Final Sequence

 

The Final Sequence

This is the final product of my group's project.

CCR Task 4

How did you integrate technologies software, hardware and online in this project?

For this task, I made a website explaining how I integrated the three types of technologies in this project's production stage.

link to my Wix site!

CCR Task 3

CCR Task 3

How did your production skills develop throughout this project?

 For this task, I created an infographic documenting how my production skills have evolved over this project.

link to infographic

CCR Task 2

How does your product engage with audiences and how would it be distributed as a real media text?

Considering the nature of our Opening Sequence, as well as the rest of the film, our target audience is narrowed down to males from 15 to 17 as it is an Action/Horror, which is predominantly targeted at teenage boys, and the implied violence also shifts the age range to later teen years. 

Here is the link to a blog I wrote discussing Target Audiences and the reasoning behind having one in mind;

link to my Target Audience blog

How we engaged our viewers

We tried to scatter our sequence with certain details that would engage our audience into the action, particularly our target audience, which can be seen through some key scenes;

We casted a good looking actress to play as the Survivor and her face is in shown almost immediately, this reveals our target audience as they are both of similar age, and of course a beautiful female actress would attract straight teenage boys more. This links back to the typical conventions of a Slasher Horror film, where the good looking female character exists purely to get killed and to entertain male audiences.

This opening shot also establishes the setting seemingly taking place in the middle of the woods, - this engages the audience as woods in films (especially horror films) are often associated with complete isolation, stranded amidst an endless flood of trees, vulnerable to any attacks with lots of space to run, but nowhere to hide…

In the next few shots, she crawls across the hood of a car lying face down and showing off her costume, similarly to this shot from Tomb Raider (2018), directed by Roar Uthaug and distributed by Warner Bros Pictures, where the equally good looking actress Alicia Vikander is in a similar position to our main character; to engage male audiences in a subtle manner without inherently objectifying them (according to the film industry).

The location being scattered with abandoned cars also hooks in the audience, not only visually, but it also creates instant mysteries around their purpose as to how they ended up in that condition, encouraging further thought as to what events happened beforehand that could’ve caused this destruction.

Early on in the sequence, she also lifts up her trouser sleeve to reveal a deep gash in her leg, covered in blood. This again adheres to Horror conventions as bloody wounds would attract horror fans who look out for blood in the films they watch, as well as the male audiences that stereotypically enjoy and can handle gore better than female audiences.

Once again adhering to the stereotypical likes of a male viewer, the main source of danger is revealed to be the approaching sounds of a motorcycle, where the Action side of our sequence becomes apparent, suggesting that vehicles like these will likely be a recurrent theme in the film and that any enthusiasts can enjoy watching one of their interests on film, potentially attracting any mostly male viewers interested in Action conventions centred around anything similar to this, such as car chases.

Fans of the Action genre are further engaged when the main character begins to run away from whoever is on the motorcycle, who is soon proven to be chasing and hunting her down as she desperately limps away to safety from the unsettlingly loud revving sounds. This would encourage the audience to continue watching to find out whether she successfully runs away or meets her fate in another typical Action chase sequence.

Leading to the final shot, the audience is forced to sit through a long and slow-paced one-take where the Hunter tauntingly marches towards the hiding Survivor, where the camera eventually turns away to follow her attempting to escape, leaving him out of view. This follows Barthes' theory on enigma codes as the audience is now unaware of whether she will escape unharmed or not since the threat is no longer visible, this engages them as tension is quickly built when they become invested in her survival and want to keep watching to find out what happens.

Finally, this tension is released in the form of a jumpscare as the camera cuts to the Hunter suddenly swinging his axe down at the camera, another typical Horror convention that excites and engages with audiences through an essentially forced reaction. This also ends the sequence with various unanswered questions, such as ‘Who is this man?’ ‘Why did he kill her?’ ‘Who else will he kill?’... This encourages viewers to watch the rest of the film to answer these questions.

The axe prop also incites a reaction from the audience due to its sheer size and intimidating blood-soaked image, creating more excitement that if we were to have used a prop like a gun - a weapon with no nuance or unpredictability in film, whereas unconventional and unique prop weapons open opportunities for memorable iconography.

