Here are a few key insights from the secondary audience research:
- Most people still prefer to watch TV shows on traditional television sets rather than devices like computers or phones. This indicates that a television broadcast remains an important format for reaching large audiences.
- BBC dramas seem to have higher viewership than shows on other channels like ITV. Creating a drama series for BBC 1 could potentially reach a wider audience.
- Line of Duty in particular has significantly higher ratings than other shows listed. Its success suggests there is strong audience interest in crime/police procedural dramas.
- To appeal to this television-focused audience, the new drama should be developed with broadcast in mind - things like episode length and production values suitable
This is a detailed textual analysis of the short film 'We All Stumble'. The short was created by Michael Marantz for the Robin Hood charity organisation in NYC. This presentation was made for my A2 media coursework blog.
The opening sequence establishes the amateur, documentary style of the film through shaky camerawork, lack of lighting and sound equipment, and casual clothing of the characters. It shows the characters preparing to investigate a local myth in the woods on Halloween, with dark lighting and dialogue hinting at something sinister. The sequence ends with a disturbing description of a graveyard in black and white, building an atmosphere of unease, death, and horror.
The Blair Witch Project movie poster does not follow Todorov's narrative structure theory as there is no initial state of equilibrium. It poses questions like "Why did they disappear?" and "Where did they disappear to?" between lines of text to evoke mystery. The low camera angle and close-up of the character holding a camera enhances the realism and feeling of being lost and alone.
The document provides an analysis of a film trailer through various shots and elements. It notes that the trailer begins with an establishing logo and seems to focus on the use of photography. Various shots are examined in detail, highlighting costumes, lighting, characters, and sounds that build tension and mystery around the idea of "Another Me." Elements like graffiti, shadows, and voiceovers are discussed as adding layers of meaning around a character that is hard to grasp but continually present.
The document provides an analysis of two soap opera trailers:
1) An Emmerdale trailer titled "Judgement Day" that uses ominous music and lighting to build mystery around a new antagonist character. Facial expressions reveal the community's dislike for this character.
2) An Eastenders trailer titled "Hurricane Sharon" that uses storm sound effects and lyrics about impending danger to personify Sharon as a threatening force. Characters hide as Sharon descends upon the community.
Both trailers aim to engage audiences and compel them to tune in to the episodes through use of mystery, ominous tones, and character build up. Nonverbal codes and technical elements enhance the trailers' dystopian settings and foreshadowing of
This document provides a textual analysis of three soap opera trailers:
1) Emmerdale: Judgement Day Trailer - The trailer uses ominous music, lighting, and facial expressions to portray an antagonist and build mystery. It ends with the man being followed.
2) Eastenders: Hurricane Sharon Trailer - Dark lighting and sounds of wind and thunder portray Sharon as a "storm." Lyrics and people hiding signify she may threaten the community.
3) Hollyoaks: Valentines Day Trailer - Through music and characters' expressions, it suggests unrequited love and relationship drama. Balloons bursting could mean dislike of love.
The document evaluates the trailers, noting lighting,
textual analysis of 2 soap opera trailers Abbie Fowler
The document provides an analysis of two soap opera trailers: EastEnders and Coronation Street. For EastEnders, it summarizes the use of non-diegetic music to set mood, and shots showing characters with guilty facial expressions. It notes the slow camera movements and cuts in both trailers build mystery. For Coronation Street, it describes flashbacks of the character Tina's life and low-key lighting setting a dark tone. The analysis concludes certain techniques like lighting, settings and costumes that build atmosphere should be repeated in other trailers.
Vertigo - FM4 Film Studies - Auteur, Gender and Psychoanalytical AnalysisElle Sullivan
The document discusses various critical approaches that can be used to analyze the film Vertigo, including auteur theory, psychoanalysis, and feminist film theory. It provides details about Alfred Hitchcock's directorial style and how he used techniques like camerawork, lighting, and motifs to convey themes of obsession, manipulation, and voyeurism in the film. It also summarizes some key plot points and references to mythology to illustrate Hitchcock's artistic vision and how the film can be interpreted through different critical lenses.
This is a detailed textual analysis of the short film 'We All Stumble'. The short was created by Michael Marantz for the Robin Hood charity organisation in NYC. This presentation was made for my A2 media coursework blog.
The opening sequence establishes the amateur, documentary style of the film through shaky camerawork, lack of lighting and sound equipment, and casual clothing of the characters. It shows the characters preparing to investigate a local myth in the woods on Halloween, with dark lighting and dialogue hinting at something sinister. The sequence ends with a disturbing description of a graveyard in black and white, building an atmosphere of unease, death, and horror.
The Blair Witch Project movie poster does not follow Todorov's narrative structure theory as there is no initial state of equilibrium. It poses questions like "Why did they disappear?" and "Where did they disappear to?" between lines of text to evoke mystery. The low camera angle and close-up of the character holding a camera enhances the realism and feeling of being lost and alone.
The document provides an analysis of a film trailer through various shots and elements. It notes that the trailer begins with an establishing logo and seems to focus on the use of photography. Various shots are examined in detail, highlighting costumes, lighting, characters, and sounds that build tension and mystery around the idea of "Another Me." Elements like graffiti, shadows, and voiceovers are discussed as adding layers of meaning around a character that is hard to grasp but continually present.
The document provides an analysis of two soap opera trailers:
1) An Emmerdale trailer titled "Judgement Day" that uses ominous music and lighting to build mystery around a new antagonist character. Facial expressions reveal the community's dislike for this character.
2) An Eastenders trailer titled "Hurricane Sharon" that uses storm sound effects and lyrics about impending danger to personify Sharon as a threatening force. Characters hide as Sharon descends upon the community.
Both trailers aim to engage audiences and compel them to tune in to the episodes through use of mystery, ominous tones, and character build up. Nonverbal codes and technical elements enhance the trailers' dystopian settings and foreshadowing of
This document provides a textual analysis of three soap opera trailers:
1) Emmerdale: Judgement Day Trailer - The trailer uses ominous music, lighting, and facial expressions to portray an antagonist and build mystery. It ends with the man being followed.
2) Eastenders: Hurricane Sharon Trailer - Dark lighting and sounds of wind and thunder portray Sharon as a "storm." Lyrics and people hiding signify she may threaten the community.
3) Hollyoaks: Valentines Day Trailer - Through music and characters' expressions, it suggests unrequited love and relationship drama. Balloons bursting could mean dislike of love.
The document evaluates the trailers, noting lighting,
textual analysis of 2 soap opera trailers Abbie Fowler
The document provides an analysis of two soap opera trailers: EastEnders and Coronation Street. For EastEnders, it summarizes the use of non-diegetic music to set mood, and shots showing characters with guilty facial expressions. It notes the slow camera movements and cuts in both trailers build mystery. For Coronation Street, it describes flashbacks of the character Tina's life and low-key lighting setting a dark tone. The analysis concludes certain techniques like lighting, settings and costumes that build atmosphere should be repeated in other trailers.
Vertigo - FM4 Film Studies - Auteur, Gender and Psychoanalytical AnalysisElle Sullivan
The document discusses various critical approaches that can be used to analyze the film Vertigo, including auteur theory, psychoanalysis, and feminist film theory. It provides details about Alfred Hitchcock's directorial style and how he used techniques like camerawork, lighting, and motifs to convey themes of obsession, manipulation, and voyeurism in the film. It also summarizes some key plot points and references to mythology to illustrate Hitchcock's artistic vision and how the film can be interpreted through different critical lenses.
The document provides details about the music, characters, fonts, lighting and camera work used in the trailers for three movies: Annabelle, Night at the Museum 3, and The Hunger Games - Mockingjay. For Annabelle, the music builds tension and intensity. A narrating character helps audience identification. Bold serif fonts and dark lighting create a creepy horror effect. Various shots establish setting and build power dynamics. Night at the Museum 3 uses recognizable music to set the fantasy and London locations. Shots are out of order to excite audiences. Voiceovers identify characters. Historical fonts suit the theme. Shots start slow and build to fast-paced action. The Hunger Games trailer uses dramatic
The first cut shows the Warner Brothers logo in black and white, portraying an old-fashioned sense. Dark edges brighten towards the center, suggesting the story has a dark beginning but becomes brighter. Fade effects, slow old-fashioned music, and the black and white imagery set an eerie, mysterious tone about the past.
In the second cut, the distribution company logo features flashing and writing saying "a life lived in fear is a life half lived," suggesting the film follows someone trying to overcome fear to find themselves. Fade effects and black and white continue the mysterious tone.
Subsequent scenes show clouds and fog with vague brightening in the distance, conveying mystery. A sudden flashing green light
The first cut shows the Warner Brothers logo in black and white, portraying an old-fashioned sense. The patterns draw the viewer inward where the logo brightens in the middle. This could represent a dark beginning that becomes brighter.
The second cut features a flashing logo with writing that says "a life lived in fear is a life half lived," suggesting the film could follow someone trying to overcome fear.
The following scene shows clouds and fog with distant lighting getting brighter, conveying mystery beyond what is shown. A sudden flashing green light could represent guidance or the beginning of the story's ups and downs.
The document summarizes and analyzes the openings of three films:
1) The Girl with the Dragon Tattoo uses ambiguous black liquid imagery that drowns and engulfs people as a death metaphor. A flaming bird emerges and the liquid catches fire before people begin dying.
2) Black Swan uses a drawing of a black swan in pastel that gets more forceful and ferocious as the music intensifies, culminating in the pastel breaking and a finished drawing revealed with smashed glass.
3) The Social Network starts with protagonist Mark being abruptly dumped by his girlfriend, using a seemingly irrelevant real-world scene rather than metaphors to introduce the pedantic and precise character of Mark.
1) The document provides a textual analysis of two soap opera trailers, comparing their use of verbal, non-verbal, and technical codes.
2) Trailer 1 for "Kat and Alfie" on EastEnders uses a western theme and diegetic sounds of laughing and a gun clicking to set up conflict between the characters. Trailer 2 for Hollyoaks uses a dark, ominous tone created through low lighting, costumes, and a non-diegetic soundtrack.
3) Both trailers effectively employ shots like close-ups and establishing shots to convey emotion and relationships, but the author prefers the darker, more sinister tone of the Hollyoaks trailer through its lighting and soundtrack.
The document analyzes common conventions used in horror movie trailers through a discussion of mise-en-scene, cinematography, sound, and editing techniques. It notes that props indicating violence, suburban settings, and low-key lighting are frequently employed in mise-en-scene. Cinematography often uses low angle shots of victims, tracking shots for suspense, and close-ups to convey a character's fear. Sound design typically incorporates high-pitched non-diegetic music that increases in pitch and volume during intense scenes, while editing frequently employs faster cuts, slow black fades, and jump cuts to build suspense and pace.
The document analyzes the opening sequence of the film Vertigo through its camera angles, soundtrack, editing, and mise-en-scene. The sequence starts with a close-up of a frightened woman's eye that pans up to her face. It establishes an eerie tone using dizzying camera angles and a unsettling non-diegetic soundtrack. The editing employs slow pacing and spirals to mirror themes of confusion and obsession. Elements like the policeman's uniform and use of vivid red contrasted with a washed-out palette set the dark and ominous tone through mise-en-scene.
