The document outlines a shot list for a music video containing 56 shots. It describes the shot type, camera movement, action, and mise-en-scene details for scenes involving a girl in a studio and field, and her interactions with a horse and man. Many shots involve the girl in a flowing dress with her hair blowing in the wind against misty, frosty backgrounds. Shots 35-50 repeat shots 17-29. Shots 55-56 will feature the girl and man walking toward each other, intercut with repeated shots from 17-29.
The document outlines 52 shots for a film depicting a girl reminiscing about a lost love. Many shots feature the girl in a misty field, wearing a floaty dress with her hair blowing in the wind. There are also shots of a horse for symbolism. Repeating shots include silhouettes of the girl in a studio and her crouching with her hands over her face. The shots culminate with the man appearing through smoke in the field.
The Representation of the White Working Class in EastendersGiggleMeTimbers
In a British soap opera episode from December 9th, 2011, the mis en scene representation of men and women shows the male character towering over and taking up more space than the smiling female, wearing a suit and looking businesslike compared to her plain denim jacket and blonde hair. The male is shown frowning and looking harsh and menacing while speaking down to and bringing up the woman's past, hinting she was a stripper, as the natural lighting captures their interaction.
1. The majority of the trailer will be filmed in Ashtead Village's high street due to its proximity to the school and ease of filming. Various shots of the shops and buildings from the street will be used to set the scene.
2. The body of filming will take place on the right side of the high street, which offers a variety of scenery needed for different themes. Tracking and panning shots will follow the main character.
3. Potential hazards of filming in a public location include recording people without consent and traffic. The filmmakers will be cautious of traffic and obtained permission from the local council to film, as indicated by the letter.
The document analyzes how gender is portrayed in the television show Primeval. It argues that women are often depicted as manipulative and controlling, while men are shown as straightforward and powerful. Specifically, it notes that in one scene a woman's voice conveys panic and blame towards a man. The camera angles also position the man as having authority over the woman. However, the document also points out examples that challenge typical gender stereotypes, such as a male character engaging in nurturing behavior and a woman operating heavy machinery. Overall, the document examines the contrasting portrayals of masculinity and femininity in Primeval.
This document provides an analysis of two soap opera trailers from EastEnders and Emmerdale. For the EastEnders trailer, the summary analyzes the use of verbal codes like dialogue that conveys a dilemma, and non-verbal codes like sinister lighting used for a villainous character. Technical codes like close-ups are also discussed. For the Emmerdale trailer, verbal codes like an aggressive female character and a gunshot are summarized, along with non-verbal codes of sad facial expressions and isolation through lighting. Technical codes of close-ups and shot reverse shots showing conflicts are also mentioned. The document evaluates the strengths of each trailer and discusses elements that could be repeated or exploited in other trailers.
The document describes 13 scenes from portrait photography sessions. Each scene provides details on mise-en-scene, sound, lighting, representations of Britishness, and stereotypes portrayed. The subjects include families, individuals of various backgrounds and ages, pets, and groups posing formally and informally. Common themes are British cultural norms around family, formality of dress, and stereotypes related to class, occupation, gender, age, and ethnicity.
This document analyzes 9 frames from the music video for the song "Girl all the bad guys want" by the band Bowling for Soup. It discusses the mise-en-scene, costumes, lighting, and narrative elements shown in each frame. Many of the frames show the band playing in a derelict building, with casual outfits and lighting that contrasts dark colors. Other frames introduce other characters and continue the narrative, sometimes showing more comedic elements that mock or ridicule the "bad guy" image portrayed in the song.
The document summarizes the opening sequences of four films - The Full Monty, Kill Bill Vol. 1, East is East, and Layer Cake. It includes radial analyses of shots from the opening scenes, examining elements like camera angles, lighting, costumes, and their intended meanings. The analyses are organized by film and include diagrams and descriptions of different shots as well as brief written summaries.
The document outlines 52 shots for a film depicting a girl reminiscing about a lost love. Many shots feature the girl in a misty field, wearing a floaty dress with her hair blowing in the wind. There are also shots of a horse for symbolism. Repeating shots include silhouettes of the girl in a studio and her crouching with her hands over her face. The shots culminate with the man appearing through smoke in the field.
The Representation of the White Working Class in EastendersGiggleMeTimbers
In a British soap opera episode from December 9th, 2011, the mis en scene representation of men and women shows the male character towering over and taking up more space than the smiling female, wearing a suit and looking businesslike compared to her plain denim jacket and blonde hair. The male is shown frowning and looking harsh and menacing while speaking down to and bringing up the woman's past, hinting she was a stripper, as the natural lighting captures their interaction.
1. The majority of the trailer will be filmed in Ashtead Village's high street due to its proximity to the school and ease of filming. Various shots of the shops and buildings from the street will be used to set the scene.
2. The body of filming will take place on the right side of the high street, which offers a variety of scenery needed for different themes. Tracking and panning shots will follow the main character.
3. Potential hazards of filming in a public location include recording people without consent and traffic. The filmmakers will be cautious of traffic and obtained permission from the local council to film, as indicated by the letter.
The document analyzes how gender is portrayed in the television show Primeval. It argues that women are often depicted as manipulative and controlling, while men are shown as straightforward and powerful. Specifically, it notes that in one scene a woman's voice conveys panic and blame towards a man. The camera angles also position the man as having authority over the woman. However, the document also points out examples that challenge typical gender stereotypes, such as a male character engaging in nurturing behavior and a woman operating heavy machinery. Overall, the document examines the contrasting portrayals of masculinity and femininity in Primeval.
This document provides an analysis of two soap opera trailers from EastEnders and Emmerdale. For the EastEnders trailer, the summary analyzes the use of verbal codes like dialogue that conveys a dilemma, and non-verbal codes like sinister lighting used for a villainous character. Technical codes like close-ups are also discussed. For the Emmerdale trailer, verbal codes like an aggressive female character and a gunshot are summarized, along with non-verbal codes of sad facial expressions and isolation through lighting. Technical codes of close-ups and shot reverse shots showing conflicts are also mentioned. The document evaluates the strengths of each trailer and discusses elements that could be repeated or exploited in other trailers.
