Wednesday 25 April 2012
Feedback
Our ots was shown to three students, who gave feedback, and one male as he's part of our target audience. Feedback is given in areas of titles, costumes, storyline, transitions, sound, and the use of camera. They were positive but they mentioned the un-steadyness of the camera in some parts, even though a tripod was used throughout filming, but this happened when we were trying to tilt the camera and zoom into various areas, causing the camera to be a bit shaky in some parts.
Monday 23 April 2012
Sunday 22 April 2012
sin city
http://www.flvmp3.org/video/VspdKtdsku8/Frank%20Miller-s%20Sin%20City;%20Opening%20Title%20Sequence.html
This is a video for the opening title sequence for Sin City
Sin City is a 2005 neo noir crime thriller film, written, produced and directed by Frank Miller and Robert Rodriguez. The opening part starts with the camera panning out on the city with which the tallest buildings spell out ‘sin city’ which is covered in red and turns into comic style writing against a black screen. This then fades to a comic opening that introduces the characters, and synchronous music, so it goes with what's being shown so you have an idea of what will happen when this appears.The red writing is used for the names and goes across screen, and it has a dark edgy effect, and the comic photos are black and white and quite contrasted. Based on the graphic novels by frank miller, each character is depicted in the original animation in the title sequence as the actors name appears who portrays them. There is an unbalanced equilibrium. As the OTS ends the music ends and the screen is black. Sin City gathered particular recognition for the film's unique color processing, which rendered most of the film in black and white but retained or added coloring for select objects. A notable piece of music used was the instrumental version of the song 'Cells' by 'The Servant.' The song was heavily featured in the film's publicity, including the promotional trailers and television spots, as well as being featured on the film's DVD menus.
This is a video for the opening title sequence for Sin City
Sin City is a 2005 neo noir crime thriller film, written, produced and directed by Frank Miller and Robert Rodriguez. The opening part starts with the camera panning out on the city with which the tallest buildings spell out ‘sin city’ which is covered in red and turns into comic style writing against a black screen. This then fades to a comic opening that introduces the characters, and synchronous music, so it goes with what's being shown so you have an idea of what will happen when this appears.The red writing is used for the names and goes across screen, and it has a dark edgy effect, and the comic photos are black and white and quite contrasted. Based on the graphic novels by frank miller, each character is depicted in the original animation in the title sequence as the actors name appears who portrays them. There is an unbalanced equilibrium. As the OTS ends the music ends and the screen is black. Sin City gathered particular recognition for the film's unique color processing, which rendered most of the film in black and white but retained or added coloring for select objects. A notable piece of music used was the instrumental version of the song 'Cells' by 'The Servant.' The song was heavily featured in the film's publicity, including the promotional trailers and television spots, as well as being featured on the film's DVD menus.
Monday 16 April 2012
ots description
In our opening title sequence, we have no sound (apart from the piano piece we will add in afterwards), which will synchronise with what's happening on screen, so will heighten in certain areas and seems more dramatic. We have titles during our ots to introduce the actors and producers and the title 'the vulnerable' of the ots. I think it works well because we thought about continuity and the locations and lighting we have throughout our ots.
Production meeting
Today we were finishing editing. I will look at whether our ots works as a title sequence well with the general conventions etc.. Rachel is writing about the language for our ots and Katherine is looking at the sound, as it would be easier if she is creating the piano piece for our ots.
Wednesday 28 March 2012
Production meeting
Today we are continuing to edit our ots, and we are putting in another clip so it flows better, as watching it back we felt it jumped a bit when Rachel was walking down the alleyway, as we filmed it from different angles, so we were thinking carefully about continuity and how the audience can understand it
Thursday 22 March 2012
Production meeting
Our group started filming on Saturday but due to lack of time, most of the filming was finished on the Tuesday. I took and uploaded pictures of locations we were filming at, of the actors and their costumes they were wearing for their part, and props we used. Katherine and Rachel started to edit what we have done so far. We are thinking about filming a bit more next week, to make the plot clearer to the audience.
Wednesday 21 March 2012
Photos during filming
Wednesday 14 March 2012
Tuesday 13 March 2012
Marking criteria for the presentation of research and planning
Research and planning may be presented in digital format, but can take the form of a folder or scrapbook at this level. Where candidates have worked as a group, this may be presented collectively, but teachers are asked to differentiate the contributions of individuals within the group in arriving at a mark and justifying individual marks on the assessment sheet. Each candidate should give a clear indication of their role in any group research and planning. As part of the moderation sample, the moderator will expect to see full evidence of the research and planning informing the construction process in order to support assessment.
