Credit positioning
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The document discusses different methods for positioning credits in films. It describes placing credits on the left side of shots to follow the rule of thirds without detracting from the scene. Another method involves putting credits on out of focus foreground objects so they do not affect the scene. A second type of credits involves a black cut from the film to plain black text, which works for slower paced films but could detract from quicker edited films.
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Construction of the product
Bruno and the filmmaker faced problems with audio quality due to limited computer processing power, which forced them to record in compressed formats. All sound effects also had to be added in post-production due to weather conditions during filming. To improve audio, they added effects like reverb to make dialogue more believable, but it still sounded amateurish. Going forward, they will improve by recording more audio on set rather than relying on post and doing more acoustic planning for locations.
The filmmaker used a shoulder rig for higher shots and a spider rig for lower angles to get stable shots. Color grading, masking, and compositing green screen footage were important editing techniques used to distinguish between heaven and reality scenes.
Question 5 textual analysis.
This document discusses theories of audience analysis that have been applied to a film production. It describes targeting an active A-B income bracket audience that will thoughtfully negotiate representations in the film rather than passively accepting them. The film is intended to provoke questions about how society portrays groups like women and those with mental disabilities. It aims to stimulate the audience intellectually by requiring their input to derive meaning from various elements and come to their own conclusions.
Question 5 textual analysis.
This document discusses theories of audience analysis applied to a fictional film production. It analyzes how the film represents masculinity, heaven, crime, and traditional gender roles. It targets an active A-B income bracket audience who will contemplate the issues raised and form their own opinions. The film features difficult topics like suicide, abuse, and bullying to provoke thought rather than passive acceptance. It also discusses how audiences may have preferred, negotiated, or oppositional readings of the representations, using the portrayal of women as a example.
Question 4
This document describes the target audience for an independent film that explores abusive relationships. The primary audience is classified as class A-B, aged 18-45, of any race but most actors are white. The audience is intended to be sophisticated and not interested in mainstream blockbusters, but rather films that discuss challenging issues. The secondary audience is classified as class C2-E who are attracted by the gore or storyline. The film raises issues relevant for both men and women and sexuality is not a factor. Feedback from the target audience on YouTube was positive, though they had some questions about the depiction of heaven. Given the graphic violence and depiction of suicide, the film is deemed appropriate for an 18 certification.
Question 1 evaluation
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- Both films begin with just a score and prominent opening shot to draw the audience in and create tension.
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Postmodern
Media has become more real to people than actual events as people experience events through media rather than direct experiences. People know celebrities more through their media personas than their actual personalities. As a result, fictional films and characters can feel more realistic as people connect more with characters that seem less "faked". The copy or representation of something in media can become more popular or real than the original thing it represents.
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The document discusses a film production that will likely receive an 18 rating from the British Board of Film Classification (BBFC) due to its graphic depictions of death, violence, alcoholism, drug abuse, sexual assault, abuse, depression, and discrimination. The film explores the lack of sympathy for those dealing with trauma and depression. The filmmaker has taken ethical precautions to avoid identifying or harming locations and individuals involved in the production. The main actress's role requires her only to lie motionless with closed eyes, avoiding psychological harm.
final pitch
The document provides details about the plot of a film titled "trauma". It follows a man who experiences a traumatic event when his daughter is murdered. He attempts suicide multiple times but is unsuccessful. He begins to see visions of "heaven" where his daughter is alive. As the police investigate, they come to suspect he was involved in his daughter's death. The film explores issues like suicide, abuse, and male supremacy. It leaves the audience questioning the influence of religion and heaven. Representations of masculinity in the film include the man's emotional fragility but also his physical strength as he survives suicide attempts. The film examines the human psyche after trauma and how society handles such cases.
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The document discusses plot blocking and tension in films. It notes that having a climax every 5 seconds without any build up does not allow for proper escalation of tension within a story. The climax in this case jumps abruptly between cuts instead of building naturally.
Form research
This document discusses various techniques for film composition and lighting based on examples from well-known films. It covers the rule of thirds and how positioning subjects off-center can draw focus. It also discusses using contrasting cool and warm lighting to convey conflict or different emotions. The document analyzes title sequences from films like A Clockwork Orange, The Social Network, and The Girl With The Dragon Tattoo to show how they immerse viewers without explanation through music, camera movement, and color palette.
