PRODUCTION COLOUR PALETTE
I used the Lovecraft font to design the casting call poster, and used colours similar to the colour palette but more neon to make it impactful in a full on '80s style.
I designed the logo in Photoshop, inspired by a mix of 80s graphic design and the graphics of the Graham Norton Show. I wanted it to look modern for its time, retaining a slightly dated look.
I tried to keep the casting call poster inline with this style, only I changed the colours to neons instead of pastels. I thought it would be very reminiscent of the 80s to experiment with controversial colour combinations.
CASTING CALL POSTER
This design actually only took two layers to make; more of the Photoshop work came from the effect controls.
I created the title graphics similar to those used for the subtitles throughout the film. The blues used were very similar, only slightly more intense to make it more of an impactful individual design. I added a stroke to the text in a slightly darker blue, and then an outer glow in the same blue, as seen on the effect controls here.I took the opacity of the outer glow down to 40% and it ended up as a more intense and distinctive version of the subtitles graphics. I realised that it needed a black background to bring out the glow in it, to stop it being washed out by a background. I added a black highlight background to the text, and then skewed the ends to give it a more natural, angled look. I also realised that keeping the black highlight a couple of notches under the top of the text gives the graphic a more embossed look, and brings out the glow in an even more three-dimensional way.
premiere PRO TIMELINE
This is all the footage I edited from, which I tend to keep to the side further down the timeline just in case I need to go back and reuse parts of it later and the parts I have edited in have been nested.
This is a close up of the timeline of the third rough cut. I kept some footage I had been experimenting with which was colour graded edited individually right next to the edit so that I could have it to hand to work with as I neared finishing the final cut.
Final cut timeline
To develop the film into the final cut, I firstly took the pink video out of the TV screen at the end and undid the colour grading on the video of the TV screen. Then, once I had placed the pink video inside the TV screen, I also positioned the title graphics I was adding in, and then nested all three medias together. I did this so that I could then colour grade it as one video, making the screen more believable. I then took the continuation of the pink video from my group of excess
clips and adjusted it back to the normal size of the screen right at the end of the film, after the TV footage. I then finished the graphics off in this same position, as though the audience's screen has become the TV screen just shown. This is also the first time in the film that the dimensions of the video were correct to the screen size, so implies that the world the TV is showing is 'the real one' in a way. This is not meant to be crystal clear, more of a suggestion or insinuation.