Evaluation

Watching the film back there are strong elements throughout, the most predominant positive outcome of the film is the cinematography. The tracking shots allow the viewer to see the great location we were able to establish, there is certainly a simple clean style that runs throughout the film never at any point is their a complicated shot or sequence of shots, nothing is over the top or ill-considered. The focus in all shots is well maintained throughout a key element that many student films fail on occasions. The motion of the tracking shots carries the audience from location to location and conversations are well framed with the well proven technique of shot reverse shot which is well executed. There is also intuitive filming techniques used that work well such as the track and pan which is completed fluidly with little shake. The technique of tilting a tripod from two stools that myself and the cinematographer used as Adam awakens in the dream sequence works well again with no wobble, the resulting position however breaks the reverse shot framing convention but is suggestive of his uncertain mental state which is fitting for this scene. The two whip pans that I filmed are a classic horror style camera movement and for good reason the pans peak the tension built up through the previous shots, the lighting behind Lily on both pans cause her to silhouetted which complements the pan as her identity remains concealed. Moving on the lighting this is another of the strong elements in the film which complements the shots throughout, what we were able to achieve with such limited experience with the lights is very positive and something I can congratulate myself on, the conversation between John Greene and Adam Praed in particular as the lighting seems natural with no indication of where we may have it the scene from, shadows are never visible when unwanted, the shading on Adams face works well to accentuate his facial expression, the actor recovering from a virus makes his expression even more prominent. The Kino-flo back lighting detracts the actors from the dark background with help from a Dedo to fill areas was well executed, with need for little or no adjustment. In general the lighting in the film is a strong feature, its rare in the film that the audience could tell it had been lit, in particular the long walking shots of Adam where by his face is only lit with the hot shoe camera lamp, the only give away being the white glow in his eyes, though this I did mention added to his unsure character temperament. The actors that I managed to get hold is a strong element of the film, using student actors in student films is a dead giveaway that they're amateur productions, and so having these actors all middle aged to play the adult roles reflects the quality of the pre production management. The sound in the film is of a high standard, the sound designer did a meticulous job on the foley and the score at the beginning of the film is fitting to the theme both of fear and horror creating tension from the outset. However despite these many strengths I feel the production is let down on the fundamental mistakes and weaknesses, the most noticeable personally is the editing. The cinematographer had captured a great deal of footage possibly slightly too much but still workable, which did pose a problem when it came to cutting the piece down to under ten minutes. Though once the film had been cut down to this length is was still rife with ill considered cuts (a pet hate of mine) but also an element that should have been noticed either by the editor or the director. The lack of awareness when cutting between the conversations made it hard for me to watch and the viewers, the cuts are so quick the viewer isn't able to grasp the dialogue, they create an unnerving sense of disorientation ruining the well lit shots and performances, some of the cuts being almost instantiations, I believe lack of research into cutting or lack of enthusiasm toward the piece has caused this catastrophic downfall. This failure on cutting is also evident in the initial meeting between John Greene and Adam Praed in Johns office, we see Adam take a seat but then cut to John as he speaks which feels again ill considered. Subsequently the length of shots before cutting confuses me, the long take where John takes Adam through the market in closing time is cut almost in half which is a great shame as we gain information about other concerns that John talks about the shot also captures the distinctive aesthetic of the market, though this is cut to accommodate other aspects of the film I'm again confused as to why a shot of Adam in the lift which has not dialogue is held for an extended amount of time developing nothing in terms of story plot. Though the sound in the film is good it could have been better in some areas, in particular the whip pans where we see Lily, these shots are typically accompanied with a loud tone to shock the audience, unfortunately the whole build up in tension becomes a crescendo of empty sound thus diminishing the audiences expectations of being shocked, rendering the film a somewhat failure as a horror piece.


When completing this film I started by obtaining a location as I knew months before the film that I wanted to shoot within the market and tailer the script to the market in many respects so that we nothing was scripted that couldn't be filmed in the location. I then set about getting actors to play the roles using an internet website. I then helped the cinematographer work out how the film would be shot and draw up rough storyboards which were then copied up in neat. With no uniforms sorted I then took it upon myself to sort these out with the actors as I was worried they wouldn't have any costumes to wear. A schedule was then created and sent out to all actors and altered if there were any problems with the days. Lastly we booked out the relevant equipment on Friday prior to the monday of filming, each actor was then contacted daily until all the footage had been captured. I then pro-resed the footage and gave it to the editor and sound editor ready for editing and sound design. I have learnt that in my future projects I want to avoid being the producer for films as the creative control is restricted, or in university it seems to be and focuses on the organisation of the project which is uninteresting as I feel more suited to hands on roles, though in this film and others I have always been a strong part of the filming, and general aesthetic of the film down to creating a final export to be screened.