The document describes 13 scenes from portrait photography sessions. Each scene provides details on mise-en-scene, sound, lighting, representations of Britishness, and stereotypes portrayed. The subjects include families, individuals of various backgrounds and ages, pets, and groups posing formally and informally. Common themes are British cultural norms around family, formality of dress, and stereotypes related to class, occupation, gender, age, and ethnicity.
This document analyzes 9 frames from the music video for the song "Girl all the bad guys want" by the band Bowling for Soup. It discusses the mise-en-scene, costumes, lighting, and narrative elements shown in each frame. Many of the frames show the band playing in a derelict building, with casual outfits and lighting that contrasts dark colors. Other frames introduce other characters and continue the narrative, sometimes showing more comedic elements that mock or ridicule the "bad guy" image portrayed in the song.
The document summarizes the opening sequences of four films - The Full Monty, Kill Bill Vol. 1, East is East, and Layer Cake. It includes radial analyses of shots from the opening scenes, examining elements like camera angles, lighting, costumes, and their intended meanings. The analyses are organized by film and include diagrams and descriptions of different shots as well as brief written summaries.
The document provides a textual analysis of two soap opera trailers:
1) A New Year's episode trailer for BBC's EastEnders focuses on verbal codes like dialogue conveying a dilemma and demands for the truth, as well as non-verbal codes like sinister lighting suggesting an evil protagonist.
2) A summer trailer for ITV's Emmerdale highlights verbal codes including an aggressive demand to stand up to a male character and a gunshot followed by a woman screaming "Dad!". Non-verbal codes show distraught facial expressions and low key lighting isolating a character.
Technical codes are also analyzed, like close-ups on characters' facial expressions in both trailers to draw in viewers wanting to understand the
This document provides analysis of several scenes from a film. It summarizes that the film shows characters rebelling against authority through acts like smoking and wearing disguises. A key scene shows the main character stealing a motorcycle, implying rebellion against society. Music and camera techniques are used to build tension during a bike ride. Interactions at a cafe then show cockiness and a taboo kiss, highlighting immature attitudes. A strange tiger sex scene follows, possibly linked to the African-style music but showing the character's childlike mind. Overall the analysis examines how the film portrays rebellion through the characters' actions and behaviors.
Lady Gaga's "Bad Romance" music video depicts her being kidnapped by supermodels and sold to the Russian mafia as a sex slave. The video uses various camera techniques, lighting effects, costumes, and sound to portray this storyline and show Gaga's journey from victim to empowered. It takes place in a white bathhouse setting and features Gaga in many elaborate and revealing outfits as she is auctioned off and eventually gains control over her situation.
Sam seeks revenge on Emma for killing his friend Kim by tracking her down and killing her. The film uses dark lighting, shadowy shots, and negative effects to create a spooky and mysterious tone as it tells the story of Sam beating and burying Emma alive on a property after knocking her unconscious. Focus groups provided feedback that the film should appeal to both men and women by making the lead character a woman, including some romantic elements, and using a dark and thrilling style influenced by shows like "Spooks".
The document summarizes Lady Gaga's music video for "Bad Romance". It describes the concept of Gaga being kidnapped and sold as a sex slave to the Russian mafia. It then analyzes the camera work, sound, costumes, lighting, colors, and props used throughout the video to portray this concept and Gaga's journey.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document analyzes several movie trailers and discusses conventions they use. It notes how the "Paper Towns" trailer uses slow motion shots of Margo to portray her as beautiful and establish intrigue. Transitions create mystery around her character. Relatable settings like suburbs and schools build verisimilitude. The "Hitman: Agent 47" trailer opens with a dramatic zoom on a barcode on the main character's neck, setting up intrigue. Costumes distinguish protagonists from antagonists. The "Maze Runner: Scorch Trials" trailer uses CGI to create a futuristic dystopia. Flashbacks transition with fades, and costumes distinguish the statuses of adults versus teenagers. Powerful voiceovers
The document analyzes how gender is represented in a clip from the TV show Primeval. It discusses several ways:
1) The female character drives a digger, challenging conventions of gender roles in jobs. She is portrayed as strong and powerful.
2) The male character initially looks frightened and tries to protect himself, challenging conventions of males being strong.
3) Sounds are used to emphasize surprise and build suspense around the male character's discovery and encounter with danger, playing on stereotypes of males.
This document discusses the forms and conventions used in soap opera trailers. It provides examples of how lighting, camera work, editing, mise-en-scene, and sound are typically used in soap opera trailers. Lighting is usually low-lit with bright spots to create tension. Camera work uses mid-shots and angles to make the audience feel involved. Editing includes quick cuts between short shots to keep the pace fast. Mise-en-scene features costumes and props from the show. Sound is generally non-diegetic music to set the tone. The document then analyzes examples from specific soap opera trailers, such as Hollyoaks, discussing how they employ these conventions.
The document analyzes representations of men and women in soap opera trailers. For men, it finds they are portrayed as emotional, aggressive, and having both light and dark sides. Younger men are shown as dangerous through dark costumes. For women, it finds they break stereotypes by showing personalities and strength, though some still portray traditional gender roles. Tracey is an unconventional female antagonist. Teenagers are depicted as naïve, immature, and making poor choices through issues like drugs and pregnancy. Overall, the document examines how characters are represented through techniques like mise-en-scene, camerawork, editing, sound, and dialogue.
The trailer uses a variety of techniques to establish suspense and fright. It begins with a sudden loud bang to grab the audience's attention. Throughout, it alternates between showing the father resisting the supernatural force controlling his mind and showing the force growing in power. Close-ups, zooms, and fast cuts between shots build tension. Low-key lighting surrounds characters in darkness to suggest the evil force is lurking nearby. The force is presented as a ghostly, aggressive female contrasted against the modern family. Its growing dominance over the frightened family is the central conflict teased in the brief trailer.
The trailer uses a variety of techniques to establish suspense and fright. It begins with a sudden loud bang to grab the audience's attention. Throughout, it alternates between showing the father struggling against an increasingly powerful supernatural force taking control of his mind, and his family trying to protect themselves. Close-ups, zooms, and fast cuts between shots heighten tension, while low-key lighting and the ghostly antagonist's dramatic appearance and actions characterize the threat. The editing matches shots to continue actions smoothly and end others on frightening reveals or beats in the ominous music to keep viewers unsettled. Overall it previews a story of a family fighting invulnerability against a disturbing invading supernatural power.
