The document provides guidance for a student on planning and producing a short film, including sections for visual planning with storyboards and shot lists, organizing the production team and locations, conducting a risk assessment, creating contingency plans, and logs for footage and the editing process. The template is intended to help the student effectively plan and execute all stages of production for their short film project.
Paranormal activity film trailer analysisSMUGGYY1298
The document provides an analysis of the trailer for the film Paranormal Activity. It discusses the background of the film, directors, and production company. The narrative is introduced which follows a couple who set up cameras in their new home to document paranormal activity. Camera shots, editing techniques, sound, and mise-en-scene elements are then analyzed in detail. These include the use of shaky point-of-view camera shots, fast cuts, diegetic sounds, low lighting, and filming with handheld cameras to make the footage feel realistic. Todorov's narrative theory of equilibrium, disruption, recognition, and attempted repair is also applied to key moments in the trailer.
The document discusses how a student's supernatural horror film opening uses and develops conventions of the genre. It conducted research on other film openings. The title "3:17AM" provides insight without immediately suggesting horror. Visual elements like fonts, effects and desaturated colors follow conventions. The setting in a isolated family home and props like candles are common. Shots build suspense through zooms and pans. Hints about the narrative reference conventions like vulnerable characters and threatening forces. Filming during the day challenged realism expected of the genre. Overall, the opening fits conventions through its use of various visual and audio elements.
The trailer for Paranormal Activity uses found footage style camerawork and focuses on building mystery and tension. It shows footage of a cinema audience reacting in fear to something happening on screen but does not reveal what they are seeing. This is meant to intrigue viewers and make them want to find out the source of the audience's fear by watching the film themselves. The trailer also uses darkness, diegetic sounds like screams, and unexplained visuals to create an unsettling atmosphere and enigma around the plot of the film.
The document analyzes the camera shots, editing, sound, mise-en-scene, and other technical elements used in the trailer for the film "Paranormal Activity." It discusses how the point-of-view camera shots allow audiences to experience events like the characters. Fast editing and white noise transitions create tension and confusion. Minimal sound and diegetic screams maximize jump scares. The ordinary family setting of a house makes the story more relatable. Todorov's and Propp's theories are also used to analyze the narrative structure and characters in the trailer.
This document defines and describes various media key terms related to camera shots, angles, movement, and composition. It provides definitions for different types of camera shots including establishing shots, close-ups, and point-of-view shots. It also defines camera angles such as low, high, and canted angles. Various camera movements like pans, tilts, tracks, and zooms are outlined. Finally, compositional techniques including symmetry, asymmetry, rule of thirds, and depth of field are defined.
The trailer summarizes the plot of Paranormal Activity by showing found footage clips of a couple, Katie and Micah, experiencing unexplained paranormal events in their home after setting up cameras to document any activity. Fast-paced editing and minimal music alongside jump scares are used to build tension and intrigue viewers to experience the fear for themselves. The trailer effectively targets its audience of men and women aged 16-34 by appealing to their interests in thrill and being up-to-date on modern horror films.
The document analyzes the trailer for the film Paranormal Activity. It notes that the trailer uses 51 shots over 1 minute and 46 seconds to target an audience of 15-25 year olds. It employs diegetic dialogue and a slow, non-diegetic soundtrack to create tension and fear without showing the supernatural threat. The trailer leaves the audience in suspense at the end to create interest in the film and establish it as one of the scariest movies, helping it become very profitable.
The document provides an analysis of the trailer for the film Paranormal Activity. It summarizes the key camera shots, editing techniques, sound, mise-en-scene, and theories used in the trailer. The trailer effectively uses point-of-view camera shots and shaky camera work to make the audience feel like they are experiencing the events alongside the characters. Jump scares are enhanced through minimal music and diegetic sounds. The trailer targets mainstream audiences aged 16-34 through its portrayal of ordinary characters investigating supernatural events in their family home.
Paranormal activity film trailer analysisSMUGGYY1298
The document provides an analysis of the trailer for the film Paranormal Activity. It discusses the background of the film, directors, and production company. The narrative is introduced which follows a couple who set up cameras in their new home to document paranormal activity. Camera shots, editing techniques, sound, and mise-en-scene elements are then analyzed in detail. These include the use of shaky point-of-view camera shots, fast cuts, diegetic sounds, low lighting, and filming with handheld cameras to make the footage feel realistic. Todorov's narrative theory of equilibrium, disruption, recognition, and attempted repair is also applied to key moments in the trailer.
The document discusses how a student's supernatural horror film opening uses and develops conventions of the genre. It conducted research on other film openings. The title "3:17AM" provides insight without immediately suggesting horror. Visual elements like fonts, effects and desaturated colors follow conventions. The setting in a isolated family home and props like candles are common. Shots build suspense through zooms and pans. Hints about the narrative reference conventions like vulnerable characters and threatening forces. Filming during the day challenged realism expected of the genre. Overall, the opening fits conventions through its use of various visual and audio elements.
The trailer for Paranormal Activity uses found footage style camerawork and focuses on building mystery and tension. It shows footage of a cinema audience reacting in fear to something happening on screen but does not reveal what they are seeing. This is meant to intrigue viewers and make them want to find out the source of the audience's fear by watching the film themselves. The trailer also uses darkness, diegetic sounds like screams, and unexplained visuals to create an unsettling atmosphere and enigma around the plot of the film.
The document analyzes the camera shots, editing, sound, mise-en-scene, and other technical elements used in the trailer for the film "Paranormal Activity." It discusses how the point-of-view camera shots allow audiences to experience events like the characters. Fast editing and white noise transitions create tension and confusion. Minimal sound and diegetic screams maximize jump scares. The ordinary family setting of a house makes the story more relatable. Todorov's and Propp's theories are also used to analyze the narrative structure and characters in the trailer.
This document defines and describes various media key terms related to camera shots, angles, movement, and composition. It provides definitions for different types of camera shots including establishing shots, close-ups, and point-of-view shots. It also defines camera angles such as low, high, and canted angles. Various camera movements like pans, tilts, tracks, and zooms are outlined. Finally, compositional techniques including symmetry, asymmetry, rule of thirds, and depth of field are defined.
The trailer summarizes the plot of Paranormal Activity by showing found footage clips of a couple, Katie and Micah, experiencing unexplained paranormal events in their home after setting up cameras to document any activity. Fast-paced editing and minimal music alongside jump scares are used to build tension and intrigue viewers to experience the fear for themselves. The trailer effectively targets its audience of men and women aged 16-34 by appealing to their interests in thrill and being up-to-date on modern horror films.
The document analyzes the trailer for the film Paranormal Activity. It notes that the trailer uses 51 shots over 1 minute and 46 seconds to target an audience of 15-25 year olds. It employs diegetic dialogue and a slow, non-diegetic soundtrack to create tension and fear without showing the supernatural threat. The trailer leaves the audience in suspense at the end to create interest in the film and establish it as one of the scariest movies, helping it become very profitable.
The document provides an analysis of the trailer for the film Paranormal Activity. It summarizes the key camera shots, editing techniques, sound, mise-en-scene, and theories used in the trailer. The trailer effectively uses point-of-view camera shots and shaky camera work to make the audience feel like they are experiencing the events alongside the characters. Jump scares are enhanced through minimal music and diegetic sounds. The trailer targets mainstream audiences aged 16-34 through its portrayal of ordinary characters investigating supernatural events in their family home.
