In addition to our discussion of plot and script, we have been talking about the range of shots and edits we wish to use in our piece.
Due to the subject of the film, I would like to use a variety of different close-ups and handheld footage to enhance the dark mood of the situation, whilst still using fixed tripod footage to give a sense of professionalism. This has yet to be finalised, as handheld footage often makes the film-maker seem lazy and incompetent in amateur productions, and takes practise to achieve the required effect. Often, in Sixth Form videos prior to ours, handheld footage has simply made it seem as though the crew forgot their tripod, and improvised their shots on the spot with no real idea of what they were doing. I would also like to use a "dolly zoom", a technique first developed by Irmin Roberts, as the shot would add an interesting twist to the filming style. This will have to be well though out, due to limits in our equipment choices.
An example of this style, whilst in a different genre, is BBC drama/thriller Spooks. The series often makes use of long zoomed shots, handheld close ups of characters, and handheld tracking shots of movement in some more dark or faster paced situations to give a sense of chaos or mystery. This is spliced with more conventional use of SteadiCam footage, often used during dialogue so as not to distract the viewer from critical plot developments.
As always, our approach to cinematography for this film is subject to change, and will be discussed extensively before we decide on a filming style.
- Joseph Lawrence
Monday, 28 September 2009
Wednesday, 23 September 2009
20.09.09 - Script Discussions
We again met up, this time for Two hours this Sunday. This was to carry on Pre-Production meetings.
The Ending - the failings of many stories is a intriguing main concept which then has filler. We are pleased with our beginning but it can only work if it has an ending that matches it. The answer has to be as fulfilling as the question is tanatalising.
We were thinkign of havign this whole experience as a dream sequence and that the protagonist is playign it over and over in his mind punishign himself. However this idea seems to not fit in witht he general direction of the peice, it is from outside the world.
The Ending - the failings of many stories is a intriguing main concept which then has filler. We are pleased with our beginning but it can only work if it has an ending that matches it. The answer has to be as fulfilling as the question is tanatalising.
We were thinkign of havign this whole experience as a dream sequence and that the protagonist is playign it over and over in his mind punishign himself. However this idea seems to not fit in witht he general direction of the peice, it is from outside the world.
We decided our peice didn't have enough story elements to construct an ending from. For example with 'Wthnail and I' they begin the film by talkign abotu their failing careers, so the ending (where Marwood makes his big break and abandons Withnail) is apart fo that world. We decided to intorduce the idea of a femme fatale. We would foreshadow thischarcter throughout the 5 minutes then rveal her to have manipulate this situation and repeats it.
By foreshadowign it makes the denoument more satisfyign, the foreshadowign working as clues. It also lends itself to repeat viewing.
Friday, 18 September 2009
Evaluation of First Draft
This section will have each of our opinions on the script. Which sections we like, which sections do not work and how to rectify for the second draft.
Tim McNiven
Positive - I think the core concept is compelling. I also find the use of subtitles to express histhoughts as a new method of storytelling.
feels odd. Yes there is a twist with the reveal of the woman, but that feels additional and not an ending in itself. The burial needs to feel more epic.
However on the other hand Director (Boyle) and Writers (Welsh and Hodge) had the same issue with Trainspotting. They rewrote numerous times the ending, adding the police, or other time restrictions. In the en however they decided the original ending felt more ground-breaking and real. Perhaps it may end the same with ours.
Coincidentally we also thought of involving the police, however without a budget there would be issues with this. It would also be extremely difficult to film with The Essex Police. There are also legal issues.Previously television companies have been warned for dressing as the police.
I also find the starting point difficult to deal with. We used to have the box as his imagination . But now him genuinely waking up in this situation stretches our imagination, is it too far?
Rectifications - Firstly and most importantly it's too long. The general guide for scripts is a minute a page. However this varies with montages and action, our script contain a lot of the first and a few of the the second.
I still think it would be wise to cut the script by three pages. The most obvious cut would be the two pages of the different methods. This is because it can be reduced to 5 seconds. It would also cut down our shooting schedule by a whole day!
However i would prefer to keep it. It feels original and effective. It also means that the projector idea we talked about in our second Ideas meeting wouldn't Be used ((unless moved to another section) other cuts would be harder.
With 'Regent House' we cut a whole other minute and an hours filming simply because we discovered in the edit we didn't need it. This technique appeals to me. if we are ruthless, taking off every second we can we could get under the five minutes. But this does mean us filming whole scenes whilst knowing it may be cut.
Peter McLaughlin
Positive
Negative
Rectifications
Joseph Lawrence
Positive
Negative
Rectifications
Oliver Fitch
Positive
Negative
Rectifications
Tim McNiven
Positive - I think the core concept is compelling. I also find the use of subtitles to express histhoughts as a new method of storytelling.
feels odd. Yes there is a twist with the reveal of the woman, but that feels additional and not an ending in itself. The burial needs to feel more epic.
However on the other hand Director (Boyle) and Writers (Welsh and Hodge) had the same issue with Trainspotting. They rewrote numerous times the ending, adding the police, or other time restrictions. In the en however they decided the original ending felt more ground-breaking and real. Perhaps it may end the same with ours.
Coincidentally we also thought of involving the police, however without a budget there would be issues with this. It would also be extremely difficult to film with The Essex Police. There are also legal issues.Previously television companies have been warned for dressing as the police.
I also find the starting point difficult to deal with. We used to have the box as his imagination . But now him genuinely waking up in this situation stretches our imagination, is it too far?
Rectifications - Firstly and most importantly it's too long. The general guide for scripts is a minute a page. However this varies with montages and action, our script contain a lot of the first and a few of the the second.
I still think it would be wise to cut the script by three pages. The most obvious cut would be the two pages of the different methods. This is because it can be reduced to 5 seconds. It would also cut down our shooting schedule by a whole day!
However i would prefer to keep it. It feels original and effective. It also means that the projector idea we talked about in our second Ideas meeting wouldn't Be used ((unless moved to another section) other cuts would be harder.
With 'Regent House' we cut a whole other minute and an hours filming simply because we discovered in the edit we didn't need it. This technique appeals to me. if we are ruthless, taking off every second we can we could get under the five minutes. But this does mean us filming whole scenes whilst knowing it may be cut.
Peter McLaughlin
Positive
Negative
Rectifications
Joseph Lawrence
Positive
Negative
Rectifications
Oliver Fitch
Positive
Negative
Rectifications
Analysis of First Draft
This section will take a look at he building blocks of our script, it's intertextual elements and the structure.
When writing the script we often referred to Clifford Thurlow’s ‘Making Short Films’. Writing Magazine described it as ‘Your ideal guide and will take you right through the process’ and Amazon.co.uk reviewed it as the book that is ‘destined to become the ‘bible’ for anyone who wants to make a short film.’ It seemed the ideal guide.
In a section titled the ‘Eight-Point Guide to Making Short Films’ these were the eight points. (The following section in italics is a direct quote from the ‘Making Short Films’)
Introduce main character(s) set the scene
Give the character a problem, obstacle, obsession, or addiction
Let the character work out a plan to overcome the problem.