Our sequence as a whole follows Blummers and Katz’ theory on uses and gratification and would likely be used as a form of Escapism since it takes place in the unrealistic setting of a post-apocalyptic forest/abandoned junkyard and follows a young woman escaping from an axe-wielding serial killer on a motorcycle… so it can be watched as a complete separation from reality to immerse audiences into fantasy.

Overall, I think our sequence was very successful in engaging our audience, particularly our target audience, as it contains various scenes and popular themes that leave unanswered questions and stimulate curiosity within the viewer, encouraging a full watch of the wider film.

My Poster Design;

The drawing in the poster is taken from my favourite shot of our sequence, midway through the final one-take where the Hunter steps into the shot with the mighty silhouette of his axe, whilst the Survivor hopelessly covers her mouth in horror. This directly references the main scene/plot of the film, where the masked killer sneaks up on his terrified victims and kills them with his weapon of choice - a giant blood-soaked axe, which brings up the same previously mentioned unanswered questions, engaging the audience with excitement and curiosity as they wonder whose blood is on his axe, or even if the girl makes it out alive… the look of pure terror on her face also suggests that its tone will make for an intense and immersive viewing experience as we follow her through her fight for survival.

inspiration;

Link to the annotated version of this Poster analysing how it engages our audience;

Studio and Marketing Campaign

I think the studio best suited to distribute our film would be the American film and television production company Blumhouse Productions, founded by Jason Blum in 2000. This would be a good fit as they are known to almost exclusively produce films of the Horror genre, with some of their most successful films including; Paranormal Activity, Halloween, Insidious, Get Out, Split, Happy Death Day, and Us.

Due to the genre and premise of our sequence, I can’t help but associate it with what would be a larger production as Horror is overall very marketable and widespread, especially if it’s Blumhouse that’s producing it, but its more niche sub-genres would prevent it from being a massive globally announced cinema release. Its marketing campaign would follow that of a conventional slightly upper budget Horror film, such as Blumhouse’s upcoming ‘Unhuman’, through posting various trailers on Youtube and their official Instagram page to gain views and attention from their own fans, as well as our target audience of 15-17 year old males since they generally spend a large amount of time on social media. However, an instance of more detailed marketing is seen with their film ‘The Invisible Man’; since it was about… an invisible man, they maintained high levels of mystery when distributing posters and promotional material about it. This included creating an official website for the film, featuring motion art from scenes in the film with text reading ‘He’s standing right behind you’ to reflect its theme.

It would likely premier at a film festival like the Sundance Film Festival as it also supports independent filmmakers like our group, and its reputation would provide the necessary reach to attract a wider audience. After its initial theatrical release, it would also be uploaded to a streaming service like Netflix or Youtube, This makes sense as Blumhouse are a large company with a high budget and often put up their films to large streaming services as well, with films such as ‘Get Out’ and ‘Happy Death Day’ being uploaded to Youtube and Amazon Prime in addition to a traditional cinema release. Services like these are also easily accessible to audiences, allowing for the somewhat wider reach of an average Horror film whilst inviting a smaller following of its respective genre.

 

CCR Task 1

How does your product use or challenge conventions and how does it represent social groups or issues?

This task discusses our sequence's use of Genre Conventions in comparison to other films of the same genre, as well as considering any representations it may have.

 

Last days of Editing

Since we finished our final cut very quickly, we spent the majority of our editing process focusing on sound design as it played such a large part in our story, mainly from the motorcycle revving and a lot of extra sound effects over certain shots where the original audio was overwhelmed by the wind blowing into the mic.

To fix the muddy wind recording, we simply turned down the original track and added much clearer recorded wind ambience, which fit very well with the vastly empty setting, and the occasional ghostly whistles served as some type of very minimal creepy soundtrack without taking the attention away from the action on screen.

In order to add different types of tension in our sequence, we split it into three main paces and sounds;

The opening third was made of fewer but longer shots and as there was no immediate danger yet, as well as simple wind blowing in the background, rustling footsteps, and minimal effects such as fabric ripping from her shirt, which we had to correctly time very tediously.

Then as she hears the revving coming from the distance in the middle third, we picked up the pace and cut every shot much shorter to add a sense of panic and survival instinct, as well as fading in the motorcycle audio in time with her reaction, making sure to change its volume and the left/right panning with every location change to mirror how she would have experienced it. Not many other sound effects were needed for this section as the loud revving would have overpowered quieter noises like footsteps.

