Dust Trailer: Evaluation Edit

Evaluation: Question 4

Who are your audience & what have you learned from your audience feedback?

Who are your audience & what have you learned from your audience feedback?

The intended outcome for our production was to create a gritty, atmospheric trailer for a post-apocalyptic thriller, which I think we achieved. This is because of the use of action involved as well as some drama elements, creating emotional interest and depth. The target audience for our production ‘Dust’ would typically be male, around the age of 20-45 years old. This is due to the fact that it is more serious than a 'guns blazing' action film and isn’t your everyday comedy film, which a younger, male audience may be more interested in. The social class would also be more educated and middle class as some of the concepts and themes of the film would encourage intellectual engagement:It would make the audience think about society today and how threats to our survival, such as the risk of nuclear attack, are increasing. 

Due to the emotional content in the production; shown through the use of the photo of the child and the voiceover from Tom, explaining about how his family is missing, it has audience appeal to females as well. However, due to it being a 'gritty' film, it would probably appeal more to older females aged 25-45 as it isn’t a romantic comedy which is the usual target audience for ages under 25. We do think it would still appeal more to males than females due to the violence and the idea that the protagonists are being hunted, adding strong thriller elements to it.

Our likely BBFC rating for our production would be a 15. This is because our film involves gritty realism, violence and some swearing which wouldn't be appropriate for a younger audience. However, not having an 18 certificate opens up the film to a larger audience on its release date. On that note, this would be major film release on an estimated 350 screens within the first week of its UK debut. This is because our film is supported by the same institutions as The Book of Eli (385 screens) and Terminator Salvation (389 screens). The fact that our film would be made by a renowned  Hollywood director which in our case is our friend Daniel Devine (who we are potraying as an already famous director), it would increase the likelihood of our film getting wide release as people would expect high things and a great film from him.However, other directors who would likely do this sort of production are the Hughes Brothers who have had experience doing The Book of Eli which was a dystopian post apocalyptic film that did well review and profit wise. Another director who would do an excellent job is George Miller, who has done the Mad Max trilogy which, once again are very well acclaimed along with him doing a new one coming out in 2014.

We asked our media class as well as some of our friends and family for feedback on our production to gain some qualitative data. The feedback which we received was extremely valuable and helped our production become what it is now by people offering constructive criticism as well as having extra vigilance on any mistakes or errors within our editing. Thanks to this feedback we added more effects onto our production such as the chroma key and colour correction to eliminate the bright blue sky and make the whole production seem darker, dirtier and more desolate.

We also received a lot of praise and positive comments about our production from these responses. We were complimented on the use and variety of camera angles which creatively helped create appropriate meaning such as the low angle mid shot showing Curt in the office. The low angle gives off the impression that he is dominant compared to the shot before which was a high angle of Max connoting that he is weaker. We were also complemented on the use of our music with comments saying it created a sombre, serious and dramatic mood that helped establish the genre and mood that we were aiming for with our trailer. This pleased us as we had put thought and effort into finding the right 'score', contacting the band “If These Trees Could Talk” for permission to use their song. We also included a bible quote at the beginning of our trailer also which a lot of people felt deepened the impact and added weight to the trailer, though some thought it was rather clichéd, as religion as a concept is overdone in a lot of post-apocalyptic films.

We also collected some quantitative data from 20 people asking them what genre they believed our production was. The results showed that the majority immediately recognized that our production was mainly set in a Post-Apocalyptic society whilst the other results show that our production also has influences from other genres making the genre hybrid. We believe that this is due to the appropriate and creative use of mise-en-scene of our production, for example, desolate locations and dirty/ruined clothes as well as the fast paced editing, montage scenes and the obvious connotations of violence from the replica rifle among other things. The drama aspect of the production would probably be due to Tom's family and trying to find them or at least uncover what's happened to them. This information received was very useful during our production as it allowed us to revise and reinforce certain aspects of our film.