As producer I congratulate myself on what I have done for the project, all of the actors were contacted by myself and the ones that I managed to secure for the project were fitting for the characters they had to play, in particular David Worden as his face suggests an underlying agenda or a hidden persona. I kept these actors constantly updated with new scripts as the director sent me new ones, I made sure I had met all actors prior to the shoot to discuss and problems or queries. Before each shoot/ day of shooting I would always ring the actors to make sure they would be on time, what outfits to wear and remind them which scene we would be shooting. I made sure that all documentation was completed, I visited the market on many occasions before shooting to meet up with the head of the market Andrew Chapel to discuss our intentions for filming, and anything that we couldn't do and get the location secured with the relevant papers signed. I made sure that we could use the CCTV room for that scene and also stressed that we needed an office space I which he presented me with the disused office. The whole film was lit by myself with help from the cinematographer at times, I would light his shots as he looked through his camera working to get the shots ready before going for a take this close communication made setting up shots efficient. As well as this I would take on the role of the director throughout the majority of the production, the cinematographer did this with me also, the director was either making cups of coffee or off taking photos of the market, which were both unimportant toward the filming. Rather than finding him we had no choice but to take on this directing role as we had a short time frame to work in and had to get the shots before we ran out time. This happened everyday of filming and the actors soon noticed our enthusiasm toward the film and so would approach either myself or the cinematographer for direction as we seemed to be in control of the situation understanding where we were in the script in which the rest of the crew had no idea due to there lack of presence on set. At the times when the director was directing he wasn't commanding enough or directive in terms of how he wanted the actors the deliver the lines. Embarrassingly his phone also went off during a scene involving John Greene and Adam Praed and stood up in front of the lights while the actors were performing which I am sorry to have to endure as the filming a lot of time was professionally handled. Either myself or the cinematographer had to call action or cut as the director wasn't loud enough to be heard, and on many occasions actors would say they needed him to be louder which ceased to ever happen. Not only did I take on the role of the director but also the art director, other than her providing a dress for Emma's character Lily and doing make up her role of art director was short lived, her presence on set was un remembered I never recall any contribution made by her toward organising the background or props in any scene, and so it was up to myself and the cinematographer to sort out this issue, including all three office scenes being dressed, the dream sequence and letting David Parkin know he needed to bring civilian clothing to one of the shoots. To see the editor sitting in the screening room whilst I had been burning the disc and putting the sound into her timeline, putting in titles and student numbers was actually unbelievable to see. The fact that the editor refused to turn up to any shoots was a huge mistake and something that caused problems later in the post production as she was totally confused as to which piece of footage went where on the timeline despite having very clear labeled storyboards and shot lists, the argument of “seeing the footage with a fresh eye” is a poor excuse to not see the film being made unless the editor is of a highly experienced level, a quote from the editor of both the 'Lord of the Rings' and 'The Hobbit' helps we to argue my case: Editor of the Hobbit - “It was good to be there when the scenes were being shot,” he continues, “because I could hear Peter talk to the actors and get a greater understanding of how the scene should be, and that helped me do an initial assembly. Without that contact we would have been a lot further behind when the shooting ended”, turning up at midday to edit each day and leaving early wasted precious editing time causing a late finish.This lack of contribution to the film is something that I feared when being put into a larger group and once again my expectations of poor efforts from the majority of the crew are confirmed.
As producer I congratulate myself on what I have done for the project, all of the actors were contacted by myself and the ones that I managed to secure for the project were fitting for the characters they had to play, in particular David Worden as his face suggests an underlying agenda or a hidden persona. I kept these actors constantly updated with new scripts as the director sent me new ones, I made sure I had met all actors prior to the shoot to discuss and problems or queries. Before each shoot/ day of shooting I would always ring the actors to make sure they would be on time, what outfits to wear and remind them which scene we would be shooting. I made sure that all documentation was completed, I visited the market on many occasions before shooting to meet up with the head of the market Andrew Chapel to discuss our intentions for filming, and anything that we couldn't do and get the location secured with the relevant papers signed. I made sure that we could use the CCTV room for that scene and also stressed that we needed an office space I which he presented me with the disused office. The whole film was lit by myself with help from the cinematographer at times, I would light his shots as he looked through his camera working to get the shots ready before going for a take this close communication made setting up shots efficient. As well as this I would take on the role of the director throughout the majority of the production, the cinematographer did this with me also, the director was either making cups of coffee or off taking photos of the market, which were both unimportant toward the filming. Rather than finding him we had no choice but to take on this directing role as we had a short time frame to work in and had to get the shots before we ran out time. This happened everyday of filming and the actors soon noticed our enthusiasm toward the film and so would approach either myself or the cinematographer for direction as we seemed to be in control of the situation understanding where we were in the script in which the rest of the crew had no idea due to there lack of presence on set. At the times when the director was directing he wasn't commanding enough or directive in terms of how he wanted the actors the deliver the lines. Embarrassingly his phone also went off during a scene involving John Greene and Adam Praed and stood up in front of the lights while the actors were performing which I am sorry to have to endure as the filming a lot of time was professionally handled. Either myself or the cinematographer had to call action or cut as the director wasn't loud enough to be heard, and on many occasions actors would say they needed him to be louder which ceased to ever happen. Not only did I take on the role of the director but also the art director, other than her providing a dress for Emma's character Lily and doing make up her role of art director was short lived, her presence on set was un remembered I never recall any