This document outlines a filming and editing schedule for a project taking place between December and February. It details various dates for filming narrative footage, importing photos and footage to begin editing, initial screenings to gather feedback, and extended periods of editing footage and photos for deliverables like a digipak and magazine advert across December and January. The schedule also notes potential dates staying after school or over the holiday to complete editing work.
The document outlines a film production schedule for November 2014, which includes planning and filming scenes in London and the studio, looking over raw footage, starting to edit footage in Premier, posting behind the scenes video, planning and filming a ballet performance, re-shooting some scenes, and ongoing editing throughout the month.
The document outlines a filming and editing schedule for a music video project spanning October 30th to January 17th. It details locations and outfits for filming on October 30th and November 2nd, then a multi-week editing process from mid-November to mid-January, involving uploading footage, selecting clips, arranging them on a timeline, adding effects, filling gaps, and improving the video based on feedback. The schedule allows time at various stages to obtain and incorporate constructive feedback to finalize the best version of the music video.
This document contains schedules for filming and editing a film project in July 2014, November 2014, December 2014, and January 2015. In July, it schedules filming William and Marcus in Ruislip Park on the 5th, and Beth and Adam in Swakeleys Park on the 22nd. In November, it schedules filming Grandma's prologue on the 9th and Roll A footage in St. Mary's Hall on the 17th. In December, it schedules exterior shots with William and Marcus on the 6th, uploading and editing footage throughout the month, and exporting a first draft on the 20th. In January, it continues editing through the 31st while filming the last scenes on the 23rd.
This document outlines a filming and editing schedule for a project to be completed by Sylvie Apps and Nia Dalton. It includes tasks such as collecting raw footage and pictures of locations, costume planning, props acquisition, preliminary filming and editing, three days of filming with an actress, editing of footage after each filming day, experimenting with visual effects, and final editing, construction and screening.
The song lyrics describe a cycle of love and fear between two people. The singer promises to be a source of hope, guidance, and support for the subject as either a "burning sun" or "match" who lights their way. This cycle of being together and having difficulties will repeat until the feelings of love run out between them. The singer says they will continue in this cycle, being the subject's "light" and source of both comfort and fear, until the love fades away.
The document lists props and costumes needed for a music video, including tea lights, balloons, face paint, rope, powder paint, matches, a sand timer, and animal masks. A sad clown costume can be made from separate inexpensive components. Face paint will also be used on actors. A scene with two dancers in basic clothing will feature powder paint. The female lead will wear flowing clothing for a field running scene that is not overwhelming for a narrative. A surrealism-themed scene will feature people in an room wearing animal masks. The artists' costumes will stick to an indie/alternative genre convention of monochrome styling similar to bands like The Script and The 1975.
The document provides a props and costume list for a music video production including 200 tea lights, balloons, face paint, rope, powder paint, matches, a sand timer, and animal masks. It notes that a sad clown costume can be made from separate inexpensive components instead of being purchased as a single item. It also mentions that the face paint and powder paint will be used on actors in different scenes, including one with two dancers in basic clothing and another surreal scene with people wearing animal masks in a room. The document recommends styling the artists in monochrome, indie-inspired clothing similar to bands like The Script, The 1975, and Imagine Dragons.
This document outlines a filming and editing schedule for a project taking place between December and February. It details various dates for filming narrative footage, importing photos and footage to begin editing, initial screenings to gather feedback, and extended periods of editing footage and photos for deliverables like a digipak and magazine advert across December and January. The schedule also notes potential dates staying after school or over the holiday to complete editing work.
The document outlines a film production schedule for November 2014, which includes planning and filming scenes in London and the studio, looking over raw footage, starting to edit footage in Premier, posting behind the scenes video, planning and filming a ballet performance, re-shooting some scenes, and ongoing editing throughout the month.
The document outlines a filming and editing schedule for a music video project spanning October 30th to January 17th. It details locations and outfits for filming on October 30th and November 2nd, then a multi-week editing process from mid-November to mid-January, involving uploading footage, selecting clips, arranging them on a timeline, adding effects, filling gaps, and improving the video based on feedback. The schedule allows time at various stages to obtain and incorporate constructive feedback to finalize the best version of the music video.