Level 1- 0-7 marks:
-planning and research evidence will be incomplete
-there is minimal research into similar products and a potential target audience
-there is minimal organisation of actors, locations, costumes or props
-there is minimal work on shotlists, layouts, drafting, scripting or storyboarding
-there in minimal care in the presentation of the research and planning
-time management may be very poor
Level 2- 8-11 marks:
-planning and research evidence may be partially incomplete
-there is basic research into similar products and a potential target audience
-there is basic organisation of actors, locations, costumes or props
-there is a basic work on shotlists, layouts, drafting, scripting or storyboarding
-there is a basic level of care in the presentation of the research and planning
-time management may not be good
Level 3- 12-15 marks:
-planning and research evidence will be complete
-there is proficient research into similar products and a potential target audience
-there is proficient organisation of actors, locations, costumes or props
-there is proficient work on shotlists, layouts, drafting, scripting or storyboarding
-there is a good level of care in the presentation of the research and planning
-time management is good
Level 1- 0-7 marks:
-planning and research evidence will be incomplete
-there is minimal research into similar products and a potential target audience
-there is minimal organisation of actors, locations, costumes or props
-there is minimal work on shotlists, layouts, drafting, scripting or storyboarding
-there in minimal care in the presentation of the research and planning
-time management may be very poor
Level 2- 8-11 marks:
-planning and research evidence may be partially incomplete
-there is basic research into similar products and a potential target audience
-there is basic organisation of actors, locations, costumes or props
-there is a basic work on shotlists, layouts, drafting, scripting or storyboarding
-there is a basic level of care in the presentation of the research and planning
-time management may not be good
Level 3- 12-15 marks:
-planning and research evidence will be complete
-there is proficient research into similar products and a potential target audience
-there is proficient organisation of actors, locations, costumes or props
-there is proficient work on shotlists, layouts, drafting, scripting or storyboarding
-there is a good level of care in the presentation of the research and planning
-time management is good
Monday 12 March 2012
Exam criteria for video
Level 1- 0-23 marks: Work for the main task is possibly incomplete.There is minimal evidence in work of the creative use of any relevant technical skills such as:
-producing material appropriate for the target audience and task
-using titles appropriately according to institutional conventions
-using sound with images and editing appropriately for the task set
-shooting material appropriate to the task set, including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene
-using editing do that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects
Level 2- 24-35 marks: There is evidence of a basic level of ability in the creative use of some of the following technical skills:
-producing material appropriate for the target audience and task
-using titles appropriately according to institutional conventions
-using sound with images and editing appropriately for the task set
-shooting material appropriate to the task set, including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene
-using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects
Level 3- 36-47 marks: There is evidence of proficiency in the creative use of many of the following technical skills:
-producing material appropriate for the target audience and task
-using titles appropriately according to institutional conventions
using sound with images and editing appropriately for the task set
-shooting material appropriate to the task set, including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene
-using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects
-producing material appropriate for the target audience and task
-using titles appropriately according to institutional conventions
-using sound with images and editing appropriately for the task set
-shooting material appropriate to the task set, including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene
-using editing do that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects
Level 2- 24-35 marks: There is evidence of a basic level of ability in the creative use of some of the following technical skills:
-producing material appropriate for the target audience and task
-using titles appropriately according to institutional conventions
-using sound with images and editing appropriately for the task set
-shooting material appropriate to the task set, including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene
-using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects
Level 3- 36-47 marks: There is evidence of proficiency in the creative use of many of the following technical skills:
-producing material appropriate for the target audience and task
-using titles appropriately according to institutional conventions
using sound with images and editing appropriately for the task set
-shooting material appropriate to the task set, including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene
-using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects
Monday 5 March 2012
Production meeting
We have decided to have a weekly production meeting to make sure we use our strengths and time efficiently. Our group isn't particularly good at time management, so this will help us meet our deadline.
We need to set weekly tasks for each member, stick to them and review at the end of the week, and we need to share jobs so that we are not doing the same thing.
This week:
I will: work on locations, sketching them and finding examples of images and taking photos for our intended locations.
We need to set weekly tasks for each member, stick to them and review at the end of the week, and we need to share jobs so that we are not doing the same thing.
This week:
I will: work on locations, sketching them and finding examples of images and taking photos for our intended locations.
Location
Examples of the locations and lighting we plan to use for our opening title sequence:
Locations we have found that could be used:
Copyright
-Copyright has expired
-Your use of the work is fair dealing as defined under the 1988 Copyright Designs and Patents Act (UK)
-Your use of the work is covered over a licensing scheme that you have subscribed to and the copyright holder is a member of
-The copyright holder has given you permission
Fair dealing is a term used to describe some limited activities that are allowed without infringing copyright, e.g.