The document analyzes the representation of characters in three horror film trailers through their use of sound, editing, camerawork, and mise-en-scene. Male characters are generally portrayed as dominant through dialogue, protective gestures, and shot compositions that make them appear bigger or in control. Female characters are often represented as vulnerable through close-ups of their scared expressions and positioning that reveals their bodies for the "male gaze." Dark lighting and fast editing aim to depict all characters as vulnerable to the impending horror. Common stereotypes are employed, such as the "blonde bimbo" character sexualized for her appearance.
This document provides an analysis of two soap opera trailers:
1) An EastEnders trailer that uses dramatic music and voiceover to build intrigue around the return of the character Sharon amid warnings of an incoming "storm." Various shots and lighting are analyzed.
2) A Hollyoaks trailer showing characters in a forest having fun, though various cues like a character in the rain suggest trouble. Props like masks are discussed. Slow motion is used for irony.
The document evaluates the strengths of each, noting effective uses of sound, lighting, shots and cues to imply meaning without dialogue. Specific techniques like meaningful lyrics and character expressions would be repeated for their own trailers.
This trailer summarizes the 2013 remake of the horror film Carrie. It establishes the film is set in a typical suburban American town and follows Carrie White, a shy high school girl who lives with her deeply religious mother and is constantly bullied by her peers. Throughout the trailer, tensions escalate as Carrie struggles to fit in at school while dealing with her religious mother and discovering she has mysterious powers. The trailer uses ominous music, quick cuts between scenes, and Carrie's voiceovers to build suspense and show her desire for normalcy before things spiral out of her control.
The student analyzed three horror movie trailers: Annabelle, The Conjuring, and The Woman in Black. For each trailer, the student examined elements like lighting, sound editing, camera work, and mise-en-scene. Key techniques highlighted included the use of jump scares, ominous music, and mysterious shots to build tension and intrigue audiences. Overall, the analysis showed how trailers employ various cinematic techniques over short durations to effectively tease horror movie plots.
OCR A2 Media Studies - Unit G324 - Textual Analysis JosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings) and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like to repeat or
O documento discute a importância da cidadania e do respeito às leis e autoridades. Também enfatiza a necessidade de contribuir para o bem comum, fazer mais do que é esperado e ser um bom exemplo. Finalmente, destaca a importância da leitura para fortalecer laços entre pais e filhos.
El documento presenta estadísticas sobre la edad, nota del examen, lugar de residencia de un grupo. Incluye medidas como la media, desviación típica de la edad y nota, así como histogramas de la edad y nota y gráficos de sectores del lugar de residencia.
O documento discute os impactos da tecnologia no mercado de trabalho e como os trabalhadores podem se preparar para o futuro. Ele identifica profissões promissoras relacionadas à tecnologia, meio ambiente e saúde e destaca a importância de habilidades técnicas, humanas e conceituais para se manter relevante. Embora o futuro seja imprevisível, seguir as próprias vocações e se qualificar continuamente é essencial para encontrar um lugar no mercado de trabalho em constante mudança.
The document provides a textual analysis of two soap opera trailers:
1) A New Year's episode trailer for BBC's EastEnders focuses on verbal codes like dialogue conveying a dilemma and demands for the truth, as well as non-verbal codes like sinister lighting suggesting an evil protagonist.
2) A summer trailer for ITV's Emmerdale highlights verbal codes including an aggressive demand to stand up to a male character and a gunshot followed by a woman screaming "Dad!". Non-verbal codes show distraught facial expressions and low key lighting isolating a character.
Technical codes are also analyzed, like close-ups on characters' facial expressions in both trailers to draw in viewers wanting to understand the
This document provides analysis of several scenes from a film. It summarizes that the film shows characters rebelling against authority through acts like smoking and wearing disguises. A key scene shows the main character stealing a motorcycle, implying rebellion against society. Music and camera techniques are used to build tension during a bike ride. Interactions at a cafe then show cockiness and a taboo kiss, highlighting immature attitudes. A strange tiger sex scene follows, possibly linked to the African-style music but showing the character's childlike mind. Overall the analysis examines how the film portrays rebellion through the characters' actions and behaviors.
Lady Gaga's "Bad Romance" music video depicts her being kidnapped by supermodels and sold to the Russian mafia as a sex slave. The video uses various camera techniques, lighting effects, costumes, and sound to portray this storyline and show Gaga's journey from victim to empowered. It takes place in a white bathhouse setting and features Gaga in many elaborate and revealing outfits as she is auctioned off and eventually gains control over her situation.
Sam seeks revenge on Emma for killing his friend Kim by tracking her down and killing her. The film uses dark lighting, shadowy shots, and negative effects to create a spooky and mysterious tone as it tells the story of Sam beating and burying Emma alive on a property after knocking her unconscious. Focus groups provided feedback that the film should appeal to both men and women by making the lead character a woman, including some romantic elements, and using a dark and thrilling style influenced by shows like "Spooks".
The document summarizes Lady Gaga's music video for "Bad Romance". It describes the concept of Gaga being kidnapped and sold as a sex slave to the Russian mafia. It then analyzes the camera work, sound, costumes, lighting, colors, and props used throughout the video to portray this concept and Gaga's journey.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document analyzes several movie trailers and discusses conventions they use. It notes how the "Paper Towns" trailer uses slow motion shots of Margo to portray her as beautiful and establish intrigue. Transitions create mystery around her character. Relatable settings like suburbs and schools build verisimilitude. The "Hitman: Agent 47" trailer opens with a dramatic zoom on a barcode on the main character's neck, setting up intrigue. Costumes distinguish protagonists from antagonists. The "Maze Runner: Scorch Trials" trailer uses CGI to create a futuristic dystopia. Flashbacks transition with fades, and costumes distinguish the statuses of adults versus teenagers. Powerful voiceovers
The document analyzes how gender is represented in a clip from the TV show Primeval. It discusses several ways:
1) The female character drives a digger, challenging conventions of gender roles in jobs. She is portrayed as strong and powerful.
2) The male character initially looks frightened and tries to protect himself, challenging conventions of males being strong.
3) Sounds are used to emphasize surprise and build suspense around the male character's discovery and encounter with danger, playing on stereotypes of males.