This document contains schedules for filming and editing a film project in July 2014, November 2014, December 2014, and January 2015. In July, it schedules filming William and Marcus in Ruislip Park on the 5th, and Beth and Adam in Swakeleys Park on the 22nd. In November, it schedules filming Grandma's prologue on the 9th and Roll A footage in St. Mary's Hall on the 17th. In December, it schedules exterior shots with William and Marcus on the 6th, uploading and editing footage throughout the month, and exporting a first draft on the 20th. In January, it continues editing through the 31st while filming the last scenes on the 23rd.
This document outlines a filming and editing schedule for a project to be completed by Sylvie Apps and Nia Dalton. It includes tasks such as collecting raw footage and pictures of locations, costume planning, props acquisition, preliminary filming and editing, three days of filming with an actress, editing of footage after each filming day, experimenting with visual effects, and final editing, construction and screening.
The song lyrics describe a cycle of love and fear between two people. The singer promises to be a source of hope, guidance, and support for the subject as either a "burning sun" or "match" who lights their way. This cycle of being together and having difficulties will repeat until the feelings of love run out between them. The singer says they will continue in this cycle, being the subject's "light" and source of both comfort and fear, until the love fades away.
The document lists props and costumes needed for a music video, including tea lights, balloons, face paint, rope, powder paint, matches, a sand timer, and animal masks. A sad clown costume can be made from separate inexpensive components. Face paint will also be used on actors. A scene with two dancers in basic clothing will feature powder paint. The female lead will wear flowing clothing for a field running scene that is not overwhelming for a narrative. A surrealism-themed scene will feature people in an room wearing animal masks. The artists' costumes will stick to an indie/alternative genre convention of monochrome styling similar to bands like The Script and The 1975.
The document provides a props and costume list for a music video production including 200 tea lights, balloons, face paint, rope, powder paint, matches, a sand timer, and animal masks. It notes that a sad clown costume can be made from separate inexpensive components instead of being purchased as a single item. It also mentions that the face paint and powder paint will be used on actors in different scenes, including one with two dancers in basic clothing and another surreal scene with people wearing animal masks in a room. The document recommends styling the artists in monochrome, indie-inspired clothing similar to bands like The Script, The 1975, and Imagine Dragons.
The document discusses conventions of indie music videos. It is conventional for indie music videos to have a casual dress code, low production value, a mix of narrative and performance elements, and some odd or symbolic shots. Key features that could be used in an indie music video include natural lighting, diverse locations, surreal elements, and a focus on the artist themselves through close-ups. Common themes across analyzed indie music videos are the use of lighting, symmetry, and a dark, minimal aesthetic.
This document summarizes characteristics of the indie music genre. It originated in the UK and US in the 1980s, defined by artists signed to independent record labels. Indie music videos typically have deeper meanings and surreal elements compared to other genres. They portray artists dressing casually and using natural urban settings with low saturation filters. The indie genre derived from alternative rock and includes subgenres like indie pop and post-punk. Examples of indie artists provided are Bastille, The 1975, and The Arctic Monkeys, though some became more mainstream. The document evaluates that adopting normal clothing, low saturation filters, and natural settings align with conventions of indie music videos.
The document discusses and analyzes the digipak album covers of several indie/alternative bands, including Bastille, The 1975, and Arctic Monkeys. It notes common design elements across the covers like the use of dark, moody imagery and color schemes; simplistic yet distinctive graphics that represent the bands' styles; and photos that convey a sense of realism or mystery. The analysis concludes that successful indie digipaks emphasize themes of surrealism and rebellion through their visuals while maintaining a simple, cohesive aesthetic.
The document discusses different theories about how music videos relate to song lyrics. Andrew Goodwin's theory is that a music video is simply a visual interpretation of the lyrics. Carol Vernallis' theory is that a music video can be based on or tell a narrative inspired by the lyrics, and that repetition of ideas, themes and shots helps create meaning for viewers. The document also notes that editing in music videos allows jumping through time and space without seeming odd. Based on these theories, the evaluation concludes it is okay to be more creative than just matching the video exactly to lyrics, and that Carol Vernallis' theory allows for more flexibility.
The document discusses different theories about how music videos relate to song lyrics. Andrew Goodwin's theory is that a music video is simply a visual interpretation of the lyrics. Carol Vernallis' theory is that the visuals in a music video can be based on or tell a narrative inspired by the lyrics, using techniques like repetition, extreme camera shots and editing to create meaning for viewers. The evaluation concludes that it is okay to be more creative than just matching the video exactly to the lyrics, and that Carol Vernallis' theory allows for more flexibility in music video creation.