The document discusses sound design ideas for a movie trailer called "The Basement". It describes how non-diegetic sounds will be used to set an unsettling atmosphere in the first 30 seconds, including discordant stabs and knocking sounds. As the characters enter the house, diegetic dialogue will be used. For the next 30 seconds, all non-diegetic sounds will stop as tension builds towards the discovery of the basement. Strange sounds will then accompany haunting scenes, including a child's singing and a heartbeat rhythm. Throughout the final minute, the sounds will build in intensity to a climax with a scream and distorted growling before cutting to silence for the title reveal.
codes and conventions to opening film sequence fathimamiah1
The opening sequence uses various camera movements like panning and tracking to build suspense and synchronize with a deep voiceover, establishing the action and sci-fi themes. It introduces the production company and suggests the film will have elements of danger, mystery and supernatural themes. The music, colors and shots of the city and soldiers further set the tense atmosphere and indicate it will include action. However, it does not show the cast or other crew unlike most openings.
The document provides an analysis of the opening title sequences and conventions used in several thriller films. Key conventions discussed include the use of non-diegetic music to build tension, establishing shots of locations, showing the main character first, and using dark colors and lighting to set a mysterious tone. Camera techniques like jump cuts, close ups, and pan shots are used to create unease or inform the audience. Common props seen in titles like writings, photos and drawings hint at themes of planning or stalking. Together, these visual and audio elements help set expectations and immerse viewers in the thriller genre.
The document analyzes the use of visual and audio techniques in the Skyfall movie trailer. It discusses how logos are seamlessly integrated with tense music and action. Minimal text is used to focus on imagery. Font and colors associate the film with espionage. Establishing shots hint at the film's global locations. Lighting, settings, and props establish mood and genre conventions. Dialogue, music, and editing pace the trailer to build tension.
Textual analysis – the girl with the dragon tattoo Cg11493
The document provides an in-depth analysis of the opening sequence of the thriller film "The Girl with the Dragon Tattoo." It describes the shots, settings, characters, music, and other elements in detail. The opening establishes a dark, tense atmosphere through the use of dim lighting, unsettling sounds, and mysterious visuals. It introduces two main characters who appear suspicious and troubled. Overall, the opening sequence effectively sets the tone for a thriller film while leaving enough unanswered to intrigue viewers about the full narrative.
The document provides a summary of the concept and narrative for the Slipknot music video "Dead Memories". Key points:
- The video concept relates to the singer wanting to escape a bad relationship, with his emotions consuming him and controlling the beat of the song.
- Horror elements like masks and dark lighting are used to build suspense and tension, matching the genre while keeping the narrative simple to match the song.
- The narrative will show the progression of the story through minimalistic performance, locations symbolizing death/burial, and costumes/props emphasizing isolation and fear.
- Themes of isolation, regret of past feelings, and fear are depicted through solitary scenery, masks
The document discusses different storytelling techniques the author plans to use for their web series, inspired by Christopher Nolan films. The author aims to tell the story in a nonlinear order, similar to Memento and Inception, with flashbacks throughout. They also want to employ anachronic order by retelling the story from different character perspectives. Additionally, the author discusses using techniques from Nolan's films like dramatic scoring and cinematography to augment smaller projects. Sonic storytelling elements like character themes and leitmotifs are also of interest to help tell the story through music.
Drama films focus on developing realistic characters dealing with emotional themes. The author chooses drama as their genre because it allows for a range of shots from abstract to naturalistic. Effective drama title sequences set the emotive atmosphere through music, images, and editing style without including narrative text. Key aspects of drama titles include interesting locations, props, costumes, font, soundtracks, cinematography using jumps cuts, and editing to control tension. These elements must be used to reflect the time period and create the right dramatic mood.
The document analyzes three film title sequences and discusses techniques used to convey meaning and set tone:
1) The Sin City titles use contrasting black/white and the addition of red to connote a city with moral ambiguity and impending violence. Character introductions in black/white with red text suggest shades of good/evil.
2) The Memento titles emphasize clarity through capitalized blue text over a fading background, reflecting the film's theme of memory loss. Stillness implies stability but also instability due to the nonlinear plot.
3) The Chinatown titles mimic the style of 1920s/30s films to recreate the neo-noir atmosphere through fading transitions, rolling text, and sepia
- The trailer for The Shining establishes the film as a supernatural horror by using an ominous voiceover and shots of an isolated hotel. It hints at Jack Nicholson's character descending into madness as the caretaker.
- Kubrick contrasts shots of the hotel's exterior appearing normal with Nicholson shown from the inside exhibiting strange behavior. Flashing imagery grows darker and more violent as his insanity increases.
- The trailer builds intrigue by leaving Nicholson's story partly untold and using irony by showing him initially seeming normal. It suggests his isolation will cause him to murder his family like the previous caretaker.
Film noir is a genre or visual style of film that originated in post-World War 2 America. It is characterized by themes of crime and corruption, paranoia and moral ambiguity. While noir began in the 1940s-50s, the style has continued on in modern films referred to as "neo-noir". Examples of neo-noir films mentioned include Blade Runner, Se7en, and The Dark Knight, which continue noir traditions through their dark tone, crime plots, and exploration of the seedy underbelly of society. The document discusses debates around whether noir should be considered a genre and provides examples of classic and modern noir elements that can be identified in films.
The document provides details on the pre-production and design of a logo and title sequence for a fictional 1960s crime drama television show starring Tom Hiddleston. It includes descriptions of different layout and design concepts for the logo and tiles in the title sequence, exploring imagery and symbolism related to the show's themes of communism vs capitalism and crimes set in 1960s London. Color schemes, fonts, and music are selected to help establish the gritty and suspenseful tone of the genre. Potential issues and solutions are also outlined in a contingency plan.
The music video tells a story of two wax figures representing a French soldier and peasant woman who fall in love but cannot be together. Cinematography like close-ups and rack focusing create a sense of connection between them. The color scheme uses blue to represent romance and red for pain. Imagery in a montage conveys the soldier's desire for the woman. Though the figures are inanimate, visual techniques bring their tragic relationship to life. Julian Casablancas represents the narrator singing about the experience.
The document discusses and compares two potential horror film openings - one involving a woman running through the woods who discovers a creepy cabin ("Cabin") and the other involving a woman in her house who becomes possessed ("Possession"). It provides details on the plot, casting, length, target audiences, inspirations, shots, sound, lighting, resources needed, and logos for the potential film distributor for both ideas.
The opening scene of The Silence of the Lambs establishes Clarice Starling as the main character through various shots. A high angle shot shows Clarice doing exercises, making her look small but determined. A two shot with an FBI agent establishes she works for the FBI. A low angle shot of her climbing a cargo net contrasts her strength and struggle. Close ups reveal her serious facial expressions, hinting at her personality and driving nature. These shots in the opening scene immediately characterize Clarice and set up her role in the FBI.
The document provides details about the music, characters, fonts, lighting and camera work used in the trailers for three movies: Annabelle, Night at the Museum 3, and The Hunger Games - Mockingjay. For Annabelle, the music builds tension and intensity. A narrating character helps audience identification. Bold serif fonts and dark lighting create a creepy horror effect. Various shots establish setting and build power dynamics. Night at the Museum 3 uses recognizable music to set the fantasy and London locations. Shots are out of order to excite audiences. Voiceovers identify characters. Historical fonts suit the theme. Shots start slow and build to fast-paced action. The Hunger Games trailer uses dramatic
The first cut shows the Warner Brothers logo in black and white, portraying an old-fashioned sense. Dark edges brighten towards the center, suggesting the story has a dark beginning but becomes brighter. Fade effects, slow old-fashioned music, and the black and white imagery set an eerie, mysterious tone about the past.
In the second cut, the distribution company logo features flashing and writing saying "a life lived in fear is a life half lived," suggesting the film follows someone trying to overcome fear to find themselves. Fade effects and black and white continue the mysterious tone.
Subsequent scenes show clouds and fog with vague brightening in the distance, conveying mystery. A sudden flashing green light
The first cut shows the Warner Brothers logo in black and white, portraying an old-fashioned sense. The patterns draw the viewer inward where the logo brightens in the middle. This could represent a dark beginning that becomes brighter.
The second cut features a flashing logo with writing that says "a life lived in fear is a life half lived," suggesting the film could follow someone trying to overcome fear.
The following scene shows clouds and fog with distant lighting getting brighter, conveying mystery beyond what is shown. A sudden flashing green light could represent guidance or the beginning of the story's ups and downs.
The document summarizes and analyzes the openings of three films:
1) The Girl with the Dragon Tattoo uses ambiguous black liquid imagery that drowns and engulfs people as a death metaphor. A flaming bird emerges and the liquid catches fire before people begin dying.
2) Black Swan uses a drawing of a black swan in pastel that gets more forceful and ferocious as the music intensifies, culminating in the pastel breaking and a finished drawing revealed with smashed glass.
3) The Social Network starts with protagonist Mark being abruptly dumped by his girlfriend, using a seemingly irrelevant real-world scene rather than metaphors to introduce the pedantic and precise character of Mark.
1) The document provides a textual analysis of two soap opera trailers, comparing their use of verbal, non-verbal, and technical codes.
2) Trailer 1 for "Kat and Alfie" on EastEnders uses a western theme and diegetic sounds of laughing and a gun clicking to set up conflict between the characters. Trailer 2 for Hollyoaks uses a dark, ominous tone created through low lighting, costumes, and a non-diegetic soundtrack.
3) Both trailers effectively employ shots like close-ups and establishing shots to convey emotion and relationships, but the author prefers the darker, more sinister tone of the Hollyoaks trailer through its lighting and soundtrack.
The document analyzes common conventions used in horror movie trailers through a discussion of mise-en-scene, cinematography, sound, and editing techniques. It notes that props indicating violence, suburban settings, and low-key lighting are frequently employed in mise-en-scene. Cinematography often uses low angle shots of victims, tracking shots for suspense, and close-ups to convey a character's fear. Sound design typically incorporates high-pitched non-diegetic music that increases in pitch and volume during intense scenes, while editing frequently employs faster cuts, slow black fades, and jump cuts to build suspense and pace.
The document analyzes the opening sequence of the film Vertigo through its camera angles, soundtrack, editing, and mise-en-scene. The sequence starts with a close-up of a frightened woman's eye that pans up to her face. It establishes an eerie tone using dizzying camera angles and a unsettling non-diegetic soundtrack. The editing employs slow pacing and spirals to mirror themes of confusion and obsession. Elements like the policeman's uniform and use of vivid red contrasted with a washed-out palette set the dark and ominous tone through mise-en-scene.
The document discusses sound design ideas for a movie trailer called "The Basement". It describes how non-diegetic sounds will be used to set an unsettling atmosphere in the first 30 seconds, including discordant stabs and knocking sounds. As the characters enter the house, diegetic dialogue will be used. For the next 30 seconds, all non-diegetic sounds will stop as tension builds towards the discovery of the basement. Strange sounds will then accompany haunting scenes, including a child's singing and a heartbeat rhythm. Throughout the final minute, the sounds will build in intensity to a climax with a scream and distorted growling before cutting to silence for the title reveal.
codes and conventions to opening film sequence fathimamiah1
The opening sequence uses various camera movements like panning and tracking to build suspense and synchronize with a deep voiceover, establishing the action and sci-fi themes. It introduces the production company and suggests the film will have elements of danger, mystery and supernatural themes. The music, colors and shots of the city and soldiers further set the tense atmosphere and indicate it will include action. However, it does not show the cast or other crew unlike most openings.
