There are a wealth of copyright free music sites online.
lgfl (London Grid for Learning): http://www.lgflmusic.org.uk
or have a look at www.freeplaymusic.com/
Wednesday 8 December 2010
Wednesday 17 November 2010
How to write a good short film script
Follow the link to read this Times article about script writing for short film
Wednesday 10 November 2010
Typography in Film & Video
As a video producer/ filmmaker you most likely use typography when deciding what font to use for your production. According to Wikipedia the definition of Typography is “the art and technique of arranging type, type design, and modifying type glyphs.”
Display typography is used when considering the font style and design of a film or video’s title(s) (whether dynamic or still). Graphic artists and/or filmmakers choose or create the font, arrange the type, such as spacing, and imbed filters and CGI effects (e.g. animated title sequence). (When the text is moving, it is specifically known as kinetic typography.)
Digital technology has made the art of typography available to almost anyone; and now, with software programs, such as Final Cut Studio’s Live Type, the countless different options are endless and with practice and patience, creating a professional video or film tittles easier than ever.
Compare the fonts above
What are their differences? What type of emotions or other aspects do they portray?
Typography expresses a mood and has a voice. Compare the look of the fancy, ornamental cursive font (Mutlu) versus the bold upper-case letters of ARIAL BLACK. Each font listed has its own attitude and personality; and therefore represents a different voice when used as a title.
How do you know what font to use?
There are no certain rules when choosing the font style for a film and video title; however, it is a good idea to first consider the project and genre of your production. Are you shooting a commercial or a film? If it’s a film, is it a horror or a comedy? Do you think it would be suitable to use the Dirty Classic font style (see above) or Arial Black for the main titles in a corporate video? In other words, keep the font style consistent with the project, genre and the mood(s) you’re wanting to portray. Use common sense.
Fonts have certain characteristics that may even help you to decide what type to choose. For instance, the weight of the font is the thickness of its letters. Thin hairline fonts look appropriate when used in wedding videos, but may not when used as a horror film’s main title.
How do you know what font to use?
Also, consider how difficult or easy the font is to read. If it’s a serif font, it’ll naturally take longer to read on screen versus a san-serif (one without serifs). Same goes for too many fancy embellishments, such as extravagant loops and curvy hairlines. If the font style will take awhile to read, allocate enough time for your audience to read the title(s). You may want to use additional frames, just make sure each are consistent in design. In addition, don’t overcrowd the frame with too many words. Keep it simple.
So, what mood are YOU trying to capture?
Use an aesthetic approach when deciding the right font style. As with moods, there are thousands of font styles to choose from! (see list below for free font download sites) First, write down all the fonts you’re interested in using or your specific production. Experiment with the ones you like and gradually narrow down the list down to one (or more, depending on if you want to use subtitles). Really think and feel about what and how the font style makes you feel. If you’re having a difficult time deciding, ask for someone else’s opinion.
After you’ve chosen the ‘right’ font style for your project, you may want to add colors, textures, filters, drop shadows, etc.; or may want to animate the title and add fades and dissolves, etc. Again, consider the mood of the project.
Also, keep your titles consistent, font styles along with filters or animated effects that are inconsistent will look amateurish.
Free Font Downloads
The following websites have a variety of different fonts and styles to choose from, everything from Old English, Ornaments, to Pop Culture icons and text.
1001 Free Fonts:
Urban fonts:
Simply the Best Fonts:
Search Free Fonts:
Fontspace:
Read more: http://www.brighthub.com/multimedia/video/articles/64302.aspx?p=2#ixzz14tCjVsXy
Display typography is used when considering the font style and design of a film or video’s title(s) (whether dynamic or still). Graphic artists and/or filmmakers choose or create the font, arrange the type, such as spacing, and imbed filters and CGI effects (e.g. animated title sequence). (When the text is moving, it is specifically known as kinetic typography.)
Digital technology has made the art of typography available to almost anyone; and now, with software programs, such as Final Cut Studio’s Live Type, the countless different options are endless and with practice and patience, creating a professional video or film tittles easier than ever.
Compare the fonts above
What are their differences? What type of emotions or other aspects do they portray?
Typography expresses a mood and has a voice. Compare the look of the fancy, ornamental cursive font (Mutlu) versus the bold upper-case letters of ARIAL BLACK. Each font listed has its own attitude and personality; and therefore represents a different voice when used as a title.
How do you know what font to use?
There are no certain rules when choosing the font style for a film and video title; however, it is a good idea to first consider the project and genre of your production. Are you shooting a commercial or a film? If it’s a film, is it a horror or a comedy? Do you think it would be suitable to use the Dirty Classic font style (see above) or Arial Black for the main titles in a corporate video? In other words, keep the font style consistent with the project, genre and the mood(s) you’re wanting to portray. Use common sense.
Fonts have certain characteristics that may even help you to decide what type to choose. For instance, the weight of the font is the thickness of its letters. Thin hairline fonts look appropriate when used in wedding videos, but may not when used as a horror film’s main title.
How do you know what font to use?
Also, consider how difficult or easy the font is to read. If it’s a serif font, it’ll naturally take longer to read on screen versus a san-serif (one without serifs). Same goes for too many fancy embellishments, such as extravagant loops and curvy hairlines. If the font style will take awhile to read, allocate enough time for your audience to read the title(s). You may want to use additional frames, just make sure each are consistent in design. In addition, don’t overcrowd the frame with too many words. Keep it simple.
So, what mood are YOU trying to capture?
Use an aesthetic approach when deciding the right font style. As with moods, there are thousands of font styles to choose from! (see list below for free font download sites) First, write down all the fonts you’re interested in using or your specific production. Experiment with the ones you like and gradually narrow down the list down to one (or more, depending on if you want to use subtitles). Really think and feel about what and how the font style makes you feel. If you’re having a difficult time deciding, ask for someone else’s opinion.
After you’ve chosen the ‘right’ font style for your project, you may want to add colors, textures, filters, drop shadows, etc.; or may want to animate the title and add fades and dissolves, etc. Again, consider the mood of the project.
Also, keep your titles consistent, font styles along with filters or animated effects that are inconsistent will look amateurish.
Free Font Downloads
The following websites have a variety of different fonts and styles to choose from, everything from Old English, Ornaments, to Pop Culture icons and text.
1001 Free Fonts:
Urban fonts:
Simply the Best Fonts:
Search Free Fonts:
Fontspace:
Read more: http://www.brighthub.com/multimedia/video/articles/64302.aspx?p=2#ixzz14tCjVsXy
Monday 8 November 2010
AS Presentation assessment criteria
The following will tell you what you MUST include in your presentation assessments. Some of you may have completed some/most of this already and therefore only need to ADD what you do not have. You do not have to start all over again unless you have completely changed the synopsis of your title opening sequence. Apologies if I have missed anything out that you have completed this is the bare requirements.
• Forms and conventions – this must include the general forms & conventions of title opening sequences and ALSO genre specific forms & conventions of your chosen genre (this must be clear as starting point on your blogs), you can also state whether you are following those conventions or subverting them
• Hyperlinks to three title sequences you have analysed (any genre) and hyperlinks to a further three title sequences that you have analysed of the SAME genre as your title sequence. So this is six sequences in total that you have analysed and written about – 3 general, 3 genre specific, (this is a basic number requirement, you should/could analyse many more and they should all be added to your blog – links & your analysis) The framework for your analysis should include the following – mise-en-scene of the sequence, what sound was used – to what effect and when during the sequence it was played (include dialogue), what information about the film the sequence provides – characters, location, genre, time, mood etc, etc, what themes (if any) were developed and if they were then echoed throughout the film? What colour schemes were used, how was the action-title sequence put together all live action or title-action-title etc etc, what fonts were used? Where were the titles placed on the screen? Was any imagery or inter-textual references made?
• Your synopsis and any influences (other films etc that you have worked from)
• Links to sample sound files that you may use and how / why you would use them
• Sample screen page layouts to include an image with sample titles placed over it in the positions that you may use in your sequence
• A mood slide that should be made of images (any from the net), colour schemes, fonts, words and sound that portray the intended ‘mood’ of your sequence like a PowerPoint collage
• Who your target audience are – age, gender, location, interests, How you are going to attract them, Why you know they will be interested in your film – past films, fans of specific musical genres etc etc, where they will be able to see your film (if it was real)
• Classification and what that means in relation to what you can show
• Storyboard
• Script
• Production schedule/planning
• Links to your blogs
• Character profiles
• List of locations/ photos if you have them
The following will tell you what you MUST include in your presentation assessments. Some of you may have completed some/most of this already and therefore only need to ADD what you do not have. You do not have to start all over again unless you have completely changed the synopsis of your title opening sequence. Apologies if I have missed anything out that you have completed this is the bare requirements.