Finally, the final third was made up of our long take, so no cutting was needed except for timing a continuity issue with the previous shot as she opened the door with different hands, so we cut the last one shorter and extended the opening of the one take instead of cutting it halfway through the action. Sound design was crucial for building tension in this section even if silence played a large role in creating it; we wanted to maintain the focus onto the sounds of the hunter as the main source of fear, yet still fill the scene with quiet sound effects, which could have gone unnoticed, but in my opinion really added to the atmosphere and realism. We spent a considerable part of our time trying to perfect this section with every effect;

• The wind blowing was turned down as the camera moved further into the garage, yet was still kept in to maintain the eerie ambience and accentuate the silence

• The revving was also turned down as the motorcycle came to a stop outside the garage

• Strangely of one of my favourite sounds; Tiny metal hinge squeaks from even the smallest opening or closing of the car door as it was clearly such an old abandoned car, which we changed the speed of/reversed accordingly with its direction

• Heavy and boomy footsteps from the Hunter stomping into the garage with his large boots, which we had to make sure to closely time to his stepping movements of course, as well as add variation

• Another favourite was the thud of his axe onto the ground, and its slow, dragged out scraping across the rough surface, which we achieved by significantly slowing down a shorter scraping audio to make it sound heavier, I got very excited once this came together exactly as expected since it worked so well as almost an omen of looming danger

• In the final few seconds before the jumpscare as the Survivor crawls forwards to escape, a rising strings section quickly builds up, which was quiet enough to not be an obvious warning of the upcoming jumpscare, yet still built a sense of unease and served as a perfect bridge between the mostly silent scene and the sudden axe swing.

• The very quick swooshing of an axe was added for realism of course as the impressive weapon came crashing down

• Once the screen cut to black as the axe approached, which we timed with sudden dissonant loud musical notes and unsettling echoes layered on top of each other, perhaps as a representation of her death

Overall I could not be happier with how the sound came together, particularly in the final shot as it perfectly mirror how I had pictured the scene in the moment; a very obvious windy silence in contrast to the loud revving, but in a completely different tone to the opening’s similarly minimal wind rustling as it now reflected how there was no obvious sound of danger to escape from anymore like she did with the revving, rather than a simple lack of obvious danger. Yet despite the resounding silence, a perfect unsettling tension was created from the smaller unnoticeable effects that added atmosphere to an otherwise fairly audibly empty scene, as well as shifting the focus onto the booming footsteps and axe scraping of the approaching threat.

Finally, we were initially unsure of how to approach adding titles to our sequence as it was something we had admittedly not heavily considered beforehand, so we decided to just roughly go for it and add a credit sequence template over the project, cutting them shorter and closer together according to what we thought flowed better, making sure to concentrate them to the first two thirds in order to leave more space for the final shot. We then took turns in adding our friends’ names in the credits’ places to save time instead of coming up with fake names, except for naming our supposed production company after the word printed on the hoodie Max was wearing that day. We also ended up making the final choice of assigning the directing credit to me (which, although was only for the purpose of a smooth credit sequence, I was selfishly giddy about), the editing credit to Joy and the camera operator to Max.

Overall, the similar issue occurred where I unintentionally left a lot of the burden of tedious editing onto the other two as I was unable to spend my Private Studies editing, yet I did manage to come in two activities slots to help out and was a lot more hands on in our lessons. I still felt very guilty about not helping out as much though and made sure to thank Max and Joy for all of their incredible hard work, perhaps a little too much to their annoyance, but I really was grateful as they took on the job so gracefully and impressively. As a group we luckily shared a nearly identical vision to what we wanted the final product to look like, so we ended up all being so satisfied with our project and it was wonderful to see every step of the process as we quietly celebrated every time we managed to make something work perfectly. I generally could not be happier with the finished product considering the time limit we had to complete it.

 

First days of Editing

The first day of editing, my group sat down at our designated Mac and opened up our project to review all of the footage, I would say this was strangely one of my favourite moments from the whole process - at this point we had left a two week gap since our shooting day, so this gave me enough time to look at the footage from a fresh perspective, which only added to my excitement as it now involved an element of surprise. 

We were all extremely pleased with how the footage had turned out and immediately started piecing together what shots looked best onto the timeline, separated by smaller sequences e.g. one for the action of ripping her sleeve off, and another for her chase sequence. Our choices for these orders were fairly straightforward as we had shot them in mostly chronological order, with the last take of every shot being the overall best one. 

