5. Moving image
• Watch 1 minute.
• Count number of transitions.
• Note types of shots and what’s in the shot (shot, angle, framing,
movement).
• Note types of transitions (cut, fade, wipe, dissolve).
• Note sounds (diegetic & non-diegetic).
• Note lighting/character movement/gesture/facial expression/ mise-
en-scene.
• Note effect on audience.
• Use screen shots to create storyboard (or sketch this if you prefer).
• PS – If you are going to CREATE a storyboard for your pre-
production work you might like to check out
www.thestoryboardartist.com
6. For example: Camera movement: Extreme long shot of foggy
isolated landscape, showing fields and the edge of a
Shot 1
deserted wooded area. The shot establishes setting.
Panning across the landscape from left to right it
continues to show the wooded area and emphasises
exactly how deserted and isolated it is.
Sounds: Diegetic – natural noises from deserted
places: wind blowing; trees rustling.
Non-diegetic – layered harmanesque music
begins to play, creating an eerie and tense
atmosphere full of suspense.
Shot duration: Extreme long
shot: 7 seconds. Transition to next shot: Jump cut into next shot –
Panning: 10 seconds. jerky and rapid, creating dramatic tension for the
Total: 17 seconds. audience. A brightening effect is used.
Comments: The panning and shot duration allow the
audience to establish the mise-en-scene. Sounds help
to create a tense atmosphere full of suspense;
drawing the audience in.
7. Shot 2:
Camera:
Wide shot of a deserted shack, surrounded by
trees. Leaves litter the floor. There are no
animals or people around. The shack looks like it
is falling apart: no one has visited for years.
Sound:
No diegetic sounds are heard: this creates an
eerie silence. The non-diegetic soundtrack
continues, increasing in volume.
Shot duration:
Wide shot: 6 seconds. Transition:
Total: 6 seconds. Jump cut to next shot: jerky and rapid, creating
dramatic tension for the audience.
Comments:
The shot, duration and its transition are
designed to shock the audience and make them
want to know more about what is happening
and why the shack is shown.
8. Screenplay (script)
• If you are planning a screenplay as pre-
production work you need to watch
sequences similar to ones you are going to
script, and examples of screenplays.
• Try www.bbc.co.uk/writersroom - this has
advice for writing film, radio and TV scripts
• Try www.screenwriting.info – for advice for
developing ideas, and how to present scripts.
9. Watch the opening 2 minutes of ‘Waterloo Road’:
series 1 episode 1
http://www.youtube.com/watch?v=SD9KEnWUeko
Look at the actual script (next slides).
•How does the script create an impression of setting?
•What do we learn about the characters?
•How important is dialogue?
•What do we learn about the possible storyline of the
episode and series?
10. Waterloo Road
Episode 1
By Ann McManus & Maureen Chadwick
Prequel
Ext. Waterloo Road playground – day
JACK, TOM, BRIAN VAISEY, ESTELLE, ANDREW, Ns PUPILS.
It’s break time and the pupils are hanging out in the playground
– a rowdy bunch of mixed races, wearing market copies or
knocked off items of the latest gear, with only a few concessions
to school uniform, supervised by disillusioned and somewhat
shabbily dressed deputy head, JACK RIMMER & English
department ‘Mr Fit’: TOM CLARKSON.
11. JACK surveys his charges with a look of despairing frustration – a gang
of teenage girls sport tight t-shirts with slogans like ‘FCUK like bunnies’
and ‘too hot to handle’, including a heavily pregnant 16 year old; a
bunch of bad boys covertly swapping cash for a stash; some younger
boys kicking a ball against a graffiti covered school wall.
As the ball strays TOM’s way he kicks it back to them with flair, to
admiring giggles from a couple of his 12 year old girl fan club. TOM
takes a bow.
Then there’s ‘whoosh’ – as a stack of box files comes crashing down
from on high into their midst – crrumpp! – just missing braining one of
the football players...Girl pupils scream, the kids scatter, papers fly loose
– it’s like a dirt bomb’s just been dropped. And all heads reel upwards –
to see their elderly headmaster, BRIAN VAISEY chucking out more files
from his upper storey office window, his face twisted with panic as he
yells down at them.
12. BRIAN
Who keeps soiling all this paper? I haven’t got a dirty bum, I’m the head!
This is my school, not a toilet! I’ve got to get rid of all this rubbish...
He ducks back inside and another load of files is hurled out of the
window and Jack Rimmer Pales – oh fcuk, the pupils run for cover, but
screams and gasps turn to sniggering.
PUPILS
Sir’s gone muppet/he’s a nutter/trying to kills us/call the pigs etc.
JACK nudges TOM.
JACK
Get the hell up there and gag him.
TOM gulps and dashes into the building as Jack barks at the kids.
JACK
Right, back inside! Now! Move it!
13. Are you happy?
• With your pre-production and production
ideas?
• Talk them through with someone before you
spend a lot of time analysing your style
models.
14. Analyse your style models
• Analyse two models for your production work
and two for your pre-production.
• Then swap with someone who has a
completely different product to you.
• Peer assess – have they missed anything out?
Is there anything to add?
15. Audience research
• Remind yourself of demographics and psychographics
(check out the ‘audience’ ppt on the wiki). Note down
strengths and weaknesses of each method.
• Primary research: focus group/questionnaire
– Draft some questions. See Creating questionnaires.docx
– Collate a series of products similar to yours for them to
evaluate
• Secondary research:
– www.imdb.com has useful information about audience
ratings of films.
– Some magazine publishers place profiles online (eg
www.bauermedia.co.uk/brands/FHM
• Check out Internet research tips.docx
16. Ethnographic research: read and make
notes for your research file
1. http://www.cielomr.com/index.php?option=com_content&vie
w=article&id=87&Itemid=90
• A brief resume of the advantages & disadvantages of
ethnographic research by independent market research
agency, Cielo
2. http://mediatedcultures.net/ksudigg/
• An online article with supporting video about students helping
other students
3.http://www.cardiff.ac.uk/socsi/hyper/ht99/digital_ethnography.ht
ml
• A brief explanation of how the technology of digital
ethnography affects ethnography (the University of Cardiff)