• Forms and conventions – this must include the general forms & conventions of title opening sequences and ALSO genre specific forms & conventions of your chosen genre (this must be clear as starting point on your blogs), you can also state whether you are following those conventions or subverting them
• Hyperlinks to three title sequences you have analysed (any genre) and hyperlinks to a further three title sequences that you have analysed of the SAME genre as your title sequence. So this is six sequences in total that you have analysed and written about – 3 general, 3 genre specific, (this is a basic number requirement, you should/could analyse many more and they should all be added to your blog – links & your analysis) The framework for your analysis should include the following – mise-en-scene of the sequence, what sound was used – to what effect and when during the sequence it was played (include dialogue), what information about the film the sequence provides – characters, location, genre, time, mood etc, etc, what themes (if any) were developed and if they were then echoed throughout the film? What colour schemes were used, how was the action-title sequence put together all live action or title-action-title etc etc, what fonts were used? Where were the titles placed on the screen? Was any imagery or inter-textual references made?
• Your synopsis and any influences (other films etc that you have worked from)
• Links to sample sound files that you may use and how / why you would use them
• Sample screen page layouts to include an image with sample titles placed over it in the positions that you may use in your sequence
• A mood slide that should be made of images (any from the net), colour schemes, fonts, words and sound that portray the intended ‘mood’ of your sequence like a PowerPoint collage
• Who your target audience are – age, gender, location, interests, How you are going to attract them, Why you know they will be interested in your film – past films, fans of specific musical genres etc etc, where they will be able to see your film (if it was real)
• Classification and what that means in relation to what you can show
• Storyboard
• Script
• Production schedule/planning
• Links to your blogs
• Character profiles
• List of locations/ photos if you have them
'Wrong side of the bed'
Interesting use of split screen here to create this super-shory award winning film
Quay Borthers early shorthttp://www.youtube.com/watch?v=GXb5iKtU8Es
http://www.youtube.com/watch?v=GXb5iKtU8Es see this early short from the Quay Brothers
Tips for making a good short
An Exciting & Original Idea
Original ideas are not easy to come-by but a good way of avoiding clichéd ideas is to watch lots of other short films, look out for any trends and stay clear of them. Even if your idea isn’t completely original try to look at the subject matter from a different angle or using a different style/technique. If you're struggling for ideas, you could try to find inspiration in your experiences or those of the people that you meet or through the stories that you read in newspapers, magazines and online.
A Strong Script
A good script is key to narrative-based short films and in many ways it’s harder to write a short than a feature because you need to condense your story and develop your characters in a very short space of time. All too often films are let down by weak, overwritten or underdeveloped scripts. Before investing money, time and effort into shooting your film, it’s a good idea to test your script out on friends and strangers (as friends might fear offending you) and get as much feedback as you can. See our filmmaking guide: writing a script for more advice & our related links: writing for scriptwriting organisations, resources and communities. If you write and direct your own films, it’s a good idea to consider where your strengths lie. It’s great if you can do both but if you think you’re stronger at direction/animation then why not consider collaborating with a talented scriptwriter and see what results come of it?
Dog Years by R. Penfold and S. Hearn: A tight and funny script made this film one of the most successful shorts on Film Network.
Good Acting
Unless your friends are actors or demonstrate acting talent, it’s a good idea to avoid casting them in your film. Even one bad actor in a film can really let it down and destroy the viewer’s belief in the reality that your film is seeking to create. There are lots of great actors out there who are willing to work for reduced fees to learn their trade and make a name for themselves. You can find actors through advertising on the message boards of filmmaking communities (see the filmmaking communities section in our related links: filmmaking organisations & communities or via online casting sites such as The Spotlight. For more information on finding cast see our filmmaking guide: cast & crew or see the casting section of our related links: production
Domestic by Suzi Ewing: Rupert Procter is a talented and respected actor who has starred in many successful shorts.
High Production Values
Whilst digital filmmaking has had the positive impact of making the process more accessible and affordable, it’s important to ensure that you still apply the same production values that you would if you were shooting on film with a crew. Many low-budget shorts are let down by poor sound, lighting, camera work and editing and/or by directors who are trying to do it all by themselves without anyone else’s input. Filmmaking is predominantly a collaborative process and it’s much better to find crew who are specialising in these areas who can offer different skills. You can use the message boards of filmmaking communities (see the filmmaking communities section in our related links: filmmaking organisations & communities) to find crew to collaborate with. If you’re new to filmmaking, one of the best ways to learn the skills required is to assist on other people’s films. Also check the message boards for call outs for volunteers from filmmakers. However if you’d like more formal training you can find out about training or film schools in our filmmaking guide: training & development and find links to organisations and resources in our related links: training
Make It Short
As a general rule, the longer your short film is, the harder it is to keep the viewer’s attention. This is especially true of online viewing – for instance on Film Network the average time that a viewer spends watching a film is 4 minutes. Note – exceptions to this rule is documentary, which viewers will often watch for longer. Many festivals don’t accept short films that are over 30 minutes long; a long film will really have to impress the programmers for them to include it in their screening, as it means they will not be able to show so many films in their short film programme. One filmmaker told us about a film he made that was 26 minutes long. He applied for festivals all over the world and was rejected by them all. A year later he re-cut the film to 10 minutes and resubmitted it. His 10-minute cut was shown at numerous festivals worldwide and was broadcast on a digital channel. Very short films, especially romance and comedies, can be popular with distributors and buyers as they are easier to programme and can be sold to multi-platforms e.g. online, mobile, VOD etc.
The End by Tim Clayton and Rob Crowther: A humorous or strong storyline can be conveyed without needing lots of time as displayed in this 90 second short.
Strong Beginning
Most programmers/distributors will be inundated with submissions and so your film has to grab their attention from the very first shot. The harsh reality is that if your film doesn’t pique their interest within the first two minutes, in all likelihood they may not sit through it till the end. Don’t waste time on lengthy introductions and credits – spark their interest in the story as quickly as you can. Credits at the start can distract the viewer (especially if the direction, production and editing are all by the same person!) so leave them out unless you have it written in an agreement with one of your cast. Similarly if your film starts with a long establishing shot where nothing really happens, viewers may switch off before you get to show them your great plot and idea. If the pace of your film is naturally slow and ambling, make the shots as rich and enticing as possible to draw the viewer in. Note – a good editor can really transform a film. If you’re directing and editing your own film you might be too attached to certain shots to know which bits to chop out to make your film a stronger, more coherent piece. In big blockbusters, scenes that have cost thousands or even millions can be chopped if the studio/filmmaker feels that they are not integral to the final edit of the piece.
Avoid Repetition & Punchline Twists
Whilst sometimes a repetitive scene can be used for comedy/dramatic effect (Groundhog Day being a classic example of where this can work), if you are not careful it can end up being repetitive and predictable. Comedy is notoriously difficult to pull off in short films – if you’re looking to make humorous shorts then it’s a good idea to test your idea on an audience (why not post a short clip on a site like YouTube or MySpace and see what feedback you get?) or to cast your film carefully and get a funny actor. Be careful of one-line gag/punchline films. Some shorts can do this to great success (eg watch Le Cheval 2.1, below, which was a massive viral hit) but many often fall flat. If you’ve got a great punchline twist then consider making it short and snappy as viewers might be disappointed if they sit through 7 minutes for one joke at the end, especially if they’ve already seen it coming.
Le Cheval 2.1 by S. Scott-Hayward & A. Kirkland: This short became a massive viral hit.
Exciting New Techniques & Style
Even an average plot can be made intriguing by an exciting new technique or style - whether it be a new kind of animation, camera work or art direction. Try experimenting and developing your own style. Note – having said that, beware of style over substance.
Taken from http://www.bbc.co.uk/dna/filmnetwork/filmmakingguidegoodshort
Original ideas are not easy to come-by but a good way of avoiding clichéd ideas is to watch lots of other short films, look out for any trends and stay clear of them. Even if your idea isn’t completely original try to look at the subject matter from a different angle or using a different style/technique. If you're struggling for ideas, you could try to find inspiration in your experiences or those of the people that you meet or through the stories that you read in newspapers, magazines and online.
