Implementation - Adding credits

After planning how our credit sequence would appear within the dating app interface, I began implementing the visual design using Canva. At this stage, my focus was solely on constructing the credit screen interface rather than filming the footage

I started by opening Canva and selecting a blank poster-sized template. Using a larger working space allowed me to design the layout clearly before resizing it later to fit the phone screen proportions. To replicate the dating app structure, I inserted a rectangle shape provided by Canva and positioned it where the profile picture would normally appear. I changed the color of this rectangle to black in order to create contrast and clearly separate it from the light background of the interface. This black box acts as the main credit panel.

Under the rectangle, I added two circular shapes to replicate the swipe interaction buttons commonly seen in dating apps. I adjusted the color of the circle to grey so they would contrast with the background while reminding. Subtle. Inside the circles , I inserted a red X and the other a pink heart. Resizing them to fit proportionally within the shapes. 

After adding my group member and actors names/roles it was complete. Through this design I realized the small visual details significantly affect realism. The position of shapes, color, contrast all contribute to whether the credits scene will be believable and realistic

This is the finished credit scene and dating app interface

After talking with my group, we all decided it would be best if we made our own name for the dating app instead of using "Tinder" so I also made corrections to that.

This is the finished dating app interface

Planning - Making credits scene

 Following my research into thriller credit conventions, I began planning how our credit sequence will be constructed within our own film opening. 

Since our opening scene shows Lena scrolling through potential matches on her phone before showing Claire Michael's profile, we decided that the credits will appear directly on the phone screen during this over-the-shoulder shot. This allows the credits to feel integrated into the narrative rather than appearing separately on a black screen. 

I plan to use a clean font that resembles text commonly seen in mobile apps. This supports the setting of our film and avoids drawing unnecessary attention away from the action. Using a simple grey font color will be most effective, as it will contrast clearly against the darker tone of the phones interface.

Designing process : 

This is a screen shot from Canva, showing the template I chose

To design the credit scene, I plan to use Canva. I previously used Canva to design the dating app interface which would later be shown, so using the same platform will ensure consistency in layout, font style, and the visual structure. 

Note : This will allow the credits to blend seamlessly into the existing interface design, making them appear as though they are naturally part of the dating app.

In terms of the placement, instead of displaying each actor’s names as individual profiles, I plan to design a single black profile box positioned where the profile picture would normally appear on the dating app interface. Inside the box each of the cast members names and roles will be listed vertically, similar to a traditional credit layout. This will clearly signal to the audience that this section functions as the credit sequence while still remaining embedded within the apps structure.

To keep the realism, I will also include the familiar heart and “x” buttons at the bottom of the screen, similar to the layout used by dating apps such as “Tinder”. Keeping these recognizable features ensures the interface feels authentic. 

Note : Lena will swipe past the credit scene in a casual manner, allowing it to look and feel seamless. 

Key factor :

One thing I am slightly worried about is the pacing. The credit must stay visible long enough for the audience to read the names and roles clearly, but not so long that it disrupts the natural scrolling rhythm. 

Research - Making a credit scene

 In order to design an effective credit sequence for our thriller opening, I researched how professional films use opening titles to establish tone and support narrative themes.

Example 1 : (45) Se7en (1995) title sequence - YouTube

Se7en (1995 ) title sequence

One of the most influential thriller sequences I analyzed was from Se7en. In this opening, the credits are layered over fragmented close-ups and unsettling imagery rather than appearing on a blank screen. Since it’s distorted it reinforces the psychological tension of the film. This demonstrates that credits are not simply informational and can visually communicate genre before the narrative unfolds. 

Through further research into thriller conventions, I found that many films use :

- Minimalistic fonts to maintain realism

- Dark or muted color palettes to reflect low-key lighting

- Slow pacing to build suspense

- Integration of text within the scene rather then separating it

This is important in modern thrillers when maintaining immersion is key. When credits appear disconnected from the narrative, tension can weaken.

Application to the film opening :

This research is especially relevant to our film opening because our story begins in a seemingly casual and modern environment. Two teenage girls scrolling and talking on their phones. But for this specific scene they happen to be scrolling through potential matches on a dating app. Unlike traditional thrillers that begin dark or visibly dangerous, our opening presents normality at first. Therefore, the credits must subtly support the genre without disrupting the realism of the scene. 

I found that embedding credits within a realistic environment, allows the audience to remain immersed while still establishing tone. Since our opening focuses on online interaction and hidden motives, the way the credits are presented must reflect this theme of digital modernity and concealed danger. 

Note : My group and I aim to seamlessly add the credits into our film without interrupting the atmosphere. And since the girls are using their phones, ads are very likely to pop up on online websites so this wouldn’t interrupt anything. 

Implementation - Importance of lighting

 In my previous planning post, I explained that I wanted to experiment with chiaroscuro lighting using a single light source and a Lego figure against a black background. My aim was to test how different lighting angles would affect the mood and whether this technique would be effective in creating a thriller feeling in our film opening. 

# 1. Top lighting

This is a picture I took of Lego's with lighting from above

When placing the light source directly above the figure, the shadows fell underneath the chin and slightly under the facial features. While this did create some depth, the face remained mostly visible and evenly lit. The effect was slightly dramatic but not strongly threatening. The top lighting created dimension, but it did not change any major facial features, keeping the Lego looking friendly rather than intimidating. 

Note : This showed me top lighting can create shadow, but may not be intense enough to communicate “danger” within my thriller. 