contribution made by her toward organising the background or props in any scene, and so it was up to myself and the cinematographer to sort out this issue, including all three office scenes being dressed, the dream sequence and letting David Parkin know he needed to bring civilian clothing to one of the shoots. To see the editor sitting in the screening room whilst I had been burning the disc and putting the sound into her timeline, putting in titles and student numbers was actually unbelievable to see. The fact that the editor refused to turn up to any shoots was a huge mistake and something that caused problems later in the post production as she was totally confused as to which piece of footage went where on the timeline despite having very clear labeled storyboards and shot lists, the argument of “seeing the footage with a fresh eye” is a poor excuse to not see the film being made unless the editor is of a highly experienced level, a quote from the editor of both the 'Lord of the Rings' and 'The Hobbit' helps we to argue my case: Editor of the Hobbit - “It was good to be there when the scenes were being shot,” he continues, “because I could hear Peter talk to the actors and get a greater understanding of how the scene should be, and that helped me do an initial assembly. Without that contact we would have been a lot further behind when the shooting ended”, turning up at midday to edit each day and leaving early wasted precious editing time causing a late finish.This lack of contribution to the film is something that I feared when being put into a larger group and once again my expectations of poor efforts from the majority of the crew are confirmed.
As producer I congratulate myself on what I have done for the project, all of the actors were contacted by myself and the ones that I managed to secure for the project were fitting for the characters they had to play, in particular David Worden as his face suggests an underlying agenda or a hidden persona. I kept these actors constantly updated with new scripts as the director sent me new ones, I made sure I had met all actors prior to the shoot to discuss and problems or queries. Before each shoot/ day of shooting I would always ring the actors to make sure they would be on time, what outfits to wear and remind them which scene we would be shooting. I made sure that all documentation was completed, I visited the market on many occasions before shooting to meet up with the head of the market Andrew Chapel to discuss our intentions for filming, and anything that we couldn't do and get the location secured with the relevant papers signed. I made sure that we could use the CCTV room for that scene and also stressed that we needed an office space I which he presented me with the disused office. The whole film was lit by myself with help from the cinematographer at times, I would light his shots as he looked through his camera working to get the shots ready before going for a take this close communication made setting up shots efficient. As well as this I would take on the role of the director throughout the majority of the production, the cinematographer did this with me also, the director was either making cups of coffee or off taking photos of the market, which were both unimportant toward the filming. Rather than finding him we had no choice but to take on this directing role as we had a short time frame to work in and had to get the shots before we ran out time. This happened everyday of filming and the actors soon noticed our enthusiasm toward the film and so would approach either myself or the cinematographer for direction as we seemed to be in control of the situation understanding where we were in the script in which the rest of the crew had no idea due to there lack of presence on set. At the times when the director was directing he wasn't commanding enough or directive in terms of how he wanted the actors the deliver the lines. Embarrassingly his phone also went off during a scene involving John Greene and Adam Praed and stood up in front of the lights while the actors were performing which I am sorry to have to endure as the filming a lot of time was professionally handled. Either myself or the cinematographer had to call action or cut as the director wasn't loud enough to be heard, and on many occasions actors would say they needed him to be louder which ceased to ever happen. Not only did I take on the role of the director but also the art director, other than her providing a dress for Emma's character Lily and doing make up her role of art director was short lived, her presence on set was un remembered I never recall any contribution made by her toward organising the background or props in any scene, and so it was up to myself and the cinematographer to sort out this issue, including all three office scenes being dressed, the dream sequence and letting David Parkin know he needed to bring civilian clothing to one of the shoots. To see the editor sitting in the screening room whilst I had been burning the disc and putting the sound into her timeline, putting in titles and student numbers was actually unbelievable to see. The fact that the editor refused to turn up to any shoots was a huge mistake and something that caused problems later in the post production as she was totally confused as to which piece of footage went where on the timeline despite having very clear labeled storyboards and shot lists, the argument of “seeing the footage with a fresh eye” is a poor excuse to not see the film being made unless the editor is of a highly experienced level, a quote from the editor of both the 'Lord of the Rings' and 'The Hobbit' helps we to argue my case: Editor of the Hobbit - “It was good to be there when the scenes were being shot,” he continues, “because I could hear Peter talk to the actors and get a greater understanding of how the scene should be, and that helped me do an initial assembly. Without that contact we would have been a lot further behind when the shooting ended”, turning up at midday to edit each day and leaving early wasted precious editing time causing a late finish.This lack of contribution to the film is something that I feared when being put into a larger group and once again my expectations of poor efforts from the majority of the crew are confirmed.
In one of the sessions we watched some clips from 'The Shining' which is a personal favourite of mine, and so I have taken inspiration from the filming techniques and camera movement. The most important being the way the steadicam/track pursues the characters in the house lingering behind as we see through the eyes of the so called “Shining”, this camera movement was used in our film as myself and the cinematographer discussed using long tracks and possibly a steadicam. These shots in our film can be seen at the very beginning of the film where the camera follows Adam Praed as he we walks through the market and into the lift, the long horizontal tracking that sees Adam and John talking as they walk down the empty market and many other tracks that follow Adam as he walks in search of what caused his lights to go off. These long takes are heavily used in Kubrick's 'The Shining', also his use of drawn back open shots that capture the aesthetic of the location, again these were used less so in the final edit but the ending shot finishes framing a long open hallway, much like the hallways in Kubrick's film. These long takes/tracks in our film are justified as they suggest the eye of Lily watching the men and making her selection of Adam when he is first seen walking in through the market.