A Strong Script
A good script is key to narrative-based short films and in many ways it’s harder to write a short than a feature because you need to condense your story and develop your characters in a very short space of time. All too often films are let down by weak, overwritten or underdeveloped scripts. Before investing money, time and effort into shooting your film, it’s a good idea to test your script out on friends and strangers (as friends might fear offending you) and get as much feedback as you can. See our filmmaking guide: writing a script for more advice & our related links: writing for scriptwriting organisations, resources and communities. If you write and direct your own films, it’s a good idea to consider where your strengths lie. It’s great if you can do both but if you think you’re stronger at direction/animation then why not consider collaborating with a talented scriptwriter and see what results come of it?
Dog Years by R. Penfold and S. Hearn: A tight and funny script made this film one of the most successful shorts on Film Network.
Good Acting
Unless your friends are actors or demonstrate acting talent, it’s a good idea to avoid casting them in your film. Even one bad actor in a film can really let it down and destroy the viewer’s belief in the reality that your film is seeking to create. There are lots of great actors out there who are willing to work for reduced fees to learn their trade and make a name for themselves. You can find actors through advertising on the message boards of filmmaking communities (see the filmmaking communities section in our related links: filmmaking organisations & communities or via online casting sites such as The Spotlight. For more information on finding cast see our filmmaking guide: cast & crew or see the casting section of our related links: production
Domestic by Suzi Ewing: Rupert Procter is a talented and respected actor who has starred in many successful shorts.
High Production Values
Whilst digital filmmaking has had the positive impact of making the process more accessible and affordable, it’s important to ensure that you still apply the same production values that you would if you were shooting on film with a crew. Many low-budget shorts are let down by poor sound, lighting, camera work and editing and/or by directors who are trying to do it all by themselves without anyone else’s input. Filmmaking is predominantly a collaborative process and it’s much better to find crew who are specialising in these areas who can offer different skills. You can use the message boards of filmmaking communities (see the filmmaking communities section in our related links: filmmaking organisations & communities) to find crew to collaborate with. If you’re new to filmmaking, one of the best ways to learn the skills required is to assist on other people’s films. Also check the message boards for call outs for volunteers from filmmakers. However if you’d like more formal training you can find out about training or film schools in our filmmaking guide: training & development and find links to organisations and resources in our related links: training
Make It Short
As a general rule, the longer your short film is, the harder it is to keep the viewer’s attention. This is especially true of online viewing – for instance on Film Network the average time that a viewer spends watching a film is 4 minutes. Note – exceptions to this rule is documentary, which viewers will often watch for longer. Many festivals don’t accept short films that are over 30 minutes long; a long film will really have to impress the programmers for them to include it in their screening, as it means they will not be able to show so many films in their short film programme. One filmmaker told us about a film he made that was 26 minutes long. He applied for festivals all over the world and was rejected by them all. A year later he re-cut the film to 10 minutes and resubmitted it. His 10-minute cut was shown at numerous festivals worldwide and was broadcast on a digital channel. Very short films, especially romance and comedies, can be popular with distributors and buyers as they are easier to programme and can be sold to multi-platforms e.g. online, mobile, VOD etc.
The End by Tim Clayton and Rob Crowther: A humorous or strong storyline can be conveyed without needing lots of time as displayed in this 90 second short.
Strong Beginning
Most programmers/distributors will be inundated with submissions and so your film has to grab their attention from the very first shot. The harsh reality is that if your film doesn’t pique their interest within the first two minutes, in all likelihood they may not sit through it till the end. Don’t waste time on lengthy introductions and credits – spark their interest in the story as quickly as you can. Credits at the start can distract the viewer (especially if the direction, production and editing are all by the same person!) so leave them out unless you have it written in an agreement with one of your cast. Similarly if your film starts with a long establishing shot where nothing really happens, viewers may switch off before you get to show them your great plot and idea. If the pace of your film is naturally slow and ambling, make the shots as rich and enticing as possible to draw the viewer in. Note – a good editor can really transform a film. If you’re directing and editing your own film you might be too attached to certain shots to know which bits to chop out to make your film a stronger, more coherent piece. In big blockbusters, scenes that have cost thousands or even millions can be chopped if the studio/filmmaker feels that they are not integral to the final edit of the piece.
Avoid Repetition & Punchline Twists
Whilst sometimes a repetitive scene can be used for comedy/dramatic effect (Groundhog Day being a classic example of where this can work), if you are not careful it can end up being repetitive and predictable. Comedy is notoriously difficult to pull off in short films – if you’re looking to make humorous shorts then it’s a good idea to test your idea on an audience (why not post a short clip on a site like YouTube or MySpace and see what feedback you get?) or to cast your film carefully and get a funny actor. Be careful of one-line gag/punchline films. Some shorts can do this to great success (eg watch Le Cheval 2.1, below, which was a massive viral hit) but many often fall flat. If you’ve got a great punchline twist then consider making it short and snappy as viewers might be disappointed if they sit through 7 minutes for one joke at the end, especially if they’ve already seen it coming.
Le Cheval 2.1 by S. Scott-Hayward & A. Kirkland: This short became a massive viral hit.
Exciting New Techniques & Style
Even an average plot can be made intriguing by an exciting new technique or style - whether it be a new kind of animation, camera work or art direction. Try experimenting and developing your own style. Note – having said that, beware of style over substance.
Taken from http://www.bbc.co.uk/dna/filmnetwork/filmmakingguidegoodshort
How to make a good short!
Media Studies short film-making guide
So what makes a good short good? .....
Your guess is as good as mine but while there are no definite rules to making a good short film there are some tips for making your journey as film makers a smooth one.
The best way to learn how to make a good short is by watching other peoples and learning from their mistakes and successes. (see links to shorts viewing)
For excellent advice and links to various resources for short film making visit http://www.bbc.co.uk/dna/filmnetwork/ an excellent arm of the BBC dedicated to promoting film making and new film-makers.
So what makes a good short good? .....
Your guess is as good as mine but while there are no definite rules to making a good short film there are some tips for making your journey as film makers a smooth one.
The best way to learn how to make a good short is by watching other peoples and learning from their mistakes and successes. (see links to shorts viewing)
For excellent advice and links to various resources for short film making visit http://www.bbc.co.uk/dna/filmnetwork/ an excellent arm of the BBC dedicated to promoting film making and new film-makers.
AS Functions of a opening sequence
The functions
The function of an opening title sequence to a film is to establish the visual style of the film and to introduce the viewer to all or some of the following:
Characters
Location
Narrative/Plot
Genre
Themes
The Elements
Typically, an opening sequence will contain:
Details of cast and crew.
The film's title.
An introduction to character or character type.
Indication of place.
Indication of historical period.
Information regarding mood and tone.
Introduction to signature theme tune.
Information about genre.
Questions that the viewer finds intriguing.
Patterns and types of editing that will be echoed in the remainder of the film.
Mise en scene and cinematography that will be echoed or elaborated upon later in the film
The function of an opening title sequence to a film is to establish the visual style of the film and to introduce the viewer to all or some of the following:
Characters
Location
Narrative/Plot
Genre
Themes
The Elements
Typically, an opening sequence will contain:
Details of cast and crew.
The film's title.
An introduction to character or character type.
Indication of place.
Indication of historical period.
Information regarding mood and tone.
Introduction to signature theme tune.
Information about genre.
Questions that the viewer finds intriguing.
Patterns and types of editing that will be echoed in the remainder of the film.
Mise en scene and cinematography that will be echoed or elaborated upon later in the film
10 Great opening title sequences
10 great title sequences
1. Psycho (1960). One of the landmark Saul Bass designs: jumpy, fragmented titles married to Bernard Herrmann’s hysteric strings have you nervously gripping the arms of your chair long before Hitchcock’s slasher classic has spilled a drop of blood.
2. To Kill a Mockingbird (1962). An ancestor to Juno’s opening titles, this delicately haunting sequence by Stephen O. Frankfurt uses the paraphernalia of childhood — marbles, crayons, a whistle, jacks — to evoke the world of the film’s five-year-old narrator.
3. The James Bond films (1962-2006). It just wouldn’t be a Bond flick without Maurice Binder’s signature swirling gun barrel and curtain of blood, backed by Monty Norman’s rumbling theme. The only Bond films without it are Never Say Never Again and the 1967 spoof of Casino Royale — neither of them part of the official 007 franchise.
4. Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964). Pablo Ferro’s sly opening for Stanley Kubrick’s jet-black nuclear satire is one of the most sublime in screen history; it features footage of B-52 bombers refueling/fornicating to the romantic strains of Try a Little Tenderness. Freudian symbolism has never been so funny.
5. The Pink Panther films (1964-2006). Perhaps the most famous of cartoon credits sequences. The cool cat of the title was created by the DePatie-Freleng studio for the first entry in this long-lasting series of slapstick comedies. The Pink One proved so popular that he ended up living a double life outside the franchise, as the star of his own animated series.