This document discusses the forms and conventions used in soap opera trailers. It provides examples of how lighting, camera work, editing, mise-en-scene, and sound are typically used in soap opera trailers. Lighting is usually low-lit with bright spots to create tension. Camera work uses mid-shots and angles to make the audience feel involved. Editing includes quick cuts between short shots to keep the pace fast. Mise-en-scene features costumes and props from the show. Sound is generally non-diegetic music to set the tone. The document then analyzes examples from specific soap opera trailers, such as Hollyoaks, discussing how they employ these conventions.
The document analyzes representations of men and women in soap opera trailers. For men, it finds they are portrayed as emotional, aggressive, and having both light and dark sides. Younger men are shown as dangerous through dark costumes. For women, it finds they break stereotypes by showing personalities and strength, though some still portray traditional gender roles. Tracey is an unconventional female antagonist. Teenagers are depicted as naïve, immature, and making poor choices through issues like drugs and pregnancy. Overall, the document examines how characters are represented through techniques like mise-en-scene, camerawork, editing, sound, and dialogue.
The trailer uses a variety of techniques to establish suspense and fright. It begins with a sudden loud bang to grab the audience's attention. Throughout, it alternates between showing the father resisting the supernatural force controlling his mind and showing the force growing in power. Close-ups, zooms, and fast cuts between shots build tension. Low-key lighting surrounds characters in darkness to suggest the evil force is lurking nearby. The force is presented as a ghostly, aggressive female contrasted against the modern family. Its growing dominance over the frightened family is the central conflict teased in the brief trailer.
The trailer uses a variety of techniques to establish suspense and fright. It begins with a sudden loud bang to grab the audience's attention. Throughout, it alternates between showing the father struggling against an increasingly powerful supernatural force taking control of his mind, and his family trying to protect themselves. Close-ups, zooms, and fast cuts between shots heighten tension, while low-key lighting and the ghostly antagonist's dramatic appearance and actions characterize the threat. The editing matches shots to continue actions smoothly and end others on frightening reveals or beats in the ominous music to keep viewers unsettled. Overall it previews a story of a family fighting invulnerability against a disturbing invading supernatural power.
The document analyzes the representation of characters in three horror film trailers through their use of sound, editing, camerawork, and mise-en-scene. Male characters are generally portrayed as dominant through dialogue, protective gestures, and shot compositions that make them appear bigger or in control. Female characters are often represented as vulnerable through close-ups of their scared expressions and positioning that reveals their bodies for the "male gaze." Dark lighting and fast editing aim to depict all characters as vulnerable to the impending horror. Common stereotypes are employed, such as the "blonde bimbo" character sexualized for her appearance.
This document provides an analysis of two soap opera trailers:
1) An EastEnders trailer that uses dramatic music and voiceover to build intrigue around the return of the character Sharon amid warnings of an incoming "storm." Various shots and lighting are analyzed.
2) A Hollyoaks trailer showing characters in a forest having fun, though various cues like a character in the rain suggest trouble. Props like masks are discussed. Slow motion is used for irony.
The document evaluates the strengths of each, noting effective uses of sound, lighting, shots and cues to imply meaning without dialogue. Specific techniques like meaningful lyrics and character expressions would be repeated for their own trailers.
This trailer summarizes the 2013 remake of the horror film Carrie. It establishes the film is set in a typical suburban American town and follows Carrie White, a shy high school girl who lives with her deeply religious mother and is constantly bullied by her peers. Throughout the trailer, tensions escalate as Carrie struggles to fit in at school while dealing with her religious mother and discovering she has mysterious powers. The trailer uses ominous music, quick cuts between scenes, and Carrie's voiceovers to build suspense and show her desire for normalcy before things spiral out of her control.
The student analyzed three horror movie trailers: Annabelle, The Conjuring, and The Woman in Black. For each trailer, the student examined elements like lighting, sound editing, camera work, and mise-en-scene. Key techniques highlighted included the use of jump scares, ominous music, and mysterious shots to build tension and intrigue audiences. Overall, the analysis showed how trailers employ various cinematic techniques over short durations to effectively tease horror movie plots.
OCR A2 Media Studies - Unit G324 - Textual Analysis JosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings) and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like to repeat or
O documento discute a importância da cidadania e do respeito às leis e autoridades. Também enfatiza a necessidade de contribuir para o bem comum, fazer mais do que é esperado e ser um bom exemplo. Finalmente, destaca a importância da leitura para fortalecer laços entre pais e filhos.
El documento presenta estadísticas sobre la edad, nota del examen, lugar de residencia de un grupo. Incluye medidas como la media, desviación típica de la edad y nota, así como histogramas de la edad y nota y gráficos de sectores del lugar de residencia.
O documento discute os impactos da tecnologia no mercado de trabalho e como os trabalhadores podem se preparar para o futuro. Ele identifica profissões promissoras relacionadas à tecnologia, meio ambiente e saúde e destaca a importância de habilidades técnicas, humanas e conceituais para se manter relevante. Embora o futuro seja imprevisível, seguir as próprias vocações e se qualificar continuamente é essencial para encontrar um lugar no mercado de trabalho em constante mudança.
Dos personas se involucran en un accidente automovilístico en el que sus vehículos quedan totalmente destruidos pero ellos no resultan heridos. El hombre sugiere que deben conocerse mejor y tener una relación, pero la mujer rechaza beber vino del accidente para evitar una prueba de alcoholemia.
O documento apresenta vários provérbios populares portugueses sobre temas como amor, conselhos, dinheiro, vaidade, guerra, dentes, formigas, macacos e horas. Os provérbios fornecem conselhos e lições de vida de forma concisa por meio de comparações e imagens.
Este es el segundo catálogo de una vendedora que agradece el apoyo de los clientes. Incluye nuevos productos como cadenas, vinchas y pulseras en varios colores y estilos, con códigos para realizar pedidos. La vendedora invita a los clientes a personalizar sus accesorios y anuncia más novedades próximamente.
O documento contém 10 provérbios portugueses sobre amor, descrevendo sentimentos como o amor dos pais, o primeiro amor, amores difíceis e o sofrimento do amor. Os provérbios exploram temas como a força do primeiro amor, o amor incondicional dos pais e as dores que o amor pode trazer.
El hombre recogía estrellas de mar varadas en la playa por la marea baja y las arrojaba de nuevo al mar para evitar que murieran fuera del agua. Aunque había miles, él creía que cada pequeño acto podía marcar la diferencia. Explicó que aunque no puede salvar a todas las estrellas de mar, cada una que rescata vale la pena.