Before setting out to solve the problem there may be a moment of doubt that will require the hero to seek advice from a mentor such as a teacher or best friend. This is an opportunity to let the audience know more abou t the problem and weigh it up in their own minds. What would they do
With new resolve (and often a magical gift from the mentor: the watches Q gives James Bond; Dorothy’s ruby slippers) the hero sets out to overcome the obstacle, obsession, addiction.
Overcoming the problem or challenge (getting the girl; escaping tyranny; saving the world) will be met by extreme opposition from the rival, who will usually have greater but different strengths and will in some ways bear similarities to the hero: the nemesis is the hero’s darker side.
The hero will appear to fail his quest. He will give up or glimpse defeat, even death, and will require superhuman effort to overcome this daunting final task.
The hero wins the battle with an opponent or enemy or with himself, and returns to his natural state wiser, or stronger or cured but not necessarily happier. The journey has made him a different person. He has glimpsed death and can never go back to the simplicity of what he once was.
There clear deviances from this plan in our script (the book refers to short films that could be up to thirty minutes when ours is a mere five) but (certainly with the opening structure) it follows this fairly rigidly. As follows
1. Opening shot of our character. We can learn everything we need to know about him by the line ‘where am I?’ his attire, and his body language.
2. The problem is introduced a few seconds later when he finds the body.
3. We find the solution to the problem (which is 4.) before he begins to plan. (which is itself another enigma/problem)
4. Rather than a mentor/mentor, we gain more drama by him being alone so the Guide works as this helper. It is points 3 and 4 combined (saving precious viewing time).
5. The Gadget is introduced; this is the Car, which enables him to escape his surroundings.
6. The café’ scene shows a dilemma, admittedly a psychological one, he has a panic attack. But he doesn’t overcome the issue but runs away from it
7. There is no obvious 7, but in the edit we would show the digging of the hole as particularly difficult. So when he digs it he’s triumphant
8. He is triumphant. BUT we then revert expectations by having (a seemingly passing character) being revealed as an antagonist. However by replaying the first scene.
When writing the script we often referred to Clifford Thurlow’s ‘Making Short Films’. Writing Magazine described it as ‘Your ideal guide and will take you right through the process’ and Amazon.co.uk reviewed it as the book that is ‘destined to become the ‘bible’ for anyone who wants to make a short film.’ It seemed the ideal guide.
In a section titled the ‘Eight-Point Guide to Making Short Films’ these were the eight points. (The following section in italics is a direct quote from the ‘Making Short Films’)
Introduce main character(s) set the scene
Give the character a problem, obstacle, obsession, or addiction
Let the character work out a plan to overcome the problem.
Before setting out to solve the problem there may be a moment of doubt that will require the hero to seek advice from a mentor such as a teacher or best friend. This is an opportunity to let the audience know more abou t the problem and weigh it up in their own minds. What would they do
With new resolve (and often a magical gift from the mentor: the watches Q gives James Bond; Dorothy’s ruby slippers) the hero sets out to overcome the obstacle, obsession, addiction.
Overcoming the problem or challenge (getting the girl; escaping tyranny; saving the world) will be met by extreme opposition from the rival, who will usually have greater but different strengths and will in some ways bear similarities to the hero: the nemesis is the hero’s darker side.
The hero will appear to fail his quest. He will give up or glimpse defeat, even death, and will require superhuman effort to overcome this daunting final task.
The hero wins the battle with an opponent or enemy or with himself, and returns to his natural state wiser, or stronger or cured but not necessarily happier. The journey has made him a different person. He has glimpsed death and can never go back to the simplicity of what he once was.
There clear deviances from this plan in our script (the book refers to short films that could be up to thirty minutes when ours is a mere five) but (certainly with the opening structure) it follows this fairly rigidly. As follows
1. Opening shot of our character. We can learn everything we need to know about him by the line ‘where am I?’ his attire, and his body language.
2. The problem is introduced a few seconds later when he finds the body.
3. We find the solution to the problem (which is 4.) before he begins to plan. (which is itself another enigma/problem)
4. Rather than a mentor/mentor, we gain more drama by him being alone so the Guide works as this helper. It is points 3 and 4 combined (saving precious viewing time).
5. The Gadget is introduced; this is the Car, which enables him to escape his surroundings.
6. The café’ scene shows a dilemma, admittedly a psychological one, he has a panic attack. But he doesn’t overcome the issue but runs away from it
7. There is no obvious 7, but in the edit we would show the digging of the hole as particularly difficult. So when he digs it he’s triumphant
8. He is triumphant. BUT we then revert expectations by having (a seemingly passing character) being revealed as an antagonist. However by replaying the first scene.
Thursday, 17 September 2009
Script - First Draft
1. Int. The Room – Day
EARLY MORNING. The Room, undecided. ECU of Man’s Face. His eyes closed. THEN, eyes bolt open (reference to Lost. HE is lying on the floor. Non-diegetic soundtrack begins to trickle through
The Man (subtitled)
Where am I?
Wideshot, lying to him is a box.5ft8 to 2ft.Shocked, the man gets up to his knees, looking at the box, he presses his head against listening.
The Man (subtitled)
Nothing...
He lifts his head, to see a note. Reading ‘Open Me’ (reference to ‘Alice in Wonderland)’, he rips off the tape holding the box together.
Gasps, falls back, the camera goes over his shoulder slowly over the box. The music turns up loud as the reveal happens. A girl, young blonde, her hair tangled. Eyeliner smudged, all her make up smeared round her face. Separated by cuts and bruises.
She’s been dead for hours.
The man backs away, tripping over, fear. He closes his eyes. He breathes in and out. He begins to crawl over. He looks at the body. Lying there, coldly starring back, a book in her hands.
He grimaces, picks up the book.
The Man
oh
The book reads the ‘Quintessential Guide to Dispose of A Body’.
Cut to Titles
2. Int. The Room – Day
Looks at the booklet, looks at body, back at the booklet, opens it, full of instructions. ECU of eyes, looks up.
3. Int. The Stage – Night
Cut Swiftly between Scenes 2 -
ECU of eyes (match shot). Zoom out, to reveal massive hall. Pan round to see the severe lighting staring down at him. He’s on a stage, empty, the chairs empty.
The Man
I Have to get rid of it.
How do I get rid of it???
White light
(Projector Idea, see Blog) Words racing past. Images. Voices. The Man stares coldly down the camera.
The Word appears ‘Burial’- Cut To
4. Ext. Graveside – Day
The Man dressed as a priest, marking a cross on his chest, the dead body in a dug grave, her make up re-done but over-the-top.
(perhaps use split screen and have The Man dressed as all the different characters at the funeral, e.g the widow, the priest.) Cut to -
5. Int. The Stage – Night
Words, Images, Voices. He’s now wincing, as if this is painful. The word ‘Chemicals’ appears. Cut to -
6. Int. The Room - Day
POV shot from the Body looking up at The Man put on a surgery mask and rubber gloves. Hands appear form each side of the screen handing him over household-chemical type things, he pours it down (it hits the body but off-camera. We never see this. Smoke arises from the body suddenly, making him cough.
The Man (subtitled)
(Coughing)
7. Int. The Stage – Night
Words, Images, Voice. He grabs his head. The word ‘hide’ appears. Cut to -
8. Int. Cellar – Night
Dingy cellar, dripping, light bulb swinging, turned on. Man walks down stairs to freezer, opens it.
