How do Murder Mystery Films, Advertise and Distribute Their Films? A CRR: Research Post

Advertisement:

The title and question that I need to answer have a lot of layers with my initial though being to look at murder mystery (who done it) films: notably Knives Out. Using the articles of Knives Out | Get Your Cut — Esturd and Knives Out, and the rarity of a big marketing campaign that doesn’t spoil the film | Film Stories I was able to learn that tradition murder mystery films have a list of requirements and or recommendations that we have do for our film that is following convention:

• Cannot show who the Murder is (can hint)
• Activate Curiosity

To say everything but nothing at the same time is something most forms of marketing need this but especially with the mysteries genre. 

Some Ideas that already exist:

The first idea that most movies (which kind of has to happen) is a trailer. This is probably one of the harder things to do with not filming everything, but we can and probably should film extra scenes and make more props. But this another way to give tone and mood for the audience like the opening

Wake Up Dead Man: A Knives Out Mystery

The second most common thing to do in marketing is to have posters and other smaller advertisements on social media that are out in the opening for all to see. These do not work in withholding information well, but you could add hidden messages or a cypher to it. This was best used in (I believe) gravity falls.

A Gravity Fall Cypher Code

To do a video or board game like Knives Out could not really work due to not having money to do something like that. Also, we cannot reek the benefits of basing the movie on a game like Clue the Movie as the style of marketing this would definitely attract board game lovers, but mystery is a maybe. Overall, the weakest idea in execution.

Clue the Board Game

Distribution Methods

Our film is mainly targeting ages 25-45 (Millennials through early Gen Z) for our film. In general, most Secondary to younger University students do not like thinking when consuming media (, due to no attention span). For our film, what works at engaging this specific audience? Our film is planning in releasing in theaters. 

Take Away:

For marketing why not do all that I mentioned. With trailers and posters being peas in a pod with the added fun of a cypher this will be a lot of work and will entice audiences to go to theaters.

Implementation of Interrogation Room-

Interrogation Scene:

This blog will go over the first two pillars of the interrogation scene, as well as how they will change in the film.

Changes:

Before this post goes into full detail, a few things had changed behind the scenes. The change is to the second scene story. This occurred due to the editor noticing the film was way too similar to a trailer when putting it all together. For the integrity of the film, the decision was made to cut the scene with the quick cuts to each of the talents in an interrogation room. I will say this right now not all of the shot were taken due to the talents having to leave early so her are the two shots I took so here are the first stills.

Scene 2 Shot 1

The shot is the beginning of the conversation and the transition of power by starting at a high angle low level to make it show the power dynamic from her telling the story of the event. I would like to point something out with the background it is split in half, which could mean a fragile story (a happy accident). This scene follows all the requirements were not stated in the Interrogation Scene-Planning post (but the practice of the images was the basis for the requirements, but) they include:

• Low Level
• High Angle
• Center frame 

Scene 2 Shot 1

Scene 2 Shot 2

This shot shows the detective thinking about the story and follow up questions, he does not currently have the power to find the murder as seen in the low angle, high level shot and center frame. This will change as the person with the power (the detective,) plays their cards throughout the film. This change will come after all the people will be interrogated and he begins to deduce who the murder could be but, drags it out. 

Scene 2 Shot 2

Overall:

This scene from what I took so far has been good. The practice of application with the talent, was helpful for making and perfecting the shots; like before "I am happy with the shots", this only has a few problems that are due to a lack of videos and audio.

Ariel Shot-Implementing and Reflection emphizes the problem of lack of practice

 The Ariel Shot Implementing:

This shot was a last-minute addition to the opening scene, but I feel like the actual take was good. The camera was slightly going up and down, which was the main and really only concern going into this project. One of the few things that I cannot control without making a contraption or finding a double-sided ladder taller than what I own. 

Scene 1 Shot 4a

The mise-en-scene is hard to control without seeing the camera. Even if it was unintentional, the scene had to be like this due to the ladder needing not to be in frame. I am worried about the angle being off, but I feel that could add to suspense (maybe), but this was the best one that I took. 

Were the Planning and Research post effective for the Implementation?