Over the past two years, I have learnt many new skills and techniques when it comes to filming and creating our production. However, from my initial skills at the start of 2012, I have grown accustomed and learnt how to apply different skills in certain areas. I have learnt how to use Pinnacle Studios HD15 which is the editing software we use within Media. I have learnt how to edit clips up to 1/24 of a second making my final production run smoothly. I have also learnt how to apply edits to my footage such as colour correction and chroma key to block out some colours and to add a blue tint to the production giving it a more apocalyptic feel. When I first started using Pinnacle, I couldn’t use many of the editing tools and struggled to add sound files and edit down the clips to fit into the production. However now I can do all of these easily as well as being able to find new tools such as the slice tool to cut clips up in half and move and place them in different places to create a montage effect on the production which worked well. I have also grown accustom to using a variety of different transitions when I try to split up scenes or show an ellipsis of time. For example, during the production of Dust, we added a fade to black, dissolve and erode transition so that it matches the scene at hand and make the trailer seem more fluid. The erode effect worked especially well as it matched the fire in the next scene making it look like the last scene was being burnt away.

When I first filmed my preliminary production in 2012, I was not involved as much in all the aspects of film making  This year I have contributed to the poster by learning to use Adobe Photoshop CS3 in which I helped create and put forward ideas for. Also, I have greatly improved my video editing skills in Pinnacle Studio 15 HD. For example, I learnt how to use the advanced video editing features such as special effects including chroma key and colour correction in post production - this meant we could tone down bright primary colours such as greens of the grass and the blues of the sky, therefore we could make the locations look much more post-apocalyptic. Another way I reinforced the post-apocalyptic feel, was with the 'erode' transition, which looked like a piece of film burning away over the scene with Tom in front of the ire. In addition, I also utilized all three audio tracks and experimented with different sound effects. For instance, the thunder sound over the bible quote, and the beginning of 'Malabar Front' by If These Trees Could Talk  which features whistling wind and screams which work well to set up the introduction of the trailer. Finally, I became much more competent in regards to setting the camera up for a greater variety of shots. For instance, we used extreme close ups, close ups, medium shots and long shots and high and low angle shots which again reinforce the helplessness of our heroes, and a sense of foreboding that is created in Curt's scenes.

Evaluation: Question 3

Evaluation: Question 2

Technologies used in the research stage

In the preliminary stages of producing a post-apocalyptic thriller genre trailer we required knowledge of conventions and techniques used in the trailers of same said genre, otherwise we would risk incorporating more general trailer conventions of trailers into ours when potentially there is little justification/no justification for them. This meant using websites such as YouTube, IMDB and Google Images for research. As well as Printkey which allowed us to capture screens from trailers and semiotically analyse them.

In the initial stages of our research for the trailer, we produced a mind map with the program Open Mind 2, allowing us to organise our ideas into categories e.g. genres. We also overcame the problem of being unable to embed the image into Blogger by uploading it to the photo-sharing website imgur.

On YouTube and IMDB we watched a multitude of existing post-apocalyptic genres so that we could gather information on trailer attributes and conventions observe and note the most predominant features in all, whilst considering the differences if there were any. This stage proved crucial for us to adequately represent and establish themes and genre. This additional knowledge of post-apocalyptic trailers not only maximised the effectiveness of our trailer by meeting conventions, and therefore audience expectations, but also incorporate slight differences in accordance with our hybrid genre and ‘low budget’. For instance, we utilised Chiaroscuro lighting in our trailer for both effect and it being a recurring convention of thrillers (our production is a post-apocalyptic thriller), even though other post-apocalyptic films do not, such as Mad Max and The Road. 

One quite fundamental inspiration, that turned out to be integral to the feel of authenticity and flow of the trailer, was the static transitions; if we hadn’t watched The Road trailer on YouTube and IMDB we probably wouldn’t have decided to include static transitions (which can be seen in use at the start of the trailer). The static transitions are both dynamically engaging and correspond with our post-apocalyptic genre, due to connotations of technological failure and disruption in society. This inclusion, therefore, also helped represent the genre to the audience then. Conclusively, our research here was vital for the final product to excel.  