6. The Good, the Bad and the Ugly (1966). I’ll take my spaghetti western with cheese. Iginio Lardani’s garish low-budget titles, which look like grainy wanted posters splattered with blood, are as deliciously lurid as Ennio Morricone’s famous wailing score.
7. Monty Python and the Holy Grail (1975). Be careful whom you hire to do your opening title sequence. In the Pythons’ comedy classic, moose-obsessed Swedes hijack the foreign subtitles, then infiltrate the English credits; they are finally ousted and replaced by llama-obsessed Latin Americans.
8. Reservoir Dogs (1992). An opening sequence doesn’t have to be complex to be effective. Quentin Tarantino’s slo-mo intro to his seminal crime drama not only ID’s the ensemble cast, it also serves as a long, slow breather before the chaos of blood and profanity to follow.
9. Se7en (1995). Kyle Cooper’s chilling (and much imitated) sequence for David Fincher’s thriller takes Frankfurt’s To Kill a Mockingbird opening and gives it a sickening twist: the paraphernalia here is that of a methodical serial killer. Cooper adds flickering images on scratched film stock and an abrasive score by Nine Inch Nails’ Trent Reznor to suggest the disturbed mind of a maniac.
10. Down with Love (2003). Animation couple Maximilian Graenitz and Jane Poole put viewers in a retro mood with their exuberant, Saul Bass-style titles for this romantic comedy — a tongue-in-cheek homage to the Doris Day-Rock Hudson movies of the early 1960s.
1. Psycho (1960). One of the landmark Saul Bass designs: jumpy, fragmented titles married to Bernard Herrmann’s hysteric strings have you nervously gripping the arms of your chair long before Hitchcock’s slasher classic has spilled a drop of blood.
2. To Kill a Mockingbird (1962). An ancestor to Juno’s opening titles, this delicately haunting sequence by Stephen O. Frankfurt uses the paraphernalia of childhood — marbles, crayons, a whistle, jacks — to evoke the world of the film’s five-year-old narrator.
3. The James Bond films (1962-2006). It just wouldn’t be a Bond flick without Maurice Binder’s signature swirling gun barrel and curtain of blood, backed by Monty Norman’s rumbling theme. The only Bond films without it are Never Say Never Again and the 1967 spoof of Casino Royale — neither of them part of the official 007 franchise.
4. Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964). Pablo Ferro’s sly opening for Stanley Kubrick’s jet-black nuclear satire is one of the most sublime in screen history; it features footage of B-52 bombers refueling/fornicating to the romantic strains of Try a Little Tenderness. Freudian symbolism has never been so funny.
5. The Pink Panther films (1964-2006). Perhaps the most famous of cartoon credits sequences. The cool cat of the title was created by the DePatie-Freleng studio for the first entry in this long-lasting series of slapstick comedies. The Pink One proved so popular that he ended up living a double life outside the franchise, as the star of his own animated series.
6. The Good, the Bad and the Ugly (1966). I’ll take my spaghetti western with cheese. Iginio Lardani’s garish low-budget titles, which look like grainy wanted posters splattered with blood, are as deliciously lurid as Ennio Morricone’s famous wailing score.
7. Monty Python and the Holy Grail (1975). Be careful whom you hire to do your opening title sequence. In the Pythons’ comedy classic, moose-obsessed Swedes hijack the foreign subtitles, then infiltrate the English credits; they are finally ousted and replaced by llama-obsessed Latin Americans.
8. Reservoir Dogs (1992). An opening sequence doesn’t have to be complex to be effective. Quentin Tarantino’s slo-mo intro to his seminal crime drama not only ID’s the ensemble cast, it also serves as a long, slow breather before the chaos of blood and profanity to follow.
9. Se7en (1995). Kyle Cooper’s chilling (and much imitated) sequence for David Fincher’s thriller takes Frankfurt’s To Kill a Mockingbird opening and gives it a sickening twist: the paraphernalia here is that of a methodical serial killer. Cooper adds flickering images on scratched film stock and an abrasive score by Nine Inch Nails’ Trent Reznor to suggest the disturbed mind of a maniac.
10. Down with Love (2003). Animation couple Maximilian Graenitz and Jane Poole put viewers in a retro mood with their exuberant, Saul Bass-style titles for this romantic comedy — a tongue-in-cheek homage to the Doris Day-Rock Hudson movies of the early 1960s.
AS useful links F.P
Useful Resources:
Opening Title Sequence Sites:
This is a fantastic site dedicated to showcasing the art of title sequences. Each image
captures the essence on the sequence and when clicked provides access to the streamed
sequence. Each title is accompanied by an short analytical commentary
http://www.artofthetitle.com/about/
http://mmbase.submarinechannel.com/titlesequences/
‘Thank you for Smoking’ and ‘Juno’ title sequence site:
http://www.shadowplaystudio.com/smoking.html
http://www.smashingmagazine.com/2008/12/19/30-unforgettable-movie-title-sequences/
Opening Title Sequence Sites:
This is a fantastic site dedicated to showcasing the art of title sequences. Each image
captures the essence on the sequence and when clicked provides access to the streamed
sequence. Each title is accompanied by an short analytical commentary
http://www.artofthetitle.com/about/
http://mmbase.submarinechannel.com/titlesequences/
‘Thank you for Smoking’ and ‘Juno’ title sequence site:
http://www.shadowplaystudio.com/smoking.html
http://www.smashingmagazine.com/2008/12/19/30-unforgettable-movie-title-sequences/
A2 Research and Planning
A2 Media Coursework – Research and Planning
Short film, poster and double page review spread
When researching similar products to the ones you’ll be producing:
• Short films, all genres and your genre
• Posters (advertising films)
• Film magazines review pages
• Film magazine double page spreads
You will need to:
a) conduct a textual analysis of the products’ images and text and layout
then:
b) consider the contexts of consumption for each product, in other words the ways in which audiences consume the products (when, where and who with?).
To help you do this you should type up bullet point notes on the following questions:
1. How many possible consumption contexts do your researched products (and by extension your own products) have?
2. What does this mean in terms of the potential target consumer?
3. Are there specific conventions that you have identified in your researched products?
4. How will you use these conventions within the production of your own product?
5. Is the product you have chosen to create original within the marketplace or is it placed within a tradition of such products?
All of the notes that you produce regarding the context of your products will provide essential reference material when you come to writing up your critical evaluation.
When you have done this you need to move onto:
• Storyboard /animatic for film
• Drafting mock-ups of the poster, magazine page
• Take / find sample photos (remember always original images)
• Draft the wording for the poster and review
Short film, poster and double page review spread
When researching similar products to the ones you’ll be producing:
• Short films, all genres and your genre
• Posters (advertising films)
• Film magazines review pages
• Film magazine double page spreads
You will need to:
a) conduct a textual analysis of the products’ images and text and layout
then:
b) consider the contexts of consumption for each product, in other words the ways in which audiences consume the products (when, where and who with?).
To help you do this you should type up bullet point notes on the following questions:
1. How many possible consumption contexts do your researched products (and by extension your own products) have?
2. What does this mean in terms of the potential target consumer?
3. Are there specific conventions that you have identified in your researched products?
4. How will you use these conventions within the production of your own product?
5. Is the product you have chosen to create original within the marketplace or is it placed within a tradition of such products?
All of the notes that you produce regarding the context of your products will provide essential reference material when you come to writing up your critical evaluation.