Art Direction

Adam Praed and John Greene would be wearing the same clothing in the film, so the outfit had to be pretty much identical for both characters. I kept in close contact with the main character played by David Parkin when in the process of finding a suitable night guard outfit so that he felt comfortable with what he was wearing, on the first meeting with David myself and the cinematographer quickly realised the enthusiasm he had toward the film which put us in good stead early on in the production. I as a producer had no problem with discussing the uniform with the actors as I have learnt from seeing how closely the actors in larger films work with the producer and director to create an image. David had the idea of using ex military uniforms rather than the uninspiring baggy jumper that the actual security guards wear in castle market, we couldn't agree more with the recommendation of the military tunics as they gave off a suave clean cut image which I though would complement the style of cinematography. 

We met David on numerous occasions to sort the jackets successfully finding two of the same in sixes that would fit both of the actors, I had previously got David Worden's sizes on our meeting earlier on in the production whilst discussing any questions he had with the film or script, unfortunately the director was away during these weeks we had the actor meetings however the cinematographer kindly stepped in to have the meeting with me. 

Once we had both the jackets we deiced that we would take off the golden sewn on patches on the lepels and epaulets on the shoulders as they still looked like military jackets. As I didn't want to damage the jackets by cutting them myself I went over to the fashion department in Sheffield Hallam to get assistance, a second year student kindly unpicked the badges and cut off the epaulets.