Looking at the How to Do an Arial Shot- Planning and Research post and the section before this one, I noticed that I failed to practice a video tape for the shot. This would have been helpful in identifying the shakiness to a more obvious method to try to fix it. This can be seen fully in the picture vs the video:

Picture of the Attempt in Planning-post

That was something I overlooked but it was too late to fix. The wireless method was buggy the second time around when doing the video, so my group did one where we told the actor to stand still and wait until I say start. Both worked but took excess breath that shook the camera more than the click version. I will say the planning and research on how to do this helped this scene to be complete.

Overall: 

This prosses was a pain with a few problems here and there. That slowed filming down, causing the falling sun to go on faster, causing the outside scene to be extended and shrunken. I really wished I had more time to figure something out, but this was the last minute I cannot fight what was there.

Implementation of the Stills

The Implementation of Stills:

After Practicing Each Shot as a Still in an older post, I will try to adapt them to make them into a more cinematic filmlike quality. These shots need to be well made to add to the opening as they are the highlights or important scenes that need to be in the film. I will say this I did not mention the requirements in each of the shots in the original, that is why they are in this post. So, let's start chronologically with the second shot leaving the house.

Scene 1 Shot 2:

This scene was a trial and error, mostly due to the positioning of talent and the cars they were heading to. We cross reference the footage, with the previous shots to try to get the positioning right. We were able to push through it and build a shot. This shot requirements for the camera was:

• Low Level
• High Angle

Which was changed, to hid one talent who could not come on the second day of filming. That is why there is a leg in the frame to show the talent.

Scene 1 Shot 2

This was a successful attempt with the talent walking down in a semi suitable way, more of a girl boss way than a tipsy way, but what can you expect the talent who have never drunk alcohol before to act drunk and or tipsy. But minus for the talents, the cinematography went well with no movement of the equipment; no real issue would occur. The background, purposefully blurred to draw your attention to who is there. 

Scene 1 Shot 3:

This shot is similar to the last with low to no movement. This is balanced through the addition of an over the shoulder shot. The camera has to be closer and balanced with the talent, the only hurdle. With the requirements including:

• Set tripod less than 1 foot behind the person.
• Frame in a Frame
• Tripod set less than the talent's height (Less than 5foot 4inches, in our case)

Scene 1 Shot 3

Looking at the raw footage (not the distorted YouTube version that you see) see that the lighting looks well, creating a good contrast between the outside freedom with friends and being alone. There is a problem with the continuity; the car is in the wrong spot. (Not seen in any blogs at the moment) I did not catch this when filming, but I am going to have to put more effort to fix this for the final film. 

Scene 1 Shot 4:

This shot's purpose is to foreshadow who is the murder through the cards. So, this shot needs to show emphasis on this through shallow focus and a low angle shot on the cards. While all of that is happening in the background, the pieces are picked up. With the requirements laid out, here is the shot.

Cards Scene 1 Shot 4

This footage follows the requirements. Even with a slightly different angle closer to the cards, it shows the board more often and uses it as the horizon line. This shot follows the requirements and works for our film.

Scene 1 Shot 5:

This scene in all intense and purpose was combined with the subsequent tracking shot into the same shot to hide one's reflection. I failed to mention this in the Tracking Shots- Implementing blog, but the shot as mentioned in the blog, turned out good.

Scene 1 Shot 7:

This shot is an over-shoulder shot that has the same placement and requirements as Shot 3 before it, but purely outside and the camera is facing the setting sun, that will create more shadows. My Shadow has a tendency to show up in frame, when practicing.

Scene 1 Shot 7 Implementation

To compare the actual shot and the practice shot, I moved the talent and camera closer to the wall. This change was mainly due to a tracking shot that I did before this shot and where the actor ended. But this shot gave me time to practice performance-driven staging, which helped with the first shots that were filmed after, due to make-up of the talent falling apart.

Scene 1 Shot 8-9

This shot I wanted to do a POV shot to show the person actually finding the body. This was risky and I asked the talent playing the host to hold it as she would to open an actual door. The main problem with this shot is that we cannot redo it, due to the talent of the dead person being out of town for re-shots. Which was not anticipated by the talent and the film crew. I am worried for this scene, even if it is 7 seconds.

Scene 1 Shot 8

The shot went well even with some worries discussed earlier in this section. I will admit this look tolerable, still my worst shot.