When you have done this you need to move onto:
• Storyboard /animatic for film
• Drafting mock-ups of the poster, magazine page
• Take / find sample photos (remember always original images)
• Draft the wording for the poster and review
Animatic
1. draw storyboard frames- nice and bold, black pen if possible
2. take individual photos of each frame
3. upload the photos to the computer
4. import the photos into the edit programme
5. drop each image onto the timeline and cut to the required length
6. put music or other sound on the audio timeline
7. add titles or effects/transitions as required
8. export to quicktime and upload to youtube or vimeo
9. embed the video onto the blog or save it to a Cd
2. take individual photos of each frame
3. upload the photos to the computer
4. import the photos into the edit programme
5. drop each image onto the timeline and cut to the required length
6. put music or other sound on the audio timeline
7. add titles or effects/transitions as required
8. export to quicktime and upload to youtube or vimeo
9. embed the video onto the blog or save it to a Cd
A2 Shorts
The OCR brief asks you to produce:
SHORT FILM and:
• Poster
• Film magazine review page
Existing media starting points
The UK Film council’s Digital Shorts project (www.ukfilmcouncil.org.uk/shortfilms)
Shane Meadows’ collection of short films (www.channel4.com/film/makingmovies/microsites/S/shaneworld_main.jsp)
Productions tips from OCR
Short films are often a ‘laboratory for experimentation and innovation’ (Quy 2008:39) rather than just a shorter version of conventional film making
This means you should not be afraid to take risks with your concept and the filming techniques that you use
Short films are now a booming medium because of digital technology which means you can find audience through web streaming (you-tube etc)
Go to www.depict.org to see a project challenging the public to create super shorts
Short films go very well with converging technologies see the arts council funded www.onedotzero.com for examples of computer generated short films
Here is Simon Quy (a teacher trainer specialised in media) summary of the importance of the medium
If the feature film has parallels with the novel, then the short film might be considered as the literary equivalent of the poem or short story. The best short films are crystalline creations of precise, prismatic intensity, offering the careful ‘refinement’ of the director’s idea, the distilled essences of his/her imagination
SHORT FILM and:
• Poster
• Film magazine review page
Existing media starting points
The UK Film council’s Digital Shorts project (www.ukfilmcouncil.org.uk/shortfilms)
Shane Meadows’ collection of short films (www.channel4.com/film/makingmovies/microsites/S/shaneworld_main.jsp)
Productions tips from OCR
Short films are often a ‘laboratory for experimentation and innovation’ (Quy 2008:39) rather than just a shorter version of conventional film making
This means you should not be afraid to take risks with your concept and the filming techniques that you use
Short films are now a booming medium because of digital technology which means you can find audience through web streaming (you-tube etc)
Go to www.depict.org to see a project challenging the public to create super shorts
Short films go very well with converging technologies see the arts council funded www.onedotzero.com for examples of computer generated short films
Here is Simon Quy (a teacher trainer specialised in media) summary of the importance of the medium
If the feature film has parallels with the novel, then the short film might be considered as the literary equivalent of the poem or short story. The best short films are crystalline creations of precise, prismatic intensity, offering the careful ‘refinement’ of the director’s idea, the distilled essences of his/her imagination
Monday 11 October 2010
Genre & Shorts
The great thing about shorts is that they can be anything – the only limit beyond the cost of production is that of your own imagination. So don't be hemmed in - let your imagination fly. Play with your ideas. Play with the form. Every short can and should be a unique vision.
Film is about telling stories in pictures, which is the most economical way of telling a story – and in the making of shorts, economy is everything. Remember the golden rule of filmmaking: show, don't tell. The idea and story can be focused enough in scope to exist entirely in the viewer's head, and so logic and time can play a much smaller role in the journey from beginning to end than in other formats.
The best short films are often a moment that is played out, but one that has a story at its heart - a conflict that has to be resolved, where there's a deadline to the action, where there's a choice that a character has to make. You should always try to tell a story. Short films aren't an excuse to break all the rules – but they are an opportunity to push the boundaries of what cinematic storytelling can do.
It's worth thinking about
* The simplicity, clarity and economy of the storytelling
* The vision of the piece, and its visual images
* Making every element pertinent
* Making your story coherent.
It's worth being careful of
* Conflicting and incoherent worlds
* Ideas that are too concept-driven
* A lack of narrative engine and story
* A lack of engaging characters
* A lack of focus and concision
* Action and repetition without meaning
* Descriptive dialogue
* Extended jokes with (usually unsatisfying) punch-lines.
Think about how your film will play to its audience. Does your story have a potentially universal appeal? What will the audience know and when will they know it? What will they be guessing? What questions will they have which need answering? And what can you show without having to explain things away?
The impact of page one is crucial. Are we emotionally engaged? What is the vision and world of the film? Is it original? Do we inhabit the characters? Do the world and story of the film have integrity and authenticity? The last moment is also crucial – it's easy to come away feeling very little about a short, so work towards a meaningful, satisfying ending.
Be careful of cliché, because there are so many of them in short films (hit-men for hire, post office heists, people seeing themselves die, children representing innocence, dysfunctional abusive relationships, films about writing or making films, in-jokes and navel-gazing). Write what you know and feel passionately about rather than something second-hand and culled from watching other films. Use the form to be fresh and original and unexpected - you don't get that opportunity very often in your writing career.
Think about the practicalities of writing your script so that it can be shot with a low or limited budget – there's never enough money around to spend on making shorts. Remember that digital technology is freeing up what filmmakers can do, and what they can afford to do. But remember also that a low budget short doesn't need to look cheap - unless, of course, you want it to.
One potential pitfall for writers can be directing their own scripts. Many of the most talented filmmakers write their own stories. But be careful of directing your own work because you want 'control' over the project. Creative collaboration can be a hugely rewarding experience - and if you're not a natural filmmaker, there's a chance you will spoil your writing with inexperienced filmmaking. Go to film festivals, meet filmmakers – find people with whom you can collaborate.
Spare a thought to the presentation of your script. It isn't hard to make it easy to read, and it's always worth the effort of rewriting and editing in order to make your story shine. There are no excuses for your script to not be as perfect as it can be.
Watch as many short films as you possibly can. There is no replacement for knowing what work is already out there, and knowing what you as an audience (as well as a writer) think and feel about it.
GENRE
Film Genres are various forms or identifiable types, categories, classifications or groups of films that are recurring and have similar, familiar or instantly-recognizable patterns, syntax, filmic techniques or conventions - that include one or more of the following: settings (and props), content and subject matter, themes, mood, period, plot, central narrative events, motifs, styles, structures, situations, recurring icons (e.g., six-guns and ten-gallon hats in Westerns), stock characters (or characterizations), and stars. Many films are considered hybrids - they straddle several film genres.
Genres History: By the end of the silent era, many of the main genres were established: the melodrama, the western, the horror film, comedies, and action-adventure films (from swashbucklers to war movies). Musicals were inaugurated with the era of the Talkies, and the genre of science-fiction films wasn't generally popularized until the 1950s. One problem with genre films is that they can become stale, cliche-ridden, and over-imitated. A traditional genre that has been reinterpreted, challenged, or subjected to scrutiny may be termed revisionist.
Genre Sub-Genre
Action Films
Biographical Films (or "Biopics")
Adventure Films
'Chick' Flicks
Comedy Films
Detective & Mystery Films
Crime & Gangster Films
Disaster Films
Drama Films
Fantasy Films
Epics/Historical Films
Film Noir
Horror Films
Guy Films
Musicals (Dance) Films
Melodramas, Women's or "Weeper" Films
Science Fiction Films
Road Films
War (Anti-War) Films
Romance Films
Westerns
Sports Films
Supernatural Films
Thriller-Suspense Films
Minor Film Sub-Genres
There are dozens of minor sub-categories, such as martial-arts action films,
espionage thrillers, black comedies, and more.
Other Film Categories
Animated Films
British (UK Films)
Childrens - Kids - Family-Oriented Films
Classic Films
Cult Films
Documentary Films
Serial Films
Sexual or Erotic Films
Silent Films
Film is about telling stories in pictures, which is the most economical way of telling a story – and in the making of shorts, economy is everything. Remember the golden rule of filmmaking: show, don't tell. The idea and story can be focused enough in scope to exist entirely in the viewer's head, and so logic and time can play a much smaller role in the journey from beginning to end than in other formats.
The best short films are often a moment that is played out, but one that has a story at its heart - a conflict that has to be resolved, where there's a deadline to the action, where there's a choice that a character has to make. You should always try to tell a story. Short films aren't an excuse to break all the rules – but they are an opportunity to push the boundaries of what cinematic storytelling can do.
It's worth thinking about
* The simplicity, clarity and economy of the storytelling
* The vision of the piece, and its visual images
* Making every element pertinent
* Making your story coherent.
It's worth being careful of
* Conflicting and incoherent worlds
* Ideas that are too concept-driven
* A lack of narrative engine and story
* A lack of engaging characters
* A lack of focus and concision
* Action and repetition without meaning
* Descriptive dialogue
* Extended jokes with (usually unsatisfying) punch-lines.
Think about how your film will play to its audience. Does your story have a potentially universal appeal? What will the audience know and when will they know it? What will they be guessing? What questions will they have which need answering? And what can you show without having to explain things away?
The impact of page one is crucial. Are we emotionally engaged? What is the vision and world of the film? Is it original? Do we inhabit the characters? Do the world and story of the film have integrity and authenticity? The last moment is also crucial – it's easy to come away feeling very little about a short, so work towards a meaningful, satisfying ending.