The document provides an analysis of the opening title sequences and conventions used in several thriller films. Key conventions discussed include the use of non-diegetic music to build tension, establishing shots of locations, showing the main character first, and using dark colors and lighting to set a mysterious tone. Camera techniques like jump cuts, close ups, and pan shots are used to create unease or inform the audience. Common props seen in titles like writings, photos and drawings hint at themes of planning or stalking. Together, these visual and audio elements help set expectations and immerse viewers in the thriller genre.
The document analyzes the use of visual and audio techniques in the Skyfall movie trailer. It discusses how logos are seamlessly integrated with tense music and action. Minimal text is used to focus on imagery. Font and colors associate the film with espionage. Establishing shots hint at the film's global locations. Lighting, settings, and props establish mood and genre conventions. Dialogue, music, and editing pace the trailer to build tension.
Textual analysis – the girl with the dragon tattoo Cg11493
The document provides an in-depth analysis of the opening sequence of the thriller film "The Girl with the Dragon Tattoo." It describes the shots, settings, characters, music, and other elements in detail. The opening establishes a dark, tense atmosphere through the use of dim lighting, unsettling sounds, and mysterious visuals. It introduces two main characters who appear suspicious and troubled. Overall, the opening sequence effectively sets the tone for a thriller film while leaving enough unanswered to intrigue viewers about the full narrative.
The document provides a summary of the concept and narrative for the Slipknot music video "Dead Memories". Key points:
- The video concept relates to the singer wanting to escape a bad relationship, with his emotions consuming him and controlling the beat of the song.
- Horror elements like masks and dark lighting are used to build suspense and tension, matching the genre while keeping the narrative simple to match the song.
- The narrative will show the progression of the story through minimalistic performance, locations symbolizing death/burial, and costumes/props emphasizing isolation and fear.
- Themes of isolation, regret of past feelings, and fear are depicted through solitary scenery, masks
The document discusses different storytelling techniques the author plans to use for their web series, inspired by Christopher Nolan films. The author aims to tell the story in a nonlinear order, similar to Memento and Inception, with flashbacks throughout. They also want to employ anachronic order by retelling the story from different character perspectives. Additionally, the author discusses using techniques from Nolan's films like dramatic scoring and cinematography to augment smaller projects. Sonic storytelling elements like character themes and leitmotifs are also of interest to help tell the story through music.
Drama films focus on developing realistic characters dealing with emotional themes. The author chooses drama as their genre because it allows for a range of shots from abstract to naturalistic. Effective drama title sequences set the emotive atmosphere through music, images, and editing style without including narrative text. Key aspects of drama titles include interesting locations, props, costumes, font, soundtracks, cinematography using jumps cuts, and editing to control tension. These elements must be used to reflect the time period and create the right dramatic mood.
The document analyzes three film title sequences and discusses techniques used to convey meaning and set tone:
1) The Sin City titles use contrasting black/white and the addition of red to connote a city with moral ambiguity and impending violence. Character introductions in black/white with red text suggest shades of good/evil.
2) The Memento titles emphasize clarity through capitalized blue text over a fading background, reflecting the film's theme of memory loss. Stillness implies stability but also instability due to the nonlinear plot.
3) The Chinatown titles mimic the style of 1920s/30s films to recreate the neo-noir atmosphere through fading transitions, rolling text, and sepia
- The trailer for The Shining establishes the film as a supernatural horror by using an ominous voiceover and shots of an isolated hotel. It hints at Jack Nicholson's character descending into madness as the caretaker.
- Kubrick contrasts shots of the hotel's exterior appearing normal with Nicholson shown from the inside exhibiting strange behavior. Flashing imagery grows darker and more violent as his insanity increases.
- The trailer builds intrigue by leaving Nicholson's story partly untold and using irony by showing him initially seeming normal. It suggests his isolation will cause him to murder his family like the previous caretaker.
Film noir is a genre or visual style of film that originated in post-World War 2 America. It is characterized by themes of crime and corruption, paranoia and moral ambiguity. While noir began in the 1940s-50s, the style has continued on in modern films referred to as "neo-noir". Examples of neo-noir films mentioned include Blade Runner, Se7en, and The Dark Knight, which continue noir traditions through their dark tone, crime plots, and exploration of the seedy underbelly of society. The document discusses debates around whether noir should be considered a genre and provides examples of classic and modern noir elements that can be identified in films.
The document provides details on the pre-production and design of a logo and title sequence for a fictional 1960s crime drama television show starring Tom Hiddleston. It includes descriptions of different layout and design concepts for the logo and tiles in the title sequence, exploring imagery and symbolism related to the show's themes of communism vs capitalism and crimes set in 1960s London. Color schemes, fonts, and music are selected to help establish the gritty and suspenseful tone of the genre. Potential issues and solutions are also outlined in a contingency plan.
The music video tells a story of two wax figures representing a French soldier and peasant woman who fall in love but cannot be together. Cinematography like close-ups and rack focusing create a sense of connection between them. The color scheme uses blue to represent romance and red for pain. Imagery in a montage conveys the soldier's desire for the woman. Though the figures are inanimate, visual techniques bring their tragic relationship to life. Julian Casablancas represents the narrator singing about the experience.
The document discusses and compares two potential horror film openings - one involving a woman running through the woods who discovers a creepy cabin ("Cabin") and the other involving a woman in her house who becomes possessed ("Possession"). It provides details on the plot, casting, length, target audiences, inspirations, shots, sound, lighting, resources needed, and logos for the potential film distributor for both ideas.
The opening scene of The Silence of the Lambs establishes Clarice Starling as the main character through various shots. A high angle shot shows Clarice doing exercises, making her look small but determined. A two shot with an FBI agent establishes she works for the FBI. A low angle shot of her climbing a cargo net contrasts her strength and struggle. Close ups reveal her serious facial expressions, hinting at her personality and driving nature. These shots in the opening scene immediately characterize Clarice and set up her role in the FBI.
The document analyzes and compares two soap opera trailers - Eastenders' "Who Killed Lucy Beale?" and Emmerdale's "Judgement Day." Both trailers effectively use technical elements like lighting, editing and soundtrack to create tension and intrigue. They also include a range of characters to represent different demographics and storylines to appeal to target audiences. The analysis concludes the document was inspired by the trailers' use of characters, close-ups, soundtracks and artificial lighting to set mood in its own productions.
Research I had done on the historic Surrealism black and white French film, L'age D'or - to gain knowledge about the genre 'Surrealism' and it's conventions
The opening sequence introduces the film's title "Legendary Pictures" through quick cuts between scenes of a dramatic musical score, crashing waves, and 21st century weapons. This establishes the thriller genre. It then shows an older man examining a small object that seems important, hinting at mystery. Quick cuts later show the protagonist in the same room at a different time, suggesting time travel plays a role. The sequence ends by repeating the close-up of the object, leaving the audience with many questions.
Here are a few ways our filmmaking skills improved from the preliminary task to the final draft:
- Editing: The cuts between shots were much smoother and less abrupt in the final draft. We used longer takes that were intercut with shorter shots, rather than many quick cuts. This allowed each shot to breathe more.
- Continuity: We were more careful about continuity details like clothing, props, and character positioning from shot to shot. This helped the world feel more cohesive.
- Camerawork: We experimented with more advanced techniques like POV shots, Dutch angles, and flop shots in the final draft. This enhanced the tone and helped tell the story visually.
- Color grading: We
This document discusses conventions of soap operas and planning for a soap opera production. It defines key elements of soap operas like having an ongoing narrative with a focus on everyday lives. Common conventions are explored such as representing regions through setting, dialect and topics. Planning details for a soap opera include storyboarding scenes, choosing camera shots, locations, costumes and music to represent genres and create drama.
The document analyzes two trailers for soap operas - Eastenders' trailer about the death of Lucy Beale and Coronation Street's "judgement day" trailer. It examines aspects like the channel, target audience, storylines/themes, technical codes used, and how each trailer persuades its audience. For both trailers, it finds similarities in their use of soundtracks, voiceovers, inclusion of multiple characters, close-up shots, and artificial lighting to set a tense, mysterious mood that draws in viewers. The analysis of the two trailers inspires the document's author to incorporate these same techniques in their own trailer.
The opening scene of Black Swan shows a stick of chalk being dragged across a sheet to mimic ballet movements. The chalk starts smoothly but then cracks, mirroring the tension between grace and frustration. Dark colors and an old-fashioned sepia filter set a moody tone. Stylized text titles fade away quickly, hinting at a hidden meaning beneath the film's surface. Together, these visual and editing elements immerse viewers in the world of ballet while foreshadowing inner conflict.
The video uses dark lighting and silhouettes in the opening scene to set a romantic tone. A woman walks toward a beam of light, symbolizing her journey toward finding love and purpose. Scenes of the couple dancing under spotlights in a grand hall are intercut with close-ups to emphasize their intimacy while maintaining visual variety. Symbolic details like the woman's white dress suggest innocence and vulnerability. The editing matches the rhythm of the slow song and focuses on the emotional connection between the characters to enhance the love story theme.
The document analyzes two soap opera trailers - one for EastEnders about the death of Lucy Beale, and one for Emmerdale about a storyline called "Judgement Day". It examines aspects like the channel, target audience, storyline/themes, and technical codes like camerawork, editing, lighting, and sound used in each trailer. The document finds that both soaps target a wide audience, use dramatic storylines and nighttime lighting to create suspense. Technical elements like close-ups, soundtrack, and voiceover help persuade viewers to watch.
The document outlines plans for the opening sequence of a film that will blend the genres of action and mystery. It will introduce a protagonist in his mid-30s through scenes that do not reveal his face until the end. The themes of romance and mystery will be portrayed through techniques like not showing the protagonist's face and using a mix of lighting. The sequence will be inspired by the opening of the film "Divergent" but will use a medium pace to blend the action and mystery genres.
This opening sequence establishes the genre as horror through its use of lighting, camera shots, music and reactions from characters. Various shots like close-ups, mid shots and long shots are used to focus attention on key subjects and build tension. Dark lighting and a tense musical score set an ominous tone. The characters of two female nurses are established as vulnerable through their body language and expressions of fear when recounting strange events, positioning the film's narrative as involving the supernatural or paranormal. Editing uses straight cuts for a natural flow between shots in this horror genre opening sequence.
The document provides an analysis of conventions used in five horror movie trailers: The Shining, Oculus, The Sixth Sense, The Woman in Black, and The Cabin in the Woods. It examines how each trailer introduces the film, establishes characters, builds tension, and balances satisfying audience expectations with uniqueness. While most trailers follow conventions like opening with an scare or establishing shots, The Woman in Black stands out as more unconventional in its structure. Overall, the analysis finds that the trailers effectively capture the essence of their respective films through their use or subversion of trailer conventions.