Overview

All of the shots were mostly well made with a few concerns that were to the lack of planning and clear specifications in my shot list. If we need to redo shots the editor is going to work their magic. But the application of the shots was useful in understanding the composition better.

How to Do an Arial Shot- Planning and Research

Context:

Our film has a late entry with the ariel shot. When I was trying to do this with limited practice, I had to move the camera to the right area while the camera was moving. Every time the camera was moving, the actors would automatically start the scene when I was still moving. This harmed all the practice because by time I got to the sweet spot, the actual angle, the shot was over. In this post I need to fix this problem that was plaguing the original attempts.

Failed Attempted

There are many ways to fix this either through communicating with the director to give hand motions to make them go then cut until the placement is right, or the way I will look at, a wireless camera control.

How to do a Wireless Method:

There are multiple wireless methods I can do but while watching this video:

How to use any Android Smartphones and Tablets as "Wireless Camera Remote"?

This video (which was a hidden gem) recommended an app called Bluetooth Camera Shutter. This app seems easy to use, has good reviews and can work on any phone device. However, the app is known for lagging in the camera shutter and connection problems. So that is a method I will try out.

Practice the Wireless Method:

Now after doing brief but helpful research I can now look at the planning this scene better. This first on many things for me to do is how high I want to make this scene. Looking at the table and the talent leaning over the shot needs to be around 9 feet tall. I will accomplish this through a ladder so I can also use it and not my arms to hold it up. But the scene itself needs to be kind of a square in a square. The picture will be without talent since they are busy. 

Here are the steps I took

1. Connect the wireless camera shutter to my phone and computer.
2. Put the phone in the tripod
3. Put the tripod above the ladder
• Hold still!
4. Ask someone to hold the snap button 
5. Release the button to end the video

Attempted at Overhead Shot.

This shot as whole is angled and the ladder is also in frame. Along with problems that I can fix, the time of day was wrong which is perfectly fine, I just need to have the right time frame the day of filming. Even with these problems that are easy to fix, the wireless method worked, which was the point of the practice. 

Take Away 

This blog, as stated beforehand, works for the film. With a few easy fixes (angling and distance away from the ladder), this can and will work for the film.

Tracking Shots: A Reflection Post

Evaluation Criteria:

In today's blog we will be looking at the Tracking Shots- Implementing compare it to Tracking Shot on a person-Planning, Practicing movement based Shots- planning and  Tracking Shot: Research. Criteria Used in Both blogs:

• Movement
• Level
• Distance
• Mise-en-scene

Scene 1 (was) Shot 4:

First Practice of Shot 4:

Practice with a Person Shot 4:

The Film's Tracking Shot Scene 1 Shot 4

This shot's practices and Implementation was in my opinion a success. With the movement of the character even though not in all the scenes was planted in the original. With each shot following the right level, distance and mise-en-scene. Even though there were hic-ups while filming, that were given a lot more depth in earlier blogs. This shot also follows the 60-30-10 rule very well, which I am glad that I did the research on this topic and influence the costume dissision. Fixing my reflection problems and stale movement problems all in my final Implementation.

Scene 1 (was) Shot 8

First Practice: Shot 8

Practice with a Person: Shot 8

The Film's Tracking Shot Scene 1 Shot 4

This shot's practices and Implementation was another success. With the movement of the character even though not at first, it was planted in the original, like before. With the final shot following the right level, distance and mise-en-scene. The First Practice was the weakest shot being slightly angled upwards. This was fixed in later scenes. Especially the use of Practice with a Person: Shot 8 helped a lot with getting the shots down.

Overall Reflection:

All of these research, planning, practice and the final shots were necessary for me to gain an understanding of how to do tracking shots. The tracking shot research following the characters through a pan like motion was helpful in the long run. Tiding them up as we go, making something I am proud to put into the film.

Tracking Shots- Implementing

 Tracking Shots:

In today's blog we will be looking for the final product of the tracking shots. The requirements for today include the same angle, distance and general position of the actors and props. With the position of the camera needing the distance, level and movement down to a tea. The movement needs to stay on either the left and or middle vertical lines.

