Firstly,
Thank-you to everyone who respected my deadlines and got their work on the blog by today.... Well done...
Secondly, to those of you who sent me an email explain some of your issues, thank-you for keeping me in the loop.
Thirdly, for those of you that have nothing or very limited amounts of evidence on the blog, you've already lost marks from your planning grade, the longer you leave it, the more marks you're going to loose.
Sorry but that's the way it is
With regards to uploading videos...... YOU CANNOT LOAD DIRECTLY TO THE BLOG! there is a limit to the amount of footage you can upload, the only way to do it is to load it on a site like YOU TUBE AND EMBED THE LINK in the same way as you embeded a link to any video's you analysed
Friday 2 April 2010
Thursday 11 March 2010
Check list Film Trailer
Dear all
It's March the RESEARCH & PLANNING phase should be completed and the CONSTRUCTION phase well under way.
When reviewing the contents of your blogs can you PLEASE CHECK that you have evidence of the following things within your blog.
MAIN TASK
1) A detailed analysis of at least ONE trailer that has influenced your trailer
2) Examples of film trailers that have influenced your trailer; including a discussion which outlines, which particular elements have most influenced your trailer
3)An entry which highlights the particular 'GENRE' codes and conventions of your film trailer (see eamples handed out in class)
4) A TIMELINE outlining the prep, planning and shooting of your trailer (see examples handed out in class)
5) Any location shots
6) Character shots; including a brief description of the type of character they are playing
7) A list of shots included in your trailer
8) A story board of your trailer (annotated)
9) An animatic of your trailer video
10) Your trailer
SUBSIDIARY TASKS
1) EVIDENCE the development of your subsidiary task inc; any magazine front cover /websites or posters that have influenced your idea
2) An anlysis of the key codes and conventions of poster/front cover
2) Initial photo's taken for your poster/ magazine cover
3) Evidence of before and after you have 'photo shopped' your images
4) Evidence of rejected images; including an explanation as to why you rejected those images
5)Any 'rough versions' you have produced 'en-route' to your finished mag cover or poster
It's March the RESEARCH & PLANNING phase should be completed and the CONSTRUCTION phase well under way.
When reviewing the contents of your blogs can you PLEASE CHECK that you have evidence of the following things within your blog.
MAIN TASK
1) A detailed analysis of at least ONE trailer that has influenced your trailer
2) Examples of film trailers that have influenced your trailer; including a discussion which outlines, which particular elements have most influenced your trailer
3)An entry which highlights the particular 'GENRE' codes and conventions of your film trailer (see eamples handed out in class)
4) A TIMELINE outlining the prep, planning and shooting of your trailer (see examples handed out in class)
5) Any location shots
6) Character shots; including a brief description of the type of character they are playing
7) A list of shots included in your trailer
8) A story board of your trailer (annotated)
9) An animatic of your trailer video
10) Your trailer
SUBSIDIARY TASKS
1) EVIDENCE the development of your subsidiary task inc; any magazine front cover /websites or posters that have influenced your idea
2) An anlysis of the key codes and conventions of poster/front cover
2) Initial photo's taken for your poster/ magazine cover
3) Evidence of before and after you have 'photo shopped' your images
4) Evidence of rejected images; including an explanation as to why you rejected those images
5)Any 'rough versions' you have produced 'en-route' to your finished mag cover or poster
Music Video Coursework Checklist
Dear all,
It's March and all of your R&P should be completed and your construction phase (making the music video) should be well underway.
When reviewing the contents of your blogs can you PLEASE CHECK that you have evidence of the following things within your blog.
MAIN TASK
1) An analysis of at least ONE your influential music videos, using Goodwins theories
2) Examples of music videos that have influenced your video: including which particular elements have most influenceD your video
3)An entry which highlights the particular 'GENRE' codes and conventions of your music video
4) A TIMELINE outlining the prep, planning and shooting of your video (see examples handed out in class)
5) A list of shots included in your music video
6) A story board of your music video (annotated)
7) An animatic of your music video
8) Your music video
SUBSIDIARY TASKS
1) EVIDENCE the development of your subsidiary task inc: any album covers/websites that have influenced your idea
2) Initial photo's taken for your album cover
3) Evidence of before and after you have 'photo shopped' your images
4) Evidence of rejected images; including an explanation as to why you rejected those images
5)Any 'rough versions' you have produced 'en-route' to your finished cover or website
A BLOG ENTRY THAT OUTLINES ANY LINK or FURTHER DEVELOPMENT OF THE ARTIST/BAND YOU CREATED AT AN AS LEVEL
It's March and all of your R&P should be completed and your construction phase (making the music video) should be well underway.
When reviewing the contents of your blogs can you PLEASE CHECK that you have evidence of the following things within your blog.
MAIN TASK
1) An analysis of at least ONE your influential music videos, using Goodwins theories
2) Examples of music videos that have influenced your video: including which particular elements have most influenceD your video
3)An entry which highlights the particular 'GENRE' codes and conventions of your music video
4) A TIMELINE outlining the prep, planning and shooting of your video (see examples handed out in class)
5) A list of shots included in your music video
6) A story board of your music video (annotated)
7) An animatic of your music video
8) Your music video
SUBSIDIARY TASKS
1) EVIDENCE the development of your subsidiary task inc: any album covers/websites that have influenced your idea
2) Initial photo's taken for your album cover
3) Evidence of before and after you have 'photo shopped' your images
4) Evidence of rejected images; including an explanation as to why you rejected those images
5)Any 'rough versions' you have produced 'en-route' to your finished cover or website
A BLOG ENTRY THAT OUTLINES ANY LINK or FURTHER DEVELOPMENT OF THE ARTIST/BAND YOU CREATED AT AN AS LEVEL
Friday 8 January 2010
Let it snow... .. (but don't forget to keep working on your coursework!).