El documento habla sobre los sistemas multimedia en el proceso pedagógico. Explica que los sistemas multimedia cumplen funciones pedagógicas como la motivadora, informativa e interactiva. También describe diferentes tipos de ambientes de aprendizaje como los virtuales, lúdicos y basados en la estética social. Finalmente, analiza modelos de enseñanza a distancia centrados en variables como el docente, aprendizaje, tecnología e interacción.
Sistemografia Do Processo de Evolucao Humanacarvalhomav
O documento classifica os sistemas de processamento humano de acordo com três categorias: subsistema operacional, subsistema informacional e subsistema decisional. Também classifica os processadores como operacionais, informacionais ou decisionais, podendo pertencer a uma, duas ou três categorias. Ainda classifica os tipos de atividade elementar em forma, espaço e tempo.
El documento expresa sentimientos positivos hacia otra persona, deseando lo mejor para ellos y valorando su individualidad. También recuerda un momento compartido en el pasado y la gran importancia que tiene esa persona en su vida.
El documento habla sobre la importancia de la educación y el aprendizaje continuo a lo largo de la vida. Señala que en un mundo en constante cambio es crucial seguir aprendiendo nuevas habilidades y actualizando los conocimientos para mantenerse relevante. También enfatiza que la educación debe enfocarse más en enseñar a las personas a pensar de manera crítica y resolver problemas de forma creativa.
Apuntes sobre Manejo de excesos hídricos y la Interacción Publico ‐ privadaGabriel Vazquez Amabile
"Algunos Apuntes sobre Manejo de excesos hídricos
y la Interacción Publico ‐privada" . Presentacion realizada en el marco de la 2da JORNADA ABIERTA EN AMERICA "
¿Como manejamos las oportunidades y riesgos que trae el
agua desde el lote al municipio?", organizada por el Municipio de Rivadavia (Prov de Buenos Aires) y el Grupo de Estudios Ambientales de la Univ de San Luis (GEA).
Este documento explica qué es una hoja de cálculo, cómo se organizan los datos en tablas con filas y columnas, cómo realizan cálculos automáticos a partir de los datos introducidos, cómo generan gráficos y cuáles son sus principales aplicaciones como la contabilidad de empresas. También menciona algunos de los programas de hoja de cálculo más conocidos como Excel, Lotus 1-2-3, Quattro Pro, Calc y Gnumeric.
A União Europeia está considerando novas regras para regular as grandes empresas de tecnologia. As novas regras visam limitar o poder de mercado dessas empresas e garantir uma concorrência justa. As empresas afetadas incluiriam gigantes como Google, Amazon, Facebook e Apple.
Simão e Violante eram amantes proibidos, com Violante forçada a ser freira. Quando Simão pede a Violante para fugir, ele é acusado de roubar relíquias. Condenado à morte, Simão grita que é tão inocente quanto as obras da Igreja de Santa Engrácia nunca acabarem. Anos depois, o verdadeiro ladrão confessa e as obras da igreja ainda não estão concluídas, dando origem à expressão "obras de Santa Engrácia".
This document contains a script, storyboard, and shot list for a film opening sequence about a character named Jodie who is struggling with her gender identity. The storyboard outlines shots of Jodie researching transgender topics, having flashbacks to putting on a fake beard, and crying at a train station while her legs shake. The shot list provides further details about camera angles, facial expressions, and costumes. Inspiration is drawn from films that portray transgender journeys or suicide such as Boys Don't Cry. Genre conventions like using flashbacks and portraying a character's journey are discussed.
The document contains a script and storyboard for a film opening sequence about a character named Jodie. The sequence shows Jodie having flashbacks to her past experiences as she sits depressed on a train platform contemplating suicide. The storyboard details various shot types that will be used, including close-ups, mid shots, and long shots. Inspiration is drawn from films like Boys Don't Cry that portray transgender journeys and those dealing with suicide like In Time. Genre conventions like personal flashbacks, dramatic storylines, and portraying real-life situations will be employed.
The document contains a script and storyboard for a film opening sequence about a character named Jodie. The sequence follows Jodie at a train station as she has flashbacks exploring her identity as a transgender person. It includes various shot types like close-ups, mid-shots and long shots planned to depict Jodie's emotional experience and flashbacks. Inspiration is drawn from films that portray transgender journeys or deal with themes of identity and suicide. Genre conventions for drama like personal flashbacks and realistic storylines are employed.
This document contains planning details for a film assignment. It lists the candidate numbers, colour codes and names of the four actresses - Amy Cleary, Monae Minors Gibbs, Jodie Foster-Pilia and Pamela Younes. It then provides a shot list, details of locations, costumes, music and a storyboard. Meeting records are included showing the group discussed ideas, timelines and finalized the script and storyboard. A short term filming plan schedules shooting the train station scenes on March 9th.
The document provides a shot list for a music video. It includes 85 shots ranging from close-ups, medium shots, and long shots showing an actress getting ready, singing, dancing in different locations, wearing various outfits and shoes, and interacting with other actresses. The shots are planned to show details of makeup, clothing, props and locations to move the story and sync with the song's lyrics and beat.
The document provides planning details for an assignment involving the filming of a short film. It includes character details for the 4 actresses, descriptions of costume and hair/makeup designs for the main character and friends. It also outlines several potential locations for filming and includes photos. A risk assessment is presented. Options for music are shared. Storyboards, scripts, and a shot list are provided. A schedule for filming is included.
The document outlines the planning for a short film, including details about the main characters and actors playing each role, descriptions of costumes and locations, consideration of risks, selection of music, and creation of a script and storyboard. It provides production planning information to prepare for filming a scene about a teenager exploring their gender identity while taking a train.
Hope Smith plans to film a short horror film entirely from outside her house looking in through the windows. She will use the interior and exterior of her house as the sole location. The film will follow a girl (played by Evan Stone) home alone at night. Hope provides a risk assessment, crew details, equipment list, costume design, props, mood board, storyboard, and shooting schedule for a night of filming on April 12th.
