Group Work so Far...

My final group for the opening sequence is Me, Hannah Dukes and Danni Andrean. Since allocation we have had a few group meetings out of class time, and had our first test shoot.
Original Meetings
- Come up with initial Ideas
- Finalise Ideas
-Work out timetables for shooting
- Think about Actors
- Think about Location

More in Depth
When our Ideas where cut down to one final one, we had to start storyboarding and scripting, both which would be initially drafted, rewritten or redrawn again for improvements. Both were done alongside inspiration and research, in an attempt to see what works and what is realistic (a difficult balance).

Test Shoot
During the test shoot we accomplished
- Shooting the rough storyboarded sequence
- Experimenting with the creation of blood
- Experimenting with the set, lighting, camera postioning, continuity (DONT MOVE ANYTHING ON THE TABLE)
- Makeup practise (went v well)
- Encountering issues we have now resolved or are in the process of resolving
- Kind of actor briefing or taster (they now what we are doing now and so do we)

So for the Week
- Refinement and tweaks - Storyboard, Script
- Revamping some areas - living room opening
- Editing Draft - This will be our real decider for what needs doing.

BLK feedback

No evidence of Stage 1 postings Tom - you need to show how the project is developing from your own perspective.

Try to avoid long gaps between posts.

Please see the main blog posts for advice on how to proceed with your individual blog if you're not sure what you should be doing.

Your evaluation and continuity sequence link? What's going on?

Detectives Detectives Detectives...

Here I collected some images of detectives which are iconic, and have helped create the trench coated stereotype of a detective that exists now. But I wonder whether this style is worn out, does it need a contemporary renewal from this look? Does it have the same impact as maybe a decade or less ago? In what direction could the style of clothes go in? Then again maybe its just the villains and themes which need renewal, rather than the detectives themselves. Shows like CSI and Dexter have moved well away from this stereotypical feel, and it is very refreshing and works well. It also shows a contrast of how the solo detective characters we have come to know, are being replaced with a more team style squad and feel. You can look at any of the countless CSI's to see this.

In this post I am not aiming to come up with a final answer or decision, but I just wanted to start thinking about in what direction the detective genre can move.

Self Assessment

1. Who did you work with and how did you manage the task between you?
My group was made up of me, Matt Gabzdyl, Danni Andrean and Alice King. We all participated in group meetings for the planning stages, so for example I drew the storyboard but it was very much a group effort to come up with the shots, and we discussed and decided every aspect as I drew. The same would go for brainstorming or any other thought processes, someone would act as a scribe as we all discussed together. When on the shoot, Danni and Alice were acting the conversation out, Matt was cameraman, and I was the sound technician. When not in the shot Alice would become directing assistant.

2. How did you plan your sequence? What processes did you use?
We used a storyboard for the final shoot which we planned and scrutinised beforehand. We held brainstorm sessions and spent time writing the conversation out. We used references of continuity in other films to plan out how we would make our sequence work for the audience. We each had individual ideas which we compared and combined to come up with a final storyboard. What a lot of it boiled down to was us all sharing thoughts to build up to a final vision which we all believed in.

3. What technology did you use to complete the task, and how did you use it?
For our film we used a Sony HDD camcorder, a tripod, a directional microphone and headphones for monitoring sound. We were able to film smooth shots, like pans, by using the tripod and the directional microphone gave us clear sound for the conversation shots. We used headphones so that the sound technician (me) could hear only what the camera was picking up, this allowed for me to make judgements on how shots came through to the camera. The aim was very standard camerawork, and the tripod allowed for smooth shots. This allowed us to concentrate on continuity.

4. What factors did you have to take into account when planning, shooting and editing?
Time was the main factor throughout the task, as there was a set maximum of one hour for planning, then another for shooting. We also had to take into consideration acting ability, equipment limitations and overall how ambitious we planned to make our scenes. We wanted to keep emotion within the conversation to a minimum so that acting skills were not tested too much, this is because group members had to be actors. Equipment limitations were not too sever or limiting, generally we were happily euqipped. The issue arises when shooting a conversation from multiple angles because it means all takes have to be identicle for editing together, and this is difficult when you only have one camera. However I think we did get through this in the end.