We also generally filmed only what we needed, with a few exceptions of some establishing shots we didn’t use as we didn’t want to add to our already slightly long run time, as well as some extra close ups for our last shot in case we decided against the idea of a single long take, which were a CU of Mike’s boots stepping into the garage and dropping the axe into the ground to drag off screen, and another CU of Meadow’s terrified expression in the car before reaching out to open its door.

As we began placing and cutting these shots together into their respective sequences, we started noticing a few very minor continuity mistakes, which thankfully weren’t enough to be considered irreversible, but would prove to simply be tedious to fix, particularly with our often perfectionist nature - luckily this didn’t get in our way as much as I worried it would since we were mainly just so happy with the footage in general and were very excited about how cool it all looked.

Once we had finished a rough cut of the whole project, we ran into the slight issue of an overly long run time of 3 minutes, meaning we had to sacrifice the short sequence of the Survivor pulling out the car parts to put into her bag, instead cutting straight from her opening her bag and finding the zipper broken to pulling up her wounded leg onto the car hood. Whilst it was unfortunate that we couldn’t include those props that I particularly liked the look of, I wasn’t too bothered by this as it wasn’t fully necessary to the story and the scene still ran smoothly without it, we also had plenty of other visually engaging shots to make up for it. 

Our first few days of editing proved to be extremely productive and effective as we had essentially already cut together the finished product (minus the titles and audio editing of course). However, I was slightly disappointed in my own lack of involvement in these first crucial days since my Private Study slot took place just when another Media class had to edit, whilst Max and Joy shared their slot and were able to produce incredible amounts of work in a short period of time, so when I properly sat down with them after just one session away I was both extremely impressed and somewhat guilty for not having contributed as much as I could have since I had effectively passed the responsibility onto them.

Shoot Day Reflection

This is a full overview of how our Shooting day turned out as well as my general thoughts throughout.

The day of our shoot started very early for me, I made sure to set my alarm to wake up sooner and have plenty of time to make sure I was bringing everything I could possibly need - any extra makeup, my camera, fully charged phone, etc… before heading over to school and sitting down at breakfast with Meadow, discussing our excitement and anxiously looking around to spot Max and Joy. Once the group was together, I handed Meadow the costume for her to calmly get changed into whilst we carried our props from our Media classroom over to the buses, making sure to quickly shoot some behind the scenes footage, then we were ready to go!

Around 20 minutes into the bus ride, I decided to start doing Meadow’s makeup - I wanted a closer window between its application and filming it in order for it to smudge less over time and look as fresh as possible, but still allowing me enough time to not rush it. It was all turning out very well, the wound prosthetic even stuck down exactly as I had hoped and my plan of using gel on her hair to make it appear more dishevelled worked out great! Until we ran into a small issue when the bus transporting us to our location broke down… This was unpreventable as it all simply came down to the faulty bus, so although definitely not an ideal situation, we kept in good spirits and mainly found the situation quite funny - I’d say it’s crucial for cast and crew to be in a good mood for shooting small projects, particularly one-day shoots like this one, so we were lucky we still felt confident. Whilst we waited for a replacement bus to arrive, I took the opportunity to take some cool photos of Meadow in costume and fiddle around with how her hair would look, unfortunately I didn’t work on her makeup as it would have looked extremely concerning to passerby's to see me covering her leg in blood with no context, but we had fun regardless and decided to have our lunch early in order to save us some time on the actual location to get straight to working. 

Once we arrived on location at Tulleys Farm, we unloaded all of our equipment onto some type of golf cart that the owners had very kindly and conveniently provided us with, this greatly helped with transporting everything, including ourselves. We soon got to our first set in the junkyard, and with great efforts to suppress how jittery I felt, we immediately got to setting up the camera or examining the specific cars for potentially useful shots. As a group we briefly came up with the order of locations and actions that we would shoot in order so that we were all on the same page, so after we had the basic plan and our first shot was set up, we began filming. Right away, I was incredibly relieved to see how similar the shots looked to the vision I had in mind since the start of our planning process, Max was extremely quick and fluent as camera operator, resulting in actually interestingly framed shots done with great efficiency - throughout this initial section, Max was the main camera operator whilst Joy and I switched around from being on sound, shooting behind the scenes footage, and touching up makeup/costume. My favourite part of the entire day was almost certainly filming the sequence of shots in this initial half where Meadow reveals the wound on her leg and rips off her sleeve to use as a bandage, this was mainly due to how satisfyingly accurate it was to my ideal version of how this scene would turn out and it overall felt like such exciting material to shoot.