The trailer uses various camera shots and editing techniques to build tension and mystery around the antagonist, The Woman in Black. Throughout the trailer, Daniel Radcliffe's character is shown feeling vulnerable and isolated through the use of high angle shots in the haunted house setting. Sound effects like a creepy music box and storm noises are used to create an unsettling atmosphere. The trailer leaves the audience with more questions than answers about the threat posed by The Woman in Black in order to generate interest in the film.
The trailer summarizes the plot of the horror film "The Woman in Black". It introduces Daniel Radcliffe's character who travels to an isolated house. Strange events begin to occur as he encounters the mysterious Woman in Black. Creepy dolls and children are used to build an unsettling atmosphere. Through its camera shots, editing, sound, and mise-en-scene, the trailer establishes the conventions of a ghost story and sets up the antagonist that Radcliffe's character must confront in the haunted house.
The document discusses the production plan for a trailer. It will be shot 50% on a tripod, 25% on a dolly for contrazoom shots, and 25% handheld for running scenes. Most shots will be at eye level or higher. The mise-en-scene will use darker colors with hints of pink and red to indicate dream sequences. The editing will be relatively slow like Inception with fast montages, and dream scenes will have a black and white filter with added pinks and reds. A score taking inspiration from Inception and Bladerunner 2049 will be made to flow with the edited trailer and set the right mood throughout.
The trailer uses various camera shots and editing techniques to build tension and intrigue viewers about the horror film The Woman In Black. It establishes the setting as an isolated, abandoned house through long shots. Close-ups of creepy dolls and a gloomy atmosphere created with low-key lighting and rainy sound effects signal danger. Cross-cutting and increasing shot speed heighten tension as the trailer progresses. The target audience includes both male and female viewers aged 16-34 who enjoy being scared by jump scares in horror films.
This document provides a high-level overview of basic cinematography techniques in 3 sentences or less:
Cinematography involves extensive techniques that can only be mastered through watching and making many films while focusing on incremental improvements, as great cinematography is a career-long endeavor requiring talent. Effective shots use specific camera placements, lighting set-ups, scales of framing, movements, and other elements to visually convey meaning and direct audience attention without distraction. Key principles include using the rule of thirds for composition, complementary colors, transitions that follow continuity rules, and mimicking techniques from well-shot films while keeping style inconspicuous when first learning.
The document provides an in-depth analysis of the trailer for the film Paranormal Activity. It examines various elements of the trailer including narrative, camera shots, editing, sound, mise-en-scene, target audience, and how it aligns with Todorov's and Propp's theories of narrative structure. Key points analyzed include the film's use of found footage style and point-of-view shots to immerse viewers, fast editing and sound design to build tension, and targeting of younger adult demographics who enjoy thrill and horror genres.
The opening sequence of Se7en consists of a montage of close-up shots with no context provided about the setting or characters. Various investigative props like files, photos, and papers are shown out of chronological order to create tension and suspense about what is being investigated. Most shots have a shallow depth of field and are darkly lit with a dull color palette to convey danger and seriousness. Transitions like fades link the clips and the pacing increases tension as it progresses faster, indicating this will be an intense thriller.
The document defines and provides examples of different types of shots used in cinematography, including pans, dollies, tilts, handheld shots, high and low angles, establishing shots, close ups, extreme close ups, pull focus, shot reverse shot, match on action, graphic matches, eye line matches, point of view shots, cutaways, and montages. Each shot type is used to achieve a specific goal, such as tracking movement, establishing location, showing emotion, or creating continuity between scenes. Video links are provided with examples of many of the shot types.
'The Girl With The Dragon Tattoo' - opening sequence analysis Millie Pickering
The opening sequence of The Girl with the Dragon Tattoo sets the dark, disturbing tone of the thriller/horror film through flashing shots of black ink covering people's faces and the use of unsettling music. It introduces themes of death and violence without revealing character identities in order to build suspense. The fast-paced editing, intense music, and concealed characters are effective techniques that the document's author wants to apply to their own opening sequence.
The document provides guidance on analyzing cinematography techniques and their effects. It defines micro-features like editing, cinematography, sound, and mise-en-scene that communicate meaning. It then details various camera shots and angles, explaining how they focus attention and influence perception of characters. Movement techniques like pans, zooms, and tracking shots are also outlined. The document instructs analyzing sequences using these techniques and their effects on conveying meaning and atmosphere.
The trailer analysis document discusses the trailer for the film "The Woman in Black". It analyzes various elements of the trailer including its purpose, characters, locations, editing, sound, and target audience. The overall summary is that the trailer effectively promotes the horror film and leaves viewers wanting to know more about the mysterious Woman in Black character and what happens to the main character, creating excitement to see the full film.
This document discusses technical conventions used in horror films, including camera techniques, editing, sound, and mise-en-scene. It provides examples of shots including high and low angles that convey power dynamics. Editing techniques like cuts, transitions, and parallel editing are explained. The use of diegetic and non-diegetic sound as well as music to set mood is covered. Mise-en-scene elements like lighting, locations, costumes, and props that create meaning and suspense are also described.
The mise en scene in Saw VI creates tension through dark lighting that focuses attention on the villain. Isolated in a dark room with cages, the main characters are trapped and sympathetic. Quick camera movements show the urgency of the situation, while zooms highlight objects and the characters' fearful expressions. Though the film has a slow editing pace, it allows time to see frames and heightens the pressure as the clock ticks, moving the once still characters into rapid motion.
The opening sequence of The Dark Knight uses mobile camera work and fast-paced editing to create a tense atmosphere and give the audience a sense of participating in the bank heist. Various teams of masked robbers execute different parts of the plan across multiple locations. The sound design enhances the tension and action with a quick musical beat and diegetic sounds of the robbery. The mise-en-scene features the robbers in dark colors with distinctive clown masks, contrasting with the warmly-lit interior of the bank representing capitalist order. In the climactic final shot, the main robber removes his mask to reveal a scarred clown face, symbolizing deeper evil beneath the surface.
The document describes a student's 3-minute horror/mystery film opening. It includes details about the genre, story, and conventions used. The story is about a girl's diary whose tragic death bound her soul to the diary, forcing her to seek vengeance against her murderer. Typical horror conventions like isolating settings, dark lighting, costumes, and sounds are employed. The student aims to attract a teen and adult audience by crafting the film to their interests while staying true to common horror conventions.
The document analyzes the trailers for three horror films - A Nightmare on Elm Street, The Woman in Black, and Paranormal Activity 4 - focusing on their use of cinematography, editing, sound, and mise-en-scene to create tension and establish the horror genre. For each film, cinematography uses close-ups and shaky cameras. Editing includes fast cuts and fade-outs. Sound incorporates unsettling music, children's voices, and distorted effects. Mise-en-scene features dark lighting, fire, crosses, and realistic everyday settings to scare audiences.
Film trailer paranormal activity textual analysischarlottepage94
The trailer for Paranormal Activity uses techniques common to the horror genre to create mystery and tension. It shows scenes of a cinema audience reacting in fear to the film, leaving the viewer curious. Point-of-view camerawork and diegetic sounds put the viewer in the characters' shoes. Fast editing, dark lighting, and minimal music build an unsettling atmosphere. These techniques, along with an ordinary family setting and enigmatic title, entice viewers to watch the full film for answers.
The document provides information about different cinematography techniques like close-up shots, long shots, high angle shots, and over the shoulder shots. It also discusses editing techniques such as cuts, dissolves, and cross-cutting and how they are used to advance the story and create meaning and tension. The purpose of editing is to connect shots and tell a coherent story through techniques like following the 180 degree rule or breaking conventions for effect.