5. How successful was your sequence? Please identify what worked well, and with hindsight, what would you improve/do differently?

I think that for the most part our sequence is seamless and subtly continuous, which was the aim of the prelim Task, so in this case it was mainly a successful sequence. So for example the whole beginning sequence of Danni walking into the room is very well captured and edited, its seamless, the match on action is perfectly cut and the shots are coherent for the viewer. Likewise Danni walking to her seat is fine. The conversation is then where there are some issues. Generally the conversation flows and its all cut nicely, however some parts are cut unnaturally and seem jumpy. This is due to our shoot, and due to the use of a single camera. We did not scrutinise the script use and motions, which led to differences between takes which made editing different. Slight changes in lines or positioning could throw off the viewer so our takes got very limited and we used shots I would have wanted to shoot again given more time. In one case we thought we had the shot, until we got to the edit suite where we found the sound was off, but we only had one take. This particular mistake meant we had to cut the shot reverse shot from our sequence. I understand now why films have continuity specialists on set to photograph and layout sets. I felt the weakest partof the sequence is the beginning of the conversation which lingers in one shot for too long, and I thonk gets boring. Shooting this again I would shoot more takes and add a couple more shots to the conversation, because I have learnt that in the edit suite it is very important to have lots of options and filming to work with. I would also change the script a bit, to add more length to the sequence, or make the conversation more interesting. However they are purely extras I would want given more time.

6. What have you learnt from completing this task? Looking ahead, how will this learning be significant when completing the rest of your foundation coursework, do you think?

Take more takes is one thing I have learnt. We had difficulty editing together everything due to some bad shotswhich got through without another take. This meant shots had to be cut and some areas are clearly patchy due to lack of leighway. So I think that what I have learnt is that its always best to plan ahead for problems on shoots in particular. I think that I also want to make the best I can of the test shoot, because this is when I can flag up any issues.

Iconography

(Starting from top) Pulp Fiction (1994, Quentin Tarantino), Resevior Dogs (1992, Quentin Tarantino) and Infernal Affairs (2002, Wai-Keung Lau & Siu Fai Mak).

These are a collection of film stills which are among my favourite, and also, perhaps more importantly, are very iconic within the film industry. Why? I think gun standoffs always produce powerful imagery when pulled offf well. For example the Resevior Dogs still in particular is a very iconic image which evenbefore I had seen the fulm was an image I particularly liked. The whole look that comes with these stills is often part of the package like the black suit worn by gangsters or themes like betrayal, revenge or even work (It's just business, nothing personal?). The pointed guns power comes, I think, from the the idea of life and death, and the power of the gun toting character. Also I think an important factor of what turns a normal gun standoff still into an iconic one is the compistion, I think that an important aspect of the compostion is the rule of thirds. For example in the Pulp Fiction still the aiming arms are lined across the top third of the shot, in the Resevior Dogs shot the man standing lines the left third while the downed man is along the bottom third (however I do not think this is the most important aspect o this shot, instead the guns diagonally facing is more striking) and lastly the Infernal Affairs still, uses the rule of thirds for the two characters,the horizon, which also lines up the gun and heads. I think all of this plays a big part in why these shots work well and stand out.

Casting Homework

Plot Four
The Train Driver (Spiritual predecessor of Taxi Driver?)

Sean Bean -The Train Driver

I casted Sean Bean to play the 'disturbed Train Driver because I think that his face lends itself to particularly sinister roles. Also he has a history of playing roles of 'bad' guys in films which makes his character easy to sell to the movie-goers, in a way that on a poster people will immediately assume his role of the evil train driver. Sean Bean also meets all parameters for the part.