We did have a few minor issues in that exact sequence with makeup and costume however, which were entirely my doing but I have definitely kept in mind for any future projects, as the tight leg on the trousers meant that they would slightly lift up the prosthetic wound whenever Meadow pulled them up for different takes, which slightly unstuck the side of the prosthetic as it had started to wear out anyway - I should have waited slightly longer before applying this wound on her leg, although I am not too concerned by this timing error of mine since I wasn’t expecting the bus to break down and create an even longer gap between application and filming, and I ended up somewhat fixing it with the foolproof method of simply adding more fake blood. Then, when it came to ripping up the shirt, the shirt’s material proved to be very tough to rip as Meadow struggled to tear it off of her arm - Joy and I did make sure to have tested the ‘rippability’ of the shirt the day before in our own time, I did find it fairly difficult to do but eventually managed, yet I had failed to consider that I had ripped it from a different angle, as well as the fact that I was with a friend instead of being in front of an entire crew with a camera pointed in my face, we did fix it however by simply snipping up a large cut in the sleeve behind her shoulder for her to grab and pull at, as well as using clever camera angles to take the focus away from this clearly pre-ripped sleeve.

The second half we had left to shoot was much more straightforward this time as we only needed two shots in the end; her running into the garage, and one long continuous take of the final action in the sequence. Filming a long one-take wasn’t my original intention at least as I had been planning for an admittedly much more tedious ending scene of the motorcycle surrounding the garage/shed around her, followed by a jumpscare, but the one-take ended up working very well as it built fear and much more intense tension from a quiet scene where you can only hear the Hunter’s heavy footsteps and scraping of the axe, desperately hoping the Survivor escapes her hiding spot in the car quietly. We also got to use a studio light that lit up Meadow’s face from within the car very nicely, and watching her wonderful acting in close up was a great moment. This shot was also unexpectedly very nerve wrecking for me, I had never attempted to film a long take myself before and when it came to my turn on the Camera Operator rotation, I didn’t expect to suddenly get so nervous just before hitting record and I felt my heart beating all throughout quietly stepping around without making any noise and making sure to call out the action queues on time, which honestly was a very fun experience that I would love to attempt again someday.

The only slight mistake I realised we made only after we had wrapped up was a simple annoying continuity error, where Meadow ran off in one scene whilst carrying her bag, yet the running scene straight after showed her empty handed, I’m hoping we can fix this by cutting the first shot a bit earlier or perhaps even cropping the bag out of it, but we will have time to solve that issue when we begin editing. I remembered another issue with the chase scene just before we called out to wrap up the day as I visualised the transition between the two scenes and how in the first shot Meadow ran from left to right, but is running from right to left in the next one, to fix this we filmed a brief shot of her running into frame from left to right, and then deciding to turn back around to run in a different direction - this fixed the issue with direction, but I’m slightly worried about location continuity as all three shots have different backgrounds, cars, and ground, yet it could also simply come off as time jumping to different stages of her escaping so I’m not entirely worried for now. I am overall not concerned about the editing process, mainly because I am significantly more excited and enthusiastic to start it more so than I am nervous, but also because I know I’ll get plenty of support and help from my very talented group mates in the edit suite just as we had offered each other on shooting day as everyone was so professional, efficient, and suggested plenty of creative input and their own skills to contribute so such a smoothly running day as a whole.

 

Shoot Day Notes

These are some quick notes I jotted down at the end of our Shooting day in order to remember any specific thoughts I had throughout - although I ended up remembering every meticulous detail of the day anyway since I found it so fun and had no problem retaining the entire experience.

What went well and why? 

• We managed to shoot everything we wanted and more within daylight with lots of leftover time, despite the late start

• Prosthetic (initially) stuck down and generally turned out a lot better than I was expecting

• Everyone was professional and offered their own individual input and skills so we got everything done smoothly and efficiently

• It was extremely exciting for me personally as all the shots were coming together identically to how I had pictured them in my head

• Carrying the equipment around was very easy (and fun) as we had access to a very convenient cart to drive it around from one location to the next

• We ended up changing how the final sequence would play out but with the same sentiment, it went from intense chaos from the motorcycle surrounding the shack followed by momentary relief, and finally a jumpscare  - to complete tense silence with only footsteps and the Survivor trying to sneak outside again, only to be (somewhat) jump-scared. 