The document analyzes the trailer for the film Shutter Island. It begins with establishing shots that set the isolated and ominous tone of the island. Clips throughout gradually show the protagonist Teddy Daniel's mental breakdown and questioning of reality. The cinematography uses dark and unsettling imagery to build suspense. The film appeals to wide audiences through its psychological thriller genre, star power of Leonardo DiCaprio and Martin Scorsese, and portrayal of the disturbing past practices of mental institutions.
The title sequence of the film Insidious uses various film techniques to set an ominous and mysterious tone. Shots slowly pan between different darkened locations in a seemingly haunted house, with unsettling non-diegetic sounds. A shadowy figure of an old woman holding a candle is revealed, looking sinister. Throughout, the black and white cinematography and focus on a clock suggest something frightening from the past. The sequence successfully builds suspense and foreshadows horror to come through its deliberate pacing and use of lighting, camera work, editing and sound design.
The title sequence of the film Insidious uses various film techniques to set an ominous and mysterious tone. Shots slowly pan between different dark and shadowy locations in a house, interspersed with close-ups of unsettling images like a pale woman holding a candle. The black and white cinematography and unsettling non-diegetic sounds reinforce the sense of mystery and impending danger. The sequence establishes the setting and characters while foreshadowing that something sinister may be haunting the family who has just moved into the house.
This document outlines the production plan and shooting schedule for a music video. Key elements include:
- Using green screen and visual effects to composite shadow demons and a glowing sword into scenes.
- Tracking in a new background landscape and neural pattern to alter the mood and setting.
- Shooting over three days on location in Whitby and at the actor's house, with scenes involving actors, props, and visual effect references.
- Crew includes a director, actors, cinematographer, and makeup artist.
- Week 1: The author begins planning their Final Major Project (FMP) by expanding on previous work from last year and highlighting areas for proofreading. They get further ahead in the project than originally planned.
- Week 2: The author has the week off from college. They touch up existing slides and watch films for research purposes.
- Week 3: The author begins corrections on pre-planning documents and does research on films relevant to their project. They also update their website. They feel stressed about upcoming deadlines.
Week 1-4: The student makes good early progress on their Final Major Project (FMP), getting ahead of schedule by expanding on previous work. They complete their proposal, influences research, and begin casting calls.
Weeks 5-8: Casting proves difficult with few responses. The student stresses over the reliability of potential actors. They complete their main research but struggle with secondary research. Casting is finalized with two leads.
Weeks 9-11: The student finishes their script draft and sends it to cast/crew for feedback. Progress is interrupted by the coronavirus outbreak, limiting their access to needed software and preventing filming.
Weeks 12-13: No work is done due
The document is a shot list for a film containing 29 shots. It details shots of various sizes (CU, ECU, MS, etc.) and camera movements (static, tracking, tilt-up, etc.) that show:
1) Tom getting drunk and calling Amber after James sets them up on a date, despite Tom's initial reluctance.
2) Amber agreeing to meet Tom at the cathedral. Tom runs late but eventually shows up.
3) The awkward first meeting between Tom and Amber as they walk together, with neither knowing what to say at first. Amber suggests getting food.
The document is a shot list for a film containing 29 shots. It details shots of various sizes (CU, ECU, MS, etc.) and types (static, tracking, tilt-up, etc.) showing interactions between characters Tom and Amber. The shots show Tom getting drunk after a disappointing art project, taking James' advice to call Amber, and rushing to meet her late. Amber agrees to meet despite Tom's drunken call. The list ends with Tom nervously meeting Amber and suggesting they get food, and Amber agreeing.
This budget plan allocates £420 total for the 'Blue and Yellow' project. £120 is budgeted for food and travel, with £106 allocated for sandwiches and travel costs for shooting on days 1, 2, and an extra day. £300 is budgeted for equipment, props, and costumes. Equipment includes a boom pole for £99 and other props like an easel and art supplies. Costumes include various items of clothing for the characters Baillie and Ellen, coming to a total of £179.50 for equipment, props and costumes.
- Week 1: The author makes an early start on their Final Major Project (FMP) by expanding on previous work from last year where they received a distinction grade. They highlight areas for proofreading.
- Week 2: The author has the week off from college. They touch up existing slides and watch films for research purposes.
- Week 3: The author begins corrections, product research, and updates their website, which takes half the week. They feel stressed about deadlines but are ahead of schedule.
This document provides a schedule and plan for Matthew-Burniston's Final Major Project (FMP). It outlines each week of the project, from pre-planning to evaluation. In the first few weeks, Matthew plans to develop concepts, research influences, conduct audience research, and draft scripts. During the middle weeks, he will focus on pre-production tasks like location scouting, costumes, and casting. Production will occur in weeks 14-15, with editing and post-production in subsequent weeks. Evaluation will take place at the end, assessing technical, aesthetic, and audience qualities. Matthew's chosen concept is a short film about a struggling artist who finds inspiration and romance.
The document outlines Matthew-Burniston's schedule and plans for their Final Major Project (FMP). It includes 24 weeks of planning, pre-production, production, and post-production activities. Key aspects include researching film techniques, developing character profiles, location scouting, filming, and editing. The goal is to direct a short romantic comedy film inspired by Van Gogh's use of color and The Beatles' music, applying skills developed in previous projects to tell a visual story that evokes emotion in audiences.
Matthew Burniston is proposing a short film project titled "Blue and Yellow" to be completed by 24 weeks. The film will follow an artist struggling with mental health and his lifelong goal of achieving success in his art. It will explore how color and costumes can reflect the characters' emotions. Burniston will conduct research on color meaning and film techniques, as well as interviews to develop authentic characters. He has created a schedule covering pre-production, production, and post-production tasks like script drafting, location scouting, editing, and evaluation. The project will be evaluated through weekly diaries, peer and self-reviews to improve his skills and future work.
The document outlines a film project proposal that will be heavily inspired by the life and artwork of Vincent Van Gogh. The key points are:
1) The project aims to tell a story through visual storytelling and details, using color in a way that is linked to Van Gogh's work.
2) Influences for the project include the dialogue, comedy, and transitions of Edgar Wright as well as the visuals and quirks of Wes Anderson. Research will also draw from Van Gogh's paintings to drive the visuals of the film.
3) The goal is to make the audience feel a spectrum of emotions from joy and laughter to sadness to empathize with characters, and to
This year the author again attended the Aesthetica film festival in York and had a more positive experience than the previous year. Some of the films shown had more colorful stories, such as a documentary about a village in Africa with severe pollution problems that focused on the lives of the people. Another favorite was an animated short film about pollution in the sea that started normally but progressively showed that everything was made of trash. The author also attended master classes this year, including one by cinematographer Dick Pope, who provided some interesting insight but tended to ramble.
Matthew is currently studying Creative Digital Media at York College and hopes to specialize in film next year. His long term goal is to work as a director of dramas and films. He has always wanted to do something creative, particularly in the film medium of bringing stories to life. He admires the work of directors like Edgar Wright and Stanley Kubrick. Matthew enjoys analyzing what makes his favorite shows and movies effective and is always looking to expand his skills and understanding.
The document discusses the author's passion for storytelling and film from a young age, which has led them to pursue directing. They have been developing their filmmaking skills in college through personal projects, and hope to attend university to further improve their skills and work professionally. The author enjoys all aspects of filmmaking but particularly enjoys the pre-production and planning stages. For their final college project, they aim to produce their first proper short film. Ultimately, the author wishes to pursue a career in directing, specifically in the independent film industry.
Matthew is applying to university to study filmmaking and further develop his directing skills. He has a passion for film from a young age and has been studying creative media at college, achieving two distinctions. He hopes university will provide resources and time to improve his skills and work on building a portfolio to help him pursue a career as a director. He has considered various filmmaking courses and believes Leeds Beckett University would be the best fit.
FRAZER has just ended a phone call with his friend TOM about getting over his ex-girlfriend. FRAZER goes to the park to clear his head. At the park, he sits on a bench next to a girl named LUCY. They strike up a conversation where LUCY learns that FRAZER writes stories in his notebook. LUCY gives FRAZER her phone number before leaving. As she walks away, FRAZER crosses out the "less" in "hopeless" written in his notebook, changing it to "hopeful".
This document discusses auteur theory in cinema and analyzes the directorial styles of Wes Anderson, Edgar Wright, and Steven Spielberg. It explains that auteur theory posits that a director's personal style and preferences are visible across their body of work, allowing their films to be identified without viewing the credits. The document then analyzes elements that are consistent across each director's films, such as Anderson's use of symmetry, color schemes, and father-son themes; Wright's casting of Simon Pegg and Nick Frost, montage sequences, and transitions; and Spielberg's use of John Williams scores, emphasis on childhood, shot reaction sequences, and long takes.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
2. Existing Product One
The first part of my existing products, I looked at short ,well
constructed clip from BBC's Luther (as it's a big influence to
this project and me,) - apposed to analyzing the series as
whole. On top of this I thoroughly love the scene and would
easily claim it the best throughout series.
Studio/location: As a whole, the series is set on crime in London and filmed as whole on
location... The majority of this scene is based on busses or at the bus stop – as the start of
this.
Lighting: Throughout Luther, the lighting as whole tends to be really natural – applying a
sense of realsim to the piece – in the same sense as the colour grading does. Althouhg, they
do often try to bring out the shadows a little more than they usually would – giving us a
symbolisation of mystery and evil within them, as just to add the general atmosphere...
Colours: A slight colour grade is applied to picture in Luther, however it mainly stays a lot
more naturual – desaturating it's colours and dulling the tones slightly, whilst bringing out the
blues and greys – using greener and more orange colours outside, and often bringout blue
under some artificial light – in this example, the bus...
Sound: A lot of the sound used in this is diegetic sound – meaning the sound heard by the
character, keeping the music on mininimale to help provide a sense of realism to the scene –
there's no music/themes to the background of real life.
Costumes: Because this meant to be a realtic drama set in our wold – though still fiction, the
costumes are given a dose of realsim – even the killer's costume is quite basic, with a black
hoodie and a Halloween mask.
Audience appeal: The overall appeal to Luther to is the dark and gritty take on the drama
genre – choosing to vitalise this genre to focus itself on crimnials, the victims and the
dectevies that try and solve it. On top of this, Luther also includes some elements of action –
constantly making each series and episodes more thrilling/appealing than the last.
URL:
https://www.youtube.com/watch?v
=gmTfinm_L6Y
3. Existing Product One
In this scene we will see a woman about to be murder, but rather than just getting to the
point and showing a woman getting murdered, the scene is built up on suspense.
The whole scene starts of with a long establishing shot of a woman standing up, waiting –
as this is a drawn out mid shot, we as the audience can't help but draw our attention/focus
to the her nervous expression; which is brilliantly matched with the diegetic sound and the
loss music – leaving quite a creepy tone to the peace (which is helped by the shadows and
lighting, the way it's set at night time) – and with this being a crime drama – built around
murders, we as an audience can now safely assume that something bad may happen to her.
On top of this, this follows with another drawn out shot, only this a time a wide shot of an
empty walk way/path (-almost mimicking a point of view shot, as it's pointing of in the
same direction the woman is searching – nervously.) It then continues to flick between the
two shot – building up both pace and thus tension, giving the audience; whilst the noises
becoming more focused. Not to mention, in the empty shots, it make use feel like she's
being watched by somebody, almost like it should be flicking between two characters...