Dear all,
Obviously the weather conditions are causing disruption to school........
However, Coursework deadlines are looming and you should use this time to keep on top of your work load and makes sure your blog is UPDATED REGULARLY with your progress.
Please, if this disruption continues check the blog daily for any specific instructions regarding your coursework, as shortly I will be posting the questions you will need to address in your evaluation on this page.
Ms Bostock
Obviously the weather conditions are causing disruption to school........
However, Coursework deadlines are looming and you should use this time to keep on top of your work load and makes sure your blog is UPDATED REGULARLY with your progress.
Please, if this disruption continues check the blog daily for any specific instructions regarding your coursework, as shortly I will be posting the questions you will need to address in your evaluation on this page.
Ms Bostock
Monday 19 October 2009
Key Media Terminology
CAMERA SHOTS
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLESCamera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENTPan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack, usually composed specifically for the scene.
Sound Effects – sounds that are added to a film during the post-production stage.
OTHER KEY TERM
Artificial Light S
– A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
NB inspired by LongRoad Media..........
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLESCamera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENTPan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack, usually composed specifically for the scene.
Sound Effects – sounds that are added to a film during the post-production stage.
OTHER KEY TERM
Artificial Light S
– A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
NB inspired by LongRoad Media..........
How to Analyse a Music Video
How to analyse a music video...
Andrew Goodwin writing in ‘Dancing in the Distraction Factory’ (Routledge 1992)
Key points to consider:
Music videos demonstrate genre characteristics (e.g. stage performance in metal video, dance routine for boy/girl band).
There is a relationship between lyrics and visuals (either illustrative, amplifying, contradicting).
There is a relationship between music and visuals (either illustrative, amplifying, contradicting).
The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).
There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.
There is often intertextual reference (to films, tv programmes, other music videos etc).
Please try and apply some of these rules to your own analysis.
Andrew Goodwin writing in ‘Dancing in the Distraction Factory’ (Routledge 1992)
Key points to consider:
Music videos demonstrate genre characteristics (e.g. stage performance in metal video, dance routine for boy/girl band).
There is a relationship between lyrics and visuals (either illustrative, amplifying, contradicting).
There is a relationship between music and visuals (either illustrative, amplifying, contradicting).
The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).
There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.
There is often intertextual reference (to films, tv programmes, other music videos etc).
Please try and apply some of these rules to your own analysis.
Saturday 22 August 2009
Well done Smarty Pants.............
Well what can I say my lovelies............... you all did real good with your results and I'm proud of you for your efforts!!!
Enjoy the rest of your holidays and know this........... I'm expecting so much more in September!!!
Monday 13 July 2009
Dear all,
Over the summer break you need to start thinking about your film/soap/music video concept.You need to make sure that your production skills are up to speed and you have researched your ideas in detail.
So, in this post I have included a couple of sites which you may find useful for both research purposes and technical know-how.
www.firstlightmovies.com/how_to_ make_a_film (really well worth looking at this, as this organisation will fund films if you're under 19)
www.mediacollege.com/video/camera/tutorial
www.bbc.co.uk/films/oneminutesmovies/howto (editing sound and lighting are covered here)
www.ukfilmcouncil.org.uk/shortfilms (use for ideas and inspiration)
www.channel4com/film/makingmovies/microsites/S/shanes_world/shaneWorld_main.jsp
Over the summer break you need to start thinking about your film/soap/music video concept.You need to make sure that your production skills are up to speed and you have researched your ideas in detail.
So, in this post I have included a couple of sites which you may find useful for both research purposes and technical know-how.
www.firstlightmovies.com/how_to_ make_a_film (really well worth looking at this, as this organisation will fund films if you're under 19)
www.mediacollege.com/video/camera/tutorial
www.bbc.co.uk/films/oneminutesmovies/howto (editing sound and lighting are covered here)
www.ukfilmcouncil.org.uk/shortfilms (use for ideas and inspiration)
www.channel4com/film/makingmovies/microsites/S/shanes_world/shaneWorld_main.jsp
Tuesday 7 July 2009
Further 'Hints and Tips' re production of your music video
As part of your extensive research on music videos. Check out the following links:
www.emusu.com
ww.markromanek.com/index.html
Both links may help you in your research process
www.emusu.com
ww.markromanek.com/index.html
Both links may help you in your research process
Production Hints and Tips
You have all been set your coursework tasks for the summer holidays, some of you may use the time you have off to start capturing some raw footage for you project.
With this in mind, please bear in mind the following 'Production Tips'
1) Plan and organise everything!
2) Use your blog to track the various development stages and decisions you have made in relation to your project
This will be key in answering your exam question next year.
Use your space to paste examples that inform your work.
i) Post any photos you take
ii) Post any OBSERVATIONS you make about LOCATIONS, COSTUMES, MISE-EN-SCENE ETC
iii)Upload DIGITAL STORYBOARDS AND ANIMATICS
3)Pace is everything! 'a trailer, a music video and trailer for a new soap must be dynamic
ATTRACTING YOUR AUDIENCE IS KEY
With this in mind, please bear in mind the following 'Production Tips'
1) Plan and organise everything!
2) Use your blog to track the various development stages and decisions you have made in relation to your project
This will be key in answering your exam question next year.
Use your space to paste examples that inform your work.
i) Post any photos you take
ii) Post any OBSERVATIONS you make about LOCATIONS, COSTUMES, MISE-EN-SCENE ETC
iii)Upload DIGITAL STORYBOARDS AND ANIMATICS
3)Pace is everything! 'a trailer, a music video and trailer for a new soap must be dynamic
ATTRACTING YOUR AUDIENCE IS KEY
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