Opening Titles Editing Stage

What we have collected from our research into general Thriller films is that the opening are often  very simple, repetitive scene like the lift descent at the start of Speed , or begin as if its any old romance/ dull or boring, or even a happy/ light-hearted film such as the psychological thrillers The Birds, Pyscho, and even the more modern ones such as Malice (which I intend to review some time soon- after fining out my parents were recently watching it after I interviewed them on paper).

I did my job in doing the building blocks of the editing for my other 2 peers whilst Sam got on with the vlog. When I imported that shots, it seemed to not take up the whole screen on the preview, so I did the thing of enlarging each shot to fit the screen which wasn't a big deal (Ctrl + Drag).
It became quite a challenge at one point, as when I walk into the office, there's shots of Sam hiding behind the door which involves having to cut shots and switch back and forth- where we decided to do  a series of hard cuts (no fades) to keep the viewer focused on the screen whereas the rest of the piece involves tonnes of swift/ soft fades to each shot.

For the piano shots, I had made 2 versions of my piano track; a simpler 2 handed version that Sam could easily mimic when we filmed him on the piano. In this piece we plan to keep this new version of the track, so it fits with the shots we've taken regardless if the viewer knows a lot of music theory or not.

We collectively added in a 'film/ cross dissolve' video transition on Adobe Premiere to make the whole opening feel smooth with the soft, dark music rather than a bunch of hard cuts to each shot; the only time we use hard shots is the part I am walking into my office where it constantly switches to Sam who is hiding behind a door for the right time to pounce.

My peer Bradley took on the editing from the building blocks I had left which was all the scenes in the preferred order all the way to the end. With this we both worked on the scene I get my neck broken by Sam and agreed the lightning was too light on my face, so he got my face darkened to make it realistic to the dim light scene I was in.

My peer Jack took control of laying out and creating the credits for us (including made up names for roles such as Executive Producer and Costumer Designer that would be legitimate in the actually film industry (but not necessary at our stage).