The document appears to be written by Will Smith as the author is listed as "By Will Smith" in the header. However, no other context or details are provided about the content or topic of the document. The single line document header does not provide enough information to generate a meaningful multi-sentence summary.
Dan is an 18-year-old university student studying photography who lives in Bristol. He enjoys spending time with friends, going to the cinema to see action and thriller films, and shopping at more affordable stores. He also likes watching television series about crime and mysteries. The document suggests that the target audience for the film "Dirty Work" is someone like Dan, as he enjoys British gangster films and action films, and often sees movies at the cinema with friends.
The document discusses how different social groups are represented in Will Smith's film. It describes how the main character Jordan is portrayed as less powerful than his demanding girlfriend, showing a modern representation of men with emotion. The antagonist Tony is shown as powerful, emotionless, and strong, representing a traditional view of men. There is only one woman depicted, who is aggressive and controlling, demonstrating a modern portrayal of women as not nice. The costumes help establish the characters as being of both lower and upper classes. Freeze frames are used to depict the relationship dynamics between characters through single images. The film aims to represent both modern and traditional views of men.
Will Smith chose a style of music for his British gangster film that was inspired by Quentin Tarantino's use of music, featuring a strong guitar sound and fast pace that contrasts with the on-screen action, reflecting Tarantino's theory of using contrapuntal music.
Will Smith plans to use freeze frames of characters during the opening credits of his film. He takes inspiration from the credits of Snatch, which introduce many characters. To avoid overwhelming the audience, he will limit characters to 5. The credits of Snatch use bold white font, lines above/below names, and stars to imply importance. Smith will experiment with different fonts like Aharoni and Biondi to choose one for the credits. He will finalize the credits in white text like other gangster films, with posterized backgrounds, capital letters, lines and stars to identify important characters.
The risk assessment document evaluates hazards for a shoot, including falling off a ladder, a van crash, harm from slapping someone, and being thrown inside a van. It assigns probability, consequence, and risk levels to each hazard, then proposes control measures to lower the probability and risk level, such as having a stable floor, driving carefully, limiting force in a slap, and using camera angles to make risks appear worse than they are.
This risk assessment document evaluates hazards for a shoot involving falling off a ladder, a van crash, slapping someone too hard, and throwing someone into a van. It assigns probability, consequence, and risk levels for each hazard, and proposes control measures like having a stable floor, driving carefully, limiting force of slaps, and using camera angles to reduce risks.
Will Smith outlines props needed for his upcoming film including:
1) A fake/cheap ring to show a relationship in trouble after a marriage proposal with a cheap ring.
2) A toothpick for an antagonist character.
3) Spare clothes to imply a girlfriend kicking her boyfriend out and not wanting him back.
4) A gun to indicate violence and identify the protagonist and antagonist.
5) Fake blood to show the protagonist tied up in a van with blood from his mouth.
The document contains initial planning ideas for a short film by Will Smith. It includes ideas for characters (a male protagonist, his controlling girlfriend, and a gangster leader), locations (different rooms in the filmmaker's house), props (a cheap ring, money, guns, cigarettes, a car), costumes (basic modern casual clothes), and a narrative outline. The narrative involves the protagonist getting kicked out by his girlfriend after buying her a fake ring, then getting in trouble with gangsters who want him to help with illegal deals since he needs money. The credits sequence would use freeze frames to introduce each character inspired by British gangster films.
This document analyzes the timelines of several British gangster films including Layercake, Lock, Stock And Two Smoking Barrels, and Get Carter. It breaks down the plot progression and key events in 3 iconic crime movies from the UK.
Guy Ritchie's 1998 crime comedy film Lock, Stock and Two Smoking Barrels follows a group of small-time London criminals who find themselves in serious trouble after a high-stakes poker game goes wrong. Eddie, Soap, Bacon, and Tom develop an elaborate plan to pay back the half-million pounds they owe the ruthless crime boss Hatchet Harry. Their scheme involves stealing antiques and selling them at a local market.
This document summarizes several narrative theories that could be applied to a film opening. It discusses Claude Levi-Strauss's concept of binary oppositions between terms like good-bad. It also outlines Vladimir Propp's 8 character archetypes that often appear in stories. Additionally, it covers Tzvetan Todorov's theory of equilibrium, disequilibrium, and new equilibrium. Barthes' hermeneutic and proairetic codes are mentioned as ways to build tension. The document concludes that elements from Levi-Strauss, Propp, and Todorov could be blended to structure a film opening showing the initial equilibrium disrupted by some event.
