BACK TO PROJECTS
Using the track by the same name from the �28 Days Later� OST, I used footage left over from the Cinema X project and constructed a short piece designed to build tension and pace in cooperation with a soundtrack that gradually builds pace from a very slow and subtle start to a very strong and stinging climax.
I again tried a new style on the opening credits, achieving a subtle, yet striking introduction to the footage. I also extensively used colour correction to get (or get close to) matching the black of the widescreen bars to the black in the frame � often creating an intensely stark contrast throughout the images � making them almost abstract or Film Noir-like.
I also created a sort of story, or at least sequence to events from the variety of clips I used. Basically, the short starts at dusk and then shows Bruce Campbell (Evil Dead) and Duane Jones (Night of the Living Dead) descending into the cellar. I based the short around the idea of the cellar � that dark and scary place you remember from childhood � as being the centre, or at least spark to ignite a series of shocking or violent and horrific images.
Throughout the video I took the work of existing filmmakers, but re-edited the images and scenes and converted muddy black and white to stark monochrome or murdering glorious colour (Technicolor as many say is in fact a long-dead brand name from the 1950s) so that it now has more in common with the widescreen bars that a summer meadow.
I frequently employed the use of the jump cut to create rhythm within a single shot, trying to match this sudden and jagged editing technique to the growing tempo of the music. In one instance (some footage from one of the cellar sequences in The Evil Dead), I took a scene and trimmed all shots so that they briefly follow the pitch of the music, creating a moment of raised pace, only to be relaxed immediately after. Finally, the use of repeating certain clips several times added to the audio barrage of the soundtrack at its peak before a very sudden long shot in slow motion � signalling the final moments of the short.