Did any issue arise and, if so, how did you fix them? / What could you have done differently? 

• Bus broke down unexpectedly for two hours, meaning we had much less time to film, but we instead took the time to have lunch early to save time and I fiddled around a bit with costume and makeup, but then we got picked up by another bus and managed to shoot everything

• Better transition from junkyard to garage (keeping background + ground material similar) as it was fixed last minute

• Simple continuity error where she ran off with her bag and then appeared in the next scene without it, and the Hunter entering the shot from the other side (not impossible, but just didn’t make as much sense as entering in the same direction as the Survivor)

• Prosthetic cut could have been glued down better (but - the amount of time between application and shooting was unexpected, and was fixed with readjusting leg position + more fake blood)

• Very nitpicky but I could’ve progressively added more gel in her hair/face as she ran and sweated more

• Could have planned out the jump scare a bit better

Did you learn any new technical skills? Did you learn any new technical language? 

• The one-take sequence was a new experience

How did the skills that you learned in the initial camera workshops at the start of term help prepare you for the shoot? 

• A few seconds before yelling cut

• 180 degree rule for filming the final jumpscare

• Max adjusted exposure accordingly

What equipment did you use (make sure to include any lights or additional equipment you may have used as well) 

• Light stick thing in car to light up only the Survivor’s face

What was your favourite part of the day? 

• The sequence where she ripped the sleeve off to tie around her wound played out exactly as I wanted it to and simply looked awesome, was also around the time I realised it would all come together as expected and that it would be great

• Filming the one take was a very interesting new experience that was surprisingly nerve wracking (through no fault other than my own - cast and crew were very kind)

Are you happy with the footage you have shot? 

• Yes except for transition between the two locations simply due to continuity errors

• Aside from that simple mistake, the composition and colours of every shot were absolutely amazing and really looked like a post-apocalyptic film

• We also certainly got all of the shots we needed as I made sure to film any extra shots, such as a close-up of the axe dragging across the ground, despite intending on that sequence to be one continuous take, or a few extra shots of the locations in case we want to have a brief world establishing shot sequence if we wanted to, better to have footage and not need it rather than no footage and need it

What have you learned that you can use for your next filming project? 

• If you have an idea that you think will look good but you’re slightly unsure of, to just go for it, and if it doesn’t end up working, you can always just film something else because it might end up turning out perfect unexpectedly. I learnt this since I started feeling unsure of whether or not the Survivor should rip her sleeve off as it could be complicated to pull off, but we ended up going for it after receiving some encouragement and, despite the actress struggling slightly with ripping the shirt (which was my mistake), we managed to make it work through selective angles and cutting up a massive rip hidden behind her arm to ease the effort.

If you had to do it again, what would you do differently? 

• Test out the ‘rippability’ of the shirt better

• Buy a slightly better quality bag as the zipper broke (even though we made it work)

• Take a note of small continuities like whether she ran off with the bag or not

• This is nit-picky but the makeup I did on her face ended up coming out a bit bloodier than I intended, which looked great but didn’t make as much narrative sense as simply having a lot of dirt or simple scratches on her face instead of a full on bloody wound on her forehead

What are you most excited about when it comes to editing? 

• Watching and physically crafting my vision come together into a solid project

• I’m also looking forward to looking through all of the actual camera footage and seeing the shots up close in detail

What challenges do you face in the edit suite?

• In the last project I did in the edit suite, I struggled with the overall process simply due to issues with footage that I very messily shot; the actions were generally difficult to nail down and the audio was hard to edit in time mainly due to overlapping dialogue or irregular timing.

• I found the audio issues in particular very confusing to fix, I’m confident enough I could have eventually figured it out if I wasn’t as annoyed by the footage - I tend to get fairly emotionally invested when filmmaking, which can either be very fun or very inconvenient for myself and others, I hope to work on it.

• I didn’t let this bring my spirits down for this project however, I know I’ll try my very best to make it work to be the best of my ability with enthusiasm and determination, and of course a lot more patience and time