The trailer uses various camera shots and editing techniques to establish the setting and build tension. It begins with peaceful establishing shots of a sunset and family to show the initial innocence. The editing is initially slow but becomes faster paced as the action increases. Sound starts with ambient noise and then introduces doorbell sounds and violence. Music is later added to contrast the peaceful melody with scenes of ultra-violence. The mise-en-scene depicts the main family in everyday clothing to present them as normal, while the antagonist and their group wear fancy clothes and masks to conceal their identities and add an element of fear.
The document analyzes the camerawork, editing, sound, and mise-en-scene of the movie trailer for The Purge. It notes that establishing shots at the beginning aim to show innocence and set the location. Shots become closer and faster-paced as the action increases. The sound starts peaceful but introduces violence sounds and music later. Costumes are used to distinguish the everyday family from the antagonist and his group, who wear masks to conceal their identities as is common in horror genres.
Hope Smith plans to film a short horror film entirely from outside her house looking in through windows. She will film at night for safety and ease. The sole location is her house in Shipton by Beningbrough. Layout diagrams show the windows and areas visible. A risk assessment addresses potential issues like tripping, dropping equipment, or power cuts. Evan Stone will play the lead role. Hope will direct and edit. Equipment includes a gimbal, camera, batteries, and SD cards. Costumes, props, a mood board, color scheme, storyboard, and production schedule are provided.
The document outlines 33 shots needed for a music video depicting a couple's date at a farm. The shots include establishing shots of the farm, shots of the couple driving to the farm and laughing together, shots of them exploring the farm and taking a tractor ride, and concluding shots of the couple parting ways and the lead singer reminiscing. Most shots aim to portray a stereotypical rural farm setting and showcase the couple and band wearing stereotypical indie clothing styles.
The document outlines a storyboard for a film with 48 shots. It describes scenes showing a girl grieving at a graveyard and looking at photos in a white room. She is seen crying on the floor surrounded by ripped photos. Flashbacks show memories of her with a happy couple. She runs through a park and passes out. More flashbacks reveal the couple playing together. The girl sees a ghostly figure of a boy in her bedroom and looks confused. Further flashbacks and dreams occur as she grieves.
The document outlines 52 shots for a music video with an indie rock genre style. Many of the shots show a couple going on a date at a farm, where they playfully run through fields, drive a tractor, and bond. Other shots feature a band rehearsing and performing in stereotypical indie clothing of plain tops, tight jeans and styled hair. The shots are meant to depict typical indie rock music video scenes and aesthetics through the date and performance elements.
The document provides a storyboard for the opening scene of a horror film production. It describes a sequence of shots that will: 1) introduce a mysterious figure standing in a bedroom who's identity is concealed; 2) show a title sequence with disturbing photos and text to set the tone; and 3) follow a young woman as she gets ready for a date, unaware of the danger pursuing her, until the killer appears behind her in the conservatory. The storyboard concludes with a boy arriving late at night to find the killer's masked left hanging on the front door.
This document provides an outline and treatment for a horror film opening sequence titled "Savage". It includes an overview of the story about a girl named Sophie encountering a killer in the woods. The opening sequence outline describes Sophie walking home through the woods and getting startled by noises, before unexpectedly coming across her friend who plays a prank on her. However, he is suddenly killed by the masked killer wielding a large knife. Sophie flees in terror but runs into a dead end and the killer disappears. The technical details, costumes, props and locations for filming the sequence are also outlined.
This document provides a shooting schedule for a film with 31 shots. It details the shot type, camera movements, actor movements and blocking, lighting, costumes, props, and setting for each shot. The shots include establishing shots, medium shots, close-ups, and more. They will be used to film scenes showing a character walking down a street, entering a diner, having a conversation at a table, a gang meeting in an abandoned building, a character finding a bloody knife, and discovering a dead body on the street.
This document provides a shooting schedule for a film with 31 shots. It details the shot type, camera movements, actor movements and blocking, lighting, costumes, props, and setting for each shot. The shots include establishing shots, medium shots, close-ups, and more. They will be used to film scenes like a character walking down a street, entering a diner, having conversations at a table, a gang meeting in an abandoned building, a murder, and the discovery of the body. Precise camera placements, actor positioning and facial expressions are planned to clearly show the story and ensure technical filmmaking rules are followed.
The document provides details on the makeup, costumes, lighting, and shot types for a film scene. For makeup, the girls will look pale with smudged eyeliner while the woman will have messy eye makeup from sleeping restlessly. Costumes include white dresses for the girls from a charity shop to indicate their similar nature, and plain pajamas for the woman in bed. Lighting outside will be at dusk for visibility and atmosphere, while the bedroom will be dark with an open door light. Shots include a zoom into an eye, a long shot of girls on a swing, and panning around the bed with a dollied camera at bed level.
The document provides details on the makeup, costumes, lighting, and shot types for a film scene. For makeup, the girls will look pale with smudged eyeliner while the woman will have messy eye makeup from sleeping restlessly. Costumes include white dresses for the girls from a charity shop to indicate their similar nature, and plain pajamas for the woman in bed. Lighting outside will be at dusk for visibility and atmosphere, while the bedroom will be dark with an open door light. Shots include a zoom into an eye, a long shot of girls on a swing, and panning around the bed with a dolly.
We were testing out shots, angles, lighting and general ideas in the studio for our rough cut 1. My group used the studio to experiment with different photographic techniques. The photos document our process of developing initial concepts that will be featured in the first draft of our project.
The document is a description of the music video for the song "Figure 8" by Ellie Goulding. It depicts a young woman chasing after lost love, represented by her chasing a white horse through a misty field. The field and a smoky studio become metaphors for her loneliness and broken relationship as her love disappears. The video cuts between shots of the woman in the field and studio, expressing raw emotion through her movements and singing as she comes to terms with the end of the relationship.
The document is about a music video that uses imagery of a misty field and a horse to represent a girl chasing after lost love. She chases her lover around a figure 8 pattern, representing an endless chase as time stands still from the intensity of her loss. Scenes cut between the girl in the field and in a smoky studio as she expresses her emotions through movement and singing. Fog and smoke are used to portray the broken relationship and love disappearing as the promise of forever is broken.
Three students from Hartlepool Sixth Form College are studying media and creating a music promo package. They are requesting permission from Polydor to use the song "Figure 8" by Ellie Goulding for their non-profit, educational project. The students explain that the song will only be used for their college project and offer to share the final product with Polydor once completed in December. They are respectfully asking Polydor to allow use of the track for their school assignment.