The opening sequence of The Dark Knight uses mobile camera work, parallel editing, and sound to create tension during a bank heist. The camera follows the masked robbers through steady shots and dollies. Editing cuts between teams rapidly to build urgency. Sound includes a fast-paced score and muffled diegetic voices and effects. Mise-en-scene features the robbers in dark suits and disturbing clown masks, contrasting the warmly-lit bank interior with the cool exterior. The final unmasking reveals the Joker, foreshadowing his twisted character.
The trailer introduces a young lawyer (Daniel Radcliffe) who travels to a remote village in the early 1900s to investigate a case. He discovers that the village is being terrorized by the vengeful ghost of a scorned woman. The trailer builds tension through disturbing images and unsettling sounds, hinting at paranormal terror without revealing too much of the plot. It effectively sets up the period setting and ominous atmosphere for the horror thriller.
Maaz Tabrez created a suspense film for a class project. They followed conventions of the genre like using low key lighting and non-diegetic sound to create suspense. The film addresses the social issue of kidnapping and violence. If distributed commercially, Maaz would partner with Warner Bros due to their success in the suspense genre. Through the project, Maaz developed skills like camera angles, lighting techniques, editing, and integrating technologies like movie making software, online sound effects, and creating a blog to share their work.
1) The document provides an analysis of a film clip from the thriller movie "Disturbia" directed by D.J. Caruso, which was inspired by Alfred Hitchcock's "Rear Window."
2) Various film techniques are discussed including mise-en-scene, camera work, editing, and sound design. Mise-en-scene establishes the domestic setting and shifts in character comfort levels. Shots include close-ups, medium shots, pans, and high angles.
3) Editing cuts between shots quickly to create a pulse-pounding sense of panic, and diegetic and non-diegetic sounds make the audience uncomfortable and enhance the on-screen actions.
The trailer uses various camera shots and editing techniques to build tension and mystery around the antagonist, The Woman in Black. Throughout the trailer, Daniel Radcliffe's character is shown feeling vulnerable and isolated through the use of high angle shots in the haunted house setting. Sound effects like a creepy music box and storm noises are used to create an unsettling atmosphere. The trailer leaves the audience with more questions than answers about the threat posed by The Woman in Black in order to generate interest in the film.
The trailer summarizes the plot of the horror film "The Woman in Black". It introduces Daniel Radcliffe's character who travels to an isolated house. Strange events begin to occur as he encounters the mysterious Woman in Black. Creepy dolls and children are used to build an unsettling atmosphere. Through its camera shots, editing, sound, and mise-en-scene, the trailer establishes the conventions of a ghost story and sets up the antagonist that Radcliffe's character must confront in the haunted house.
The document discusses the production plan for a trailer. It will be shot 50% on a tripod, 25% on a dolly for contrazoom shots, and 25% handheld for running scenes. Most shots will be at eye level or higher. The mise-en-scene will use darker colors with hints of pink and red to indicate dream sequences. The editing will be relatively slow like Inception with fast montages, and dream scenes will have a black and white filter with added pinks and reds. A score taking inspiration from Inception and Bladerunner 2049 will be made to flow with the edited trailer and set the right mood throughout.
The trailer uses various camera shots and editing techniques to build tension and intrigue viewers about the horror film The Woman In Black. It establishes the setting as an isolated, abandoned house through long shots. Close-ups of creepy dolls and a gloomy atmosphere created with low-key lighting and rainy sound effects signal danger. Cross-cutting and increasing shot speed heighten tension as the trailer progresses. The target audience includes both male and female viewers aged 16-34 who enjoy being scared by jump scares in horror films.
This document provides a high-level overview of basic cinematography techniques in 3 sentences or less:
Cinematography involves extensive techniques that can only be mastered through watching and making many films while focusing on incremental improvements, as great cinematography is a career-long endeavor requiring talent. Effective shots use specific camera placements, lighting set-ups, scales of framing, movements, and other elements to visually convey meaning and direct audience attention without distraction. Key principles include using the rule of thirds for composition, complementary colors, transitions that follow continuity rules, and mimicking techniques from well-shot films while keeping style inconspicuous when first learning.
The document provides an in-depth analysis of the trailer for the film Paranormal Activity. It examines various elements of the trailer including narrative, camera shots, editing, sound, mise-en-scene, target audience, and how it aligns with Todorov's and Propp's theories of narrative structure. Key points analyzed include the film's use of found footage style and point-of-view shots to immerse viewers, fast editing and sound design to build tension, and targeting of younger adult demographics who enjoy thrill and horror genres.
The opening sequence of Se7en consists of a montage of close-up shots with no context provided about the setting or characters. Various investigative props like files, photos, and papers are shown out of chronological order to create tension and suspense about what is being investigated. Most shots have a shallow depth of field and are darkly lit with a dull color palette to convey danger and seriousness. Transitions like fades link the clips and the pacing increases tension as it progresses faster, indicating this will be an intense thriller.
The document defines and provides examples of different types of shots used in cinematography, including pans, dollies, tilts, handheld shots, high and low angles, establishing shots, close ups, extreme close ups, pull focus, shot reverse shot, match on action, graphic matches, eye line matches, point of view shots, cutaways, and montages. Each shot type is used to achieve a specific goal, such as tracking movement, establishing location, showing emotion, or creating continuity between scenes. Video links are provided with examples of many of the shot types.
'The Girl With The Dragon Tattoo' - opening sequence analysis Millie Pickering
The opening sequence of The Girl with the Dragon Tattoo sets the dark, disturbing tone of the thriller/horror film through flashing shots of black ink covering people's faces and the use of unsettling music. It introduces themes of death and violence without revealing character identities in order to build suspense. The fast-paced editing, intense music, and concealed characters are effective techniques that the document's author wants to apply to their own opening sequence.
The document provides guidance on analyzing cinematography techniques and their effects. It defines micro-features like editing, cinematography, sound, and mise-en-scene that communicate meaning. It then details various camera shots and angles, explaining how they focus attention and influence perception of characters. Movement techniques like pans, zooms, and tracking shots are also outlined. The document instructs analyzing sequences using these techniques and their effects on conveying meaning and atmosphere.
The trailer analysis document discusses the trailer for the film "The Woman in Black". It analyzes various elements of the trailer including its purpose, characters, locations, editing, sound, and target audience. The overall summary is that the trailer effectively promotes the horror film and leaves viewers wanting to know more about the mysterious Woman in Black character and what happens to the main character, creating excitement to see the full film.
This document discusses technical conventions used in horror films, including camera techniques, editing, sound, and mise-en-scene. It provides examples of shots including high and low angles that convey power dynamics. Editing techniques like cuts, transitions, and parallel editing are explained. The use of diegetic and non-diegetic sound as well as music to set mood is covered. Mise-en-scene elements like lighting, locations, costumes, and props that create meaning and suspense are also described.
The mise en scene in Saw VI creates tension through dark lighting that focuses attention on the villain. Isolated in a dark room with cages, the main characters are trapped and sympathetic. Quick camera movements show the urgency of the situation, while zooms highlight objects and the characters' fearful expressions. Though the film has a slow editing pace, it allows time to see frames and heightens the pressure as the clock ticks, moving the once still characters into rapid motion.
The opening sequence of The Dark Knight uses mobile camera work and fast-paced editing to create a tense atmosphere and give the audience a sense of participating in the bank heist. Various teams of masked robbers execute different parts of the plan across multiple locations. The sound design enhances the tension and action with a quick musical beat and diegetic sounds of the robbery. The mise-en-scene features the robbers in dark colors with distinctive clown masks, contrasting with the warmly-lit interior of the bank representing capitalist order. In the climactic final shot, the main robber removes his mask to reveal a scarred clown face, symbolizing deeper evil beneath the surface.