Nicole Kidman - The Woman
I chose Nicole Kidman for the womans part because she has an image of a very perfect lady, this is vital for the role because she is described as a 'wonderful' woman. Although Nicole Kidman is a bit older than the character I think that the difference is not story changing. I thin she would fit straight in to thepart of this woman because she is so likeable, and I tink thats important for this film.

Plot Seven

The Warrior (The Heroes Film?)

Will Smith - The Warrior
Will Smith is athletic which is vital for the role of a superhuman person, however one of the main reasons for casting Will Smith to be the hero of this film is because he proved himself perfect for this kind of against all odds film with his terrific performance in I am Legend. (2007, Francis Lawrence)

Arnold Schwarzenegger - The Evil Leader

I think Arnold Schwarzenegger is perfect for this part. For starters his bodybuilder look i perfect for an evil leader, and his foreign accent lends itself to creating a cliched evil foreign leader. I also think that an important aspect of casting him is that when people see him on the poster they will immediately have the expectation of an all out over the top action film that he is so well known for. I think that this promise will attract all of his fans.

Standout Movie Scenes

Delicatessen (1991, Marc Caro and Jean-Pierre Jeunet)

This scene is a really original scene from the film Delicatessen. The film Delicattesen is an amazing and refreshing foreign film which is among my favourite films. The film follows the lives of some truly unusual characters living in an apartment block. With a very original style the film is a joy to watch (watch it!). This particular scene is a very original take on a sex scene, which uses rythm and timed editing to create a humurous and symbolic scene. I think that the way the directors have protrayed many things through this scene is interesting and avoids the samey feel of so many sex scenes.

City of God (2003, Fernando Meirelles and Katia Lund)

This probably has to be my favourite film ever, and that spinning arch shot around the main character and the chicken one of my favourits shots ever. The camerawork in this film is truly outstanding and the essence of the Brazilian street gangs is captured wonderfully. The handheld shooting style works well when used with quick editing techniques to create an edgy chase scene which then slows to a halt with a well captured standoff, where the lead is left literally caught up in the middle. Shots potray characters well (you can tellwho the sinister gang leader is?) and the music works well with the sequnce.

I think there is lots of inspiration to take from these two scenes.

Blade Runner

The third 'Film Night' film that we watched was Ridley Scotts epic Blade Runner, 1997. Based on the original novel 'Do androids dream of electric sheep?' by Phillip K. Dick the film tackles issues of 'clones', life and power. The film raises lots of questions for the viewer, and makes them think. For me the themes of the film are extremely interesting and evocative of lots of thought. Additonally the cinematography and mise en scene is exceptional. The artistic direction of Ridley Scotts vision of the future is iconic and has been imitated to this day. Standout settings are the Tyrell Corp building and the building used on the poster (hexangonal).

The main plot is that a 'Blade Runner' policeman, called Rick Deckard (Harrison Ford) has to retire four replicants who have escaped an offworld colony to come to earth. They aim to get to Tyrell Corp to talk to Dr. Eldon Tyrell (Joe Turkel) himself and get their life span increased, because replicants are built with four year limited lifespans. While on this job Deckard starts to question his job, equality of replicants and life. With the reveal of memory implants the question arrises of who is or isn't a replicant? Is Deckard one? Replicants themselves do not know. Finding love with the replicant Pris (Daryl Hannah), Deckard gets more emotionally involved with replicants. Which builds up for a great last sequence. This includes an outstanding monologue by the replicant Roy Batty (Rutger Hauer) which really wraps up the film.

The films ending is highly debated as lots of questions are left unanswered and the future of Deckard is not clear. I think that this adds to the enigmatic style of the film. Overall I was very impressed by all aspects of Blade Runner, I thought it was very complete film because it was very well executed. This ranges from the mise-en-scene to the acting to the cinematoraphy, all of which are standout. I thought it was very well directed. Most importantly however, I really enjoyed watching it again because I noticed some things I had not before and because I appreciated lots of subtlties this time round.