This document analyzes the advertisement for MGMT's second studio album "Congratulations". While there is only one image used, the colors and design make it look busy and create curiosity without including the band or album name. For fans of MGMT, the ad will spark instant recognition, while others may be intrigued. The limited edition version allows buyers to scratch off and reveal a black and white image of the band. The psychedelic, colorful style of the ad reflects MGMT's genre of music and lyrics about drug and alcohol use, which was part of the band members' early rock and roll lifestyle.
This advertisement is for The Killers' third studio album "Day and Age". It features a single image of a mosaic desert scene at night. The muted colors around the edges draw emphasis to the middle where the band and album names are displayed. The use of a desert mosaic theme and consistency with The Killers' logo implies this album may be more personal to the band as they had more involvement in its creation.
The document analyzes the shot count and camera techniques used in Lana Del Rey's music video for "Born to Die". It notes that while only two scenes are used, the video contains many shots including medium shots, close ups, and extreme close ups of Lana Del Rey. These camera angles, particularly the medium shots and close ups, are the primary techniques as the video tells a narrative from Lana Del Rey's perspective, though the slow camera movements contrast with the meaning of the lyrics about falling in love and living wildly.
The document summarizes the digipak for Ellie Goulding's 2012 album "Halcyon". It describes the album's release date and three singles. It then analyzes how the digipak features many close-ups of Ellie Goulding, conforming to the theory that record companies like to sell female artists' looks as much as their music. The genres of the album are listed as synthpop and alternative dance, different from her previous indie pop style, which is reflected in the futuristic ombring colors of the digipak from dark blue to purple to pink.
The document discusses the debut studio album "Settle" by the English electronic music duo Disclosure. Released in 2013 by Island Records, "Settle" features hit singles like "Latch" and "White Noise." The album cover features simple monochrome colors and font that echoes Disclosure's music videos. This distinctive style has helped create the band's identity.
This document is a personal skills audit for a student. It evaluates the digital technology, post-production, research and planning, use of conventions, and creativity skills they acquired and used to create a media production. It discusses the software and equipment used, including Final Cut Express, Apple computers, and Livetype. It also outlines the student's plans to further develop these skills, such as gaining more experience with the software, during their next media project.
The video features Disclosure's characteristic logo introducing their song "F For You" featuring Mary J Blige. In the video, Disclosure have added simplistic drawings on their faces to highlight but also cover them, creating a silhouetted effect with thick white lines outlining their faces. The video analyzes features Mary J Blige, using lighting and medium shots to subtly show her face and outfit. Throughout the video, Disclosure and Mary J Blige appear to create the music with their bodies, with "beats" and designs coming from their hands and bodies and lyrics appearing to come from their mouths. At the end, Disclosure's classic drawn face album art appears again as a promotion.
Horror films have evolved over time, borrowing from various sources including Gothic literature in the late 1700s by authors like Mary Shelley and Bram Stoker. Some of the earliest horror films included "Spook Tale" from 1895 and what is considered the first horror film from 1896 by Georges Melies. In the 1930s, Universal Studios had success with films like Dracula and Frankenstein starring Boris Karloff. Through the 1970s, horror explored social issues and the youth counterculture through films like The Texas Chainsaw Massacre. Various subgenres emerged like slasher films in the late 1970s including Halloween, Friday the 13th, and A Nightmare on Elm Street. Successful modern horror
The document discusses different camera shots and techniques used in filmmaking. It describes establishing shots to set the scene, point-of-view shots to involve the audience, close-ups to show characters' reactions, zooming in to convey pain, quick cuts between close-ups and long shots to switch perspectives, and low angles to build intrigue about new characters. Together, these shots manipulate viewers' emotions and pull them into the story.
This document lists props and equipment needed for a production, including a knife, long black coat, white mask, and mobile phone as props, and a Panasonic video camera and tripod as equipment.
Both Tim Burton films begin their openings with logos from their production companies in darker tones to set a grim tone. Sweeney Todd then shows images of a rainy city and a trail of blood leading to a barber chair, building intrigue before the dramatic title reveals itself. Edward Scissorhands starts with gentle music and snow, introducing the weather element while panning shots of a castle and naming the actors provide context for the film. Both openings use visual and musical cues to set expectations for the dark, dramatic stories that follow in distinctive Tim Burton style.
The opening title sequence features upbeat background music with an audience clapping and dogs barking. A street performer does slapstick mime that matches the music. Strange alien sound effects occasionally play over the music, clashing with the happy tone and leaving viewers curious about what will happen in the movie.
The conversation – opening title sequenceabiconcannon
The opening title sequence features upbeat music with an audience clapping and dogs barking in the background. A street performer is seen doing slapstick mime that matches the cheerful music. Strange alien sound effects occasionally play over the music, creating a sense of curiosity and mystery about what will happen in the movie, as the happy music does not align with the alien sounds.
Horror films commonly use certain iconography like weapons and costumes to symbolically represent fear. Settings are also important tropes, with many horror movies taking place in isolated or dilapidated areas to increase unease. Popular themes involve killers, monsters, or ghosts stalking victims to provoke unfamiliar feelings of paranoia in audiences. Typical narratives follow a stalker chasing friends who get separated, heightening isolation and the need to survive alone.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
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Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UP
Shot count
1. Shot No. Shot Type Action Mise En Scene
1 Long shot
(Establishing) of
protagonist.
Stationary
shot of the girl
slowly moving
around the
studio stood in
front of lights
to reveal a
silhouette.
The girl will be
wearing black
jeans and a dark
top; this is so
that the
silhouette will
stand out more.
Lighting will be
shinning down
on the girl to
show her
silhouette,
through
movement.
2 Crosscuts –
Medium shot.
Hand held
camera shows
the girl stood
with her back
to the camera.
Wearing a long
floaty dress
stood in a field.
Lighting will be
natural for a
typical frost
morning.
3 Long shot Stationary
shot of a horse
moving
towards the
camera at a
distance.
In an open misty
field. Lighting will
be natural for a
typically frosty
morning.
4 Medium/Close
up shot.
Stationary
shot shows
her stroking a
horse.
Wearing a long
floaty dress
stood in a field.
5 Long shot
(Establishing) of
protagonist.