We also used YouTube for instructions on how to make a practical ‘Hobo Stove’, which is basically an improvised cooking apparatus when resources are low, and how to make realistic looking bruises and lacerations. Later in the production process, it became clear that our use of ‘makeup’ would be limited due to the inconvenience of application being time consuming and requiring constant maintenance – we didn't have the time or funds for this and had to settle with dirt and basic laceration make up.



Google Images became pivotal when designing the poster for one of our ancillary tasks; getting insight into how professionals incorporate necessary information such as slogans, credits and institutional information gave us vital insight for making our own. It was important to look at mainly post-apocalyptic posters as they would be the most valid representation of what we’d wanted ours to look like. We looked at posters for Monsters, The Road, I Am Legend, The Divide and Mad Max.

In the search for music to complement our trailer we started looking for music with the creative commons certification, allowing us to use it in our trailer without any legal issues, on sites such as Bandcamp and Soundcloud.  It was on Bandcamp that I discovered Cloudkicker, a progressive rock artist, that I believed would fit our trailer with both his slower melodies and grittier metal sounds. However, being fans of progressive rock we knew the perfect song to accompany the trailer was ‘’Malabar Front’’ by If These Trees Could Talk and thus I set out to email them, using Google Mail, enquiring for the permission to use the song in our trailer; much to our joy, they permitted the use of it. We also sent an enquiry for permission to use a song by The Ink Spots, inspired by the fallout series blend of both nostalgic wartime music and 50’s sci fi/post-apocalyptic theme, to EMI but this was withdrawn after they informed us that we would have to pay a fairly hefty sum of around £200 just to use in a short clip.

What have you learnt about technologies from the process of constructing this product?

Filming Equipment

The School camera, the Panasonic HDC,  was capable of high definition 1080p which was definitely useful for getting the most detail out of our locations for the audience’s viewing pleasure; the camera could, after all, capture picture with vast depth and field which was both enjoyable to use, from a cameraman’s perspective, and instrumental to making the best looking trailer possible. The battery life of the camera was excellent too, reaching around 300 mins. We could film for hours a day and not really worry about the equipment failing on us. This was especially useful in dark conditions where we had to utilise the camera to its full extent by incorporating several lighting and focus settings whilst simultaneously filming, which would no doubt use up battery quite quickly. The camera was also versatile in both respects of practicality, where it could attach to Steadycams, various tripods and microphones, and picture, where it could adjust to most environmental conditions, zoom, augment the lighting conditions and use filters.


However, due to the size of HD film, the SD card the camera had for memory storage filled aggravatingly quickly, which limited our ability to shoot lots of shots at a time. In other words, we had to be careful not to film too much and risk deleting previous shots, although you could argue this made us more efficient with our filming – a real world skill practised by real producers.

Unfortunately, it wasn’t until the editing process that we discovered that the HD film wasn’t always compatible with Pinnacle which therefore took away the appeal of glossy shots. This wasn’t a fault of the camera obviously, but an incompatibility between the school computer network and more up to date equipment.  Another drawback in regards to recording was a slight distortion of the picture, which occurred during the Office scene. Luckily for us however, it doesn’t affect the scene which we used the camera for, perhaps because Pinnacle rectified the shot or because it was merely a fault in the camera view-screen and not the actual shot.

The camera used an SD card for storage and this was a good substitute for the tape which the older school camera’s used. The SD card allowed us to simply insert it into the computer’s SD card slot and drag and drop files into Pinnacle. The only disadvantage would have to be finding relevant files, as all of the names were very similar (number code) and hard to differentiate, but this was only a trivial detail.

In hindsight, we have learnt to familiarise ourselves with the computer programs capacity to work with more up to date equipment, such as the HD camera, before committing it to part of the editing process. We did overcome the majority of the problems we faced through initiative and patience though. 