-Research and private study
-Instruction or examination
-Criticism or review
-News reporting
-Incidental inclusion
-Accessibility for someone with a visual impairment
An issue that was previously discussed was the music we will use, as we will have to create our own sounds, and if it's recreated from somebody elses piece, it cannot last very long, so we will have to think about what we will use and how it will fit into our ots
Wednesday 29 February 2012
Ambiance
In filmmaking, ambiance is the atmosphere created through sound, consisting of the sounds of a given location or space. It is the opposition of 'silence.' Every location has distinct and subtle sounds created by its environment. These sounds include wildlife, rain, running water, thunder, leaves rustling, footsteps, cars going by, machinery noise, music, speech, etc. If ambient sound doesn't fit with the film, the audience will feel confused, so it generally doesn't contradict with what is being shown, and would be seen as asynchronous or contrapuntal sound.
Foleying
Foleying is a sounds effect technique for synchronous or live effects. They are laid manually, and not cut in to film. It amplifies sounds that would not be easily heard otherwise in original filming. Sounds are added in post-production. For example, metal tubes are filled with metal trays, empty soda cans, knives, forks, broken staple guns etc, to create sounds from comedy crashes to adding presence to something as serious as a car crash. The purpose of this is to make the quality of sound better. This video gives more examples;
SoundWorks Collection: Gary Hecker - Veteran Foley Artist from Michael Coleman on Vimeo.
Few other foleying devices used:
Wind machine: A sheet of canvas over a revolving drum of wooden slats. The fierceness of the wind is determined by the speed of the revolution. The drum is turned unevenly, for wind never blows at a constant speed. Adjusting the tension of the canvas as it's free end can also alter the sound.
Rain box: 2 wooden boxes 6'x6"x6", the floors of which are studded with nails hammered up from outside. Dried peas inside. Boxes are see-sawed to make the sound of rain.
Thunder sheet: Suspend a sheet of galvanized iron from a plank or pipe. Affix a handle. Rattling the iron yields affective thunder. The larger the metal, the more substantial the thunder.
SoundWorks Collection: Gary Hecker - Veteran Foley Artist from Michael Coleman on Vimeo.
Few other foleying devices used:
Monday 27 February 2012
For my practical I am working with Katherine and Rachel. Ours will follow ideas from traditional film noirs, by involving murder, heavy lighting, conventional characters like the femme fatale in our opening title sequence.
Frame one: Shot focuses on the corner of a table where you see a pool of blood, slowly dripping down.
Frame two: The shot cuts to the lower leg of the table where we can see a puddle of blood that has been formed by the drops, and you can see an arm laying across the floor in the background.
Frame three: The camera is at a low angle, so the corpse's body is shown. A woman in heels steps over the body.
Frame four: The corpse is lying in the corner of the frame while the centered woman walks towards an open dorr, pulling her coat off a chair on her way. The light from the doorway creates bold silhouettes.
Frame five: A side profile of the woman is seen. The camera tracks her from that angle while she walks along a brick wall at night. Her breath can be seen against the cold.
Frame six: A low angle shot of the woman walking down the street from behind, so her shoes are visible, and in the background someone else's feet can be seen, when standing under a street lamp.
Frame seven: Side profile as the woman approaches the man (who has a larger build than her) and hugs him.
Frame eight: When they are hugging, the man slowly pulls out a knife from his sleeve and our opening title sequence will end.
Because of being filmed at night, there will be dark lighting and heavy shadows, which works well with the typical story. We aim to quickly build tension in our opening title sequence, which is unconventional as traditional noirs were generally slow paced.
Frame one: Shot focuses on the corner of a table where you see a pool of blood, slowly dripping down.
Frame two: The shot cuts to the lower leg of the table where we can see a puddle of blood that has been formed by the drops, and you can see an arm laying across the floor in the background.
Frame three: The camera is at a low angle, so the corpse's body is shown. A woman in heels steps over the body.
Frame four: The corpse is lying in the corner of the frame while the centered woman walks towards an open dorr, pulling her coat off a chair on her way. The light from the doorway creates bold silhouettes.
Frame five: A side profile of the woman is seen. The camera tracks her from that angle while she walks along a brick wall at night. Her breath can be seen against the cold.
Frame six: A low angle shot of the woman walking down the street from behind, so her shoes are visible, and in the background someone else's feet can be seen, when standing under a street lamp.
Frame seven: Side profile as the woman approaches the man (who has a larger build than her) and hugs him.