Be careful of cliché, because there are so many of them in short films (hit-men for hire, post office heists, people seeing themselves die, children representing innocence, dysfunctional abusive relationships, films about writing or making films, in-jokes and navel-gazing). Write what you know and feel passionately about rather than something second-hand and culled from watching other films. Use the form to be fresh and original and unexpected - you don't get that opportunity very often in your writing career.
Think about the practicalities of writing your script so that it can be shot with a low or limited budget – there's never enough money around to spend on making shorts. Remember that digital technology is freeing up what filmmakers can do, and what they can afford to do. But remember also that a low budget short doesn't need to look cheap - unless, of course, you want it to.
One potential pitfall for writers can be directing their own scripts. Many of the most talented filmmakers write their own stories. But be careful of directing your own work because you want 'control' over the project. Creative collaboration can be a hugely rewarding experience - and if you're not a natural filmmaker, there's a chance you will spoil your writing with inexperienced filmmaking. Go to film festivals, meet filmmakers – find people with whom you can collaborate.
Spare a thought to the presentation of your script. It isn't hard to make it easy to read, and it's always worth the effort of rewriting and editing in order to make your story shine. There are no excuses for your script to not be as perfect as it can be.
Watch as many short films as you possibly can. There is no replacement for knowing what work is already out there, and knowing what you as an audience (as well as a writer) think and feel about it.
GENRE
Film Genres are various forms or identifiable types, categories, classifications or groups of films that are recurring and have similar, familiar or instantly-recognizable patterns, syntax, filmic techniques or conventions - that include one or more of the following: settings (and props), content and subject matter, themes, mood, period, plot, central narrative events, motifs, styles, structures, situations, recurring icons (e.g., six-guns and ten-gallon hats in Westerns), stock characters (or characterizations), and stars. Many films are considered hybrids - they straddle several film genres.
Genres History: By the end of the silent era, many of the main genres were established: the melodrama, the western, the horror film, comedies, and action-adventure films (from swashbucklers to war movies). Musicals were inaugurated with the era of the Talkies, and the genre of science-fiction films wasn't generally popularized until the 1950s. One problem with genre films is that they can become stale, cliche-ridden, and over-imitated. A traditional genre that has been reinterpreted, challenged, or subjected to scrutiny may be termed revisionist.
Genre Sub-Genre
Action Films
Biographical Films (or "Biopics")
Adventure Films
'Chick' Flicks
Comedy Films
Detective & Mystery Films
Crime & Gangster Films
Disaster Films
Drama Films
Fantasy Films
Epics/Historical Films
Film Noir
Horror Films
Guy Films
Musicals (Dance) Films
Melodramas, Women's or "Weeper" Films
Science Fiction Films
Road Films
War (Anti-War) Films
Romance Films
Westerns
Sports Films
Supernatural Films
Thriller-Suspense Films
Minor Film Sub-Genres
There are dozens of minor sub-categories, such as martial-arts action films,
espionage thrillers, black comedies, and more.
Other Film Categories
Animated Films
British (UK Films)
Childrens - Kids - Family-Oriented Films
Classic Films
Cult Films
Documentary Films
Serial Films
Sexual or Erotic Films
Silent Films
Wednesday 6 October 2010
SE7EN Opening
Watch this and use the following framework for analysis
- What text / graphics were used for the titles and do they connote the genre/narrative/mood?
- What images are used, moving or still? Real or animation?
- What colours are used? What atmosphere/mood do they connote?
- What sound is present? Theme tune? Narration? Ambient sound? Diegetic/ non-diegetic, synchronous/ non-synchronous?
- Editing techniques – continuity, match on action, cross-cutting, pace, match with sound/narration?
Functions and elements of a Title
Film Opening title Sequence project
The function
The function of an opening title sequence to a film is to establish the visual style of the film and to introduce the viewer to all or some of the following:
• Characters
• Location
• Narrative/Plot
• Genre
• Themes
The Elements
Typically, an opening sequence will contain:
• Details of cast and crew.
• The film's title.
• An introduction to character or character type.
• Indication of place.
• Indication of historical period.
• Information regarding mood and tone.
• Introduction to signature theme tune.
• Information about genre.
• Questions that the viewer finds intriguing.
• Patterns and types of editing that will be echoed in the remainder of the film.
• Mise en scene and cinematography that will be echoed or elaborated upon later in the film
The function
The function of an opening title sequence to a film is to establish the visual style of the film and to introduce the viewer to all or some of the following:
• Characters
• Location
• Narrative/Plot
• Genre
• Themes
The Elements
Typically, an opening sequence will contain:
• Details of cast and crew.
• The film's title.
• An introduction to character or character type.
• Indication of place.
• Indication of historical period.
• Information regarding mood and tone.
• Introduction to signature theme tune.
• Information about genre.
• Questions that the viewer finds intriguing.
• Patterns and types of editing that will be echoed in the remainder of the film.
• Mise en scene and cinematography that will be echoed or elaborated upon later in the film
Wednesday 29 September 2010
Bubblegum love
In contrast who would the audience for this short film be?
What would they use this kind of text for?
Amswer the questions from the previous post for this film
White space
Exeprimental short film
Who would be the audience for this? Why? What uses and gratifications would the audience get from watching this style of text?
Monday 20 September 2010
AS Production checklist
AS Production checklist
This is a rough list of the basic tasks you should have completed for a level 4 you will be expected to have done more.
• Research other products
• Research and address your target audience
• Storyboard
• Shot list
• Script using prof format
• Your blog should be up to date
• Production schedule evidencing the organization of actors, locations and props
• Prelim ex (with the stated techniques included in your main task)
• Recce trip to locations
• The sourcing and organizing of appropriate actors, costumes, and props
• Character profiles
• Sound scape– including tracks and SFX to be used
• And all tasks completed for the presentation
many thanks Nina.
This is a rough list of the basic tasks you should have completed for a level 4 you will be expected to have done more.
• Research other products
• Research and address your target audience
• Storyboard
• Shot list
• Script using prof format
• Your blog should be up to date
• Production schedule evidencing the organization of actors, locations and props
• Prelim ex (with the stated techniques included in your main task)
• Recce trip to locations
• The sourcing and organizing of appropriate actors, costumes, and props
• Character profiles
• Sound scape– including tracks and SFX to be used
• And all tasks completed for the presentation
many thanks Nina.
A2 Production
Hello everyone,I hope you are all now clear about what you are doing and how to go about doing it? The following is a comprehensive list of what you are required to produce for the Pre-Production stages of this film project.
so you should all have your brief and realise that you have two ancillary tasks complete alongside your main short film task. As you are now A2 students you will be expected to carryout your research with a critical perspective, this means you should be analysing a large number of other media products that are suitable for your chosen project. The following provides a list of tasks you must complete, this list is the bare minimum expected at A2 level & so if you are aiming for a good grade you must do over & above this.
Pre-production checklist
• Demonstrate a clear knowledge of Forms and conventions – this must include the general forms & conventions of short films (or lack of!!)and ALSO genre specific forms & conventions of your chosen genre (this must be clear as starting point on your blogs), you can also state whether you are following those conventions or subverting them
• Hyperlinks / embedded posts of at least 6 short films that you have analysed (any genre) and hyperlinks to a further 8 that you have analysed of the SAME genre as your title sequence. So this is 14 short films in total that you have analysed and written about – 6 general, 8 genre specific, (this is a basic number requirement, you should/could analyse many more and they should all be added to your blog – links & your analysis) The framework for your analysis should include the following – mise-en-scene, what sound was used – to what effect and when during the sequence it was played (include dialogue), what the film was about, the characters, location, genre, time, mood etc, etc, where any themes developed? What colour schemes were used, Was any imagery used or inter-textual references made? Did they use signs and symbols (Semiotics)to convey their message further?
You also need to apply narrative theory to your analysis, for this you must research Todorov, Propp, Vogler,
again you also need to apply genre theory so research daniel chandler and go to the aberystwyth university website & search for 'genre theory' & narrative theory' (make sure the search box is selected to all aber web pages not just the courses.
You will also find appropriate research here about audience theory and representation all of which must be discuss in your analysis. This work will also prepare you for the exam work we start when your production is completed. It is complex and complicated but you need to make notes for yourself and apply what you can as I will be explaining everything in much more detail for the exam. However as A2 students you will have to carryout substantial research on your own and to a high standard in preparation for university.