SD Card and Battery Packs

The SD card, though limited by the number of HD shots proved invaluable when not using HD 1080p shots as we could film far more and consequently, we were able to film the bulk of planned shots on the day we set out to film them. The SD also proved to be very practical in the later stages of the production, the editing process. All we had to do with the SD card was remove it from its drive in the camera and insert it into the computer drive and subsequently transfer files into a saved area and then access them on Pinnacle – very simple and facilitated the editing on Pinnacle. The already generous battery life could technically be expanded by the fact we had a couple of spare rechargeable batteries as well that we could bring with us on filming days, in the unlikely event that a battery ran out of charge. We could recharge batteries that were drained whilst we were filming or overnight and quickly use them when necessary, making the whole filming process flow seamlessly. Rechargeable batteries are definitely more reliable than disposable batteries.

School provided tripod: catered for all needs, with its useful crank for variable height adjustment of the central column, allowing for easy accessibility to relevant adjust controls when changing height and angles. Its sturdy aluminium legs also gave it increased durability and stability for the video camera proved essential for welfare of equipment whilst the rubber grips on the feet ensured no damage to the locations and gave optimum grip for the equipment, reducing the chances of any accidents. The camera fully extended reaches 120cm which is perfect for getting around intrusive and otherwise meddlesome obstructions when out filming. I would say that filming on locations with rough terrain, such as the grasslands and marshes, wouldn’t have been possible were it not for the versatility of the tripod. Another useful commodity of this tripod would be how lightweight it is, which facilitated on-the-move camera work very well, alleviating us of any need for transport to walkable filming locations. If I had to name a problem with the tripod it would have to be the neck which made smooth panning and tilting cumbersome, although we did manage to reduce the stiffness somewhat the more we used it.

Web Technologies

Vimeo allowed us to upload and share our draft edits of the trailer so we, our class, teacher, friends and family could critique and analyse it for any improvements needed. Vimeo also allowed us to embed any of our productions onto our blogs, offering an easier way to watch our production, and also social networking sites which gave the trailer plenty of exposure to our target audience of older teenage to middle aged audience.

We found it was quick and easy to upload a video and queue multiple videos to upload at one time and, with the updated edition, you don't have to stay on the site for the video to upload; now videos upload autonomously and Vimeo emails you when it is finished, which is helpful. The only problem we found was that the quality was slightly degraded when the video had been uploaded, but whether this problem stems from Vimeo or Pinnacle we haven’t discovered.

Dropbox has, to the extent of communication and organisation, been one of the most instrumental tools in our media production and group work in general; it allows reliable, fast transfer of files between our home computers, school network and mobile devices. With an ample 2 Gigabytes + of storage we have had plenty of room to upload and share between us any word documents, Prezis, PowerPoints as well as our soundtrack, archive footage, actual film and any other files we may have needed. This way we could keep up to date with all of our coursework and update each of our blogs in synchrony.

Blogger 



We used the website as a platform to document our progress and keep track of where we were up to during the project. Blogger was useful as a neatly organised and easily accessible platform for our coursework, with an abundance of tools and options, ranging from embedding videos to choosing from multiple template layouts – and all of this or free. In other words, with value for money, we could create a polished and appealing coursework blog displaying text accentuated by pictures and links as opposed to seemingly endless blocks of text. On the whole we have found it simple to use in regards to editing text, adding links and transferring work from other programs, such as Word – despite the occasional problem with background colour, which was easily rectified by editing the code of text. However, it wasn’t without its drawbacks. Adding pictures to the blog became frustratingly difficult at times when the pictures, that aren’t flexible in their positioning anyway, obstructed or even deleted sections of text. Despite this, we all just took precautionary measures by saving a draft of our work in either Microsoft Word or NotePad, which we could then access in the case of Blogger deleting vital information. Furthermore, drafts can be saved to avoid publishing unfinished work, and we could all read each other’s blogs to check for new posts and research carried out meaning we could assist and cooperate with one another for the optimum coursework presentation possible.