Reveals Girl, her face blue, comedy icicle handing from her nose, her bungs in a packet of peas then closes the lid again.
9. Int. The Stage – Night
Words, Images, Voices. He’s grabbing his head. Twitching violently. The word ‘Crush’ appears. Cut to -
10. Ext. Junkyard – Day
The man drags the box into an old car. Before it is picked up by machinery, crushed and dropped. Cut to-
11. Int. The Stage – Night
The Voices now laughing. The man screaming with pain Images. Words. ‘Burn’. Cut to -
12. Ext. Woods – Night
A stack of wood. Cardboard box placed upon it. The Man holds a burning torch. And drops it into wood. Everything goes alight. (Reference to ‘Return of the Jedi’). Cut to -
13. Int. The Stage - Night
Voices Laughing. Images and Words Flashing. ‘Eating’ Cut to –
14. Int. Kitchen - Night
CU, pot on oven, boils over with dark red liquid. Cut to-
15. Int. Dining Room – Night
The Man in his best dinner wear. Sits at a laid out table. Hand comes, from out of frame, holding a platter with a lid untop. The lid I open to reveal a doll’s head (reference abandoned Beatle’s album cover). One of it’s eyes stabbed out, some hair removed, covered in blood.
16. Int. The Stage – Night
The Man shaking, clutching his head. Words – Images – Voices. Then the sound of a spinning wheel like in a game show. The sound of the wheel begin to slow, the words appear (of each method) and they begin to slow. Until – DING – the word ‘Burial’ flashes up.
17. Int. The Room - Day
From the P.O.V. of the corpse. The Man looking down at her.
The Man (The subtitled)
The Guide told me what to do.
And I would follow.
He Closes the lid. Darkness.
18. Ext. Roadside – Day
Dingy, alleyway in background. An expensive car parked up. The Man breaks the window.
(There are two options into how to film this section.)
One – The Man walks over to the car. Holding a heavy Object. The cut to black, the sound of smashing glass.
Two – (as seen in a previous media video)A pane of glass is held in front of an open window. We shoot from inside so as The Man smashes the glass. It looks like he’s breaking in.
19. Ext. Road – Day
The Man driving the car. The box laid out on the back seat. The road, motor way or country side, NOT suburban. We crosscut form the car whizzing by the camera, to CU of The Man Driving.
The Man (subtitled)
And I went Away
Far, Far Away.
A dead Body in a Stolen Car
what could go wrong?
I didn’t ask for this, I wake up and find her, like that.
Then I find this book, and I follow it.
To the letter.
20. Int. The Cafe’ - Day
The Man sits at the window, in a small dark cafe’. He looks out to the car. He stares down. Drumming his fingers lightly.
CLUNK! The accentuated sound of a cheap cup of tea being slammed down. He looks down at it. CU - The tea swirling.
The Man (subtitled)
Going Round.
Pointlessly.
A husband and wife walk in with a young child.
The Man (subtitled)
Everything going round. Pointlessly.
All very Middle-Class and Moderated.
Because bad things only happen on the News.
The Camera pans to a Woman sitting at a table. CU - She keeps looking over.
The Man (subtitled)
She keeps looking at me.
Just for a second. Just a glimpse
ECU. Her eyes flicker over.
The Man (the subtitled)
But She’s Watching Me
Handheld. Everything shaking, fast editing. Subtle at first, builds with each sentence. By the end everything will be out of focus.
The Man
She’s staring at me.
The voices start. Overlapping each other. (this speech is base dupon a speech from Sarah Kane’s ‘4.48 Psychosis’)
The Voice
She’s looking at you. Judging you. Watching You. What if she knows. What if she tells. She doesn’t understand. None of them will understand.
The Man, his vision blurred looking around at everyone watching him, scarred.
The Voice
Because you’re not one of them now. You’re One of the monsters. The scum that smother our streets.
He falls to the floor, knocking the tea cup to the floor. (slow motion) CU of the Cup smashing.
The Voices
The Murderers, the Drug-Pushers, The rapists, The Sex Workers, you bomb our planes and slaughter our children. They will never understand you, they don’t want to understand you, they want you dead.
On ‘dead’ the man holds up his hands they’re covered in blood. He runs to the toilet. Door Slam!
21. Int. Cafe’ Toilet – Day
Cramped. Covered in graffiti and dirt. Low angle shot between man’s legs of the man throwing up into the toilet. He loses up his hands still bleeding, seemingly from no where. He begins washing the blood off but he it keeps on flowing. It circles round the plughole (reference to Psycho).
The Voices
‘Here's the smell of the blood still: all theperfumes of Arabia will not sweeten this littlehand. Oh, oh, oh! Wash your hands, put on your nightgown; look not so pale.--I tell you yet again, hecannot come out on's grave.’
(Quoted from Macbeth Act 5 Scene 1)
The Man (subtitled)
It won’t come off!
Silence. The Door Knocks.
Waitress (OOV)
Are you alright in there sir?
22. Int. The Cafe’ - Day
He flings open the door. He RUNS from the toilet. The voices LAUGHING. He grabs the guide from the table. Out of the door.
23. Ext. Outside Cafe’ – Day
He runs to the car and leaves.
24. Ext. The Field – Day
The Car pulls up to this abandoned location. The music building up. The tension building.
He DRAGS the box out of the car. Open Boot. Pick Up Shovel. He rips open the box. Reveal the girl. He picks her up and begins running.
Music, heavy and loud. Running (reference to ‘Freiheit’). Finds the spot.
Digging Montage. Until 3ft. He’s joyous.
He lowers the body. He then shovels the grave up again (speeded up.)
He falls back (slow motion) Looking up at the sky. He smiles
The Man (subtitled)
It’s Over. It’s finally over!
He throws the shovel behind him. It hits the floor. The camera zooms out to reveal a figure standing there.
The Woman
They always come here.
The Man turns round to see the figure, who was the owman from the cafe’. She holds the shovel he threw away in one hand, and a copy of the book.
The Man (subtitled)
It was You
It was all you
Smack! The woman (POV shot) hits the Man with the shovel. Everything goes black.
25. Int. The Room – Day
EARLY MORNING. The Room, undecided. ECU of a Young Woman’s Face. Her eyes closed. THEN, eyes bolt open (reference to Lost. She is lying on the floor). Non-diegetic soundtrack begins to trickle through
The Young Woman (subtitled)
Where am I?
Wideshot, lying next to her is a box.5ft8 to 2ft.Shocked, the Young Woman gets up to her knees, looking at the box, She presses her head against listening.
The Young Woman (subtitled)
Nothing...
She lifts her head, to see a note. Reading ‘Open Me’ (reference to ‘Alice in Wonderland)’, she rips off the tape holding the box together.
Gasps, falls back, the camera goes over her shoulder slowly over the box. The music turns up loud as the reveal happens. We don’t see the body yet
He’s been dead for hours.
The Young Woman backs away, tripping over, fear. She closes her eyes. He breathes in and out. She begins to crawl over. She looks at the body. Lying there, coldly starring back, a book in his hands.
She grimaces, picks up the book.
The Man
oh
The book reads the ‘Quintessential Guide to Dispose of A Body’.
The camera tilts from the book to the body, in the box lies The Man.