Suddenly the tension and the format of flicking between these two shots is broken, as we
see the bus pull up – giving both us and the protagonist a false sense of security – through
the use of the bus – which is supported when we finish this section of the scene with bus
doors closing, as if it were shutting out the danger...
4. Existing Product One
In the next section of this scene, we can see a clear contrast in the colour, lighting and sound
– e.g. it's a lot brighter than previously in this scene, so now this sudden brightness could
represent the safety of the bus – or as we'll see at the end of this scene, the false sense of
safety; not to mention we can now hear a lot more diegetic sounds, now being able to hear a
crowd of people chattering in the background. By allowing us the contrast before and making
us feel safe now – apposed from the tension from before, it allows us to relax so we can later
be made to jump, when the execution of the scene and protagonist occurs.
Aftere we see the woman take a seet on the bus, we see a series of mondain shots showing
the journey of the bus, as the genral amount of people slowly goes down – with slotted in
estableshing shots (of where the buss is stoping off,) to show the audience where the bus is.
Eventaully the woman is shown to be the only person, as inserted clips of the bus doors
closing seem more like trapping her in... As she's shown to the be the only one, the idea of
saftey in numbers is lost and we begin to pick up on something might be off? Around this
time, are suspisions are confirmed when they start to use sting – in terms of score slowly
builds up. We then see a perons in mask comes out from behind the seat (out focus – as the
camera's focus is on the protagonist;) followed by quick shot of her turning around – at the
realisation of not beig alone anymore (the camera now from behind her – rather than in
front like before,) only for the character to disapeer (-show by the shot turning back and-
5. Existing Product One
-showing us that they've gone,) before one again showing us the character crawling
across the floor – coming of really creepy to the auidnce – as if this was in the horror or
thriler genre.
Finally we get a clear shot of the serial killer – in their black get up and they're eary light up
mask – to hide their face; before having a couple estableshing shots to show the audience
that we're on different bus; so that we can witness this through the eyes of a passanger
witnessing events, along side a character on the bus – this is done by only using shots of the
murder happening from angles and postioning that you'd only be able to see on that bus. As
this new character witnesses events, she quikcly gets up and tries to get the bus to stop –
possibly even save here? On top of this, unlike at the start, throughout the video, we can see
build up in the pasing of the cuts eventually getting fast – to represent the sudden incline in
tension and pacing.
6. Existing Product Two
Again, taking influence from Luther I'd also chosen to dissect
it's title sequence...
Lighting: The lighting used in this title has hgih contrast and covers darker tones – displaying
the shows darker and more serious tones in the show.
Colours: In he title sequence, the stick to the red colour scheme – linking to the themes of
blood – e.g. blood from the victims and potentially linking to the evil that surounds the
character. But it also uses black, whites for the text and ocaasialy uses the colour yellow.
Sound: The music used in this fits into the indie genre, whilst touching on depper tones to the
piece – e.g. a little bit emotional.
Fonts: The font used in this is bold – using a white font that contrasts with the bacgkround,
making it highly readable for the viewer. On top of this, the font they've used uses a slighlty
warn texture to it – touhcing on themes of the show, like that it's set in rougher and run down
areas – with Luther himself, doesn’t live anywhere too nice – living in a really run down flats,
after mvoing out of his girlfriends.
Composition: What I aodre about Luther's title seqeunce (esspeically the newer one,) is it's
use of visuals and double exposure effect, bleeding images linked with the show – such as the
sights in London – where the shows set; secret codes on paper; police tape; characters –
whilst mainly revolving around the main character Luther – informing us as the audience that
he's the leading man, as he's the most consistently shown throughout the piece, sometimes
even bearing dramatic poses or close ups, varying in a siluette form – however showing more
characters than just him, though briefly; and human anatomy – in link with the deseaced
victims in the show.
Audience appeal: The overall appeal to Luther to is the dark and gritty take on the
drama genre – choosing to vitalise this genre to focus itself on crimnials, the victims and
the dectevies that try and solve it. On top of this, Luther also includes some elements of
action – constantly making each series and episodes more thrilling/appealing than the last.
(I couldn't find the series 5 title
sequence on Youtube – which is the
most recent eddtion with updated
visuals – however, at the time of
making this, it is avalible on Iplayer
– at the beginning of each episode
in series 5...)
7. Existing Product TwoFor the title sequence, I want to create very smooth and well
bleded series of visulas for my title sequence – a good
example of this that for HBO's - "True Detective."
Studio/location: The scenery and blended imagery used in this a lot is more western bases –
linking with where the show is set, in Northwest Arkansas and Fayetteville, Bentonville,
Lincon, Rodgers and Springdale...
Lighting: The lighting and colours are broken down into three main parts – as the title
sequence mimics a day cyle – e.g. day, dusk, night... So through the title sequence it starts
from day to night – meaning it gets darker from lighter tones, back throught to repeat the
sequence – for the two day cycles in the title sequence.
Colours: Depending on what part of the cyle is was one, it'd either be bright and yellow like a
warm western day; a pasture of teal and redish-orange - like a sun set; and strong pull outs of
blues, with much stronger shadows for the night time.
Sound: Sticking with the western feel of the sequence, the music they've gone with is quite
western folk music- hitting quite a deep notes over the theme of murder through the series...
Costumes: A lot of the male leads in the cast where suits and a tie – much like a lot of other
crime series I've been looking at...
Fonts: The font and colour of, are very simplistic – using wide spacing between letter, in a
white or black colour, in a more office based font.
Composition: What I've come to adore about this title seqeunce is the sequence of double
exposure effectss used with a strong use of colours – with imagery such as location, sunsets –
fitting in with the day cyles, characters, landscapes, trees, buildings, ect... On top of this, they
try and re-create an animated moving photo look to it, by aplling withered overlay over the
piece and animate it with the movement of the compostion. On top of this, a lot of the time
when the use double exposures – like things such as the character with footage leaking
through the first, they'll synch the movements of the footage to appear more natural.
Audience appeal: Having chosen True Detective's title sequence based on soley it's title
sequence, I can only really comment on it's title sequence's appeal to the audience. It
URL:
https://www.youtube.com/watch?v
=vY09xvCgV8Y
8. Existing Product Two
This is a poster used to premote the first series of ITV's -
"Broadchurch" - one of my bigger influences and points of
inspiration for my show.
Studio/location: In the background of this poster, you can see one of the main locations of
the series – a fictional place called Broadchruch or in real life Doncaster. This will also be
revealed very early on in the first series to be the murder scene for the victim – Danny
Latimer. By using it's location in the poster, we as the audience can create a link with the
possibility of this location being important in the show, whilst also picking up and idea of
where it's set.
Lighting: The lighting in the poster's set to a really dark tone – in link with the darker tones of
the show, whilst giving it quite a dramatic look.
Colours: The clours are desaturated and fit into two main colour groups of blue – for things
like the sky, the sea, the police tape, etc; and the redish tones – e.g. the shingles/beach, the
cliffs and this skin tones – giving a slightly stylized and cinematic look to it...
Fonts: The only font on this can be seen in the logo – using a white and bold text reading out
the name of the show - "Broadchurch," in which fits into the rest of the simplistic look that
the poster gives.
Composition: At the centre of this piece, we have the two main characters standing with a
serious postion and look to their faces, wearing darker clothes, whilst bitts of police tape fly
around – this informs us that this brings a more serious tone with it, with the police tape
telling us there's a crime scene – giving the audience the big hint that this is lpolice drama,
likely featuring a murder? E.g. thouhg using a small amount of things for it's compostion, it
can still provide quite a bit of information on the show.
Audience appeal: Two of the biggest auidence appeals for this show is the whole mystery –
being provided/faced with a new mystery each series, with an expantion of character – giving
us drama. However, the poster's apeal taps into the shows mystery, getting us as the
audience to focus on the emptiness and think – it makes us want to know more and even
look into it more – weather that be a trailer or teaser for the show or the actual show itself.
9. Research Analysis
• What common features do the researched products have?
– I researched four different products using three different mediums – so only the title sequence are really
comparable... However, all the products played a part in crime dramas – weather it be Luther, True
Detectives or Broadchurch; another thing they had in costume was the main premise for their costumes,
with non of them dressing anything other than quite smart – e.g. all wearing some form of suite and tie –
sometimes even including a big coat over the top of it; the majority of the products include a sense of
mystery and heavily used shadows; one thing both title-sequences have in common is they heavy use of
character, imagery and blended visuals to create a stunning set of visuals to match with some pre-exsisting
music to go with it – e.g. there's not been a specially composed bit of music for the title sequence.
• What aspects of the research will you include within/influence your own production work?
– Clip: From the clip I looked at, I will be using a similar colour grade to the one presented in Luther – in which
this clip is from. It's also inspired me to think more into my shot composition – e.g. giving my shots meaning,
how I can use my shot composition to create successful suspense and covey my story through the shots I
use...
– Title Sequence: Looking through title sequences, I found that the two I picked seemed to match the kind of
style I really love – of blended visuals and compelling imagery, with fitting music – that's genuine music on
it's own, without being part of the title sequence. On top of this, I really like the idea of using a blend of ink
wash effects in my sequence and the focus of character – without being cheesy like a title sequence for a
sitcom – e.g. footage of characters form the show, just with the cast members name of the top – in text... I
personally believe a title sequence should be an art form of it's own...
– Poster: Though I like the post I looked at, it looks a bit bland and demon straights that when there's not
much going on – even in the background it could take from the piece – meaning it's important to get the
balance, so I don't over crowd it either... However, for I will be including the layout of the character with a
background behind them – to show us who our protagonist is and an idea of where my product's going to be
set. I also want to use lighting, colour and photography, that provides my piece with a cinematic look, whilst
reflecting the series' consistent themes...
11. Secondary Audience research
Observation:
This shows me that the majority of people are still
watching their favourite shows on TV, whilst few watch
them on their devices – such as computers/laptops,
phones and laptops. On top of this, we can see that
the BBC drama Line Of Duty has a much greater
viewing figures compared to the rest – with the rest
being mainly ITV soaps.
What this says about my audience:
This suggests whilst TV maybe wasn't as popular as
once was, there's still a vast amount that will settle
into TV – rather than using other devices to watch it.
How will your product appeal to this audience:
As my product is intended to be a BBC 1 broadcast
drama -with the most viewing figures going to a BBC 1
drama - meaning I'd be aiming for a higher viewing
audience (both channel wise and the fact of it being
broadcast – so I wont be missing out on the massive tv
audience.)
12. Secondary Audience research
Observation:
From this graph, I can see that over the course of
March 2019 – drama was the most popular gnere of
television (taking up 33.11%.)
What this says about my audience:
This tells me that the genre I've chosen to us,
has been well chosen as genre – as it can be
seen here to be a popular genre, showing me
there's a large audience to cater to.
How will your product appeal to this audience:
My proiduct will apeal to this audienece as it will be
crime drama – with drama being the main genre, so all
it has to do is stick to that genere and it will apeal
more the larger of the genre audiences.
13. Secondary Audience research
Observation:
In the UK we can see the toply viewed channel is the
BBC, followed by things like ITV, then channel four,
etc...
What this says about my audience:
This shows that the BBC is one of the biggest
and most approved channels in the eyes of a UK
audience – over the course of March.