Wix

Wix allowed us to create a  website, promoting our film and showcasing the trailer. The website creation software was accessible and easy to learn and use. This meant we could create a professional looking website akin to some of the other films in our genre e.g. The Road and I am Legend which incorporated multimedia such as downloads; which we also offered.

In spite of this there were two minor drawbacks. Firstly, that the website could not be formatted for mobile users or to take into account different PC monitor sizes. Secondly, the website address could not be customised to 'dust.com' without paying for a wix subscription.

Finally, Slideshare allowed us to share and embed any PowerPoints produced and gave us a more unique and interesting way to share our ideas. Along with another presentation device: Prezi. We found that this program was much more enjoyable to view, thanks to the ability to embed video from sites such as Youtube, as well as more customisable options including animations and backgrounds.

Media Programs

Adobe Photoshop CS2 

We used Photoshop to create our production company logo, Writer’s Bloc, and the poster for the production, Dust. For the company logo, we took a photo of a man, cut tool to remove his face and manipulated the colour of the logo to be a mirky grey, using a filter and colour gradient tool option. We then rearranged the desired font that we found from urbanfonts.com around the picture in such a fashion that it was instantly recognisable but didn’t impose upon the image. We then, finally, used tools such as burn and clone to remove anything that we did not want to be in the final image, for a polished, genuine production logo.

The poster required more work. We used a still image from the actual production as a canvas upon which to transform it into a conceivably post-apocalyptic setting, whilst maintaining conventions of posters by including appropriate institutional information, cast, reviews and slogans etc. The process of making the poster required cutting out images and layering them into our poster, then subsequently using the clone tool to meld them into the poster without leaving harsh lines and obscuring the authenticity of the poster. This included everything from the background of a destroyed city, to the mangled wreckage of the helicopter and radiation signpost. The text added to the poster had to be black for it to meet conventions and not diminish the professional feel of the poster, but this posed problems because the poster image itself was dark. To overcome this, we used a ‘glow’ tool which was manipulated to make it appear as though a pale glow was emitting from the text, making it both easier to see and reflecting the story (religious element and radioactive emission). 

Finally, after consultation with our class, friends and family, we opted to make the image appear even drabber, and suck as much colour out of the image as possible, without it looking absurdly bleak, by using a selective colour tool. This turned out to be very effective as it formed an ambience of desolation but also left a tint of lurid yellow after playing with the filter – green, which some would say is a symbolic colour of nuclear fallout. Finally, we also use Burn tool to darken our storyboard, therefore making them more visible in our animatic.

Pinnacle Studio 15HD

To make the final product come together and work as we envision it in the preliminary planning process, we have to edit it. Editing is a means of expression, with its own language. The editing usually works best if it is completely integrated with the other means of expression used in the given film, i.e. music, sound effects and text. We used Pinnacle Studio 15HD to edit our trailer, as we did our opening last year. Overall, the editing program was appropriately suited to our needs and, with its easily navigated interface and simple to understand layout, easy to use – especially for those not proficient with computers technicalities. There were however some problems with the program.

Although you could argue it isn’t the most up to date and flashy editing program, you must realise that it  is well catered for beginners – intermediate editors such as Media students are. Despite this, it can be frustrating when we believe we have progressed enough to want to utilise more that we cannot access (such as more advanced effects), as we have now, by A2, used Pinnacle to its fullest extent. It would definitely have been more gratifying if we could use more complex material, yet, for all intent and purposes, Pinnacle did meet our demands – at a push. When editing at school, we found it to be very unreliable as it frequently crashed when any clip was edited frame by frame, or when effects were added to shots. We have discovered that this is more likely due to the school network being incompatible with the editing program software, which cannot be helped unfortunately.  Another problem we found early on was that the program would not save our project when prompted and even delete sections of film which caused some frustration and disarray when we couldn’t find edited footage. In order to overcome this, to a degree, we just saved our editing very frequently in the chance it would crash and we were forced to restart the computer. These faults were also likely caused by access problems due to the schools safety settings being incompatible with the software installation.