Cut to Credits
About A Girl: A Review
In preparing for our short film we were shown various short films in class and asked to make our own analysis of them. As Tim Mcniven has already analyzed George Lucas's short film 'Freiheit" I shall then put across my critique of 'About a Girl".
The film opens with a shot of the protagonist a young working class girl from Manchester (you can tell her class from her accent, mannerisms and dowdy clothes) dancing in silhouette. With the setting being dark a sense of foreboding is created and even though the film has comical elements throughout there is still that underlying feeling of depression and that need to escape her world that is crumbling around her. Her need to escape is justified by the way she refers to her mother, as if she is the reason why her life is one of these everyday tragedies (and it usually is down to the parents).
This need to escape is also expressed through the song lyrics that are repeated throughout the film, "I've had enough", in essence they are no longer the simple song lyrics that are sung by the young deprived working class of Manchester, they become desperate cries of help and pleads asking to be 'saved' and wanting to escape the faust that they relate to as everyday life.
But in this the film is flawed. If you breakdown this film and look at how it is contructed right from its foundations you will realise that it is built upon stereotypes. We have a young working class lass from the north who happens to be working class. The setting blends between council estates, pubs, crappy football grounds and a canal which are all associated with the working class and above all are stereotypical! Even the characters that drive the plot, the mother who is broke and it's hinted that she gambles through a long shot of her holding a scratch card. The father is an unemployed and highly self centred induvidual and along with the daughter this creates yet another dysfunctional family, which we have seen in films over and over again. But this is what makes the film work.
Without these stereotypical and archetype characters we are given a narrative that cannot be brought forward in the time and space with highly sophisticated characters whose conscience is a swirling portal of trap doors and potholes and all the irrelevance that is needed to construct and take up the time of a feature film.
The film opens with a shot of the protagonist a young working class girl from Manchester (you can tell her class from her accent, mannerisms and dowdy clothes) dancing in silhouette. With the setting being dark a sense of foreboding is created and even though the film has comical elements throughout there is still that underlying feeling of depression and that need to escape her world that is crumbling around her. Her need to escape is justified by the way she refers to her mother, as if she is the reason why her life is one of these everyday tragedies (and it usually is down to the parents).
This need to escape is also expressed through the song lyrics that are repeated throughout the film, "I've had enough", in essence they are no longer the simple song lyrics that are sung by the young deprived working class of Manchester, they become desperate cries of help and pleads asking to be 'saved' and wanting to escape the faust that they relate to as everyday life.
But in this the film is flawed. If you breakdown this film and look at how it is contructed right from its foundations you will realise that it is built upon stereotypes. We have a young working class lass from the north who happens to be working class. The setting blends between council estates, pubs, crappy football grounds and a canal which are all associated with the working class and above all are stereotypical! Even the characters that drive the plot, the mother who is broke and it's hinted that she gambles through a long shot of her holding a scratch card. The father is an unemployed and highly self centred induvidual and along with the daughter this creates yet another dysfunctional family, which we have seen in films over and over again. But this is what makes the film work.
Without these stereotypical and archetype characters we are given a narrative that cannot be brought forward in the time and space with highly sophisticated characters whose conscience is a swirling portal of trap doors and potholes and all the irrelevance that is needed to construct and take up the time of a feature film.
Wednesday, 16 September 2009
Influences: Robert Shearmen and Big Finish Productions
Big Finish Productions do regular Audio Dramas, to be released on CD and Download. they often take high-concept ideas.
I have recently discovered a play by a writer known as Robert Shearmen.
The first is Scherzo, a drama that takes two characters who have found themselves in another universe. They can not see, touch, smell or taste anything in a world of eternal blinding whiteness.
They are left alone with sound alone, yet there is something out there that is manipulating their sounds. Our two protagonists are left at its mercy wondering exactly what it is and what it wants...
This excerpt starts from the point when they encounter the creature for a second time. Since the first meeting it has already been developing a catalogue of their sounds at emotional high points.
The sound creature may be an influence on an character/characters that appear at the end of the piece, the manipulation of sound is frightening and unnerving. This character shall be talked about in more detail with the first draft of the script.
Tim McNiven
How Frehiet has influenced our Short Film.
There are certain core techniques to this piece that we have observed and shall utilise in our own production.
Fore mostly using a protagonist that we can all identify and an objective we can all empathise and how crucial that is for story-telling. It allows our viewers to take the leap, we believe in the situation (even the symbolism, and slightly fantastical elements such as the post) because we believe in him. It also gives the movie consequences; we are all wanting him to gain freedom and all devastated when he doesn’t.
The story telling without dialogue isn’t necessarily a confusing story method. We are so used to narration, dialogue sign posts and reminders to inform us on narrative. Yet camera shots and innovative editing have much the same effect, it also makes the audience think, the audience having to engage in the story can only add to the story itself.
I think a mistake to take from this is to believe that your short-film demands a political-social point to be of any worth. Yet this is not true, it’s not Lucas’ analysis of the Berlin-Wall (and its situation) that makes this compelling viewing but the passion by which he delivers it. It’s the capability of expressing that situation so articulately on screen that makes a Short Film a truly good piece of work.
Tim McNiven
Fore mostly using a protagonist that we can all identify and an objective we can all empathise and how crucial that is for story-telling. It allows our viewers to take the leap, we believe in the situation (even the symbolism, and slightly fantastical elements such as the post) because we believe in him. It also gives the movie consequences; we are all wanting him to gain freedom and all devastated when he doesn’t.
The story telling without dialogue isn’t necessarily a confusing story method. We are so used to narration, dialogue sign posts and reminders to inform us on narrative. Yet camera shots and innovative editing have much the same effect, it also makes the audience think, the audience having to engage in the story can only add to the story itself.
I think a mistake to take from this is to believe that your short-film demands a political-social point to be of any worth. Yet this is not true, it’s not Lucas’ analysis of the Berlin-Wall (and its situation) that makes this compelling viewing but the passion by which he delivers it. It’s the capability of expressing that situation so articulately on screen that makes a Short Film a truly good piece of work.
Tim McNiven
Analysis of Freiheit
When approaching our own short film it is important to study others prior. This means we can gain inspiration from their techniques or tone; it also gives an insight to the flexibility of the format.
'Freiheit' is a George Lucas Short Film (created in 1966 whilst he was a student at the University of Southern California).
'Freiheit', which translates as freedom, which is the central theme of the piece. It’s historical context is the Berlin Wall, forcefully dividing East and West Germany. Infamously the wall was heavily defended and those trying to cross were shot.
This film takes the attempts of one man to cross through a gap.
The opening shot has the symbol of a bird. A bird is used because it is the pinnacle ideal of freedom, it can go wherever, whenever. The Film Grain fits into the era. The use of silhouettes makes bold, iconic images. The use of bold images emphasises Lucas’ point.
The following shot, of the wall with a watch post, dominates the screen showing the immense powers of the oppressors, when the protagonist is introduced it will make his plight seem likely to fail.
The Music is unsettling; it seems to grate at the viewer, showing the unease of the situation. By having it on a loop, it fits in with that world of hypnotic propaganda that had been so common through the war. As the drum begins, it’s like a tribal chant, as if our protagonist is being chased. It plays on our primal instincts of fear.