The location of Castle Market made the art direction easier as it was already a working market and so was fully decorated with all furnishings, however in the interview scene we were blessed with an upstairs disused office space which was complete with desks chairs, blinds, computer etc however needed to be cleaned up and organised as it was a mess of paper and waste. Myself and the cinematographer dressed this scene in the half an hour we had before shooting.

 In the above screen grab the room looks reasonably tidy, everything is organised so that it evokes that of an normal office space. We felt the plant was a necessary element as it draws the viewers eye toward John Greene and away from the window space creating a more natural less artificial geography to the room. The blind next to his head couldn't be fixed though it seems fitting with the rest of the out dated market with a time/year that isn't ever explained.

David Worden's (John Greene) arrived on the shoot with red braces which we never originally asked him to wear however we felt that they gave him authority over Adam Praed as well as suggesting that he's a possible threat and so permitted him to wear them, another great suggestion from the actors.

Lighting

On every shoot in our production I took full designated myself as the gaffer taking full responsibility for lighting each shot. As we had full control over the lighting of the market we used this to our benefit, the cinematographer wanted to shoot the whole film on an ISO no higher than 200 as the gain introduced in the higher F stops would ruin the polished look of the film. We also had to consider how dark we wanted the environment to be in the shots, we realised that if we shot on a low ISO 100 - 200 the lighting in the market when on wouldn't actually seem lit on the camera because of the low speed ISO which helped us as we then focused on lighting the actors face/movement as he walked through the market, this lighting on the actor would bring him forward from the background but posed a problem as he had to be lit without it looking to artificial. This was overcome by using the kino flow as is projected soft light on to the actor, when the camera showed that areas of the market were lit where the actor would move within the problem of unnoticeable lighting was diminished as we could argue that the light on him was cast from the lights previously seen in the shot, the photo beneath is an example of this, Adam moves forward towards a set of lights that we couldn't turn off and so when he got toward them in a shot that looked at his face it wasn't a problem concerning how bright our kino was, however as he moved toward from the darker area of the market to the lights fixed above to the ceiling we dimmed the kino as it wasn't need as much to light Adam.  

Setting up the Kino as high as it would get without hitting the ceiling it mimicked the strip lights fixed to above that I have previously mentioned. 

We did in fact shoot this scene again as on review of the footage we noticed wobbles in the track, dimness and the white balance being off, Tom Newsham kindly lent us a small lamp that attached to the hot shoe on top of the camera, this lights LED's could be dimmed accordingly complete with two light diffusers, the cinematographer agreed that this new light provided a much more effective source of light. We used this same lamp in later backwards tracking shots of the same type.    

Below is a still that shows the result of using this hot shoe lamp. 

Though you can notice the white reflection in his eyes has he walks toward the camera if feel this adds to the shot suggesting an uncertainty about his character.

Another scene that needed considered lighting was the conversation between John Greene over the counter where John wakes Adam after his encounter with Lily. As we would be using a simple shot reverse shot set up for the scene the lighting wouldn't have to be moved tremendously, we decided to run through the scene completely from one over the shoulder angle until happy with the takes then move to the other shoulder again until we were happy with what we had. 

This photo is taken from Adam's right hand shoulder, the Kino flow light on the outside of the room acts a key light to illuminate John Greene and pull him from the dark backdrop the softness of this Kino makes its presence disguised creating a natural imminence of light on John, the depth of field furthers this use of light.

The other Kino on Adams right hand shoulder was used for the same reason filling Adams right cheek and jacket focusing the attention on him rather than the background again the same depth of field aids this. A Dedo was also used to his left to fill the harsh shadow created by the Kino however this Dedo dimmed to a point where there is still shadow to accentuate his tired and troubled expressions.

This Dedo subsequently lights the back of his neck in the reverse shot to carry the continuity of the lighting so that both characters are lit throughout the scene. 

  

The scene where Adam makes direct contact with Lily was heavily lit and proved the most difficult to light. This was because we wanted to keep Lily's identity hidden from the viewer as this would disrupt the element of fear and anxiety carried through the film thus far furthermore suggesting that Adam is experiencing a fantasy of dream sequence which again justified the artificialness of the lighting. Shooting on an ISO of 100 privileged us with the ability to light very precise points of the scene, I had the idea that she would move through beans of light however this idea became un attainable with the amount of lights we had and my limited experience.  