We found such editing processes as J cuts and L cuts extremely practical and easy to master. We used these techniques to isolate the audio and video on separate editing tracks, which also made it simple to add music and sound effects, and then fade them in and out of the soundtrack when appropriate. The mp3 file we chose was also recognised without any faults in the software. The edit features were also remarkably useful, enabling us to augment the shots with a ‘fallout’ ambience and subsequently making the production more authentic and believable. This ranged from Chroma Key to grey-scale filters that we could place onto desired shots. In addition, overlay titles were added for slogan, institutional information and title, perfected with fade in and fade out effects used on them. We made sure to keep text white on black in order to convey mature themes and remain consistent with conventions, aside from the final title which couldn’t be manipulated to do this due to a problem transferring a background- less text to Pinnacle from Photoshop.

When exporting the actual file we found some problems with syncing, this was due to lower quality exporting options and so this was fixed easily and quickly. The multitude of editing options is good if you have experience and know the advantages and disadvantages of each, but for beginners this could be daunting and time consuming due to the many different devices they may want to play it on, and subsequent technical issues.

The clock icons show where we changed the speed of the clip for fight scenes etc.

The above clip shows an audio dub where we locked the video timeline and spliced dialogue from another scene onto it.

We probably learnt the most from the editing process overall, it is imperative that a backup of either software or a different editing program entirely is needed to edit a film to a deadline, and also feedback throughout the course of editing to identify any mistakes and then enough time is allowed for rectification of them.

Evaluation: Director's Commentary

Advertising and Products

Advertising and Products from Max Lake

Ancillary Task: Website

Link to Dust website

Ancillary Task: Poster

Final Shot List

1) Shot of institutional information – Warner Bros. animation
2) Fade to black of shot of institutional information – Writers Bloc.
3) Static transition to institutional information – Silver Pictures. 
4) Static transition to wide shot of reporter with picture distortion and static. 
5) Static transition to footage of nuclear explosion with intermittent picture distortion. 
6) Cut to black – Fade in white letters of bible quote and then fade to black.
7) Medium close up of Tom opening cupboard. (Appears as a fade in due to camera being inside cupboard). Hand then covers screen and acts as a match cut to…
8) Medium wide shot of drab and desolate landscape.
9) Straight cut to close up shot of map and pen 
10) Straight cut to close up of hand circling area on map
11) Straight cut to hand circling area on map
12) Medium long shot of burnt out and decrepit building.
13) Straight cut to low angle shot of Tom clearing a building with his gun. 
14) Dissolve to long shot of Tom walking through a bleak and desolate landscape. 
15) Straight cut to medium close up of Tom walking past a dangling, rusty chain into the distance of an abandoned factory. 
16) Straight cut to long shot of Max and Tom walking down a road and into a grey wooded area. Rises in contrast to a lurid luminance and then briefly fades to black. 
17) Quick fade in close up of Max and Tom hiding from and discussing threat.
18) Straight cut to wide angle medium close up of Curtis in a dark office. 
19) Straight cut to medium close up of Kieran punching Max.
20) Screen momentarily goes black. 
21) Medium close up of Max parrying Kieran.
22) Screen momentarily goes black.
23) Medium close up of Max stabbing Kieran IN THE JUGULAR.
24) Screen momentarily goes black. 
25) Long shot of Max laying Kieran’s corpse down to rest in the undergrowth. Fade to black.
26) Straight cut to medium shot of Curtis pacing in his office drinking tea.
27) Dissolve to close up of Max taking cover against a mound of earth with brief static, camera glare and distortion of picture revealing disturbing image of child enveloped in hot ash from nuclear fallout.
28) Straight cut to close up of Tom responding to Max.
29) Straight cut to medium high angled shot of Max and Tom talking.
30) Dissolve to close up of Tom by fire.
31) Jump cut to close up of Tom again by fire.
32) Jump cut to another close up of Tom by the fire.
33) Jump cut to close up of Tom by fire showing his distress.
34) Straight cut to extreme close up of battered and torn photo of a child. (Would be on fire but Pinnacle problems).
35) Straight cut to medium long shot of Tom falling to his knees in distress.
36) Brief shot of person consumed by ash.
37) Straight cut to close up of Tom with pallid light flickering on his face. Again, there is a quick distortion of the picture to reveal a disturbing image of a person enveloped in ash. 
38) Static transition to a medium close up shot of Tom, head in hand.
39) Straight cut to close up of Max responding and consoling Tom. 
40) Straight cut to wide angled medium shot of Max putting his hand on Tom’s shoulder. 
41) Straight cut to medium long shot of Max and Tom at a different setting walking towards the camera and conversing.
42) Straight cut to Medium close up shot tracking Tom’s movement as he talks to Max.
43) Straight cut to reversed angle medium close up tracking Max’s movement as he responds.
44) Straight cut to medium shot of Curtis slamming desk.
45) Straight shot to extreme close up of Tom firing rifle. 
46) Sudden fade to black after shot and then cut to long shot of Max and Tom traversing down a path as the camera pans away from them. 
47) Dissolve to film title.
48) Dissolve to information regarding film ‘coming soon’, websites, institutions etc. 