When the protagonist is first shown, the camera dramatically pans and tilts to capture him in frame, as if the camera is finding him. This shows that people will be looking for him and gives immediacy. The shot of the puddle being stepped on showing the blind panic running through his mind.
The Protagonist wears a shirt and tie, with glasses. This borders on the enigma, making the audience wondering the man’s background. It may also be a reference to the 50’s fantasy films (Which Lucas obsessed over as a child and has been the inspiration behind many of his motion
pictures).
His glasses in particular can (as used in the majority of media) be used to express weakness, this character is certainly not an action hero. He represents us, what we would do in that situation. We would be trying our best but certainly out of our depth.
When he takes the glasses off(as shown in the picture above)it shows him refusing to accept domination and fighting back.
The use of a wide shot, makes him seem small, it shows his struggle (especially when compared to the shot of the watchtower earlier) and how the odds are staked against him.
The cuts between vastly different angles create a discombobulating tone, unable to focus for too long.
The manipulation of sound both engages and alienates the viewer effectively. The sound of the birds (whilst being diegetic) have been added in post-production and again on a loop. This partly draw attention to it, and creates a running theme from the opening image. It also creates a sense of distrust and makes even this natural environment of a Woods feel alien.
Yet we cannot hear him breathe because it makes us focus on the fact he is breathing all the more. It also dehumanises him in the way the Berlin Wall does, contain him.
Lucas strikes this point harder with long shot. It has the bush creep into the foreground, over him. It’s his last moments of being controlled. The use of a Long Shot is a brave decision in a Three-Minute film where every second needs to the tell the story, but we engage with him properly we truly associate with him, making the closing moments more shocking.
The Post, is symbolic of freedom, if he can reach that then he is free. It’s simplified narrative means the message can be told swifter and with greater efficiency. It is established by a P.O.V. shot of the man looking at the post, and a reverse shot of the man in the bush staring at the post. The cross-cutting creates a visual connection.
The sound of the guns, as with birds, is on a loop. this artificial technique is reminiscent of Betolt Brecht, who would use various techniques in his films, plays and literature to snap the audience out of the mechanisms of the false world, making it’s audience think about the social/political point. Brecht was and Lucas is doing this to force the audience to concentrate on the situation, making it more horrifying and confounding brutal.
The use of stills, as he dies, like the silhouettes ingrains in our mind. It flashes past, the last images of this man’s life, we share his feeling of complete panic.
As he crawls towards the post, it shows the man values freedom above his life. Lucas further pushes this having clips of speeches on freedom. The ending message is that ‘without freedom there is no reason to live.’
Tim McNiven
'Freiheit' is a George Lucas Short Film (created in 1966 whilst he was a student at the University of Southern California).
'Freiheit', which translates as freedom, which is the central theme of the piece. It’s historical context is the Berlin Wall, forcefully dividing East and West Germany. Infamously the wall was heavily defended and those trying to cross were shot.
This film takes the attempts of one man to cross through a gap.
The opening shot has the symbol of a bird. A bird is used because it is the pinnacle ideal of freedom, it can go wherever, whenever. The Film Grain fits into the era. The use of silhouettes makes bold, iconic images. The use of bold images emphasises Lucas’ point.
The following shot, of the wall with a watch post, dominates the screen showing the immense powers of the oppressors, when the protagonist is introduced it will make his plight seem likely to fail.
The Music is unsettling; it seems to grate at the viewer, showing the unease of the situation. By having it on a loop, it fits in with that world of hypnotic propaganda that had been so common through the war. As the drum begins, it’s like a tribal chant, as if our protagonist is being chased. It plays on our primal instincts of fear.
When the protagonist is first shown, the camera dramatically pans and tilts to capture him in frame, as if the camera is finding him. This shows that people will be looking for him and gives immediacy. The shot of the puddle being stepped on showing the blind panic running through his mind.
The Protagonist wears a shirt and tie, with glasses. This borders on the enigma, making the audience wondering the man’s background. It may also be a reference to the 50’s fantasy films (Which Lucas obsessed over as a child and has been the inspiration behind many of his motion
pictures).His glasses in particular can (as used in the majority of media) be used to express weakness, this character is certainly not an action hero. He represents us, what we would do in that situation. We would be trying our best but certainly out of our depth.
When he takes the glasses off(as shown in the picture above)it shows him refusing to accept domination and fighting back.
The use of a wide shot, makes him seem small, it shows his struggle (especially when compared to the shot of the watchtower earlier) and how the odds are staked against him.
The cuts between vastly different angles create a discombobulating tone, unable to focus for too long.
The manipulation of sound both engages and alienates the viewer effectively. The sound of the birds (whilst being diegetic) have been added in post-production and again on a loop. This partly draw attention to it, and creates a running theme from the opening image. It also creates a sense of distrust and makes even this natural environment of a Woods feel alien.
Yet we cannot hear him breathe because it makes us focus on the fact he is breathing all the more. It also dehumanises him in the way the Berlin Wall does, contain him.
Lucas strikes this point harder with long shot. It has the bush creep into the foreground, over him. It’s his last moments of being controlled. The use of a Long Shot is a brave decision in a Three-Minute film where every second needs to the tell the story, but we engage with him properly we truly associate with him, making the closing moments more shocking.
The Post, is symbolic of freedom, if he can reach that then he is free. It’s simplified narrative means the message can be told swifter and with greater efficiency. It is established by a P.O.V. shot of the man looking at the post, and a reverse shot of the man in the bush staring at the post. The cross-cutting creates a visual connection.
The sound of the guns, as with birds, is on a loop. this artificial technique is reminiscent of Betolt Brecht, who would use various techniques in his films, plays and literature to snap the audience out of the mechanisms of the false world, making it’s audience think about the social/political point. Brecht was and Lucas is doing this to force the audience to concentrate on the situation, making it more horrifying and confounding brutal.
The use of stills, as he dies, like the silhouettes ingrains in our mind. It flashes past, the last images of this man’s life, we share his feeling of complete panic.
As he crawls towards the post, it shows the man values freedom above his life. Lucas further pushes this having clips of speeches on freedom. The ending message is that ‘without freedom there is no reason to live.’
Tim McNiven
Monday, 14 September 2009
Scheduling Strategies on Television
If broadcasted on television we had to research the best suitable time for our short film to be shown. For this we had to look into the scheduling strategies used for showing new programmes and the best techniques used to gain an audience. These methods/strategies where the best possible techniques used to gain that new audience.
Dayparting
In broadcasting, dayparting is the practice of dividing the day into several parts, during each of which a different type of radio programming or television programming appropriate for that time is aired. Programs are most often geared toward a particular demographic, and what the target audience typically engages in at that time.
Theming
Having special theme days (such as for a holiday), or theme weeks such as Discovery Channel's "Shark Week".
Stripping
Running a syndicated television series every day of the week. It is commonly restricted to describing the airing of shows which were weekly in their first run; The West Wing could be stripped, but not Jeopardy!, as daily is the schedule for which it is intended.
Stacking
Stacking is a technique used to develop audience flow by grouping together programs with similar appeals to "sweep" the viewer along from one program to the next.
Counterprogramming
Counterprogramming is used when a time period is filled with a program whose appeal is different from the opponent program because it is a different genre or appeals to a different demographic.