The document describes a student's 3-minute horror/mystery film opening. It includes details about the genre, story, and conventions used. The story is about a girl's diary whose tragic death bound her soul to the diary, forcing her to seek vengeance against her murderer. Typical horror conventions like isolating settings, dark lighting, costumes, and sounds are employed. The student aims to attract a teen and adult audience by crafting the film to their interests while staying true to common horror conventions.
The document analyzes the trailers for three horror films - A Nightmare on Elm Street, The Woman in Black, and Paranormal Activity 4 - focusing on their use of cinematography, editing, sound, and mise-en-scene to create tension and establish the horror genre. For each film, cinematography uses close-ups and shaky cameras. Editing includes fast cuts and fade-outs. Sound incorporates unsettling music, children's voices, and distorted effects. Mise-en-scene features dark lighting, fire, crosses, and realistic everyday settings to scare audiences.
Film trailer paranormal activity textual analysischarlottepage94
The trailer for Paranormal Activity uses techniques common to the horror genre to create mystery and tension. It shows scenes of a cinema audience reacting in fear to the film, leaving the viewer curious. Point-of-view camerawork and diegetic sounds put the viewer in the characters' shoes. Fast editing, dark lighting, and minimal music build an unsettling atmosphere. These techniques, along with an ordinary family setting and enigmatic title, entice viewers to watch the full film for answers.
The document provides information about different cinematography techniques like close-up shots, long shots, high angle shots, and over the shoulder shots. It also discusses editing techniques such as cuts, dissolves, and cross-cutting and how they are used to advance the story and create meaning and tension. The purpose of editing is to connect shots and tell a coherent story through techniques like following the 180 degree rule or breaking conventions for effect.
The opening sequence of The Dark Knight uses mobile camera work, parallel editing, and sound to create tension during a bank heist. The camera follows the masked robbers through steady shots and dollies. Editing cuts between teams rapidly to build urgency. Sound includes a fast-paced score and muffled diegetic voices and effects. Mise-en-scene features the robbers in dark suits and disturbing clown masks, contrasting the warmly-lit bank interior with the cool exterior. The final unmasking reveals the Joker, foreshadowing his twisted character.
The trailer introduces a young lawyer (Daniel Radcliffe) who travels to a remote village in the early 1900s to investigate a case. He discovers that the village is being terrorized by the vengeful ghost of a scorned woman. The trailer builds tension through disturbing images and unsettling sounds, hinting at paranormal terror without revealing too much of the plot. It effectively sets up the period setting and ominous atmosphere for the horror thriller.
Maaz Tabrez created a suspense film for a class project. They followed conventions of the genre like using low key lighting and non-diegetic sound to create suspense. The film addresses the social issue of kidnapping and violence. If distributed commercially, Maaz would partner with Warner Bros due to their success in the suspense genre. Through the project, Maaz developed skills like camera angles, lighting techniques, editing, and integrating technologies like movie making software, online sound effects, and creating a blog to share their work.
1) The document provides an analysis of a film clip from the thriller movie "Disturbia" directed by D.J. Caruso, which was inspired by Alfred Hitchcock's "Rear Window."
2) Various film techniques are discussed including mise-en-scene, camera work, editing, and sound design. Mise-en-scene establishes the domestic setting and shifts in character comfort levels. Shots include close-ups, medium shots, pans, and high angles.
3) Editing cuts between shots quickly to create a pulse-pounding sense of panic, and diegetic and non-diegetic sounds make the audience uncomfortable and enhance the on-screen actions.
The document provides a pre-production assessment for a digital media text project. It outlines the following:
- Locations will primarily be the student's house but may include York city center and Scarborough seafront. Permission is only needed from the student's parents.
- Equipment includes a camera, batteries, memory card booked from college. A GoPro may also be used.
- Facilities include editing software at college as it is not available at home.
- The student will be the sole crew member taking on directing, writing, camera operation, and acting roles. Friends may feature if other locations are used.
- Plans include story structure, shot lists, sound effects, thumbnails
Prod management production template stage 3 2015Robert Ryan
This document outlines the production process for a short black and white film. It discusses shooting the film at the filmmaker's house to avoid location fees. It details the shot list, storyboards, and scheduling of shooting over one weekend. Post-production plans include editing in Adobe Premiere, addressing lighting and audio issues, and adding a soundtrack composed in GarageBand using church bells to set an atmospheric tone for the thriller genre. Reshoots were required to fix technical issues like incorrect frame rates and missing shots.
The document provides a template and guidance for creating a PowerPoint presentation to plan the production of a short film, including sections for visual planning with storyboards and shot lists, organizational planning of crew and locations, and soundtrack planning with suggestions for recorded audio effects and music cues. Students are instructed to customize the template for their own project by adding details in each section to fully break down and pre-visualize their film.
This PowerPoint template is designed to help plan a short film production. It includes sections for developing the story, visual planning, organizational planning, location information, risk assessments, schedules, and sound design. The document provides guidance on pre-visualizing the film through storyboards and shot lists. It also includes templates for call sheets, risk assessments, and contingency planning. Completing this template will help thoroughly plan all elements of the short film production before filming.
The document provides details about the pre-production for a film called KISS. It outlines the concept of the film, which is based on an urban legend involving a nun who appears to wear either a white or black habit depending on which side of the village she is seen from. Location details are provided for two convents - Whiteladies, which is now a ruin, and Blackladies, which is now a private house. The document also discusses style sheets for color and images to influence the final piece, as well as fonts and titles being considered for the film. Hardware and software needs are outlined, along with potential layouts, storyboards, character posters, and technical considerations like props, locations, and contingency planning
Hannah Wilkinson is planning a pre-production for her short film. She will film scenes at her house in Tadcaster and in her backyard garden. She will also film scenes at Towton along the battlefields walk. Hannah will be the sole crew member and will have two actors, Ellie Wilson and Leo Thompson. Hannah has created storyboards, shot lists, and schedules her two week production between the 6th and 25th of April. She has also addressed potential health and safety issues and obtained permissions for her locations and from her actors.
The document provides guidance on basic filmmaking concepts for documentary filmmaking. It covers composition basics like following the rule of thirds and ensuring proper headroom. It also discusses technical settings, lighting, camera angles, establishing shots, camera movement, audio, and legal and editing considerations. The goal is to help novice filmmakers arrange visually compelling shots and tell a story through different shot types while ensuring proper exposure, sound quality, and legal permissions.
Here is a suggested production schedule for your film:
Date Workflow Activity To be completed by this date
21/03/22 Pre-production Storyboards, shot lists, location scout, props/costumes 21/03/22
22/03/22 Filming Day 1 - Interior kitchen shots with doughnut 22/03/22
23/03/22 Filming Day 2 - Close up shots of doughnut, POV shots 23/03/22
24/03/22 Filming Day 3 - Stunt/action shots of doughnut 24/03/22
25/03/22 Post-production Rough cut assembled 25/03/22
28/03/22 Post-production Fine cut with
The document discusses research and experiments for a music video production. It includes research on production techniques from 3 example music videos and analysis of their camerawork, editing, storytelling and sound. Experiments with camera angles and editing music to fit a narrative are described. Reflections note that steady shots on a tripod and selective editing of music will be applied to the final video.
The document summarizes the student's research and experiments for their music video project. It includes researching production techniques from 3 example music videos and assessing their relevance. Experiments with camera angles, editing footage to the beat, and cutting music are summarized. The student reflects on including fast-paced action to engage their target audience and using a narrative to make the video more interesting than just dancing.