Summarized Requirements:

1. Level
2. Distance
3. Movement

Scene 1 (was) Shot 4

This Shot in the original plan (before, realizing the scene was going to quick) was the beginning of multiple tracking shots. That leads to the discovery of the body. This shot, as stated before, needed to stay torso level, showing the majority of the body. 

Tracking Shot Scene 1 Shot 4: Implementation

This shot follows all the criteria with well and exceeding numbers. I was a bit slow moving the camera at first but the scene as a whole works really well. Following distance, the movement and the level consistently throughout the shot.

Scene 1 (was) Shot 8

This Shot in the original plan (same issue as before) was the last of multiple tracking shots. That leads to the discovery of the body. This shot as requirements are similar to those before. But the main difference is that I have to stay on the right vertical line of mise-en-scene; to show change is going to happen.

Tracking Shot Scene 1 Shot 8: Implementing 

This shot follows all the requirements given. With the timing working out.

Overall Take:

These shots both followed the requirements given earlier. Following the movement being the best part of both and the other points were mentioned earlier in the blog.

Blood Splatter Planning the shot

Blood Splatter:

The environment and make up go hand in hand when blood splatter is being used. So, using my director's blogs and my blogs, we were able to understand what the environmental blood splatter should look like. Before getting the results and stills we need the blood for the practice. 

Making the blood:

As mentioned in the blog of What Fake Blood Should be used? -Research the blood needs to be lighter away from the body while it is closer it needs to be darker so lets make a batch that can work. 

Failed Attempted:

The first try had too much blue that overpowered the red, making a brownish color. Mainly due to the quality of the red dye being a lighter, less harsh tone. Which is something normal, blood is not.

Failed Attempted

However, this can be fixed by getting another type of dye to changing the color a bit.

Successful Attempted:

This attempt I got a cheap, bright and vibrant dye and made it, so the red looked like a plat red before adding other colors to it. This time around I was quite scared to add blue, so I used a substitute color: green with a pinch of yellow. This was a success with the concertation bunch being darker and when away lighter. So, I do not need to make two batches.

Final Product

 Knife With the Blood On:

To make this blood look right, we need the blood to cover the knife in a realistic way with the knife needing blood being dumped on. This is a practice in the kitchen sink:

Blood on Knife Test:

This looks good even thought this batch of blood is darker, this still looks good. Maybe little a bit off on the blood near the handle and green coloring, but this looks good enough to be in the film.

Overall Take Away

The blood I made is overall well made in my opinion. With the more attractive red drawing your eyes more to the blood than the grey knife. This allows my main worry of the knife not being realistic enough is physically covered.

Interrogation Scene-Planning

Practice

For our film the second scene is a scene that I have not practiced until now. This scene has heavy emphasis on setting up the main drama of the film "Who's Lying." This will drive the plot forward as the host and the detective will (probably) work together to solve the case. With the initial first scene being one of the Point of View (POV) of the host. Let's start to practice

Scene 2:

These were the best shots while taking practice pictures. But I will say the main issue was the size of the figures. Overall, the shots went well.

Scene 2 Shot 1

Scene 2 Shot 2

Scene 2 Shot 3

Scene 2 Shot 4-9

Scene 2 Shot 10

These shots all do their job well in getting the angle right.

Scene 2 Shot break down.

I have not mentioned this in the past, but this shot 1 of scene 2 is transitioning between the host retelling of event to the detective's investigation. With a zoom out scene in the next shot this makes sense of completion but mystery due to the hole in the case. These shots needed to stay at eye level, creating tension for this film. The use of low and high angles was also well done. 

Take Away:

This planning post allowed me to visualize the film and get the full interrogation scene almost set up. With the positioning of the actors needing to be acting, which is hard to do with Lego on this scale and time frame. Even with limitation of expression, the Angle and Hight of the shot depicted the power dynamics of each person. That is the point of the scene.

What Fake Blood Should be used? -Research

Blood

For our film the causal agent is death, the death of the person in yellow. With their body bleeding all around the bathroom floor due to the multiple clean puncture wounds in his chest. (Discussed earlier in What Type of Knife Should Our Film Use- Planning.) With this in mind, what type of bleeding will be done here? 