Bridging
Bridging is being used when a station tries to prevent the audience from changing channels during a junction point - the main evening breaks where all channels stop programs and shift gear. This is achieved in a number of ways including: having a program already underway and something compelling happening at a junction point, running a program late so that people ‘hang around’ and miss the start of other programs, or advertising the next program during the credits of the previous.
Tentpoling
In tent pole programming the programmers bank on a well-known series having so much audience appeal that they can place two unknown series on either side, and it is the strength of the central program that will bring the others along to victory.
Crossprogramming
Cross-programming involves the interconnection of two shows. This is achieved by dragging a storyline over two episodes of two different programs.
Hotswitching
In hotswitching, the programmers eliminate any sort of commercial break when one program ends and another begins; this immediately hooks the audience into watching the next program without a chance to change the channel between programs.
http://en.wikipedia.org/wiki/Broadcast_programming
Pre-scheduling
Starting a programme five minutes before a rival programme on another channel.
Inheritance Factor
Some audiences seem to “trust” and watch one channel for most of the evening, so the programmes of lesser appeal are put on after poplar ones in the hope that the audience will continue watching. This less popular programme “Inherits” some of the previous programmes audience.
Pre- Echo
Audiences tune in early. Audiences watch part of the programme before the one they want to watch so they don’t miss the beginning. This may be used as a strategy for building up audiences for less popular new programmes.
Hammocking
When a new or less popular programme is placed between two popular programmes.
By Oliver Fitch
Dayparting
In broadcasting, dayparting is the practice of dividing the day into several parts, during each of which a different type of radio programming or television programming appropriate for that time is aired. Programs are most often geared toward a particular demographic, and what the target audience typically engages in at that time.
Theming
Having special theme days (such as for a holiday), or theme weeks such as Discovery Channel's "Shark Week".
Stripping
Running a syndicated television series every day of the week. It is commonly restricted to describing the airing of shows which were weekly in their first run; The West Wing could be stripped, but not Jeopardy!, as daily is the schedule for which it is intended.
Stacking
Stacking is a technique used to develop audience flow by grouping together programs with similar appeals to "sweep" the viewer along from one program to the next.
Counterprogramming
Counterprogramming is used when a time period is filled with a program whose appeal is different from the opponent program because it is a different genre or appeals to a different demographic.
Bridging
Bridging is being used when a station tries to prevent the audience from changing channels during a junction point - the main evening breaks where all channels stop programs and shift gear. This is achieved in a number of ways including: having a program already underway and something compelling happening at a junction point, running a program late so that people ‘hang around’ and miss the start of other programs, or advertising the next program during the credits of the previous.
Tentpoling
In tent pole programming the programmers bank on a well-known series having so much audience appeal that they can place two unknown series on either side, and it is the strength of the central program that will bring the others along to victory.
Crossprogramming
Cross-programming involves the interconnection of two shows. This is achieved by dragging a storyline over two episodes of two different programs.
Hotswitching
In hotswitching, the programmers eliminate any sort of commercial break when one program ends and another begins; this immediately hooks the audience into watching the next program without a chance to change the channel between programs.
http://en.wikipedia.org/wiki/Broadcast_programming
Pre-scheduling
Starting a programme five minutes before a rival programme on another channel.
Inheritance Factor
Some audiences seem to “trust” and watch one channel for most of the evening, so the programmes of lesser appeal are put on after poplar ones in the hope that the audience will continue watching. This less popular programme “Inherits” some of the previous programmes audience.
Pre- Echo
Audiences tune in early. Audiences watch part of the programme before the one they want to watch so they don’t miss the beginning. This may be used as a strategy for building up audiences for less popular new programmes.
Hammocking
When a new or less popular programme is placed between two popular programmes.
By Oliver Fitch
Friday, 11 September 2009
11.09.09 - Initial Script Discussions
Introduction
Despite having several conversations and ideas this was our first point where we all sat down. These meeting are important as it means firstly that we are all working to the same point, it means everything is coherent, creating a consistent piece of media. It also means we do not retread old ground.
This entry is to document the introduction evolution and opinions on all ideas proposed.
The Starting Point
We started with the starting point, of three people standing next to a dead body, then the film would be how to dispose of it.
Firstly we discussed whether the body should be the result of a murder, an accident or suicide. Whilst murder was the original concept we all agreed it would not work. Firstly because it makes our three characters instantly unlikeable. This went against the prima facie appeal we had to the idea, what would you do in this position? The audience needs to relate to at least one of these characters.
The idea of it being an accident then came up. The appeal to this was is that it was simple to explain, ridding us of much explanation. However it does seem to then make it dificukt to explain why they would hide the body.
This then lead to the suggestion that it was a suicide, this means the last wish could be to hide the body, this idea has yet to be finalised, as we will have to discuss a strong reason why someone would want this and then why three people would comply.
Casting
We have a flexible casting process to accommodate to our situation.
A comparison could be the ‘ABC’ Drama ‘Lost’ they had a rough idea of the type of characters they wanted, the auditioned. Based on these auditions they would adapt characters or even create whole new characters.
We are trying that technique but for different reasons. With no budget, or opportunities to talk to professionals, we have to base the characters on people we think are both available and able to give a convincing performance.
This kept the main characters from those within our own school, this technique worked well last year due to opportunities to constantly inform those involved in the project. This meant, the three who find the body to be students (we decided the characters shall be playing university students to give them a slight independence to carry out their plans whilst no enough experience to deal with this experience responsibly)
We originally thought the characters, this would carry an on-screen tradition of exploring the brotherly bond but also the animosity and aggressive nature of men stereotypically.
We are still considering casting as it will strongly dictate where we can take the characters or what type of characters we’ll have. A suggestion might be to have three of us play the characters. A positive is that this worked well last year, a drawback is that the scenes (by their nature) or much more complex this year. By having us juggle between working between being in front of and behind the camera, will it affect the end-product.
However we soon decided that by making the body a girl, we have an opportunity to make one of the three a boyfriend and follow his grief.
We approached a girl called Holly Brooks, we decided this because she has been in other media videos and is used to the process. We proposed the idea and she has agreed.
Characters
We have decided that the four main characters (including the dead body) will be played by people in our own year playing two years older. All otter additional characters will be avoided but if necessary will be played by older actors.
This is because media videos tend to have a full cast of people of their age but no adults, it stretches believability that no adults would be around in most of the situations portrayed.
The Viewpoint Character
This character will create empathy for the situation and keep it grounded. He isn’t necessarily in control fo the situation.
It was then suggested that (due to a short film seen by Peter, this film will discussed as an influence elsewhere in the blog) this character never says anything but his thoughts are subtitled. This would emphasise the two points in the above paragraph undoubtedly. However it creates difficulties in actualising the idea.
Has the character always been like this, or is it a result of seeing the body, would that then need further setting up? Is this apart of the fictional world so that all the characters are aware he never talks, or are they oblivious to it making it a forth-wall breaking technique.
Would the latter break away from the empathy required to engage with the plot or can it be justified by creativity and story-telling.
The Body
We have discussed main elements of this character, yet as we are still unsure whether to flashback to when this character was alive they may become arbitrary.
She must have a darker element to her past (which would tie into her not wanting her body to be found if we think the suicide element would be the most dramatically effective plot device). This could be family related, this would have to be told swiftly but respectively to these sensitive issues.