Psycho

I am only going to mention important parts and scenes from the first 'Film Night' film which was Alfred Hitchcocks critically acclaimed Psycho, 1960.
So while there was a lot I did not like, some wierd lines of speech, a drawn out car sequence (beginning) and an overused violin theme (how about another theme?), there was also a lot I thought was very good. I thought that (assuming they are the first time these methods were used) a lot of Genre conventions were started by this film, in relation to angles, editing and especially music (shower scene). I thought that at points camera work was outstanding for the era, think back to the detective getting killed. I think that the way that Hitchcock built up tension is very impressive still, beating many horror thriller films made even nowadays. Also I thought that plot was handled well, and I personally did not see the twist coming.
Anyhow I can't say I love the film or would recommend it to a non-media student but I am glad I saw it. As it is very convention heavy.

Continuity Techniques

No Country for Old Men (2007, Coen Brothers)

The scene above illustrates how continuity techniques can be used simplisticly to be made unnoticable. In this particular scene the use of shot reverse shot shows the viewer everything while being seamless and unintrusive on the scene. The shot reverse shot technique is partnered with a master shot, which is improtant to keep the viewer understandng. The camera does get closer up at points to show more emotion (as little as Javier Bardem shows) but essentially the same shots are used throughout. There is one match on action shot at 1.38 to show a wrapper get put down. I think the style of the continuity in this scene is clinically effiecient, like most high budget films. In order to attain these high standards no errors must be made, because the key to good continuity is for the viewer to not notice it at all. This allows them to get more immersed in the film.

Infernal Affairs (2002, Andrew Mau and Alan Mak)

(Spoiler Alert - Final scene)

Just watching this scene up to 2.33 I think that it shows enough continuity techniques. I think that the camera work in particular is amazing, and even though I am concentrating on continuity rather than camera work I thought it was worth a mention. The camera is slowly introduced towards the character ina way that allows the audience to see the setting, and the character. This is done though a VLS, to LS, to VLS, to MS, to CU. While jumps are actually quite big they are in series enough to keep audiences attention. The opening conversation has an obvious master shot and mixes this with lots of shot reverse shot, for particular speech sections. This is simple enough but is mixed in with lots of matches on action and some eyeline matching. The directors also put in a couple of insert shots and buffer shots to mix thing up. The 180 degree rule is never broken. I think that the way that they have not made big jumps in shots makes the scene easy to follow. While the camera often jumps out to show more of the setting, it always systematically jumps back in in about 3 shots, to make things easy to follow. The audience is made to see important things, with the use of focus shots, and the reaction shots add to the emotion which is shared with the audience. I think the scene is very well directed, because it is really impressively shot, while sticking to continuity rules.

BLK feedback

great film clips chosen and impressive analysis too - well done Tom.

Launching a Film

Release of a Film
Audience - You need to successfully target and market your film.
Budget - How much will it sell and how much should you put into it. Different genres make diferent amounts of money at the box office.
Promotion - Really to be heavily linked with target audience. How will you appeal to them.

Position and Audiences
Know your market - Research your the market, what audiences want what? You need to know the market enough to judge what they want. Use whatever you can to get to know them (questionnaires?)
Genre - Specialise on a genre through your research.

Target Audience
Clarity - The importance is to be 100% clear who your target audience is.
Focus - Use past comparisons, to see what did or did not work.
Research - Get to know your particular target audience.

Competition
Stand out - Your film needs to stand out amoung others, why will they watch your film?
Better - Your film needs to be more exciting and more innovative.
Release Date - Has to be relevant to your audience,when are they on holiday? when can they go to the cinema?

PA and Budget
Advertising
Film Costs

Word of Mouth
Make or Break - Good or bad word of mouth will make or break your release. Word of mouth is the most critical advertising your film can get.
Advance Sreenings - These allow to start up word of mouth advertising before the release of the film.