Form research
This document discusses various techniques for film composition and lighting based on examples from well-known films. It covers the rule of thirds and how positioning subjects off-center can draw focus. It also discusses using contrasting cool and warm lighting to convey conflict or different emotions. The document analyzes title sequences from films like A Clockwork Orange, The Social Network, and The Girl with the Dragon Tattoo to show how they immerse viewers without explaining the plot.
locations
The document discusses various location options and choices for scenes in a film. Originally, a field was chosen for a scene but had to be changed to tarmac due to rain. Heaven is depicted as a maze to convey mystery and foreshadow the character's later attempt to kill himself to reach heaven. The alleyway, as the reality location, needs to be dark, cold, tight and connote death with blue lighting to contrast heavily with heaven. Smoke and lighting were used to depict the dead daughter in blue shadow versus the glowing, high key lit alive father fresh from heaven.
3 content research
The document describes visions of heaven from both Christian and atheist perspectives. The Christian view is of a walled city with twelve gates and foundations representing the twelve apostles, measured to be 1,400 miles in each direction with walls 200 feet thick made of precious materials. Artists have depicted this literal image. Hollywood commonly shows heaven as clouds and incredible buildings. Some atheists believe in an afterlife like a beautiful, impossible tropical island without the Christian iconography of white and clouds. Concept artwork portrays this atheist heaven as a paradise to relax in after death.
1 initial response to the brief
The document provides inspiration and details for a title sequence and film called "Trauma." It begins by discussing wanting to create an emotionally evocative title sequence like those in "Looper" and "Walter Mitty." The proposed idea is that a man wakes in a field confused and sees blood on his shirt, then emerges on a busy street where his daughter is being dragged away by a mugger as he lies dying in a pool of blood. As his daughter is taken, a fading heartbeat sound matches his declining vital signs until he flatlines. The title "Trauma" would appear during this moment. The rest of the film would involve the man coming to terms with his daughter's loss or trying to return to the magical place
Locations
The document discusses two film locations. For the scene filming heaven, only a small area of green grass is needed due to close cropping and close-ups, with visual effects adding the background. For the scene of a mugging, a back alley that looks scary and disused is required, suggesting using the area by the school sports hall that is dark, bricked up, and run down, providing easy access to plugs for lighting as well.
Final research
The document discusses selecting fonts for film credits. It considers several options, including a graffiti-like font deemed too difficult to read, and a horror-inspired font not fitting for the drama genre. The preferred font is described as big, bold, and masculine, conveying drama while remaining readable in white. Famous fonts used by Quentin Tarantino and in fast food logos are also examined, with the Tarantino font conveying grit and the fast food font feeling open and inviting customers inside.
Form research
This document discusses techniques for form research in photography and filmmaking. It covers the rule of thirds and how framing the subject off-center can create visual interest. It also discusses the use of lighting techniques like low-key lighting and mixing complementary colors on each side to convey conflict or emotion subconsciously. Finally, it mentions that longer takes are commonly used in dramas to build tension and climax.
Content research
The document describes how the narrator's uncle Peter was mugged and shot in the head in an alley in 1997, leaving him in a coma until being taken off life support 3 days later. The narrator was later born and named after his deceased uncle Peter. The perpetrator was never caught, and the family still feels the lasting emotional impact of the violent crime and loss of a loved one over 20 years later.
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- 2. SOUTHPAW • As form research has shown, the rule of thirds is a huge factor in pulling off a good shot, now, because of most shots follow the rule that the focus is to the right of the shot, that means the left hand side is free for credits. Usually these credits are prominent but still out of the way as to not detract from the film. Here you can see that the credits were placed on things in the foreground that were out of focus, this means that the credits do not affect the scene at all.
- 3. SECOND TYPE – TWO NIGHT STAND Another typical credit type is the black cut where it goes from the ordinary shot film. Like this: It then Cuts to This: This here is effective because for some films that are slower paced this works, where as quick cut films this would detract from the piece.