The Calculated Character
This character originated form the need to have a character that could take control and work out how to dispose of the body. As a result this character would most likely be quite cold, able to detach himself from emotions. We all stressed that this needn’t mean he is a “bad-person” merely numb to the situation.
It allows us to deliver exposition, and explore what drives this character. It also means he can simply state anybody’s state of mind, it’s effectively a shortcut to drama. Techniques like this will be useful in telling a story in such a short amount of time.
The Angry Character
Whilst not an antagonist certainly putting a spanner in the works, causing tension and aggression. His blinkered vision will push on the plot, as he can be used to push the plot forward by taking ridiculous risks. This will make him appeal to the audience.
He can also push other characters far past breaking point, especially in this trying circumstance.
Location
We have discusssed vague areas to work at, it will require at least one interior loction, then over 2 other exterior locations. We plan to show the details of all loctaion scoutign in other areas of the blog.
Style
The style iss varyign aat the moment, but shall be finaised bfor shooting. The mixture is fantasitical elemnts with girtty realism, the most obvious coomparison woudl be Danny Boyle's 'Trainspotting'. Ideas are obvioussly all ttheoritcal at teh mement and will be challenged and altered as we eneter production. Yet colour shceme wise we plan to have a monochrome like effect of all interiior scenes, this will be contratsed against wildly coloured exterior scenes.
Tim McNiven
Despite having several conversations and ideas this was our first point where we all sat down. These meeting are important as it means firstly that we are all working to the same point, it means everything is coherent, creating a consistent piece of media. It also means we do not retread old ground.
This entry is to document the introduction evolution and opinions on all ideas proposed.
The Starting Point
We started with the starting point, of three people standing next to a dead body, then the film would be how to dispose of it.
Firstly we discussed whether the body should be the result of a murder, an accident or suicide. Whilst murder was the original concept we all agreed it would not work. Firstly because it makes our three characters instantly unlikeable. This went against the prima facie appeal we had to the idea, what would you do in this position? The audience needs to relate to at least one of these characters.
The idea of it being an accident then came up. The appeal to this was is that it was simple to explain, ridding us of much explanation. However it does seem to then make it dificukt to explain why they would hide the body.
This then lead to the suggestion that it was a suicide, this means the last wish could be to hide the body, this idea has yet to be finalised, as we will have to discuss a strong reason why someone would want this and then why three people would comply.
Casting
We have a flexible casting process to accommodate to our situation.
A comparison could be the ‘ABC’ Drama ‘Lost’ they had a rough idea of the type of characters they wanted, the auditioned. Based on these auditions they would adapt characters or even create whole new characters.
We are trying that technique but for different reasons. With no budget, or opportunities to talk to professionals, we have to base the characters on people we think are both available and able to give a convincing performance.
This kept the main characters from those within our own school, this technique worked well last year due to opportunities to constantly inform those involved in the project. This meant, the three who find the body to be students (we decided the characters shall be playing university students to give them a slight independence to carry out their plans whilst no enough experience to deal with this experience responsibly)
We originally thought the characters, this would carry an on-screen tradition of exploring the brotherly bond but also the animosity and aggressive nature of men stereotypically.
We are still considering casting as it will strongly dictate where we can take the characters or what type of characters we’ll have. A suggestion might be to have three of us play the characters. A positive is that this worked well last year, a drawback is that the scenes (by their nature) or much more complex this year. By having us juggle between working between being in front of and behind the camera, will it affect the end-product.
However we soon decided that by making the body a girl, we have an opportunity to make one of the three a boyfriend and follow his grief.
We approached a girl called Holly Brooks, we decided this because she has been in other media videos and is used to the process. We proposed the idea and she has agreed.
Characters
We have decided that the four main characters (including the dead body) will be played by people in our own year playing two years older. All otter additional characters will be avoided but if necessary will be played by older actors.
This is because media videos tend to have a full cast of people of their age but no adults, it stretches believability that no adults would be around in most of the situations portrayed.
The Viewpoint Character
This character will create empathy for the situation and keep it grounded. He isn’t necessarily in control fo the situation.
It was then suggested that (due to a short film seen by Peter, this film will discussed as an influence elsewhere in the blog) this character never says anything but his thoughts are subtitled. This would emphasise the two points in the above paragraph undoubtedly. However it creates difficulties in actualising the idea.
Has the character always been like this, or is it a result of seeing the body, would that then need further setting up? Is this apart of the fictional world so that all the characters are aware he never talks, or are they oblivious to it making it a forth-wall breaking technique.
Would the latter break away from the empathy required to engage with the plot or can it be justified by creativity and story-telling.
The Body
We have discussed main elements of this character, yet as we are still unsure whether to flashback to when this character was alive they may become arbitrary.
She must have a darker element to her past (which would tie into her not wanting her body to be found if we think the suicide element would be the most dramatically effective plot device). This could be family related, this would have to be told swiftly but respectively to these sensitive issues.
The Calculated Character
This character originated form the need to have a character that could take control and work out how to dispose of the body. As a result this character would most likely be quite cold, able to detach himself from emotions. We all stressed that this needn’t mean he is a “bad-person” merely numb to the situation.
It allows us to deliver exposition, and explore what drives this character. It also means he can simply state anybody’s state of mind, it’s effectively a shortcut to drama. Techniques like this will be useful in telling a story in such a short amount of time.
The Angry Character
Whilst not an antagonist certainly putting a spanner in the works, causing tension and aggression. His blinkered vision will push on the plot, as he can be used to push the plot forward by taking ridiculous risks. This will make him appeal to the audience.
He can also push other characters far past breaking point, especially in this trying circumstance.
Location
We have discusssed vague areas to work at, it will require at least one interior loction, then over 2 other exterior locations. We plan to show the details of all loctaion scoutign in other areas of the blog.
Style
The style iss varyign aat the moment, but shall be finaised bfor shooting. The mixture is fantasitical elemnts with girtty realism, the most obvious coomparison woudl be Danny Boyle's 'Trainspotting'. Ideas are obvioussly all ttheoritcal at teh mement and will be challenged and altered as we eneter production. Yet colour shceme wise we plan to have a monochrome like effect of all interiior scenes, this will be contratsed against wildly coloured exterior scenes.
Tim McNiven
Thursday, 10 September 2009
Reviewing our previous blog
After critically and thoroughly analysing our blog from last year. It mainly consisted of detailed relevant information that we recognised and put forward into the planning and research for this year’s media production. We had to take into consideration how, why and what was responsible for the success of last year’s (Two minute introduction to a thriller) production blog.
Our blog was a method of presenting to the examiner/reader our research and planning, the production of the finished piece and post production aspects. Also it was a system in which we able to explain the information and knowledge that we acquired throughout the production of our thriller. In such forms as the internet (YouTube and relevant information), Essays, Power points and the guidance that our teachers provided us to gain the best mark possible, that we were capable of achieving.