How will your product appeal to this audience:
Much like working in the genre of drama, making a
product in stlye of or as if it were to be broadcast on
the BBC – this shows me that I've already got an
audience from that. Meaning if I make a product for
the BBC I will natrually be appealing to the largest
avalible audeicne
14. Primary Audience research
For my primary audience research I made a 10 question
survey that would get an audience profile of my class – the
people who will mainly being veiwing the product; with the
rest of the questions asking for their opnions and thoughts on
things – that could later influence my products – such as
sights of York (as it's based in York,) I want to iplement this
into my title sequence (like that of True Detective;) I've also
asked them if they were into things such as my product – to
exmaine how much of the answers I worth listening too, or if
they're not into crime dramas – e.g. what my product will be...
In total, I got 12 people to respond to my survey – meaning I
had great number of answers to select from – hoping for at
least the minimum of 10 responses.
15. Primary Audience research
Observation:
From this, I can identify that the mass majority of my
audience is male (as anicipated) - 83.33%/10 in 12;
with the rest either being female or idetifying as other
- female – 8.33%/1 in 12; other – 8.33%/1 in 12...
What this says about my audience:
This confirm that my auidneces it prodominatley male,
however not all of my audience are male – e.g male is
my primary gender, with female and other being my
secondary audience.
How will your product appeal to this audience:
By knowing this, it means I'll be able to appeal to the
male audience with my product and please the
majority of my audience – rather than appealing the
16.66% that are not – althouhg this doesn't mean
there wont be appeal there for them nor does it say
they can't enjoy my product.
16. Primary Audience research
Observation:
Much like the previous question, my primary
audiences is on target, with the majority being 16 to
20 – 91.67%/11 in 12, with my secondary audience
also being on target with 25+ - 8.33%/1 in 12.
What this says about my audience:
This tells me that the main audience I will be appealing
to is mature teenagers – as well as allowing me to go
into darker themes and graphic (-e.g. a lot more
creative freedom,) like BBC's Luther – having a
certificate of 15 – as all my audience are mainly 16 to
20 or 25+, non of them are below the age of 15...
How will your product appeal to this audience:
Because I have more wiggle room with what I can
include in my product, I'll be able to do a lot more
graphic things in my pre-title sequence, in wich may
alos appeal a lot more to that audience. On top of
that, I'll also be looking at appealing to a more mature
audience – even though that was already expected –
earlier in this project...
17. Primary Audience research
Observation:
Most of my audience don’t watch crime dramas often
– 50%/6 in 12; some don't at all – 16.67%/2 in 12; and
only some actually enjoy crime dramas – 33.33%/4 in
12.
What this says about my audience:
Sadly, this shows that a lot of my audience don't really
watch crime dramas, with a much smaller amount
saying they don't watch them at all – this shows that
I'll have to take this into acount when anylsising the
rest of resuslts for this product – although this could
also be seen as an poertunity to maybe help appeal
even just a little bit to a non crime drama community –
thus could be scene as a unique selling point?
How will your product appeal to this audience:
This means that I'll have to bare this fact in mind when
looking at the rest of the responses that my survey
got.
18. Primary Audience research
Observation:
A few of the suggestions were BBC dramas – such as
bodyguard (in which I've already looked at in the past
– though not really disucssed,) and Sherlcok; next to
American imports – such as Dexter, Gotham, breaking
bad, etc...
What this says about my audience:
This tells me that I can appeal to an audience by going
down the BBC 1 drama route, though sadly it does
show that my audience preffers american imports a lot
more, however as this is a british product, I'll be
focusing more on the BBC suggestions, however I will
be taking out parts that my audience like and possilby
include it – there has been a comments on people
liking twists, period set, a good storyline and action in
a crime drama...
How will your product appeal to this audience:
I will be attempting to include the factors that people
liked about theses products and apply them to my own
– such as the action (in which I was planning to use,
along with-) a strong storyline with lots of twists, etc...
However, I won't be making my product period set as
that doesn't fit in with the plan that I've set up for this
project – being set in modern day...
19. Primary Audience research
Observation:
The majority of the responses seem to suggest that
the way the either find out about a show is either
through social media or a friend. However, a few did
mention that advertisement was another way the
would find out – though not as much.
What this says about my audience:
This tells me that I a lot of people might rely on the
turn out of show and word of mouth – e.g. if someone
likes a show, they'll tell their friends and a larger
expansion on who sees likely to see it... On top of this,
we can also see that social media plays a part in
influencing people.
How will your product appeal to this audience:
I could be able to target this audience more by
creating poster which would be able to be used in bus
shelters, whilst also being done in such format I could
also use it for advertisements on the internet including
social-media (even if that meant changing the ratio to
suit the format better) - appealing to the audience
who find out through advertisement and through
social media – as allowing people to share the ad to a
friend – as I can't technically make people tell their
friends, so there's no real way of appealing to that part
of people finding out.
20. Primary Audience research
Observation:
A high percentage of my audience seemed to heavily
associate York with the Minster – as one of biggest
landmarks as well as being in the centre of York. With
other suggestions including things such as York railway
station, the shambles – e.g. the shops in the alleyways,
one of the bridges across York, Jorvik, the railway
museum and York dungeon – as places a tourist
destinations, and York castle/Clifford's tower.
What this says about my audience:
This tells me what my audience associate with York –
the location for my series to take place – which will be
linked into my title sequence – subtly?
How will your product appeal to this audience:
Because I know what my audience associates
with York, I can now use this as guideline to use
when including images/footage of York in my
title sequence – as tailor it more to my
audience's association of York. On top of this, it
will give me some ideas on what parts of York I
could include.
21. Primary Audience research
Observation:
I've been recommended that - I shouldn't over
complicate it – as it's only a poster and nobody spend
too long looking at it and that instead that I should use
my time to use something that will draw in my
audience attention; a focus on character – likely in the
centre of the piece; and the use of things like dark
colours is a point of appeal.
What this says about my audience:
This suggests to me what kind of things I could include
in my product and what would help my product to
appeal to my audience – whilst also helping to inspire
it.
How will your product appeal to this audience:
By knowing what my audience want to see in a
tv poster and will be in cause able to include it
use some of the suggedtion as either a point of
insperation or just take it as source – for my tv
poster.
22. Primary Audience research
Observation:
I've been recommended that - I shouldn't over
complicate it – as it's only a poster and nobody spend
too long looking at it and that instead that I should use
my time to use something that will draw in my
audience attention; a focus on character – likely in the
centre of the piece; and the use of things like dark
colours is a point of appeal.
What this says about my audience:
This suggests to me what kind of things I could include
in my product and what would help my product to
appeal to my audience – whilst also helping to inspire
it.
How will your product appeal to this audience:
By knowing what my audience want to see in a
tv poster and will be in cause able to include it
use some of the suggedtion as either a point of
insperation or just take it as source – for my tv
poster.
23. Primary Audience research
Observation:
The premise of what people would like the
protagnist of a crime drama to wear is a suite,
tie and longcoat – to display their proffsionality.
What this says about my audience:
This tells me theres a commonly precived look
for the main protagonist in a crime drama and
that my audience share that same kind of idea –
it also tells me that this is the type of look they
like to see – as asked what kind of
clothing/costume they'd like this kind of
protagonist to wear.
How will your product appeal to this audience:
This tells me that my orignall decision of what I
was thinking of getting my main character to
wear is what my audience would also like see
them wear - so I don't technially use their
sugestions as a point of influence...
24. Primary Audience research
Observation:
A lot of people linked this kind of character to
wearing darker clothing, even having a
suggestion of track suit – in link with lower
classes and the sterotype of crime association.
However, there was an interpriation where they
could wear a plastic waterproof cloving – to
stop the soaking up of blood.
What this says about my audience:
Again, it tells me that there's a commonly
precieved type for a serial kill and that my
audience accepts this archotype – as they put
this down for what they'd like to see a cerial
killer wear.
How will your product appeal to this audience:
This again confirms what I'd originally thought
off a serial killer wearing, so there's no real
influence to be taken from this, as it was
already what I was going to choose as their
costume. However, the idea of the character
wearing plastic of waterproofs is an intresting
and an idea I'll potetially think about.
25. Primary Audience research
Observation:
A lot of the colours and tones suggested are
quite blunt – such as greys and teals, a long with
darker tones – which fits into the gritty feel and
exterior I planning to use in my show.
What this says about my audience:
This gives me a varation of ideas, whilst allowing
me to pick up on the rough idea that they all
share - going for the typical BBC drama type
colour grade, like Bodyguard – using a blue and
desaturated colours, whilst avoiding using really
bright colours. This shows me that my audience
understand a typical gritty drama colour grade.
How will your product appeal to this audience:
I can include some of the colours and tones that
were brought up by my audience – from my
survey and include to thins like colour grading –
e.g. using teal tones, bringing down the
saturation and darker tones – taking down the
brightness.
26. Interview One
What fonts, colours, lighting and overall look do you think could best appeal to you and help – e.g a gritty British crime drama, based in London?
Blues and reds, dim lighting like warm yellows appeal more for me. The blue and red can not only represent police forces and such but danger (reds) and coldness (blues) which you’d
expect from a British crime drama. Warmer yellows are probably used more in dimly lit areas where it can help build up suspense, maybe transitioning into red.
What would you personally like to see in a title sequence – in terms of visuals, music, fonts, colours and lighting?
I wouldn’t include too much music, and I’d make use of the red/blue colours. Visually people like to see suspense or thrilling scenes, something that keeps you holding onto the edge
of your seat trying to find out what will happen next. Font wise, something that isn’t childish and uses the same format of formal documents.
If you were to see a made for TV poster in somewhere like bus shelter or simply online, what would make it stand out to you – whilst being really
appealing to you?
The simplicity of the picture, minimalist styling that makes use of more of the colour that grabs you in- maybe incorporating more abstract information that sneakily is detailed and
important- an example like a phone in a hand that’s the only piece of evidence found in the crime with a dead body. It’s vague but also very key to the plot.
Out of the selected music (on the playlist,) list you top five below – from most favourite, to least favourite – if possible, please explain why and which bits
you liked most – using time codes (e.g. 01:11 to 01:56.)
https://open.spotify.com/user/21cmxzohf7tum7672nq4od5cy/playlist/1MhONRZCYPQx4iBU5t9uCX?si=DNJwfnOtQjOCiFUCrv24Dg
1. Tear drop- to be honest when the piano drops from 0:45 onwards, that’s a damn cool song for a title sequence. It’s not super fast or slow so it’d keep the piece going.
2. Hell is around the corner- if you want to go for a more modern/crime style this is very fitting. The lyrics do work if you are thinking about crime stuff .
3. Human- if you are thinking about morals this is a pretty good classic used before to advertise other dramas. The beat is regular so cutting different scenes that could help bring
the piece together (like different things happening at the same Time that are related but in a different place could be cool.)
4. Doll- it sounds pretty cool, my only issue is the lyrics might not work if you are thinking of having a male killer- it’s more about a woman obsession than a killing (unless you
want the woman to stalk the man- actually that would be a cool idea.)
5. Overcome- I liked in particular from 3:15-3:38, that was cool and creepy but idk how that’d fit well into a title sequence.
What do you recommend I should include or improve on in my product to stand out from other BBC crime dramas?