• Your synopsis and any influences (other films etc that you have worked from)
• Links to sample sound files that you may use and how / why you would use them
• Sample screen page layouts to include an image with sample titles placed over it in the positions that you may use in your sequence
• A mood slide that should be made of images (any from the net), colour schemes, fonts, words and sound that portray the intended ‘mood’ of your short film like a PowerPoint collage
• Who your target audience are – age, gender, location, interests, How you are going to attract them, Why you know they will be interested in your film – past films, fans of specific musical genres etc etc, where they will be able to see your film (if it was real), you must apply your research on audience theory to this
• Classification and what that means in relation to what you can show
• Storyboard
• Script - using professional format
• Production schedule/planning - these should be elaborate and organised
• Up to date blog covering all of the above and all other work you have carried out
• Character profiles
• List of locations/ photos if you have them
You should analyse at least 3 film posters, discuss the layout, colour scheme, imagery, fonts, what information is given, symbols used and how the poster relates to the film
You should also create 3 sample page layouts (drafts) for your poster
You should also listen to and analyse 10 radio film adverts, note the types of sounds used, the 'hook' of the advert, the duration, what information was given and what dialogue was used. This is a link to the aber site Good luck!
so you should all have your brief and realise that you have two ancillary tasks complete alongside your main short film task. As you are now A2 students you will be expected to carryout your research with a critical perspective, this means you should be analysing a large number of other media products that are suitable for your chosen project. The following provides a list of tasks you must complete, this list is the bare minimum expected at A2 level & so if you are aiming for a good grade you must do over & above this.
Pre-production checklist
• Demonstrate a clear knowledge of Forms and conventions – this must include the general forms & conventions of short films (or lack of!!)and ALSO genre specific forms & conventions of your chosen genre (this must be clear as starting point on your blogs), you can also state whether you are following those conventions or subverting them
• Hyperlinks / embedded posts of at least 6 short films that you have analysed (any genre) and hyperlinks to a further 8 that you have analysed of the SAME genre as your title sequence. So this is 14 short films in total that you have analysed and written about – 6 general, 8 genre specific, (this is a basic number requirement, you should/could analyse many more and they should all be added to your blog – links & your analysis) The framework for your analysis should include the following – mise-en-scene, what sound was used – to what effect and when during the sequence it was played (include dialogue), what the film was about, the characters, location, genre, time, mood etc, etc, where any themes developed? What colour schemes were used, Was any imagery used or inter-textual references made? Did they use signs and symbols (Semiotics)to convey their message further?
You also need to apply narrative theory to your analysis, for this you must research Todorov, Propp, Vogler,
again you also need to apply genre theory so research daniel chandler and go to the aberystwyth university website & search for 'genre theory' & narrative theory' (make sure the search box is selected to all aber web pages not just the courses.
You will also find appropriate research here about audience theory and representation all of which must be discuss in your analysis. This work will also prepare you for the exam work we start when your production is completed. It is complex and complicated but you need to make notes for yourself and apply what you can as I will be explaining everything in much more detail for the exam. However as A2 students you will have to carryout substantial research on your own and to a high standard in preparation for university.
• Your synopsis and any influences (other films etc that you have worked from)
• Links to sample sound files that you may use and how / why you would use them
• Sample screen page layouts to include an image with sample titles placed over it in the positions that you may use in your sequence
• A mood slide that should be made of images (any from the net), colour schemes, fonts, words and sound that portray the intended ‘mood’ of your short film like a PowerPoint collage
• Who your target audience are – age, gender, location, interests, How you are going to attract them, Why you know they will be interested in your film – past films, fans of specific musical genres etc etc, where they will be able to see your film (if it was real), you must apply your research on audience theory to this
• Classification and what that means in relation to what you can show
• Storyboard
• Script - using professional format
• Production schedule/planning - these should be elaborate and organised
• Up to date blog covering all of the above and all other work you have carried out
• Character profiles
• List of locations/ photos if you have them
You should analyse at least 3 film posters, discuss the layout, colour scheme, imagery, fonts, what information is given, symbols used and how the poster relates to the film
You should also create 3 sample page layouts (drafts) for your poster
You should also listen to and analyse 10 radio film adverts, note the types of sounds used, the 'hook' of the advert, the duration, what information was given and what dialogue was used. This is a link to the aber site Good luck!
AS & A2 Filming advise
The following info is really important if you want your film to look professional. You need to learn all of the below (even if you dont use everything in your film) as you will need it for your exam work (both A2 & AS) You also use it to inform your blog writing please. Thanks NIna
When you’re making a film you should use the camera and editing to help your audience know what’s happening and what your characters are doing, thinking and feeling.
You need to make sure that you have a variety of shots, usually including
• long shots
• mid shots
• closeups
Things you can use to help you plan are
• a script
• a storyboard
• a shot list
Camera movements
Camera movements should be used for a purpose, not just to avoid editing! If you do need movements, make sure the movement is smooth and goes in only one direction. Tracking shots ¬ where the camera itself moves ¬ usually look much better than zooms. For smooth tracking, mount the camera on a wheelchair, skateboard or trolley.
Shot duration
When you’re filming, each shot should last longer than you want it to appear in the finished film: editing longer shots down is much easier then refilming missing footage if the shots are too short to use. When you’re editing dialogue, you may think all you need to use is each character’s line, but significant pauses can add hugely to the tension and dramatic impact of a scene.
Continuity editing
In continuity editing everything is filmed so that the viewer thinks they are seeing continuous action. As well as following the rules below, you will need to ensure that characters’ appearance, the set and the lighting (colour and direction) remain consistent from shot to shot.
Shot/reverse/shot
If you’re shooting two characters talking to each other, here’s how to do it.
• Film it once with a ‘master shot’, which shows both characters
• Film it again with the camera in closeup on one character
• Film it again with the camera in closeup on the second character. Matching eyeline
You need to ensure that the direction of characters’ gazes stays the same ¬ so if one character is taller than the other, the smaller character should be looking up and the taller looking down.
Editing
You can edit a shot reverse shot scene or single-camera interview by splitting a clip into subclips (eg by using iMovie’s ‘Split clip at playhead’ command) to divide up the clip into the lines you want, then putting the clips in order so they alternate between characters, then trimming the clips. It’s easier if you rename the clips so that you know which clip has which line of dialogue.
If you don’t mind fiddling with the ‘Extract audio’ command (in iMovie), you can even include ‘split edits’ and where the picture and sound change at different points. If you're using a professional programme such as Final Cut Pro or Premiere you will need to unlink the sound and video tracks of your clip to do this.
You should edit movement (eg a character running) ‘on the action’ and make sure that the character has clearly moved forward between shots, rather than having the action appearing as if it’s repeated.
Transitions
Fades and dissolves (or ‘cross-fades’) can add to the meaning of a sequence.
• Dissolves can be used to provide a slow, relaxed way of linking shots ¬ eg in a ‘montage’ of different shots within an opening sequence.
• They can also be used in continuity editing to show that we have moved forward in time and/or space.
• Fades to black and back are usually used to show that a more significant period of time has elapsed between two sequences.
• Wipes and other unusual transitions are best avoided!
Thinking in shots
To start thinking in terms of individual shots, try planning and filming an action sequence while following the rules below:
• MORE CLOSE-UPS: Don’t go more than three shots without a close up.
• NO ZOOMS: Don’t touch the zoom button when the camera is running ¬ just use it to set the framing for the shot.
• NO CAMERA MOVEMENTS: Frame separate shots rather than scanning the scene.
Montage
Not all editing is continuity editing. Title sequences often use ‘montage’, where the combination of contrasting images builds up meaning.
• Film individual shots of each character in ‘big closeup’ when you need to show strong emotion.
You can also include other shots, such as mid shots, if you need them.You can film an interview in the same way with just one camera:
• Film the interviewee, while your ‘production assistant’ make notes of the questions
• Then film the interviewer asking the questions and nodding occasionally
Rules for continuity editing
180 degree rule
It’s important not to cross the ‘line of vision’ between two characters, unless the viewer actually sees the viewpoint move across the line. Otherwise the viewer may not be able to make sense of the scene. The same rule applies to a moving subject: keep to one side of the direction of motion.
30 degree rule
If the camera angle changes by less than 30 degrees (with the same framing) viewers may notice a visible jump cut.
When you’re making a film you should use the camera and editing to help your audience know what’s happening and what your characters are doing, thinking and feeling.
You need to make sure that you have a variety of shots, usually including
• long shots
• mid shots
• closeups
Things you can use to help you plan are
• a script
• a storyboard
• a shot list
Camera movements
Camera movements should be used for a purpose, not just to avoid editing! If you do need movements, make sure the movement is smooth and goes in only one direction. Tracking shots ¬ where the camera itself moves ¬ usually look much better than zooms. For smooth tracking, mount the camera on a wheelchair, skateboard or trolley.