The main problem that we encountered from last year’s blog is that we were disorganised with who was publishing certain posts as we did not communicate with each other enough. This lead to problems as some of the group would discuss that they were going to publish a particular post and then later find out that another group member had already finished and publish the post onto our blog that they intended to do themselves. Because of this issue it meant that due to our lack of communication as a group some posts had been published twice by different members of the group. This did cause some arguments as it wasted time and effort spent by each individual that published the same post and we had to come up with a solution for this and decide as a group what post best suited our blog. We then had to make other arrangements for the member of the group whose post was not used to be able to choose another post and publish it without concern of this problem occurring again. So during this year’s production we will make additional effort, as a group to have discussions and make sure that everyone is clear and organised with the publishing of posts on the blog.
Another problem that our blog contained last year was that during the production of our thriller it occasionally became complicated and disorganised, due to an excessive amount of posts being published in succession that were in the wrong order to the rest of the blog or posts that were irrelevant and not necessary. This year as a group will we take this into account to ensure that our blog is well presented and that the posts that we publish are very well planned, detailed and contain all the appropriate information required. This will allow the examiner/reader to analysis our blog more inefficiently and understand the order in which it is in. This will also let us know what posts need to be published, who is publishing a particular post, and in general will make our blog a great deal more organised and well presented.
The strengths that we had throughout our group last year was the variety and consistency in which posts were published. We tried to give the blog the most visual effect to the reader to show what we had done, how we had done it and why we decided to. We achieved this by producing posts that included videos of the evaluations which myself and Peter McLaughlin decided to do as well as videos of the production of our thriller. Our blog also contained written analyses of other thrillers and films that influenced our own, (such as Phillip G. Atwell’s War, Danny Boyle’s 28 Days Later, Martin Scorsese’s Cape Fear, Cameron Crowe’s Vanilla Sky, Bryan Bertino’s The Strangers and Zack Snyder’s Watchmen) which all included pictures and videos to help that visual effect we were trying to achieve. In addition we also included within our blog production photos and production diaries (as we took many pictures during the production), this allowed us to show our planning and progression through our production as well as presenting what reasons we had be hide particular camera shoots and angles and what impact we thought this would have on our audience.
From this we decided as a group that we wanted to continue this visual effect throughout the blog this year. Through the publishing of production posts that contain photos and diaries as they give the blog an extraordinary visual aspect as well as presenting our planning, filming and the progression of our Short Film production.
By Oliver Fitch
In reviewing our previous Blog from our AS Media Project and its structural layout and form, we can learn on how to improve and develop on our current project for the best result possible at the end of the of the process.
Our blog was a method of presenting to the examiner/reader our research and planning, the production of the finished piece and post production aspects. Also it was a system in which we able to explain the information and knowledge that we acquired throughout the production of our thriller. In such forms as the internet (YouTube and relevant information), Essays, Power points and the guidance that our teachers provided us to gain the best mark possible, that we were capable of achieving.
The main problem that we encountered from last year’s blog is that we were disorganised with who was publishing certain posts as we did not communicate with each other enough. This lead to problems as some of the group would discuss that they were going to publish a particular post and then later find out that another group member had already finished and publish the post onto our blog that they intended to do themselves. Because of this issue it meant that due to our lack of communication as a group some posts had been published twice by different members of the group. This did cause some arguments as it wasted time and effort spent by each individual that published the same post and we had to come up with a solution for this and decide as a group what post best suited our blog. We then had to make other arrangements for the member of the group whose post was not used to be able to choose another post and publish it without concern of this problem occurring again. So during this year’s production we will make additional effort, as a group to have discussions and make sure that everyone is clear and organised with the publishing of posts on the blog.
Another problem that our blog contained last year was that during the production of our thriller it occasionally became complicated and disorganised, due to an excessive amount of posts being published in succession that were in the wrong order to the rest of the blog or posts that were irrelevant and not necessary. This year as a group will we take this into account to ensure that our blog is well presented and that the posts that we publish are very well planned, detailed and contain all the appropriate information required. This will allow the examiner/reader to analysis our blog more inefficiently and understand the order in which it is in. This will also let us know what posts need to be published, who is publishing a particular post, and in general will make our blog a great deal more organised and well presented.
The strengths that we had throughout our group last year was the variety and consistency in which posts were published. We tried to give the blog the most visual effect to the reader to show what we had done, how we had done it and why we decided to. We achieved this by producing posts that included videos of the evaluations which myself and Peter McLaughlin decided to do as well as videos of the production of our thriller. Our blog also contained written analyses of other thrillers and films that influenced our own, (such as Phillip G. Atwell’s War, Danny Boyle’s 28 Days Later, Martin Scorsese’s Cape Fear, Cameron Crowe’s Vanilla Sky, Bryan Bertino’s The Strangers and Zack Snyder’s Watchmen) which all included pictures and videos to help that visual effect we were trying to achieve. In addition we also included within our blog production photos and production diaries (as we took many pictures during the production), this allowed us to show our planning and progression through our production as well as presenting what reasons we had be hide particular camera shoots and angles and what impact we thought this would have on our audience.
From this we decided as a group that we wanted to continue this visual effect throughout the blog this year. Through the publishing of production posts that contain photos and diaries as they give the blog an extraordinary visual aspect as well as presenting our planning, filming and the progression of our Short Film production.
By Oliver Fitch
In reviewing our previous Blog from our AS Media Project and its structural layout and form, we can learn on how to improve and develop on our current project for the best result possible at the end of the of the process.
In our Blog last year we used various methods to communicate with our reader and to display the knowledge we gained through research whether it be via videos, essays and power-point presentations. I feel that what could have been needed in the previous project was more information put across through the form of videos and audio clips as it gave a more personal account on what we had discovered in the chosen area that was currently being specified. Also the blog could have been more organized with research and influences posts being sub- categorized to display our findings as a whole with a professional feel to it.
The strength our group shared on our AS Media Studies project was the consistency in which we posted. Every post was reviewed and then constructively criticised by group members for it to be editied and reposted to cover the total depth of the topic. We also personalised the Blog to a black and red colour scheme to suit the mood of our blog, and small tweaks such as that was what seperated our Blog from the other groups.
By Peter McLaughlin
In order to work to our full potential with this year’s production, we must evaluate the success of last years, a 2 minute introduction to a thriller, starting with our production blog.
Our blog was a means of presenting our research, planning, the production of the piece and the post production elements. One of the strengths of our blog was the variety of posts: we included videos of the evaluation and production, alongside written analysis of other thrillers that influenced us (such as Danny Boyle’s 28 Days Later and Martin Scorsese’s Cape Fear), production photos and production diaries. These posts allowed us to continually update the blog with our progress, showing our approach to the planning and production of our film, as well as giving ourselves a catalogue of information to draw upon should we need it at any time of the production. This included storyboards, script ideas and cinematography discussions.
However, one of the failings of the blog was that, on occasion, it became cluttered and disorganised, with many posts being made in the wrong order or unnecessary. This year we will make an effort to ensure that our posts are planned and structured, allowing the blog to flow more and give a much smoother feel, as well as making sure everyone knows who will be posting what. One problem we encountered was that some posts were made without prior knowledge of those made by others: this meant that some posts were written twice, by different members of the group, rendering the second useless and the time misspent. Several of the posts also made the same points as each other, essentially taking up space that could have been dedicated to a post of entirely new material.
This year we are continuing with the production photos and diaries, as we feel they add an interesting visual element to the blog, as well showing our filming and planning process.
- Joseph Lawrence
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