If you want to make the drama stand out from other BBC crime dramas maybe take into consideration what is happening in modern crime- genuinely there’s is a shit ton of knife crime
happening in gangs and so maybe incorporate the use of knife violence in younger crowds/ as well as drug abuse with them. In all honesty, if there was a good female villain you could
get (who could look like a guy at first) that would be cool- make use of the diversity you have at York maybe? The use of silence is also really cool.
27. Interview TwoWhat fonts, colours, lighting and overall look do you think could best appeal to you and help – e.g a gritty British crime drama, based in London?
For a British Crime Drama based in London, I would probably go for something along the lines of what Captain America: The Winter Soldier in terms of lighting and colours. I think
having too much colour in the visuals could be distracting and could contradict the tone of the show somewhat so to keep in line with the gritty feel of the show, I think the colour
would have to be kept to a minimal.
What would you personally like to see in a title sequence – in terms of visuals, music, fonts, colours and lighting?
In the title sequence, I think the show should have its own theme music rather than use something that already exists. I think the visuals should reflect the tone of the show, so I guess
for example you could go straight to the point and show bloody and brutal imagery or show the characters in a montage as well as the actor’s names and who their playing. In that
approach it’d be cool to see the characters on ID badges or photographs to give audience some hints as to who the characters are and what their role in the story is. As for lighting I the
lighting should be dimmed but not to the point where you literally can’t see anything, just so that it doesn’t look to flashy, but I wouldn’t put too much emphasis on the font, maybe
just make it at the very least something noticeable but not too noticeable to avoid it being distracting.
If you were to see a made for TV poster in somewhere like bus shelter or simply online, what would make it stand out to you – whilst being really
appealing to you?
On a made for TV poster, it would be cool to have something that gives a subtle hint as to what the story is but nothing too obvious so that it maintains ambiguity and also because
Spoilers suck. You could have a picture of the characters face but personally I don’t think those posters do much for the show beyond just saying “this is who’s in it and it’s about this
guy” which could work but only if it goes beyond just saying who’s in it, like for example there could be something about the person’s face that is significant like a tattoo.
Out of the selected music (on the playlist,) list you top five below – from most favourite, to least favourite – if possible, please explain why and which bits
you liked most – using time codes (e.g. 01:11 to 01:56.)
https://open.spotify.com/user/21cmxzohf7tum7672nq4od5cy/playlist/1MhONRZCYPQx4iBU5t9uCX?si=DNJwfnOtQjOCiFUCrv24Dg
1. Teardrop.
2. Until The Morning.
3. Overcome.
4. Hell Is Round The Corner.
5. Doll.
What do you recommend I should include or improve on in my product to stand out from other BBC crime dramas?
I think when making a Crime Drama, you would have to do something original for it to stick out amongst the crowd as there are a lot of crime dramas with very similar. For example to
add some originality you could focus more on the criminals and maybe have the detective as the villain or you could portray both sides as sympathetic characters create a dilemma for
the audience by creating reasons to care about all the characters on both sides so when the cop for example prevails, the audience will be happy for the cop but sorry for criminal.
28. Interview Three
What fonts, colours, lighting and overall look do you think could best appeal to you and help – e.g a gritty British crime drama, based in London?
I'd expect a gritty crime drama to feature a modern, simplistic font for the title. Lighting, if you're going for gritty, muted. The colours and overall look would do good with
being quite grey and dreary.
What would you personally like to see in a title sequence – in terms of visuals, music, fonts, colours and lighting?
I would like to see interesting visuals linked to the show, but also a stylistic and possibly artsy approach (See Deutschland 83, but less vibrant and colourful). It would work well with the
overall vibe and genre.
If you were to see a made for TV poster in somewhere like bus shelter or simply online, what would make it stand out to you – whilst being really
appealing to you?
I'm not too sure about this one. I usually look at trailers for my interest in TV shows. Posters don't really pique mine.
Out of the selected music (on the playlist,) list you top five below – from most favourite, to least favourite – if possible, please explain why and which bits
you liked most – using time codes (e.g. 01:11 to 01:56.)
https://open.spotify.com/user/21cmxzohf7tum7672nq4od5cy/playlist/1MhONRZCYPQx4iBU5t9uCX?si=DNJwfnOtQjOCiFUCrv24Dg
1. I liked Hayling by FC Kahuna. It sounds really good for a gritty intro and it could be used in the outro too. Specifically, I'd say 0:00 to 1:20 as an intro possibly. The bits without
singing really.
What do you recommend I should include or improve on in my product to stand out from other BBC crime dramas?
Perhaps a quirky protagonist in lieu of the Matthew Smith Doctor Who. I feel like most gritty detective shows (and rightfully so) have boring, grey protagonists and it gets tiring really
fast. A protagonist with comic relief in an otherwise gritty show would be good for the contrast.
29. Interview Song ChoiceWhen it came down to finding out which songs out of a selected few I'd chosen – using songs linked to - "Paradise Circus" (the
theme song of Luther,) and liked and/or thought could fit, whilst selecting a range, then linked it into my interview, so that my
audience answering could go through them selves – and at there own if need be?
Playlist Songs: Interview Score: Song Rank In Order:
Until The Morning
Thievery Corporation
0pts + 4pts + 0pts = 4pts 1. Teardrop
Massive Attack
Hayling (Feat. Hafdis Huld)
FC Kahuna, Hafdis Huld
0pts + 0pts + 5pts = 5pts 2. Hell Is Round The Corner
Tricky
Human
Rag'n'Bone Man
3pts + 0pts + 0pts = 3pts 3. Hayling (Feat. Hafdis Huld)
FC Kahuna, Hafdis Huld
Ghostwriter
RJD2
0pts + 0pts + 0pts = 0pts 4. Until The Morning
Thievery Corporation
Overcome
Tricky
1pts + 3pts + 0pts = 4pts 4. Overcome
Tricky
Doll
Tricky, Avalon Lurks
2pts + 1pts + 0pts = 3pts 5. Human
Rag'n'Bone Man
Hell Is Round The Corner
Tricky
4pts + 2pts + 0pts = 6pts 5. Doll
Tricky, Avalon Lurks
Teardrop
Massive Attack
5pts + 5pts + 0pts = 10pts 6. Ghostwriter
RJD2
6 Underground
Sneaker Pimps
0pts + 0pts + 0pts = 0pts 6. 6 Underground
Sneaker Pimps
In the Waiting Line
Zero 7, Sophie Barker
0pts + 0pts + 0pts = 0pts 6. In the Waiting Line
Zero 7, Sophie Barker
To find out which song was best, I implemented a scoring system – based on where the interviewer's ranked them/mentioned them – e.g. 1st place = 5
points, 2nd place = 4 points, 3rd place = 3 points, 4th place = 2 points, 5th place = 1 point and if not mentioned all, it'll get noting...
30. Conducting My Interview
With my interviews, I went a different aproach to my surveys –
asking less questions – but asking for a greater depth to the
answers to an audience who were actually in to crime dramas –
to make sure the data was more meaningfull. To find this
audience I went on to my instagram and sent out a question –
asking whether people liked crime dramas and listed a few (like
Luther, Sherlock and Broadchurch,) and from the people who
answered yes, I'd privatley message them, asking if they'd be
willing to do my interviews. However only a select few were
contancted and only three out of the four that said they were
happy to do it, did it.
Overall I'm quite pleased with the first two answers, suppling a
usefull level of detail for me to work with...
31. Interview Analysis
Question 1 Break Down:
Obeservation:
Potential links with police have been suggested in terms of colours – with the police, but further links with red being linked with
danger and blue coldness. On top of this, there's been refrences to other products in terms of colour – such as "Captain America:
The Winter Soldier" - linking in with the darker and gritties look of things...
What this says about my audience:
It tell me that my audience apreciates having a well thoughtout use of colours and imagery through that appeals to them, along
with a grittier look to match the product.
How will your product appeal to this audience:
To appeal to this, when using colours in things like my title seuqnece and poster, I'll potetially try and use consisent colours with
symbolic value; whislt keeping the colour grade I was planning to use originally, however maybe including a lot more greyish
values into it?
Question 2 Break Down:
Obeservation:
The theme of colour is brought up by in the first interview, with the inclduded warning about too much music. On top of this, my
audience appear to have a much greater draw in on the visualls of the title sequence, with music being more of a sidline – with
colours and lighting being brought into it. However, somones has brought up that they'd preffer a title sequence with an originally
composed score for it
What this says about my audience:
Colour being brought up in the first interview tells me that colour is important to this person, meaning it's doubley as important to
get it right – with the title sequence bieng a great method for colour implimentation – through the abstract opertunity provided
by the medium.
How will your product appeal to this audience:
Despite beingsuggsted on the second interview that they don't preffer using excisisting song – but an original
score composed for it – I will be choosing to ignore this to fit into the stlye of things like Luther and True
Detective – rather than products such as Sherlock. Although, I will be choosing to focus on the visuals and
symbolic value of colour and lighting in my title sequence, whilst cutting the music down the music to a shorter
time – as to not over do the music within the piece.
32. Interview Analysis
Question 3 Break Down:
Obeservation:
A TV poster should help tell part of the story – though not giving too much away and obviously not telling the whole story. But it's
also believed to be also better off as symplistic – not overcomplicating things, so that the audience seeing feel
overwhelemed. However, the third audience member points out that trailers are a much stronger way of advertising a show.
What this says about my audience:
This infroms me that my audience like something quite clever for a poster – in terms of telling thins like story and introducing us to
a protgonsit – such as the main character, as they're the person we experience this story through. However it's also told to be a
good idea to be vague enough to create mystery – intreguing an auidence into watching a show...
How will your product appeal to this audience:
To capture some peoples intrest into my TV poster – like the third interviewee, is to make my poster a work of art initself – a
poster as such as those that gets hung up on peoples wall - so that people would seek intrest in the poster's style and thus
potential intrigue into the show itself? Also I will help appeal to the rest of my audience through thinking up clever ways of
implimenting story and an even greater sense of mystery – which will fit in perfectly to the shows genre.
Question 4 Break Down:
Obeservation:
Teardrop is the most popular song choice – getting the top pick in two out of the three interviews – proving to
be the most popular, followed by the somgs Hell Is Round The Corneer and Human.
What this says about my audience:
This tells me that even though my audience has chosen Human as number three, it shows that my audience
preffer songs they've not heard to those they have. On top of this, it also tell s me they preffer songs with a
more fitted piece the genre – although, in the thrid interview the person preffered songs without the
lyrics/singing...
How will your product appeal to this audience:
As Teardrop is the most popular song choice, I will be including it within my title sequence – thus appealing
more to the masses....
33. Interview Analysis
Question 5 Break Down:
Obeservation:
Someone pointed out that they'd like a quirky protaonist – linking it another BBC hit show, "Doctor Who" - though not a crime
genre, but a fantasy sci-fi - though this isn't a distant conecept and certianlly not for the BBC, with shows as for example of -
"Death In Paradise."Depsite this though, the first interview talk about how they'd like a quite grounded crime drama – set in
modern day and touching on modern day problems such as knife crime. Also, an intresting point raised was making the criminals
more sympathic and human – to give the audience more a moral dillema or at least question and think about the show.