Shot duration
When you’re filming, each shot should last longer than you want it to appear in the finished film: editing longer shots down is much easier then refilming missing footage if the shots are too short to use. When you’re editing dialogue, you may think all you need to use is each character’s line, but significant pauses can add hugely to the tension and dramatic impact of a scene.
Continuity editing
In continuity editing everything is filmed so that the viewer thinks they are seeing continuous action. As well as following the rules below, you will need to ensure that characters’ appearance, the set and the lighting (colour and direction) remain consistent from shot to shot.
Shot/reverse/shot
If you’re shooting two characters talking to each other, here’s how to do it.
• Film it once with a ‘master shot’, which shows both characters
• Film it again with the camera in closeup on one character
• Film it again with the camera in closeup on the second character. Matching eyeline
You need to ensure that the direction of characters’ gazes stays the same ¬ so if one character is taller than the other, the smaller character should be looking up and the taller looking down.
Editing
You can edit a shot reverse shot scene or single-camera interview by splitting a clip into subclips (eg by using iMovie’s ‘Split clip at playhead’ command) to divide up the clip into the lines you want, then putting the clips in order so they alternate between characters, then trimming the clips. It’s easier if you rename the clips so that you know which clip has which line of dialogue.
If you don’t mind fiddling with the ‘Extract audio’ command (in iMovie), you can even include ‘split edits’ and where the picture and sound change at different points. If you're using a professional programme such as Final Cut Pro or Premiere you will need to unlink the sound and video tracks of your clip to do this.
You should edit movement (eg a character running) ‘on the action’ and make sure that the character has clearly moved forward between shots, rather than having the action appearing as if it’s repeated.
Transitions
Fades and dissolves (or ‘cross-fades’) can add to the meaning of a sequence.
• Dissolves can be used to provide a slow, relaxed way of linking shots ¬ eg in a ‘montage’ of different shots within an opening sequence.
• They can also be used in continuity editing to show that we have moved forward in time and/or space.
• Fades to black and back are usually used to show that a more significant period of time has elapsed between two sequences.
• Wipes and other unusual transitions are best avoided!
Thinking in shots
To start thinking in terms of individual shots, try planning and filming an action sequence while following the rules below:
• MORE CLOSE-UPS: Don’t go more than three shots without a close up.
• NO ZOOMS: Don’t touch the zoom button when the camera is running ¬ just use it to set the framing for the shot.
• NO CAMERA MOVEMENTS: Frame separate shots rather than scanning the scene.
Montage
Not all editing is continuity editing. Title sequences often use ‘montage’, where the combination of contrasting images builds up meaning.
• Film individual shots of each character in ‘big closeup’ when you need to show strong emotion.
You can also include other shots, such as mid shots, if you need them.You can film an interview in the same way with just one camera:
• Film the interviewee, while your ‘production assistant’ make notes of the questions
• Then film the interviewer asking the questions and nodding occasionally
Rules for continuity editing
180 degree rule
It’s important not to cross the ‘line of vision’ between two characters, unless the viewer actually sees the viewpoint move across the line. Otherwise the viewer may not be able to make sense of the scene. The same rule applies to a moving subject: keep to one side of the direction of motion.
30 degree rule
If the camera angle changes by less than 30 degrees (with the same framing) viewers may notice a visible jump cut.
Filming basics
Filming basics
Get organised
You need to be organised when you are filming. Make sure the camera has a tape in, is turned on, is in the right mode (video camera rather than still or playback mode, and that the lens cap is off. Refer to a shot list or storyboard so that you know which shots you are going to film.
Framing
Normally it's better to use a tripod. If you can't use a tripod, it's easier to hold the camera steady if you zoom out and get in close to the subject.
If you're filming with a still camera or cameraphone, remember you still need to keep the camera in 'landscape' mode. If you film in portrait mode your shots will be on their side, and you won't be able to rotate them unless you have a professional editing program.
Shoot separate shots rather than reframing and waving the camera about while you're filming.
If you do use camera movements, have the camera moving smoothly in one direction. If you're using a camera that uses heavy compression, like a basic cameraphone, fast movement will badly affect image quality and smoothness.
Don't zoom while you're filming.
Check the light
Try to film where there is plenty of light, and don't mix different light sources such as daylight and fluorescent light as this will make the colours appear strange. Don't shoot into the light or against a very light or dark background.
Shoot enough material
Shoot at least ten seconds of each shot (count one second, two seconds etc or watch the counter in the camera viewfinder.) For drama or acted scenes, it's best to follow a drill (LINK TO BE INSERTED).
Don't keep rewinding the camera to check your material as you will probably record over some of your good stuff.
Visit For more details on lighting the media edu site for more details
Get organised
You need to be organised when you are filming. Make sure the camera has a tape in, is turned on, is in the right mode (video camera rather than still or playback mode, and that the lens cap is off. Refer to a shot list or storyboard so that you know which shots you are going to film.
Framing
Normally it's better to use a tripod. If you can't use a tripod, it's easier to hold the camera steady if you zoom out and get in close to the subject.
If you're filming with a still camera or cameraphone, remember you still need to keep the camera in 'landscape' mode. If you film in portrait mode your shots will be on their side, and you won't be able to rotate them unless you have a professional editing program.
Shoot separate shots rather than reframing and waving the camera about while you're filming.
If you do use camera movements, have the camera moving smoothly in one direction. If you're using a camera that uses heavy compression, like a basic cameraphone, fast movement will badly affect image quality and smoothness.
Don't zoom while you're filming.
Check the light
Try to film where there is plenty of light, and don't mix different light sources such as daylight and fluorescent light as this will make the colours appear strange. Don't shoot into the light or against a very light or dark background.
Shoot enough material
Shoot at least ten seconds of each shot (count one second, two seconds etc or watch the counter in the camera viewfinder.) For drama or acted scenes, it's best to follow a drill (LINK TO BE INSERTED).
Don't keep rewinding the camera to check your material as you will probably record over some of your good stuff.
Visit For more details on lighting the media edu site for more details
AS Bloggers get ready!
YOUR BLOG MUST INCLUDE:
- Critical analysis of the work of Saul Bass
- Evidence of research into similar media texts and analysis of their forms and conventions
- Evidence of how you have planned your project
- A logline for your film idea/concept and or a mind-map exploring narrative/character development
- Draft storyboards, title page layouts and plans
- A comprehensive set of posts outlining the processes in the development of your film and the decisions and revisions made during this time
- Your prelim task
YOUR BLOG SHOULD INCLUDE:
- Location shots
- Casting Shot
- A filmed animatic with camera movement/cuts and sound
- Second/third draft storyboards
- Music choices discussion and analysis with audio extracts
- The first cut of your sequence with analysis
- Detailed critique of the developmental process with reflective commentary on the decisions and revisions made.
- Exploration of why opening title sequences are so important to the film industry?
- Photographs of the shoot - you in action!
- Shooting schedule
- Mini-evaluative postings showing reflective thought processes throughout the project
- Evidence of audience profiling
YOUR BLOG COULD INCLUDE:
- Thorough audience research exploring the relationship between opening title sequences and spectator responses to film.
- A detailed audience profile drawing upon sociographic and psychographic profiling techniques.
- Audience responses to your finished film.
- Evidence into 'Film Production' processes undertaking a case study into a specific studio or film and tracking its production, distribution and marketing strategies.
Monday 7 June 2010
Wednesday 26 May 2010
Tuesday 25 May 2010
A2 Audience Theory re-cap
You all seem to have forgotten our earlier work on the other theories after the test last lesson go through this please!!
Audience Theory
Audience Theory
AS Media Studies 'Casualty' - Disability/physical ability
Discuss how this extract constructs a representation of Disability/physical ability
Use the same format as the previous post and look at the four key technical areas
1: Editing
2: Camerawork
3: Sound
4: Mise-en-scene
AS Media TV Drama extract 'Blackpool'
Discuss the ways in which this extract from 'Blackpool' constructs a representation of Gender & Regional identity.
Watch it four times looking at the following technical areas for each viewing
1: Camerawork
2: Editing
3: Sound
4: Mise-en-scene
Do not expect each area to offer a wealth of examples, some areas will give more examples than others.
Aim to write at least a paragraph for each area
(A paragraph = approx seven sentances, one point per paragraph and remember - P.E.E. point, example, explanation.)
Monday 11 January 2010
Monday 4 January 2010
Quay bro - 'classroom dance'
This surrealist film by the Quay Brothers shows you how much can be achieved with very little in the means of props. Deconstruct the mise-en-scene, think about how the narration guides the viewers and also how editing has been used as a extra tool for the conceot & ambience of the text.
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