and pauses, and in the background Mercedes slightly smirks, as she thinks Lizzy is going to stay loyal to her) 
  

MERCEDES: 

Come on, Lizzy, you have a decision to make, and I think you and I both know that if we all run away, we all just stay here and deescalate the situation, everything will be okay. Plus, girl, we have been friends for like, what? 5 years? Would you please just trust me? 

 *DRAMATIC INCIDENTAL MUSIC PLAYS AS A MEDIUM CLOSE SHOT TO MERCEDES SHOWS HER SMIRKING AS SHE ASKS THE CAMERA: “DO YOU TRUST ME?” AND THEN SMILES 

 The final frame is of Lizzy falling to her knees to the floor, as Mercedes loudly laughs like a maniac* 

 

BLURS, PAN MOVES AWAY FROM THE SCENE, THEN FADES OUT: 

Pre-production: Storyboards

 Storyboards help plan out the filming process and visualize what the scenes might look like before filming. It reduced much of our filming time, rather than filming with no type of planning. Here are the storyboards that my team planned out.

Pre-production: Shot List

 

Work Cited

Different types of transitions in film | Adobe. (n.d.). https://www.adobe.com/creativecloud/video/discover/types-of-film-transitions.html

Heckmann, C. (2024, March 4). Types of Editing Transitions in Film — The Ultimate Guide. StudioBinder. https://www.studiobinder.com/blog/types-of-editing-transitions-in-film/

DeGuzman, K. (2023, November 1). Types of Camera Movements in Film Explained: Definitive Guide. StudioBinder. https://www.studiobinder.com/blog/different-types-of-camera-movements-in-film/

Pre-production: Save the Cat Beat Structure and Exposition of Film

 Exposition in a film is the way background information is shared in a film. Exposition can be used as dialogue, narration, mise-en-scene, text or title cards, and flashback. In our film opening, we used dialogue to introduce the background information. In the second scene, Mercedes is having a conversation with Lizzy about how insane Christine for stealing Mercedes’s bracelet. This background information introduces the characters and what the conflict is. 

 
Save the Cat Beat Structure talks about the critical moments in a media product and lays out what needs to happen in each act. In beat one, the opening scene shows Christine waking up with pictures of Mercedes all over her wall. In beat two, Lizzy and Christine talk about the stolen bracelet. In beat three, Christine is seen to be watching Mercedes’s every move. Finally in beat four, Christine is shown threatening Lizzy in a closet. 
 

Reflection

Save the Cat Beat Structure and Exposition of Film introduce characters, set up plot points that engage the viewer, introduce the setting, and provide context for each scene. These are essential to keep progressing a film forward and to keep the plot entertaining for the viewers. 

Work Cited

Willoughby, N. (2022, November 17). Types of Shots in Filmmaking and How to Frame Them dummies. Dummies. https://www.dummies.com/article/academics-the-arts/performing-arts/film/types-of-shots-in-filmmaking-and-how-to-frame-them-256947/

Different types of transitions in film | Adobe. (n.d.). https://www.adobe.com/creativecloud/video/discover/types-of-film-transitions.html

Maio, A. (2024, February 5). Rules of Shot Composition in Film: A Definitive Guide. StudioBinder. https://www.studiobinder.com/blog/rules-of-shot-composition-in-film/

Pre-production: Defining Setting

 

Location (Where?)	Time Period (When)?	Landscape (Indoor/outdoor)	Tone	Social Economical Status, governing principles of the place and culture
The general setting of the world is at Piper High.	The film is set in the present.	This film mostly takes place inside Piper High school. But there will be some scenes that are off campus (i.e. Mercedes’ home)	Tense, Suspenseful, Unnerving	Middle Class, urban culture
Some Locations in our film are:  Mercedes’ House  On Piper High’s campus. This includes:  Outside the school’s buildings, in school hallways, the bathroom, and the cafeteria   A dark room in Christine’s home

Location (Where?)	Landscape (Indoor/outdoor)	Time of Day	Tone	Lighting Source	Explanation
On the way to school	Outdoors	Daytime	Awkward, unexpecting,	The Sun	Mercedes is seen walking to school, when suddenly she bumps into Christine and drops her class schedule. Christine introduces herself and exclaims “Wow, we have the same math class! Can’t wait to see you then.” Mercedes thinks it’s a weird thing to say but doesn’t think much of   it.
Inside the school’s counselor's office	Indoors	Daytime	Intense, Shocking	Ceiling lights inside the office	In the next scene, the audience finds out that what Christine previously said was a lie, because Christine is shown at the school counselor’s office asking for her original math class to be switched to the math class Mercedes has.
In School hallways	Indoors	Daytime	Unusual, abnormal	Lights inside the hallways	In the next few scenes, you can see Christine actively stalking Mercedes in random places. She keeps popping up wherever Mercedes is, and Mercedes has finally noticed this.
Bathroom	Indoors	Daytime	Creepy	Lights inside the bathroom	In this scene, Mercedes’ and her best friend, Lizzy are chatting in the school bathroom. The audience gets to view Christine stalking Mercedes secretly. Christine says, “Who’s this?” to Mercedes, because she doesn’t know that Lizzy is her best friend, so she’s jealous.
Cafeteria	Indoors	Daytime	Suspenseful	Lights in the school cafeteria	Mercedes is finally done with Christine stalking her everywhere. She finally confronts her, telling her “Leave me alone you creep! I don’t want to be your friend.” Christine does not take this confrontation very well.
A dark room in Christine’s House	Indoors	Daytime	Tense	There’s very little light, so the lighting is very dim (it comes from her room’s lights)	After Mercedes’ confrontation, Christine is very irritated and upset. She rushes into this dark room in her house, covered in pictures of Mercedes. She takes a second to think about her next move before coming up with the “perfect” idea, mind controlling her.