Marketing Plan
Advertising - Has to be well thought out and executed to attract audience.
Press - Very important in relation to word of mouth advertising.
Interviews - A more personal approach between the actors/director and the audience
Word of mouth - The key to advertising
Viral Campaigns - Internet campaigns, which can really boost films if well launched.

Film Trailers
The key - Make sure you portray what you want to of your film. This is the first exposure to the audience.
The Best - The trailer has to be the the best sequences of the film, a promise to the audience for more.

Link Between
Where will you publish yor film

Digital Marketing
Viral Marketing - Creating word of mouth.
Websites - Games, Quizes, Trailers, Info.

Test Screenings
Expectations - Does your film meet expectations? Get feedback from the target audience. Get them to fill out questionnaires and answer questions. Does your film have to changed? Was the feedback good or bad?

Persuading Cinemas
Licenses - You need to sell your films licence to as many cinemas as possible to get it at as many cinemas as possible for launch day and beyond.
Selling - Why will they buy your license? How will yours entice them?

Opening Weekends
Make or Break
Success - The opening weekend must go well in order for the film to advance well.

Piracy
Large Problem - Costs the film industry huge losses of money. Huge amounts of money go into the avoiding of films being pirated before release. It could cost your film dearly.

BLK feedback

Excellent analysis and reflections on your horror shot, although don't forget to identify the shot distance and say why you framed it like that (although I do understand that the angle was the key thing about the framing).

I'm looking forward to seeing your chosen video clip and shot analysis.

Please can you add a link to my foundation blog, thanks.

Your blog is looking good with all the essentials added otherwise. Now just catch up with any outstanding homework as quickly as possible please Tom.

THR Feedback

No homework again???

Opening Sequence Analysis

Trainspotting (Danny Boyle, 1996)

The opening low angle CU immediately puts the viewer in the action, as the fleeing person steps right over the camera. This is short and then the shot switches to a tracking CU now at headheight, which makes it clear the narration is of this man. He is running desperately and the switch back to his feet and then back up to his face shows the speed. The switch from low angle to high angle is repeated three times. This involves the viewer and makes for a very fast paced sequence of shots, some taking up as little as 3 seconds. After a break up shot at 0.12 the original style returns. At 0.16 however the shot switches in front of the man running. This is to make the viewer think about the corner ahead and its importance. A car pulls out and at 0.19 the viewer gets a POV shot from the car driver of the man rolling over the bonet. This sequence leading up to the shot and the POV shot itself makes the viewer watch the ongoings, instead of completely immersing them the director has chosen to put the viewer as a passer by style of view. After this the opening moves towards intoducing the main characters. It does this by putting the viewer right in the middle of a football match they are playing (0.36). Through low angles and CUs of the ball The viewer is immersed. This actaully also switches between the match and Renton (introduced through a subtitle of his name) doing drugs. This is to introduce the viewer to the distinct two sides of Rentons life. The two sequences start to merge at 1.12 to almost symbolise how the drugs take over. The drug sequence uses an arch shot at 1.16 to show Renton.

Taxi (Gerard Pires, 1998)

I wanted to include this opening sequence because I think it uses tracking shots to great affect. The shooting style is steadycam but sometimes jumps about. I think this style of filming is used to portray the speed of this sequence, so the shakes add to that. The camera also moves between distances from the bike, from ECUs to LVSsm, I think the director wanted some parts to be very in your face and to vary distances to keep things exciting. An example of an ECU is at 0.35. I think the director has also chosen to put the camera close to the road to make the viewer closer to the action and more involved. The road lines demonstrate the speed and it gives a lowe angle of the biker. The face is never shown in the sequence, which leaves the viewer wondering if its a chase till the end, where all is revealed. This adds mystery.