Frame eight: When they are hugging, the man slowly pulls out a knife from his sleeve and our opening title sequence will end.
Because of being filmed at night, there will be dark lighting and heavy shadows, which works well with the typical story. We aim to quickly build tension in our opening title sequence, which is unconventional as traditional noirs were generally slow paced.
Audiences
Effects models:
The hypodermic needle model: The intended message is directly received and wholly accepted by the reciever
Two-step flow: The people with most access to media, and highest media literacy explain and diffuse the content to others. This is a modern version of the hypodermic needle model.
Uses and gratifications: People are not helpless victims of mass media, but use media to get specific gratifications. (Diversion, personal relationships, personal identity, surveillance)
Reception theory: The meaning of a 'text' is not inherent within the text itself, but the audience must elicit meaning based on their individual cultural background and life experiences.
Obstinate audience theory: This theory assumes that there is a transactional communication between the audience and the media. The audience actively selects what messages to pay attention to.
Demographics- National Readership Survey: (studying groups of people) Typically between D-B, predominantly male audience, we are aiming ours at younger adult women aged 17-25 in categories D-B.
Mode of address: (how does the media product communicate to you) It is typically moralistic, with a message of 'beware of women' the message coming from ours is how you 'can't trust anyone'.
Audience positioning: (male gaze, female gaze.. what characters you want the audience to sympathise with..) Ours is going to be from a females perspective.
Effects models: Typically hypodermic syringe or uses and gratifications. Ours is going to be a receptive audience, they have to figure it out.
Audience decoding: (how most people think) Typically follow a dominant hegemonic. Ours will be a oppositional hegemonic.
Demographics- National Readership Survey: (studying groups of people) Typically between D-B, predominantly male audience, we are aiming ours at younger adult women aged 17-25 in categories D-B.
Mode of address: (how does the media product communicate to you) It is typically moralistic, with a message of 'beware of women' the message coming from ours is how you 'can't trust anyone'.
Audience positioning: (male gaze, female gaze.. what characters you want the audience to sympathise with..) Ours is going to be from a females perspective.
Effects models: Typically hypodermic syringe or uses and gratifications. Ours is going to be a receptive audience, they have to figure it out.
Audience decoding: (how most people think) Typically follow a dominant hegemonic. Ours will be a oppositional hegemonic.
Todorov's Theory
Todorov's Theory; equilibrium, a disruption, a recognition, a reaction, and new equilibrium.
The Killers- does follow Todorov's theory, even though there are small parts which break this idea, but they are overlooked because most of the film follows the generic idea.
Double Indemnity- doesn't really follow Todorov's theory, because it starts at the end.
Shot reverse shot is where one character is filmed looking at another character, and then the other character is shown looking back at the first character. 180° rule that states two characters in the same scene should always have the same left/right relationship to each other.
Match on action shows a strong continuity of action and linking the two shots metaphorically.
Neo noir;
Blade Runer (film)
Mulholland Drive (film)
The Red Riding Trilogy (Tv series)
Red Riding:
Typical:
-story being told (more likely to be male)
-midshots/closeups
-well dressed
-smoke and drink
-sepia filter
-(1970's- browns/yellows used)
-mention of crime- he's a crime reporter
-living up to his dad who died
Untypical:
-no black and white
-acoustic guitar music
-rural and not urban
-blood is shown
Mulholland Drive:
Typical:
-dark lighting
-music (but not as dramatic)
-womens makeup
-smoke on screen
-transition- slow
-in a city
-shadows
Untypical:
-not black and white
-no anti-hero
Blade Runner:
Typical:
-light shining through window
-smoking
-in a city
Blade Runer (film)
Mulholland Drive (film)
The Red Riding Trilogy (Tv series)
Typical:
-story being told (more likely to be male)
-midshots/closeups
-well dressed
-smoke and drink
-sepia filter
-(1970's- browns/yellows used)
-mention of crime- he's a crime reporter
-living up to his dad who died
Untypical:
-no black and white
-acoustic guitar music
-rural and not urban
-blood is shown
Typical:
-dark lighting
-music (but not as dramatic)
-womens makeup
-smoke on screen
-transition- slow
-in a city
-shadows
Untypical:
-not black and white
-no anti-hero
Typical:
-light shining through window
-smoking
-in a city
Representation of visual conventions
The use of font in the titles:The titles are typically a red colour, which symbolizes blood, passion, crime, etc. The titles tend to be quite short, and are normally displayed in a bold, scribbled font. The red shows violence, and sexual attraction, and there's a sense of breaking societies rules. In neo noirs, these are seen in films like sin city, basic instinct, fatal attraction, and in traditional films like the killers, and the blue dahlia.
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