This document provides a template and guidelines for a stage 2 production management proposal and pitch. It outlines sections to include such as a synopsis, market fit analysis, character details, target audience, locations, resources, crew requirements, cast requirements, and budget. The proposal is meant to summarize the research and planning from stage 1 to provide all necessary information for the proposed film project in a clear structure. It will form the basis of a video pitch presentation.
The document provides planning details for the production of a music video, including visual planning, storyboarding, and organizing logistics. It outlines establishing the relationship between visuals and music, pre-visualizing concepts, and structuring the video according to the song. Storyboards and a shot list are included to visualize the narrative and filming sequence. Production roles and contact information are defined, and potential indoor and outdoor filming locations on campus are proposed, along with contingencies.
The document provides planning details for the production of a music video. It includes instructions on visual planning through pre-visualization, storyboarding, and developing a shot list. Examples are given for a concept board and structural breakdown of the video. Locations and roles for cast and crew are outlined. The visual plan involves shots of a character wrongly accused in court, breaking down in a prison cell, escaping with friends, and fleeing by plane. Filming is scheduled for a college studio and field with backup plans in case of issues.
Cinematography techniques involve different types of camera shots that convey meaning through framing and movement. There are long shots that show the full context and close-ups that reveal intimate details. Shots are defined by their size (extreme long shot to close-up), focus, angle, and movement. The choice of shots shapes how viewers relate to and understand the subject. Effective cinematography uses various shots to visually enhance a film's story, characters, and themes.
The document analyzes and provides feedback on three student film trailers:
1) "Trapped" - The analysis criticizes the trailer for not clearly explaining the narrative and having shaky camera work.
2) "The 11th Day" - Praised for its clear narrative, shot selection, special effects, and music. Some extra footage was deemed too much.
3) "Fragments" - Commended for its music, editing, and ghost costume/props. However, the narrative was too revealed and titles needed improvement.
Overall, the student trailers showed mixed quality but provided lessons on both effective and ineffective techniques.
The document provides guidance for stage 2 of a music video production project which involves researching production techniques and experimenting with them. It discusses experimenting with motion tracking text in After Effects, cloning actors using masking in Premiere Pro, and using transitions between shots by masking actors walking through scenes. The experiments showed that motion tracking works best with carefully framed shots, cloning requires matching lighting and colors, and transitions need precise masking and framing to flow smoothly. The techniques of motion tracking text and transitions between shots will likely be incorporated into the final music video.
The document discusses storyboarding for visual storytelling. It explains that storyboards are used to plan film and video projects shot by shot, including camera angles and movements. Storyboards help convey narrative flow and solve technical and creative challenges. They make projects more efficient by saving time and money. Key aspects of storyboarding covered include scenes versus shots, different framing techniques like close-ups and long shots, and camera angles and motions.
The trailer uses various film techniques to build tension and scare the audience. Low key lighting creates a dark, scary atmosphere. Strange sounds from a baby monitor build unease. Fast editing during panic scenes heightens tension. A rocking horse rocking on its own and a boy's fall, emphasized with repetition, foreshadow disturbing events. Camerawork like close-ups and high angles provide clues while a handheld shot at the end adds confusion. These techniques establish an unsettling tone and intrigue viewers about the horror to come.
Similar to Prod management production template stage 3 2015 1 (20)
The document discusses passive and active consumption of media. Passive consumption is when audiences accept media messages without questioning. The hypodermic needle model suggests audiences will passively believe what they are told. Active consumption is when audiences engage more critically with media. The uses and gratifications theory holds that people seek out media to fulfill needs like information and entertainment. Reception theory says messages can be interpreted differently based on individual factors. Spectatorship looks at each viewer's unique relationship to films. The document also provides examples and analyses of these concepts.
Production management evaluation 2015 (1)EthanPayne
This document provides an evaluation of a student's film production project. It includes questions about pre-production, production, post-production, scheduling, individual and team performance, troubleshooting, resources, production techniques, monitoring progress, early versions of the film, and an assessment of the final film. The student provides detailed responses analyzing their process and outcomes for each stage of the project, noting what went well and areas for improvement. Specifically, they note green screen effects and gathering additional footage as challenges that could be improved upon for future projects.
The document provides guidance for two assignments on corporate and promotional video production. It discusses various codes, conventions, styles, and techniques used in corporate videos including transitions, language/script, shooting techniques, voiceovers, logos, titles, unique selling points, cutaways, interviews, music, and graphics. It also outlines requirements for the second assignment to analyze two corporate videos in detail, identifying their message, style, target audience, production practices, and any legal or ethical issues.
The document provides an overview of stage 1 of a film production project focused on idea generation and research. The proposed idea is a fantasy film about a teenage witch whose laundry spell goes wrong and causes her clothes to come to life. Primary and secondary audience research was conducted targeting a family demographic. Considerations around resources, constraints, and project management were discussed. Test shoots exploring green screen and magic wand visual effects were presented along with notes on refinements needed. No major changes to the idea were deemed necessary at this stage of development.
[Pro forma] corporate - live project evaluationEthanPayne
- The document discusses organizing footage and audio files from a corporate video production into separate folders for easier locating of shots during editing.
- When editing, the author adjusted the color grading of shots to look more saturated and cool-toned, fitting with the choice of soundtrack.
- Feedback from peers and tutors suggested shortening the length by reducing establishment footage and balancing it with the interview footage. The client was pleased with the final video.
The document discusses various types of briefs that can be used for media projects, including contractual, formal, informal, co-operative, negotiated, tender, and competition briefs. It outlines the definitions, advantages, and disadvantages of each brief type. The document also discusses the importance of thoroughly reading the brief, negotiating and discussing the brief with the client prior to production, and potential legal/ethical issues that may arise during brief negotiations.
The document is a letter from two students, Natalie Lynch and Ethan Payne, to the company GasWise offering to create a promotional video for them as part of their coursework, which would benefit both parties. They provide some background on their course and ask GasWise to get in touch if interested so they can discuss the project further.
The poster depicts Harry Potter and his friends in an intense battle scene at Hogwarts to represent the climactic events of the film. Dark colors and serious expressions establish a somber tone for the final installment. The trailer features dramatic music and intense action scenes from the climactic battle to make audiences feel empathetic and on edge. Daniel Radcliffe's interview, discussing his character development and important scenes, aims to make the actor seem relatable to young fans. The marketing strategy involved releasing trailers in advance, conducting daytime interviews, and leveraging the large existing fanbase through franchise tie-ins.
This document summarizes and compares three kaiju films: Godzilla (2014), Colossal (2016), and Attack the Block (2011). It discusses the directors, budgets, box office performances, themes explored, use of star power, and social/political contexts of each film. Godzilla had the largest budget at $225 million while Attack the Block had the smallest at $8 million. Both Colossal and Attack the Block addressed sensitive social issues through their monster metaphors, though in different tones (comedy vs serious).
The document provides planning details for a series of idents for a fictional arts and progressive channel. It includes concepts for 3 idents featuring a cat, dancer, and pianist interacting with animated graphics. Motion graphics and compositing techniques like tracking shapes to the subject and merging footage and animations are described. Ident 2, featuring a dancer, is selected for production due to its artistic theme fitting the channel and viability of filming techniques. Sound and pre-production planning like storyboards, timescales, and risk assessments are also outlined.
The document is a reflection from a student on their graphic narrative project. They discuss how their final product aligned with their original proposal and intentions. They intended to make 10 pages but ended up with 9 after merging two pages. Their story plot stayed the same. They used techniques like rotoscoping as intended but did not rely on it as much as expected. They felt their images clearly conveyed the story well but some pages were too busy. The text mostly anchored the images well except for a few pages. Overall, they felt their book was suitable for the 3-6 year old audience.