Final Trailer Script

Script from the final edit of the trailer.


EXT. MAIN ROAD, WHITWORTH – DAY

A reporter is seen with a gas mask amongst static        interruptions. A nuclear bomb is shown exploding.

NEWS ANNOUNCER

Reports suggest casualties in the thousands. 

INT. FACTORY, ROCHDALE -DAY

The journalist is seen scavenging and a dead river bed is shown which they must follow to the coast.

MAX

Food and water; shelter; follow the river; avoid the cities; find the coast.

INT. FACTORY, ROCHDALE – DAY

A map is shown with various locations highlighted and the veteran pointing to them with a pen.

MAX

Bombs fell here, here and here.

EXT. FACTORY, ROCHDALE – DAY

The journalist (TOM) and the war veteran (MAX) are seen travelling around various locations.

PRIME MINISTER

This is the Prime Minister. Stay in quarantine; I assure you, everything will be alright.

EXT. WHITWORTH - NIGHT

A conversation between the journalist and the war veteran establishes a relationship between them and that they are being hunted. The two are shown in a state of panic as they hear a siren go off.

TOM

What is it?

MAX

I think someone’s coming. It’s an Enclave search party! I knew they’d be after us.

INT. ENCLAVE OFFICE – DAY

The Enclave leader (CURTIS) is seen in his office cocking a gun and passing it to his hit man.

CURTIS

Get it sorted.

INT. ENCLAVE OFFICE – DAY

Non-diegetic voiceover of the war veteran over a scene of the Enclave leader appearing increasingly frustrated and impatient.

MAX

The government are hiding something.

EXT. WHITWORTH – NIGHT

The two appear startled as they have just met under the difficult circumstances of being flushed out of hiding.

MAX

What the hell are you doing here?

TOM

Shut up man!

EXT. BUILDING SITE, WHITWORTH – NIGHT

The two are shown talking, denoting that they are becoming closer.

MAX

So have errr... you got any kids?

INT. DARK ROOM WITH FIRE – NIGHT

Non-diegetic voiceover of the journalist over various scenes of him looking helpless.

TOM

I knew these people, I knew these streets; I knew myself.

EXT. BUILDING SITE, WHITWORTH – NIGHT

The conversation that was started in this location before continues to a conclusion. The veteran then comforts the journalist.

TOM

I had a small boy; I don’t know how he could’ve survived this. I don’t like to think about it really.

MAX

Don’t worry. We’ll get out of this!

EXT. FACTORY, ROCHDALE – DAY

A conversation is seen where the two main characters are planning to escape the confines of the forbidden area on which they have trespassed.

MAX

We’ll be at the border soon.

TOM

Then what?

MAX

Then; then we run.