The document analyzes several notable British gangster films - Snatch, Lock Stock and Two Smoking Barrels, and Layer Cake. It discusses their commercial success, conventions used, including themes of crime shown early and titles in white font. It examines mise-en-scene elements like locations and shots. While the films generally don't challenge gangster conventions, Layer Cake is unusual for not revealing the plot in its opening. The document concludes the author has learned about common traits of British gangster films and how to apply them, while also challenging norms like Sexy Beast did with its credits.
The document discusses the key elements and conventions of gangster films. It notes that gangster films typically feature suits, guns, cigars, cars, alcohol, money and violence representing the glamorous lifestyle pursued by criminals. They also involve sinister actions like crime, bank robberies, murder and operating outside the law. The document adds that women in gangster films are usually secondary and portrayed as sexy objects. It concludes by stating the author wants to base their project on a British gangster film.
The document discusses conventions of indie music videos. It is conventional for indie music videos to have a casual dress code, low production value, a mix of narrative and performance elements, and some odd or symbolic shots. Key features that could be used in an indie music video include natural lighting, diverse locations, surreal elements, and a focus on the artist themselves through close-ups. Common themes across analyzed indie music videos are the use of lighting, symmetry, and a dark, minimal aesthetic.
This document summarizes characteristics of the indie music genre. It originated in the UK and US in the 1980s, defined by artists signed to independent record labels. Indie music videos typically have deeper meanings and surreal elements compared to other genres. They portray artists dressing casually and using natural urban settings with low saturation filters. The indie genre derived from alternative rock and includes subgenres like indie pop and post-punk. Examples of indie artists provided are Bastille, The 1975, and The Arctic Monkeys, though some became more mainstream. The document evaluates that adopting normal clothing, low saturation filters, and natural settings align with conventions of indie music videos.
The document discusses and analyzes the digipak album covers of several indie/alternative bands, including Bastille, The 1975, and Arctic Monkeys. It notes common design elements across the covers like the use of dark, moody imagery and color schemes; simplistic yet distinctive graphics that represent the bands' styles; and photos that convey a sense of realism or mystery. The analysis concludes that successful indie digipaks emphasize themes of surrealism and rebellion through their visuals while maintaining a simple, cohesive aesthetic.
The document discusses different theories about how music videos relate to song lyrics. Andrew Goodwin's theory is that a music video is simply a visual interpretation of the lyrics. Carol Vernallis' theory is that a music video can be based on or tell a narrative inspired by the lyrics, and that repetition of ideas, themes and shots helps create meaning for viewers. The document also notes that editing in music videos allows jumping through time and space without seeming odd. Based on these theories, the evaluation concludes it is okay to be more creative than just matching the video exactly to lyrics, and that Carol Vernallis' theory allows for more flexibility.
The document discusses different theories about how music videos relate to song lyrics. Andrew Goodwin's theory is that a music video is simply a visual interpretation of the lyrics. Carol Vernallis' theory is that the visuals in a music video can be based on or tell a narrative inspired by the lyrics, using techniques like repetition, extreme camera shots and editing to create meaning for viewers. The evaluation concludes that it is okay to be more creative than just matching the video exactly to the lyrics, and that Carol Vernallis' theory allows for more flexibility in music video creation.
The document appears to be written by Will Smith as the author is listed as "By Will Smith" in the header. However, no other context or details are provided about the content or topic of the document. The single line document header does not provide enough information to generate a meaningful multi-sentence summary.
Dan is an 18-year-old university student studying photography who lives in Bristol. He enjoys spending time with friends, going to the cinema to see action and thriller films, and shopping at more affordable stores. He also likes watching television series about crime and mysteries. The document suggests that the target audience for the film "Dirty Work" is someone like Dan, as he enjoys British gangster films and action films, and often sees movies at the cinema with friends.
The document discusses how different social groups are represented in Will Smith's film. It describes how the main character Jordan is portrayed as less powerful than his demanding girlfriend, showing a modern representation of men with emotion. The antagonist Tony is shown as powerful, emotionless, and strong, representing a traditional view of men. There is only one woman depicted, who is aggressive and controlling, demonstrating a modern portrayal of women as not nice. The costumes help establish the characters as being of both lower and upper classes. Freeze frames are used to depict the relationship dynamics between characters through single images. The film aims to represent both modern and traditional views of men.