This document discusses television idents and their design and purpose. It analyzes idents from several UK channels including BBC1, BBC2, ITV, Channel 4, and Channel 5. For each channel, it examines elements of the idents like visual style, color palette, target audience, and how well the idents achieve branding and identity. It finds that channels aimed at broader audiences like Channel 4 use more abstract, colorful idents while BBC1's simpler idents are well suited to its mature audience. The document also considers opportunities and limitations channels face in crafting idents, and issues around content appropriateness and continuity announcers.
This production log documents the process of creating a music video. Filming went well, though some technical issues arose with equipment. Locations and personnel worked out as planned. During editing, footage was organized into folders and imported into Premiere Pro. Basic assembly, refinement, color correction, and effects were applied before exporting the final video file. Throughout, screenshots with annotations were used to illustrate decisions, challenges, and progress.
Film editing has evolved significantly since early films. Early films used long continuous shots due to technology limitations, but editing techniques later developed like montage to progress the story without irrelevant footage. Editing establishes relationships between shots through time, space, picture, and rhythm. The 'Hollywood method' of continuity editing became prevalent as it helped audiences follow the story through consistent angles. Parallel editing and shot-reverse-shot are effective techniques that show simultaneous or related events. Editing techniques like fades and ellipses imply jumps in time without explicitly showing them. Modern editing has become more rapid through 'intensified continuity.'
The document provides guidance for a music video production assignment, including research on existing music videos, idea generation, pre-production planning, and visual planning. Key aspects covered include generating 3 initial ideas, researching 5 existing music videos, selecting a final song and concept, creating a budget, scheduling production, and developing pre-visualization materials like concept boards and storyboards.
Film editing has evolved significantly since early films. Early films used long continuous shots due to technology limitations, but editing techniques later developed like montage to progress the story without irrelevant footage. Key techniques include match cuts, jump cuts, and cross cuts. Editing also aims to maintain spatial and temporal continuity through techniques like shot reverse shot and the 180-degree rule. Parallel editing and intensified continuity further advanced storytelling by showing simultaneous events or quick cuts between shots. Overall, editing has become more sophisticated to immerse viewers in complex narratives.
I will need an assistant to operate a second camera during the
studio shoot. I will pay them £50 for the day.
Cast:
I will need one actor for my music video. I will pay them £50 for
the day.
Myself:
I will be directing, producing and editing the music video. I will
not charge myself a fee as this is for my university coursework.
Total Personnel Costs = £150
The document is a reflection by a student on their graphic narrative project. They discuss how their final product aligned with their original proposal and intentions. They intended to make 10 pages but ended up with 9, merging two pages. The story plot stayed the same. They used rotoscoping as intended but less than expected. They experimented with background techniques like paisley patterns instead of collage as originally proposed. Overall they felt their final product closely matched the goals in their proposal.
The document discusses narrative structure and components. It examines whether a narrative is linear or non-linear, open or closed, single or multi-stranded, and realist or anti-realist. It also analyzes the narrative components used in the author's story "The Grey Caterpillar", including an opening to establish setting and characters, a conflict involving bullying, a resolution where the caterpillar accepts being different, and a climax with heightened conflict. The author also condensed time during the cocoon stage.
This document discusses different types of digital file formats including raster graphics, vector graphics, and various file formats such as JPEG, GIF, TIFF, PSD, AI, and others. It provides information on their uses, advantages, and disadvantages. Key topics covered include image capture methods, file size optimization, storage considerations, and asset management best practices like using clear naming conventions and organizing files into folders.
Modern Radio Frequency Access Control Systems: The Key to Efficiency and SafetyAITIX LLC
Today's fast-paced environment worries companies of all sizes about efficiency and security. Businesses are constantly looking for new and better solutions to solve their problems, whether it's data security or facility access. RFID for access control technologies have revolutionized this.
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
_7 OTT App Builders to Support the Development of Your Video Applications_.pdfMega P
Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
Unveiling Paul Haggis Shaping Cinema Through Diversity. .pdfkenid14983
Paul Haggis is undoubtedly a visionary filmmaker whose work has not only shaped cinema but has also pushed boundaries when it comes to diversity and representation within the industry. From his thought-provoking scripts to his engaging directorial style, Haggis has become a prominent figure in the world of film.
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Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
2. Guidance
• This template PowerPoint presentation includes all the relevant
elements you need to cover your film production.
• It is suggested you save this PP in a different name so you always
have a copy – some sections require you to delete the information on
the slide and replace with your own work
• Add more pages to each section where necessary [you should be
doing this!]
• Add visuals as you see necessary
• This document will be added to as you progress through the pre-
production phase.
4. Pre-Production: Visual Planning
• This section is concerned with the visual planning of your film
• You should use this section to develop the sequencing or your video,
establish the visuals look and sequencing of your film and create a
structure for you to follow when filming
• It is important that you ‘pre-visualise’ the film before you make it; it
will make filming and production a more streamlined process
• The following tasks are part of your visual planning
• Pre-visualisation and concept boards
• Storyboarding
• Shot list
5. Pre-visualisation/Concept Boards
• Tool for exploring the direction and visuals
• Provides inspiration and information for the “look & feel”
• Presents key moments in your video
• A means to sketch/plan ideas
• Information on colour/lighting
• Defining the “mise-en-scene”
• Include as much here as you like, but keep it relevant to the
production, the following slides have been left blank for you to
approach in your own way, add more as you need to
• Suggestion: include your edited short sequence of clips that have
inspired or influenced your video [similar to this:
http://io9.com/5941145/this-directors-video-pitch-for-hunger-
games-might-be-better-than-the-real-movie]
7. Concept Board
• My concept board consists of images and colour palettes that I want to include in
my film. The beginning of the concept board shows many images showing
Halloween themed things such as pumpkins, trick or treaters, a night sky and the
deconstructed costume of a witch etc. These kind of visuals are what I am going
to have in my film. My protagonist is going to wear clothes and carry objects
similar to what is seen in my concept board. Also I am going to create an opening
credit sequence that displays pumpkins and Halloween candles. In my concept
board I have consisted images of floating clothes. This is the main plot to my
story in which the witch accidently makes her laundry come to life. These images
reflect what I want my floating clothes to look like.
• Further towards the bottom of my concept board I have started to show some
ideas of colour wheel and palettes. I have decided to use a very blue and purple
toned colour palette for my film as I feel this reflects the fantasy genre
accurately. However some of my scenes are going to be shot outside therefore
slight tones of green will be added into certain shots.
8. Storyboarding
• Your storyboard should bring your idea to life
• Provide an idea of the sequencing of you film
• Provides a basis for production
• Suggested online storyboard creators are:
• https://www.storyboardthat.com
• http://www.pixton.com [very complicated]
• http://www.storyjumper.com [allows you to insert your own images]
• Alternatively, hand draw or photograph your storyboard and scan or
copy to insert it onto your slides
• There are lots of tips collected together on Blackboard!
9.
10.
11. Shot List
• Your shot list should contain the sequential breakdown of what you
need to shoot for your film
• It should work in partnership with your storyboard
• It will be your working document when you film
• It should contain the shot number, scene number, shot description,
framing, cast/location info and action you will see
• It should also have information on performers in the scene and other
props, etc
• Shot list template is on Blackboard in the pre-production folder.
12. Scene 1 Location – Potion Room (My house)
1 Close up, straight angled, still camera shot of pumpkin. Opening
credits.
2 Close up. Straight angled, still camera shot of candle inside pumpkin.
Opening credits.
3 Close up, straight angled, zoom shot into pumpkins mouth. Opening
credits.