# 2. Front lighting

This is a picture I took of Lego's with lighting from the front

When the light source was placed directly in front of the figure, the shadows were significantly reduced. The Lego appeared flat and more two-dimensional. Because the entire face and torso were evenly illuminated, there was little contrast between light and dark areas. The lighting made the Lego look neutral and almost cheerful. In terms of our genre, this would not be effective for our thriller because it removes the mystery. The lack of shadow means there is nothing hidden from the audience, reducing the tension. 

# 3. Side Lighting

This is a picture I took of Lego's with lighting from the side

The side lighting created the strongest contrast. One half of the figures face was illuminated, while the other half was partially covered in shadow. The immediately created a more dramatic and visually striking image. The division between lighting and dark emphasizes mystery and could represent duality. Perfectly describing one of the characters in our film, Michael. At first, he appears kind and harmless during the park scene, but later reveals a darker intention when he drugs Lena. Using side lighting in the car scene could visually reinforce this dual natural by partially hiding his face. 

Application to the film opening

From my results, I learned that side lighting is the most effective techniques for creating tension and unease. In our film opening, this will be particularly useful in the park scene, when foreshadowing danger. As well as the car scene before Lena passes out. 

My group and I also plan to use low lighting in the car so Michael's face in not fully visible, positioning the audience to feel uncertain about him even before the final reveal. While Lena is meant to be slightly more illuminated because of her visibility, emphasizing vulnerability. 

Implementation - Building tension

 In my previous planning post, I explained that I wanted to experiment with shallow depth of field and selective focus as a way to build tension. Rather that relying relying solely on dialogue or music, I wanted to use cinematography to visually restrict what the audience can clearly see . Through my research, I found that limiting visual clarity creates unease because it forces that audiences to question what is happening beyond the focused subject.

This is a picture I took of Lego's

What happened ?

So, I recreates a shallow focus setup using two Lego figures placed at different distances from the camera against a black background. The figure positioned closer to the camera remained in sharp focus, while the figure placed further back became blurred. By adjusting the distance between them, I was able to control how distorted that background appeared. 

When the foreground Lego was clear and the background Lego was blurred the image immediately created tension. Although the second figure was not fully visible, its silhouette could still be identified. This partial visibility is important because it creates uncertainty rather than complete concealment. The audience becomes aware that something is present, but can’t fully interpret it.  

Purpose to the film : 

This experiment directly links to our film opening, especially in the moment where Lena begins to feel unwell after drinking from her cup. When she says, “My head kind of hurts” we plan to subtly introduce a blur effect to represent her disorientation. Instead of cutting immediately to something dramatic, the blur will gradually increase. This progression mirrors the way the drug takes effect, aligning the audience with Lena’s perspective.

In the car scene, as her breathing slows and her eyes begin to close, the blur can become more intense. Michael, who is in control of the situation, may remain clearer in frame while Lena’s perspective becomes increasingly distorted. This contrast reinforces the power imbalance between them.

When implementing shallow focus in this way, cinematography becomes a storytelling device rather then just a visual choice. The blur effect is not random but motivated by Lena’s physical and mental state, strengthening the thriller conventions or uncertainty and unease

Research - Credits

 https://www.youtube.com/watch?v=hJjal1Wpo1M

5 Best End Credits of All Time

Top five end credits of all time 

1. 1. Coda credits, these grabs on to the final emotional note and let it ring out in a sustain letting the audience hold on to the final feeling and carrying echos of it out with them as the credits roll 

2. 2. Classic epilogue this is when the story is over but the author gives some extra footage to fuel your imagination as the credits pass along down over, through editing 

3. 3. When credit sequences take up the characters mantle of a secondary character or plot line. One that may have gotten lost and then returns to the story in a tangential manner as the credits roll 

4. 4. When credits roll as they invite you behind the scenes, fracturing the narrative illusion, inviting you to consider the story as just that. A story. Pushing the audience back into the world outside of the movie screen. 

5. 5. To show the audience how to say goodbye to the story, with a final bonus check or invitation to imagine a bigger world that’s still there and even after the audience stops viewing it. Again, as the credits roll behind 

 

These are all amazing ways to add credits and after discussing, my group and I decided to use coda credits. We felt using the coda credits would be best because we can emphasize the main point of suspense in our story and also keep the audience engaged as the view the ending. 

Implementation - Dating app

Design process

To begin, I started by using the “poster” sized base in Canva to act as the background. This gave me a clean layout that closely resembles Tinder’s interface. Then I imported a photo of our actor from his instagram and used it as the profile image. 

I then started resizing the image carefully, constantly comparing my work to the reference photos I have of tinders interface. Ensuring the proportions were correct and the scale felt realistic. I felt maintaining accurate sizing was important so that the layout would immediately be recognizable to the audience. 

When I finished positioning the profile picture, I added the characters name and age on the bottom left corner of the image. The placement was very intentional, as this mirrors the typical structure of dating profiles, which helps the audience quickly identify the information. 

Designing the interactive elements :

After I finished positioning the photo to my liking, I started designing the “like” and “pass” buttons. I inserted two white-ish gray circles beneath the profile image and spaced them evenly to replicate the standard layout of swipe-based dating apps. These circles will function as the base for the buttons. 

Then I added the heart icon and the “X” icon, which were both provided by the Canva app. I layered them on top of the white-ish gray circles I previously mentioned. Careful alignment ensured the symbols were centered and visually balanced. I then readjusted the spacing of the bottoms closer together so it’s easy for the actor to interact with it. 

Final outcomes :

Once I was satisfied with the proportions of the picture, I saved the design. I felt the completed layout clearly resembles a tinder-style interface, making it instantly recognizable to viewers. By constructing the picture instead of relying on a pre-made template, allowed me to be in full control of the sizing and spacing of each part. 

This is the finished product of my groups “tinder” interface.