Locational Based Injuries:

The injuries are in the chest area. This area being where the heart is located has plethora of veins and arteries according to the picture below:

A Picture of Veins and Arteries

With the picture in consideration there is plenty of blood to go around, and each color when damaged has a different bleeding type. The blue veins and the red arteries when damaged cause different reaction to blood being produced as seen in the image.

Different Types of Bleeding due to what was damaged

With the blood types being opposites, this will be interesting to do but allows me to widen and different blood splatter in the murder scene. Especially with the arteries getting damaged; blood will be blasting out wards getting all over the wall.

What Type of Fake blood Should I Make?

For fake blood we need dark blood closer and slowly flowing near the body. While the Arteries that are injured is lighter and further from the body. In this section how will we make this blood that matches. Using this video ---->

DIY Fake Blood Tutorial CHEAP & EASY! | Real Fake Blood Films

Looking at this video, the blood I need to make is going to use cornstarch as the blood thickener, and I have plenty at home. I will have to make 2 batches: with one having more blue food dye and the other with more yellow to get the difference in color or brightness.

Take Away:

For this film, based on the body's injuries and location, the blood will just be everywhere. With the need for two different color should not be too bad but, will add extra problems (like mixing it up) to the future. This was an effective post for me to gain understanding of how the environment should look at the murder which will be discussed in the planning post.

Tracking Shot on a person- Planning

Tracking Shot:

In this post, based on the initial planning of Practicing movement based Shots- planning blog, I will practice the movement based or better known as a Tracking Shot with an actual person. Even though the person is not a talent (as an actor) it is still good practice for me to do.

Scene 1 Shot 4 

For Context, Scene 1 Shot 4 (that was initially Scene 2 Shot 2) is the first tracking shot of the film. This shot job is to follow the host on the left vertical line in mise-en-scene, as they walk to the living room, to tidy up after the party. 

Shot 1 Shot 4 Practice-Video

I am happy with how this practice shot was able to stay on the vertical line most of the time and how smooth the motion is. With it, staying on only most of the time is a problem when second 4-5 I took too long to adjust the camera to the actual position it needed to be. This could be remedied by asking the actors or talent to slow down and by moving back a tad bit more would fix the problem.

Scene 1 Shot 8

For context, in Scene 1 Shot 8 (that was initially Scene 2 Shot 6) is the second tracking shot of the film, following the same mise-en-scene rule as before. The host walks out of the living room to the backyard patio because they notice something.

Scene 1 Shot 8 practice-video

This was so far the best practice shot I have done so far for this film. That does not say a lot, but this scene was paced well. The camera was able to keep the talent on the left vertical line, keeping a smooth motion. I have to just lower the camera for the actual talent that plays the host.

Overall Take Away:

With both Shots having majority success, I just need to lower the camera stick and move back a bit. A worry I failed to mention in both but still apply is that the time of day and lighting are different from what the actual scene will be. This can affect the cameras' lighting and reflection intensity. Creating a small problem that I need to take into consideration. Overall, a success that I will take what is wrong with caution when I film and improve on it.

Slow Motion for Scene 1 Shot 2- Planning

 Slow Motion:

After doing preliminary technical research in older blogs (The Procedures of Media. The learn how and making of a Film. 2025: Slow-Mo: Cinematography Research), on how to properly make FPS lower to get slow motion to work. So, let's practice with a person in frame and compare the 60FPS and 30FPS.

The Comparison:

30 FPS Practice

60 FPS Practice

These shots filmed with a 1 second difference between the two, but they have a small noticeable difference in each shot. The 60FPS has the wind being more noticeable compared to the 30 FPS. Otherwise, the movement of the person is too close compared to each other. Which the entire purpose was to slow down the movement of the humans and to get time for their names to appear above them for the credits.

Lack of a Slow Zoom:

While first practicing this shot, the slow zoom looked clanky. With the lower FPS, making the video look like a low-quality online video. The cinematography in this film needs to look formal, clean and not dirty. When I saw the video, I imminently deleted it, thinking the camera was smeared. It was not. The zoom takes away from the film and is unnecessary.

Take Aways:

Due to the shot being too short and not having a noticeable movement difference. I will implement a wide shot to the side to give more time for the credits to appear and get rid of the zoom. This gives more time to introduce the characters and setting, and if I use my director's camera, I can lower the FPS even further to make it work.