4 Medium side tracking shot of witch brewing potion in potion room.
5 Diagonal pan shot of witch brewing potion.
6 Extremely close up of cauldron, diagonal pan from cauldron to witches
face. Fade to black.
7 Close up of witches feet walking down the stairs. Slow motion.
8 Close up of witch walking through door to small kitchen room. Slow
motion.
9 Close up tracking shot of witch opening front door. Slow motion and
fades to black.
10 Blank white shot with soundtrack playing overtop. Beginning of audio
of with opening the door.
11 Fading in to shot of trick or treater. Medium still shot of child, high
angled.
12 Medium, low angled shot of witch talking to child.
13 Medium, high angled shot of child taking treat from the witch.
14 Medium, high angled shot of witch saying “Happy Halloween”.
15 Long, straight angled and still camera establishing shot of location
displaying title of film.
13. Scene 1 Location – Potion Room (My house)
16 Low level medium shot of witches legs walking back to her cauldron.
17 Still camera, high angled medium shot of cauldron while witch brews
her potion.
18 Still camera, medium shot of witch jumping back while potion
explodes.
19 Low angled, medium shot of witch pouring potion over clothes.
20 High angled, medium shot of potion falling onto clothes.
21 Medium shot of clothes coming to life. Slow motion, still camera and
straight angled/
22 Medium close up of witch turning head in shock. Straight angled, still
camera and slow motion.
23 Panning medium shot of clothes floating around the hallway. Straight
angled.
24 Still medium shot of hallway while clothes walk in and out of doorways.
25 Medium still camera shot of witches cat walking into the hallway and
running away frightened. Slow motion and straight angled.
26 Slow motion, outward zoom shot of witch running towards the
camera. Slow motion.
27 Medium high angle shot of magic book turning pages. Still camera.
28 Medium high angle shot of cauldron.
29 Blank black background with soundtrack playing, loud and slow knock
on the door plays over the shot.
30 Extreme close up shot of second trick or treater.
14. Scene 1 Location – Potion Room (My house)
31 Medium low angle shot of door opening and a floating t-shirt floats
towards the child.
32 Slow motion medium shot of witch running into the room and casting a
spell to reverse the curse. Slow motion, fades to black.
33 Slow motion, still camera, medium shot of floating clothes falling to the
ground. Slow motion fades to black.
34 Ending credits. Directed by Ethan Payne. Fade in and out from black
background.
35 Ending credits. Starring Katie Hair Morse. Fade in and out from black
background.
36 Ending credits. Starring Flynn Payne. Fade in and out from black
background.
37 Ending Credits. Starring Frankie Hall. Fade in and out from black
background.
38 Long shot of trick or treater running through forest. Still camera and
straight on angle.
39 Close up, tracking shot of child legs running. Side angle.
40 Still, medium shot of magic socks running after him through forest. Still
camera, straight angle. Fades to black.
16. Production Group Info
Name Contact Info Role Stage
Ethan Payne Ethan-
Payne@student.yorkcolleg
e.ac.uk
Director, Writer, Editor Pre production,
production and post
production.
Katie Hair-Morse Katie-
Morse@student.yorkcolleg
e.ac.uk
Actor Production
Frankie Hall Francessca-
Hall@student.yorkcollege.
ac.uk
Audio operator and green
screen actor
Production
Flynn Payne N/A Actor Production
17. Location information • Filming location will be at my house. Three rooms
are needed to be used for this, the utility room, the
games room and the first floor landing. The house
is guaranteed to be empty therefore there will be
no issues moving furniture, pictures and setting up
equipment. The reason I have chosen my house to
film is because I have a 24 hour accessibility for
filming and there is a lot of space to film.
• In the first room, the utility room, is a very small
room. There is not room for large amount of
equipment and a lot of crew and cast members.
The back door is going to need to be used for
access to equipment and lighting and for the audio
operator.
• The second room is very large and I will only be
using a small area of it therefore there is plenty of
room for all cast, crew and equipment.
• The third room is the hallway which means it is not
only extremely spacious for cast and crew but there
are several door leading to different rooms where
equipment can be stored and wires can be lead out
of the way to decrease safety risks.
• As you can see in the diagram I have drawn, I have
demonstrated where will be placing the camera,
lighting, cast and crew in the second room. This
gives you an idea of what my layout will look like on
an average throughout production.
18. Risk Assessment
Risk What it imposes How I am going to overcome
this
Severity level - /10
Glass pictures could be dropped
and smashed when removing
them from the wall.
Members of cast or crew could
cut themselves on bits of broken
glass.
Take all pictures down slowly and
with care and wear gloves.
9
Loose wires and cables laying
about.
Can become a tripping hazard for
cast and crew.
Make sure all wires are tucked
away and away from open space.
5
Large parts of equipment can fall
on cast or crew members.
Can injure members of cast and
crew.
Make sure all equipment is lay on
the floor and unable to fall from a
height.
7
Behavior of cat. Could be frightened by situation
causing it to bite or scratch.
Feed cat and only film if the cat is
comfortable and relaxed.
4
Electrical supplies around water.
The camera and wires around
cauldron filled with water.
Water would be spilt onto wires
and camera, electric shocks and
slipping could occur.
Make sure camera and wires are
used and kept well away from any
water. Empty water when not
shooting.
7
Hazardous substances Working with hair chemicals for
potions could get into actors eyes.
Always wash hands between
takes and carefully handle hair
chemicals.
5
Lighting bulbs could become hot. Burning hands on bulbs when
moving lights.
Wear gloves whenever moving
lighting and switch off lights
between takes.
6
Carrying equipment up and down
stairs.
Equipment could be dropped onto
another person or wires could be
tripped over.
Carry equipment up and down
stairs in stages and go one person
at a time.
6
Camera and/or computer could
fall from desk onto person.
Injuring of legs, feet or even
hands.
Keep computer of camera away
from cable edge and detach
headphone when walking away.
4
19. Contingency Planning
Problem Effect on production Solution/ control Person responsible
Camera battery could die. Unable to finish filming. Bring a charger and/or and spare
battery.
Ethan Payne
Tripod, slider or shoulder mount
could break.
Unable to create shots I planned
to create.
Create alternative ways to
produce the shots planned.
Ethan Payne
Faulty SD card. Footage may not be able to be
stored.
Bring extra SD cards. Ethan Payne
Cast or crew could pull out last
minute.
Not have enough people needed
to produce the film.
Hire back up cast and crew
members that can film on late
notice.
Ethan Payne
Weather. Could rain or storm
when needing to film outside.
Not be able to shoot half of the
film.
Organize alternative days that
could be used for production.
Ethan Payne
Cast and crew arrive on location
and different times.
People having to wait around for
others and wasting.
All travel to location together or
organize a set time to arrive and
leave.
Ethan Payne
SD card could run out of
memory.
Unable to finish filming. Bring extra SD cards. Ethan Payne
Transport for cast and crew may
be late.
Loosing production time and not
being able to finish.
Ensure other means of transport
are available.
Ethan Payne
Costumes or props may not be
brought to location/ studio.
Having gaps in film and
disrupting visuals.
Bring back up props and
costumes or have alternative
items.
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Costumes or props ordered
online do not arrive in time.
Having gaps in film and
disrupting visuals.
Bring back up props and
costumes or have alternative
items.
Ethan Payne
20. Production Schedule
Date Part of production being carried out.
Tuesday 22nd May Filming on location. Shooting scenes one, two and three
through until the half way point of the film.
Wednesday 23rd May Filming on location again. Shooting scenes four, five and
six through until the end of the film.