The lighting on Adam was less of a challenge as he could be entirely lit, for this we used a Kino which flooded his back and a Dedo to light his face, drawing him from the black ibis that dwelled behind him. The angle breaks the rule of camera positioning as we place him in the left third the same as the reverse of Lily, this gives the illusion that he's not talking to anyone with the idea of vulnerability as he sits alone in darkness.  

As mentioned above Lily moves over to the left of the frame with the light catching features of her body and hair with the face concealed with darkness, this part of the scene works particularly well.

However in this shot not so well, as her face moves further into the light and her human form is confirmed.

From this two shot we see her move out of the shared light source and into the opaque dwelling in the right I feel this works well but seems too close in terms of camera framing. 

The scene involving old Bill was equally challenging due to the cramped space we had to work within which mean that there was a huge limitation on lights used, the Kino flow was the choice of light which was positioned behind a door to the left of Bill and Lily, light was flooded through this passageway and blocked off with the barn doors according to what the cinematographer wanted to see in his viewfinder. The shot fails in terms of what we expected to create, wanting to restrict the light that lit Lily but the limitation of using one light proved that this was an impossible task, however what we managed to create with such constraints was more than satisfactory, the light gives off a spotlighting effect on Bill sitting in the chair and the blocking of top light doesn't reveal her face, the reddish glare caused by the light does seem to create an opening or entrance to the left of Lily an unintentional effect nevertheless improves the scene. 

Improvisation

As stores don't provide the pull focus rig until third year productions I suggested we create our own using elastic bands, placing the bands around the focus ring the cinematographer could then draw on focusing increments in relation to the characters movement and geography as they move toward the camera. The cinematographer created separate focus points in which he pulled between in the long take scene where the camera moves parallel to John and Adam walking down an empty hallway and ending with a walk toward the camera to finish their conversation next to the lens.   

Schedule

Shot List and Mock Up Storyboards

After the storyboards had been drawn up in neat and organised into chronological order in Henry's folder I then typed up a shot list on Excel in the form of a table so that we could take it to each shoot to double check we had all the shots drafted on the storyboards and tick them off as we went along, this also meant that I could keep this and Henry (cinematographer) could look at his storyboards as we moved from shot to shot. 

This is the shot list after the saturday night shoot notice that annotations have been made throughout the week on this paper. The circled numbers indicate what shots we needed to capture still after this shoot, a constant reminder of what we had to complete. The highlighted shots were what we were aiming to capture that night of shooting acting as a mini schedule. Additional sketches have been made, I believe these were to conceptualise the lift scene in which Adam runs into the lift, we had not storyboarded these originally but felt that they would work better than the previous way we had understood that part of the scene, this happened throughout the filming, as we felt that certain shots were either not needed, alternatively we filmed additional shots when we felt they were necessary these usually took the form of CU shots of Adam's expressions and reactions to what was happening in the scene.  

Below are some of the mock up storyboards the cinematographer and I drew up, to help us gain an idea as to how each scene would look. We drew them up quickly and in rough complete with annotations with speech or directions to the actors. Having filmed in the market before we had a vivid idea of the layout which made it easy to decide where each scene would be shot and in which direction. I helped the cinematographer draw some of these storyboards up in neat for his folder. When approaching the film we both agreed that we would keep the scenes simple in terms of the amount of cuts, angles etc. This style of filming i believe has come from our inspiration from the 'Mama' film we screened in class which was a there minute short shot entirely in one take, which is suggestive of realism. The idea of long takes is something the cinematographer have enjoyed from the film 'The Shining', with shots that capture the precise architecture of the location, with long tracking shots symmetrically framed.    

The sketch on the double page spread below is a birds eye view on the camera movement in the scene that involves characters John Greene and Adam Praed as they discuss the job and the previous night guards suicide in the market. Having a simple camera movement in mind we felt a long track with the camera facing horizontally moving parallel to the two men walking  on the other side of the room would work perfectly, this movement also suggests that the two men are being observed as the camera position is withdraw, acting as the eye of Lily or entity in the market.

In the below mock up storyboard the top left drawing is of the locker room, with a shot reverse shot set up of the two actors and the last shot a wide of the room, the drawing to the left of it is of the opening CU of the locker with a sound bridge. 

The left drawing is Adams security office with his monitors, notice again a simple two different camera angle set up.