What this says about my audience:
From the given respponses, I can see that my audience wants a diverse selection of things to be included, with different aspects
tayloring to there intrests slightly more – giving me the possiblity of maybe including more elements of their ideas in my product
and appeal more to that broder audience...?
How will your product appeal to this audience:
To appeal both audiences and myself – I fell like it'd be both entertaining and almost a unqique selling point for a quirky and
slightly eccentric dettective (who will have a more serios side also,) being thrown into a much darker world – and thus contrasting
with it, without becoming a comedy. On top of this, I will be taking the idea of touching on real isuues in it – adding to the realsim
and philosphy of the show.
34. Subject Research
Because I'm doing a pre-title sequence and I really want to get my directing wright – as that's a big part of what I want to do, I did
applied research into directig. It was very important to me on getting the clever little subtlies and syblolic values into the camera .
To do this I looked into loads of videos breaking into how to use the camera in a creative ways, storyboarding scenes, good way of
building tension, etc -
Some of the sources I'd look at:
• https://www.youtube.com/watch?v=1IDBZ5AsUuk&list=P
L2F-QswQwYWO-IYEaSkjS89m1W0-Tnxfv&index=18
• https://www.youtube.com/watch?v=iBbJoDS4JxM&list=PL
2F-QswQwYWO-IYEaSkjS89m1W0-
Tnxfv&index=20&t=235s
• https://www.youtube.com/watch?v=PGl0Bhz2vkc&list=PL
2F-QswQwYWO-IYEaSkjS89m1W0-Tnxfv&index=20
• https://www.youtube.com/watch?v=h2c3JZ6X3f8&list=PL
2F-QswQwYWO-IYEaSkjS89m1W0-Tnxfv&index=21
https://www.youtube.com/watch?v=k-x5OoRIsBI&list=PL2F-QswQwYWO-
IYEaSkjS89m1W0-Tnxfv&index=26
Part way through resaerching the the use of the camera, I found out
about a camera called a gimbal camera – which cann used really
efficently for camera movements - such as pans and reveals . As well
as tips such as walking heal to toe when walking with the camera, or
if you're lucky, use a something with wheels to provide a smoother
motion.
The gimbal could also be great for things like intivals of someone legs
walking (-as I'm maybe planning to capture shots of the killers legs –
as showing less of him could add to the unkown and the intesity of
the scene,) by having the actor walk with gimbal out and down – so
that it'll film their legs – without me trying to crouch down and walk
along side them to what could be a really poor turn out in quality -
such as a shakey camera and aches in my legs and knees from the
awkward moment. All whilst likely not lining up vey well with the
actor – to such a point where even After Effects might not help?
https://youtu.be/-cEBguJj3dg?list=PL2F-QswQwYWO-IYEaSkjS89m1W0-Tnxfv
In the opening scene of my product – the pre-title sequence, there
will be a murder happeing and in order to make this scene effective
in the eyes of my audience – tenttion is key , really selling the impact
and the anxiety of the protagonsit. In this vido it breaks down a great
example taken from a film – anylsising why it's done so well – the
way the the shots are cut in with the differnet pacings of the scene -
e.g. when the characters start firing guns and they start avoiding
the bullets – the shots pick up the pace, whilst drawing out the shots
for scenes where they're looking for the crimals – flicking between
the two passes constantly. On top of all this, this scene is also the
final pay of secene that had already been set up in the audiences
minds – as we'd already been told this was the place attack was
likely. On top of this, what works really well is the art of suspence in
waiting and waiting for a set scinario the auidence's minds to finally
be excectued.
35. Subject Research
Because I was looking into creating a poster as part of
this project, I thought it best to look at the ratio
posters are made in – to ensure I could make my
product was to as much of a professional standard as
possible...
As this will fit into part of the BBC's dramas, means it needs to achieve the right
look as well as feel to it – this including colour grading. Despite breaking down
the colour grade for another BBC drama already – Luther, I also figured I may
be able to get a better feel into things if I looked into others. To do this, I went
to google images and looked for - "colour grading of BBC dramas," finding that
a lot of them used drained colours (much like Luther,) but often applying a lot
more blue-ish and yellow tones – especially from within the shadow – however
this could take away from the gritty realism look of the piece?
37. Practical Research
As my poster will be photography based, I chose to create an experimental
one for a show that already exists, such as BBC Luther in this example - but
in the same style as I was planning for mine.
To start this process off, I went onto google and found an photograph that
didn't look to played about with – that way non of the work would be done
for me (other than the actual photo itself) - allowing me to get the full
benefit of this experiment – practicing creating a poster with mainly
photography. The reason for me doing this experiment is because I've not
properly worked in photo enhancement – despite having usually made
posters in the past... Also, because this is still early stages of planning, its
helping me find out if this kind of style works in the format of a poster?
I first of all started by cropping the image to the typical poster ratio (-in
which I had previously researched) - choosing to focus and center the
character – as he's the shows focus, so this way we're informing the
audience that he's an important part of the show. I followed up on this by
using things such as the curve adjustments, gradients – in combinations of
changing the layer's opacity's and applying different layer settings – such as
overlay, lighten, darken, etc... On top of this, I even chose to both clean up
the image (with reduce noise,) and sharpen it (with unshapen.) To push
some of the lighting effect, I went over in a new layer with a brush
(selecting the colour of the light – such as and orange glow round a basic
light,) and set the layer to lighten – that way the colour would apply a small
Original Photo:
Edit:
38. Practical Research
On top of the previous experiments, I
further implemented one of my
poster designs into a bus shelter –
testing whether the design was still
one that held up when used
practically – e.g. it's purpose of being
a poster to be used on display.
Overall I feel like it still works – even
in it's simplicity.
39. Practical Research
For my following experiment, I chose to attempt a
double exposure effect (-which should work it's way into
the smooth transitioning visuals of my title sequence,)
which I will learn from a tutorial in After Effects – having
no previous experience, let alone using a double
exposure effect. This means, that this experiment will
work as a very early introduction to After Effects, whilst
also teaching me an effect that I'll rely on a lot for my
title sequence part of this project...
42. Bibliography
1. Andy Morgan. (2019). Series 5 Episode 1. In: Jamie Trevill Luther. London: BBC.
35:05-38:34.
2. Cinecom.net. (2019). 20 Ways To Use
Gimbal. Available: https://www.youtube.com/watch?v=k-x5OoRIsBI&list=PL2F-
QswQwYWO-IYEaSkjS89m1W0-Tnxfv&index=26 April 2019
3. Cinefix. (2016). 20 Ways To Use Gimbal. Available: https://youtu.be/-
cEBguJj3dg?list=PL2F-QswQwYWO-IYEaSkjS89m1W0-Tnxfv April 2019
Editor's Notes
Choose a recent product similar to your own and annotate it
Type of image- studio/location, angle, effects, post-production
Use of lighting/composition/mise en scene/costume/props/location/colours/fonts etc.
Audience appeal- how does it make its audience want to buy/watch/play it?
Why have you chosen to look at this? What have you learned that can help you in your project?
Choose a recent product similar to your own and annotate it
Type of image- studio/location, angle, effects, post-production
Use of lighting/composition/mise en scene/costume/props/location/colours/fonts etc.
Audience appeal- how does it make its audience want to buy/watch/play it?
Why have you chosen to look at this? What have you learned that can help you in your project?
Choose a recent product similar to your own and annotate it
Type of image- studio/location, angle, effects, post-production
Use of lighting/composition/mise en scene/costume/props/location/colours/fonts etc.
Audience appeal- how does it make its audience want to buy/watch/play it?
Why have you chosen to look at this? What have you learned that can help you in your project?
Choose a recent product similar to your own and annotate it
Type of image- studio/location, angle, effects, post-production
Use of lighting/composition/mise en scene/costume/props/location/colours/fonts etc.
Audience appeal- how does it make its audience want to buy/watch/play it?
Why have you chosen to look at this? What have you learned that can help you in your project?
Choose a recent product similar to your own and annotate it
Type of image- studio/location, angle, effects, post-production
Use of lighting/composition/mise en scene/costume/props/location/colours/fonts etc.
Audience appeal- how does it make its audience want to buy/watch/play it?
Why have you chosen to look at this? What have you learned that can help you in your project?
Choose a recent product similar to your own and annotate it
Type of image- studio/location, angle, effects, post-production
Use of lighting/composition/mise en scene/costume/props/location/colours/fonts etc.
Audience appeal- how does it make its audience want to buy/watch/play it?
Why have you chosen to look at this? What have you learned that can help you in your project?
Choose a recent product similar to your own and annotate it
Type of image- studio/location, angle, effects, post-production
Use of lighting/composition/mise en scene/costume/props/location/colours/fonts etc.
Audience appeal- how does it make its audience want to buy/watch/play it?
Why have you chosen to look at this? What have you learned that can help you in your project?
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
Use this for any primary audience research that you do. Questionnaires, interviews, vox pops, focus groups… whatever you did, record the responses here and note what you have learned and how it will influence your project.
If you do any additional subject research, record that here. This might be most relevant if you are producing a magazine or a documentary but even a fiction trailer might require some additional research in to a particular subject.
Getting some background information on your subject would be a really good idea.
Find some resources, log them, read them and write something about them.
If you do any additional subject research, record that here. This might be most relevant if you are producing a magazine or a documentary but even a fiction trailer might require some additional research in to a particular subject.
Getting some background information on your subject would be a really good idea.
Find some resources, log them, read them and write something about them.
Undertaking practical research is another great way to improve your project. Experimenting with techniques, equipment and processes you might want to use in you project will help you plan for the future.
Think about what you will research. It could be studio photography, or sound recording, or post-production techniques for video or animation techniques for a video game. Tutorials are useful here.
Make something similar but unrelated to your chosen idea.
Do not make it a version of your final product; it is an experiment
Provide a reflection of the processes you used and how it has been useful.
Don’t do something that you already know how to do.
Undertaking practical research is another great way to improve your project. Experimenting with techniques, equipment and processes you might want to use in you project will help you plan for the future.
Think about what you will research. It could be studio photography, or sound recording, or post-production techniques for video or animation techniques for a video game. Tutorials are useful here.
Make something similar but unrelated to your chosen idea.
Do not make it a version of your final product; it is an experiment
Provide a reflection of the processes you used and how it has been useful.
Don’t do something that you already know how to do.
Undertaking practical research is another great way to improve your project. Experimenting with techniques, equipment and processes you might want to use in you project will help you plan for the future.
Think about what you will research. It could be studio photography, or sound recording, or post-production techniques for video or animation techniques for a video game. Tutorials are useful here.
Make something similar but unrelated to your chosen idea.
Do not make it a version of your final product; it is an experiment
Provide a reflection of the processes you used and how it has been useful.
Don’t do something that you already know how to do.
Undertaking practical research is another great way to improve your project. Experimenting with techniques, equipment and processes you might want to use in you project will help you plan for the future.
Think about what you will research. It could be studio photography, or sound recording, or post-production techniques for video or animation techniques for a video game. Tutorials are useful here.
Make something similar but unrelated to your chosen idea.
Do not make it a version of your final product; it is an experiment
Provide a reflection of the processes you used and how it has been useful.
Don’t do something that you already know how to do.
List all products researched in previous sections. Include anything additional you have watched/read in preparation for production. Alphabetise your list.