Thursday the 24th May Filming in the studio during the first hour of the
morning. Shooting the laundry with the green screen
and morph suit for scene three.
Friday the 25th May Filming in the studio during the first hour of the
morning. Shooting the laundry with the green screen
and morph suit for scene four, five and six.
23. File name Will this shot be used? (Y/N) Why?
Clip0.m4v N The side track wasn’t smooth enough.
Clip1.m4v Y The side track was smooth.
Clip6.m4v N The end of the shot was not in focus.
Clip7.m4v Y The shot was smooth and focused.
Clip8.m4v N Actor did not react how I wanted.
Clip9.m4v Y Actor reacted how I wanted.
Clip11.m4v Y Different angle to add depth to scene.
Clip13.m4v Y The shot is framed perfectly.
Clip15.m4v N Do not like the way the actor moves.
Clip16.m4v Y Actor moved slower and smoother.
Clip17.m4v Y Extra shot of laundry.
Clip18.m4v N The angles is not quite right.
Clip19.m4v N Good angle and steady camera.
Clip20.m4v N Timed inaccurately to work smoothly.
Clip21.m4v Y Timed perfectly with the props.
Clip22.m4v Y Lighting was used nicely.
Clip23.m4v N Camera moves too slowly.
Clip24.m4v N Camera moves too quickly
Clip25.m4v Y Camera moves at perfect speed.
Clip26.m4v N Not in focus for entire take.
24. File name Will this shot be used? (Y/N) Why?
Clip27.m4v N This shot is out of focus.
Clip28.m4v N This shot is out of focus.
Clip29.m4v N Actor moves too fast for the camera.
Clip29.m4v N Actor stands up out of frame.
Clip30.m4v N Lighting needs to be readjusted.
Clip31.m4v Y Lighting was perfect.
Clip32.m4v Y Outward zoom was smooth.
Clip33.m4v N Cat did not react when needed.
Clip34.m4v Y Can reacted perfectly and in time.
Clip35.m4v N Cat would not walk out of door frame.
Clip36.m4v N Cat would not walk out of door frame.
Clip37.m4v Y Cat would out of door frame in shot.
Clip38.m4v Y Panning shot was smooth.
Clip39.m4v N Extreme close up was not in focus.
Clip40.m4v Y Extreme close up was in focus.
Clip41.m4v N Actors hat fell off while running.
Clip42.m4v N Actors hat fell off while running.
Clip43.m4v N Actors hat fell off while running.
Clip44.m4v Y Actor ran into frame easily.
Clip45.m4v N Camera died mid way through shot.
25. File name Will this shot be used? (Y/N) Why?
Clip46.m4v N This shot is out of focus.
Clip47.m4v N This shot is out of focus.
Clip48.m4v N Actor moves too fast for the camera.
Clip49.m4v N Actor stands up out of frame.
Clip50.m4v N Lighting needs to be readjusted.
Clip51.m4v Y Lighting was perfect.
Clip52.m4v Y Outward zoom was smooth.
Clip53.m4v N Cat did not react when needed.
Clip54.m4v N Child actor would not stand still.
Clip55.m4v N Child actor ran the wrong way.
Clip56.m4v Y Child actor followed direction well.
27. For the shots where a potion was in
the frame I used two different layers
of effect. I have a smoke effect and a
magic particle effect. I started with the
smoke layer and used the keylight tool
to eliminate the background. After this
I tampered with the brightness and
contrast of the layer and the opacity
to match the tones of the footage.
Once I was happy with the visual look
of the smoke I added in my key framed
and tracked the layer along with the
cauldron as the shot side tracks. This
gave the illusion the that the smoke
was rising from the cauldron.
Finally was the magic particle layers.
Just like the smoke layer, I tampered
with the tones of the particles, the
size, spread, colour and opacity of the
particles, then tracked them along
with the smoke using key frames.
28. This shot was a little more
complicated. This shot was filmed in
the middle of the day, therefore the
original lighting and sky appeared day
time. To achieve the night time sky I
created a sky replacement in
Photoshop using a jpeg image of this
frame. Once I had achieved the sky
replacement I erased the bottom half
of the photo, this is because the witch
is still moving by the door in the
bottom right corner therefore I
wanted to be able to still see that.
Next I aligned the sky replacement
over the footage so the proportions
matched and then used RGB Curves to
match the tones of the footage to the
image. Once the footage appeared
nighttime I took the stock green
screen footage of bats, used the
keylight effect to eliminate the
background and framed them to they
cam flying from the night sky into the
camera.
29. This sparkle effect was achieved by
using the CC Particle World effect in
the effects tab. To achieve this I
started with the base effect, I had to
go into the effects tabs and change the
birth rate, the longevity, the gravity of
the particles and the way the particles
moved. Then by turning on the
position X and Y keyframes I was able
to move the starting point of the
falling particles along with the actors
hand frame by frame. Next I wanted to
create my own style of particle, this
was achieved by making my own
composition and replacing the original
particles with my own. Finally to finish
this off was to add a small flicker
which was done by adding an
expression to the particle I created
and typing in “wiggle(15, 40). This
allows the particle to appear like it is
flickering and the numbers determine
how aggressively it flickers.
30. This is the effect I created to make the
clothes appear as if they are floating.
To achieve this I got an actor to stand
in front of a greens screen wearing a
same coloured green morph suit. The
actor wore different clothes over top.
Once in after effects I used the
keylight tool to eliminate all green
background so only the clothes were
left. I did this with several different
layers of clothes to make the room
look more full of clothes. To make the
trousers look like they were walking
out of the doorway, I duplicated that
specific layer, created a mask around
the door I wanted them to walk out of,
then I inverted the mask layer so all
the inside areas were eliminated and
when the trousers came out of the
mask it looked as if they were walking
out of the door. Finally I added
another basic smoke effect, but blue
to show that this is the magic spell.
31. Because my film is set on the evening of Halloween
night, I needed to change my colour grading to give
the illusion it was filmed at night. To do this I used RGB
Curves in the effects menu. I started by darkening the
footage as at night, natural light would be limited.
Then I ever so slightly eliminated the red tones in the
footage and amplified the blue tones of the footage.
This does not only give a night time effect but the
colour palette fits with the fantasy genre.
Below is a screen shot of some audio I had been
editing. I have chosen to use no original audio and
create all my own sounds as there is no dialogue. As
you can see I have layered three layers of different
types of audio to give depth to the footage. Going
along in production I will most probably add more
layers to make it as realistic sounding as possible.
33. For my film I am using three different soundtracks. One is a Halloween themed
upbeat soundtrack, another is a Halloween themed intense and dramatic piece of
music and finally the third is a dramatic piece of percussion music to ad drama and
suspense in my film. There are different stages at which I am going to use these
three pieces of music. Firstly I am going to use the more upbeat soundtrack at the
beginning of the film. I am going to use it here as no dramatic scenes have
occurred yet and the audience is still waiting for a crisis within the storyline. After
scene 2, I am going to introduce the more intense and dramatic piece of
Halloween music. When the clothes start to come to life this piece of music will be
played and it will add a tone to the footage. This will start getting the audience
excited. When the final third of the film comes, the dramatic percussion music will
be added. This is a piece of music that can be used to build up a dramatic moment
for several seconds. Because this piece of music is percussion only, it will also fit
over the intense Halloween piece. If I am going to overlap the two pieces of music
I am going to have to tamper with the tempo of both pieces so the rhythm of the
music fits with one an other.
https://www.youtube.com/watch?v=wrNLUIfLC_k
https://www.youtube.com/watch?v=FOSOcDvbcyc
https://www.youtube.com/watch?v=nWOixCO1MC0