Will Smith chose a style of music for his British gangster film that was inspired by Quentin Tarantino's use of music, featuring a strong guitar sound and fast pace that contrasts with the on-screen action, reflecting Tarantino's theory of using contrapuntal music.
Will Smith plans to use freeze frames of characters during the opening credits of his film. He takes inspiration from the credits of Snatch, which introduce many characters. To avoid overwhelming the audience, he will limit characters to 5. The credits of Snatch use bold white font, lines above/below names, and stars to imply importance. Smith will experiment with different fonts like Aharoni and Biondi to choose one for the credits. He will finalize the credits in white text like other gangster films, with posterized backgrounds, capital letters, lines and stars to identify important characters.
The risk assessment document evaluates hazards for a shoot, including falling off a ladder, a van crash, harm from slapping someone, and being thrown inside a van. It assigns probability, consequence, and risk levels to each hazard, then proposes control measures to lower the probability and risk level, such as having a stable floor, driving carefully, limiting force in a slap, and using camera angles to make risks appear worse than they are.
This risk assessment document evaluates hazards for a shoot involving falling off a ladder, a van crash, slapping someone too hard, and throwing someone into a van. It assigns probability, consequence, and risk levels for each hazard, and proposes control measures like having a stable floor, driving carefully, limiting force of slaps, and using camera angles to reduce risks.
Will Smith outlines props needed for his upcoming film including:
1) A fake/cheap ring to show a relationship in trouble after a marriage proposal with a cheap ring.
2) A toothpick for an antagonist character.
3) Spare clothes to imply a girlfriend kicking her boyfriend out and not wanting him back.
4) A gun to indicate violence and identify the protagonist and antagonist.
5) Fake blood to show the protagonist tied up in a van with blood from his mouth.
The document contains initial planning ideas for a short film by Will Smith. It includes ideas for characters (a male protagonist, his controlling girlfriend, and a gangster leader), locations (different rooms in the filmmaker's house), props (a cheap ring, money, guns, cigarettes, a car), costumes (basic modern casual clothes), and a narrative outline. The narrative involves the protagonist getting kicked out by his girlfriend after buying her a fake ring, then getting in trouble with gangsters who want him to help with illegal deals since he needs money. The credits sequence would use freeze frames to introduce each character inspired by British gangster films.
This document analyzes the timelines of several British gangster films including Layercake, Lock, Stock And Two Smoking Barrels, and Get Carter. It breaks down the plot progression and key events in 3 iconic crime movies from the UK.
Guy Ritchie's 1998 crime comedy film Lock, Stock and Two Smoking Barrels follows a group of small-time London criminals who find themselves in serious trouble after a high-stakes poker game goes wrong. Eddie, Soap, Bacon, and Tom develop an elaborate plan to pay back the half-million pounds they owe the ruthless crime boss Hatchet Harry. Their scheme involves stealing antiques and selling them at a local market.
This document summarizes several narrative theories that could be applied to a film opening. It discusses Claude Levi-Strauss's concept of binary oppositions between terms like good-bad. It also outlines Vladimir Propp's 8 character archetypes that often appear in stories. Additionally, it covers Tzvetan Todorov's theory of equilibrium, disequilibrium, and new equilibrium. Barthes' hermeneutic and proairetic codes are mentioned as ways to build tension. The document concludes that elements from Levi-Strauss, Propp, and Todorov could be blended to structure a film opening showing the initial equilibrium disrupted by some event.
The document analyzes several notable British gangster films - Snatch, Lock Stock and Two Smoking Barrels, and Layer Cake. It discusses their commercial success, conventions used, including themes of crime shown early and titles in white font. It examines mise-en-scene elements like locations and shots. While the films generally don't challenge gangster conventions, Layer Cake is unusual for not revealing the plot in its opening. The document concludes the author has learned about common traits of British gangster films and how to apply them, while also challenging norms like Sexy Beast did with its credits.
The document discusses the key elements and conventions of gangster films. It notes that gangster films typically feature suits, guns, cigars, cars, alcohol, money and violence representing the glamorous lifestyle pursued by criminals. They also involve sinister actions like crime, bank robberies, murder and operating outside the law. The document adds that women in gangster films are usually secondary and portrayed as sexy objects. It concludes by stating the author wants to base their project on a British gangster film.