Horror Still

My Horror still depicts a young man who is scared by something approaching him, this is shown in the form of a shadow of a hand. This gives the audience a feeling of tension as there is the theme of impending danger. Low key lighting is used to add mystery and to add a darklook to the shot. The posture and expression of the actor shows the terror that he is experiencing. This also makes it more personal with the audience due to the human emotion. The shot can be used by the audience to assume a bit of backstory, and to work out theme of the movie, and this is entrapment.

To achieve the shot my group and I found a secluded dark spot with some stairs for our set. We then used multiple light sources to achieve a powerful shadow and a backlight. This was done by using two lighting angles.

The shot is successful because it gives the right feeling to the audience. I think the composition is outstanding, as the dutch angle disorientates and the framing is tight. Also the shot allows for lots of writing to anchor it, this is because there is lots of space surroundi9ng the subject.

In hindsight I would have wanted more time to toy around with angles and lighting, I would have wanted even more lights just for my group. I think we could have tried other angles. I would also have liked to try using female subjects for the shot. The last thing I would experiment more with would be the shadow cast across the wall.

THR feedback

Where's your homework? - okay so now you've posted it and it appears earlier - next time it needs to be done on time please!

Your notes do discuss the technical codes and offer possible meanings and effects that they could create.

Shot Sequence Analysis

Shot 1: High Angle Mid ShotThis shot shows a man on the floor clutching his ear and a gun, he is sprawled across a wooden walkway which looks old and battered. He looks like he has been hurt by his posture but shows little expression on his face. This makes him seem evil. The shot aims to represent his emotion and the gun in his hand as both are glaring from the light, which is low key. The man is made to look helpless and inferior by the high angle. It would seem there is someone staring back down at him, and the audience can only assume this.

Shot 2: High angle Long Shot The next shot is further out to introduce a second character, and gunman who is aiming straight back at the other character. The downed gunman, now disarmed ( literally) looks in worse shape and is spread more across his back. The longer shot allows the viewer to make out the walkway to be part of a dock. and derelict by the looks of it. The second gunman wears a long detective style coat which shows authority and makes him look like the hero. The light on his arm emphasises where he is aiming.

Shot 3: Long shot Now a third character is introduced which is a little girl, cowered to the side of the dock. The shot shows the continuation of the standoff as well as the confrontation continues. The seting, now clear has surrounding warehouses, reminiscant of illegal smuggler docks. The horizon follows the bottom third of the shot and the detective stands up along the first third, so this shot is very easy on the eyes. The posture of the two men is reminiscant of the iconic resevior dogs shot of the standoff (much like this one). It would seem at this point to the viewer the gunman is the rescuer of the little girl.

Shot 4: Very Long Shot

Now further out we are introduced to a fourth character, another gunman behind the detective, because of his ddetective coat and his position behind the first detective, it would be likely he is infact going to betray the first detective. His darker coat shows him to be more evil than the rescuer. The standoff appears to be drawing to an end as the detective leans over the downed man, who look close to death by now. The girl looks like collateral damage in this standoff and looks physically and symbolically caught in the middle of the gunman and the new character at the back.

Shot 5: Close Up High Angle This shot is put in to show the emotion of the little girl, to get the audience more emotionally charged for the scene. The high angle and tears in her eyes show innocence, as well as the bright light on her. The camera is very close to her face to make her emotion recognisable straight away with the audience and to make it more personal.

Shot 6: Long Shot This shot has the most interesting perspective from the sequence. The shot puts the detective and downed man in the foreground, and the darker detective in the backround now walking in. The fourth man is very much framed by the light around him, which in contrast makes him very dark and evil looking. This shot aims to wrap up the scene so it shows all. By now the downed man looks dead.

Sequence Analysis

I think this sequence from Sin City works very well because it captivates the qudience through mystery and emotion, I think there is enough variation in shots to keep the viewers happy and composition is strong throughout, obviously the low key lighting style is key and really adds to the drama, but everything else is well executed as well. I think this sequence is very good indeed.