Stationary
shot of the girl
slowly moving
around the
studio stood in
front of lights
to reveal a
silhouette.
The girl will be
wearing black
jeans and a dark
top; this is so
that the
silhouette will
stand out more.
Lighting will be
shinning down
on the girl to
show her
silhouette,
through
movement.
6 Close up shot Stationary For this shot we
2. shot of the
girls face
showing her
hair blowing in
the wind.
need the
weather to be
windy so that the
girls hair can flow
representing his
freedom.
Lighting will be
natural for a
typical frosty
morning.
7 Close up shot. Stationary
shot of the
horse moving
towards the
camera, this
time closer to
the camera
than before.
In an open misty
field. Lighting will
be natural for a
typically frosty
morning.
8 Long shot. Stationary
shot of the girl
slowly moving
around the
studio stood in
front of lights
to reveal a
silhouette.
The girl will be
wearing black
jeans and a dark
top; this is so
that the
silhouette will
stand out more.
Lighting will be
shinning down
on the girl to
show her
silhouette,
through
movement.
9 Extreme close up
shot.
This shot will
show the
horses nostrils
breathing in
the cold frost
air
Set in the frosty
field the air
blown will be
natural for a
typical frosty
morning.
3. 10 Long
shot/Establishing
shot
This shot will
be of the
sunrise early
on a morning
in the field.
Misty, lighting
due to the cold
frosty morning.
11 MediumClose
up
Hand held
camera shows
the girl staring
with a blank
expressionless
face with her
hair blowing in
the wind.
Misty, lighting
due to the cold
frosty morning.
12 Medium shot Stationary
shot reveals
the girl
gripping on to
her dress. It
will show the
bottom part of
her torso and
the top part of
her legs.
Misty, lighting
due to the cold
frosty morning.
She will be
wearing a long
floaty dress.
13 Continuous shot. Hand held
shot reveals
the girl letting
go of her dress
and it blowing
in the wind.
Misty, lighting
due to the cold
frosty morning.
She will be
wearing a long
floaty dress.
14 Cutaway and
close up.
Hand held
shot sows the
girl holding her
cheek.
Hair blowing in
the end with
minimal
background
showing.
Girl will be lip
syncing the
words to the
song followed
with the action.
4. 15 Continuous shot. Hand held.
Hair blowing in
the end with
minimal
background
showing.
Girl will be lip
syncing the
words to the
song.
16 Long Shot. Fixated
camera. The
girl will
galloping on
the horse with
her hair
blowing in the
wind, this will
be in slow
motion.
She will be
wearing all black
so it doesn’t
confuse the
audience that
the girl is on the
horse because
she WAS chasing
after his love.
17 13 cutaway
shots.
1. Medium shot.
Fixated
camera. The
girl will be
laying down in
the field with
he camera
above her. Her
eyes will be
closed,
reminiscing
over her love.
She will be
wearing the big
floaty dress
wrapped around
her. Her hair will
laid out behind
her.
18 2. Long shot. Fixated
camera of the
horse running.
Misty Field.
19 3. Close up. Hand held
camera shows
the girls face.
She will be
wearing the big
floaty dress, with
minimal natural
make up.
5. 20 4. Medium shot. The girl will be
beginning to
crouch down
towards the
floor with her
hands over her
face.
She will be
wearing the big
floaty dress, with
minimal natural
make up.
Misty field.
21 5. Close Up The girl and
boys hands
will nearly be
touching back
to back.
The light will be
behind their
hands
metaphorically
saying that
there’s
‘something in
the way’ of their
love.
22 6. Close Up Fixated shot of
the girl
stroking the
horse.
This will
metaphorically
show her
kindness.
23 7. Medium shot. The girl will be
crouching
down towards
the floor with
her hands over
her face.
This will be the
main shot we
will keep on
cutting back to
through out 13
fast shots.
She will be
wearing the big
floaty dress, with
minimal natural
make up.
Misty field.
24 8. Medium shot The shot will
reveal the
connections
between their
shoulders.
They will be
touching but
only revealing
half of their
bodies. The
The girl and boy
will be stood side
by side looking
out on to the
field.
Boy will be
wearing a plain
grey or black top
with skinny jeans
and the girl will
6. camera will be
hand held.
be wearing
either the floaty
dress or black
vest top/net
dress.
25 9. Close up. Fixated
camera shot.
Reveals the
girl scrunching
on to her
dress.
Floaty nude
netted coloured
dress.
26 10. Extreme
Close Up.
Fixated
Camera shot
revealing the
girls hair
blowing in the
wind.
The natural light
will hit her hair
with the natural
the wind.
27 11. Medium
shot.
The girl will be
crouching
down towards
the floor with
her hands over
her face.
She will be
wearing the big
floaty dress, with
minimal natural
make up.
Misty field.
28 12. Medium
shot.
Fixated
camera. The
girl will be
laying down in
the field with
he camera
above her. Her
eyes will be
open,
reminiscing
over her love.
She will be
wearing the big
floaty dress
wrapped around
her. Her hair will
laid out behind
her.
7. 29 13. Extreme
Close Up
Showing her
eyes.
Her eyes will be
teary which will
show her
emotion.
30 Medium Shot
and Cross Cut.
Stationary
shot.
A flash of
lights fill the
camera lens.
A shot of the
lights represent
the impact of the
loss of love has
left her.
31 Long Shot Stationary
shot of the girl
on the horse
galloping on
the field.
The field will be
misty with
natural lighting.
We are hoping it
will be quite dark
on the morning.
She will be
wearing all black
with her hair
blowing in the
wind.
32 Cross Cut to the
studio.
Stationary
shot of the girl
vigorously
moving
around the
studio stood in
front of lights
to reveal a
silhouette.
The girl will be
wearing black
jeans and a dark
top; this is so
that the
silhouette will
stand out more.
Lighting will be
shinning down
on the girl to
show her
silhouette,
through
movement.
8. 33 Cross Cut to
field. Medium
Shot.
The girl will be
lip syncing to
the camera.
Scrunching her
hair.
The girl will be
stood in the
misty field with
natural light
wearing the
floaty dress.
34 Jump Cut.
Medium Close
Up
The girl will be
scrunching her
dress.
The girl will be
stood in the
misty field with
natural light
wearing the
floaty dress.
35 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
36 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
37 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
9. 38 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
39 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
40 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
41 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
42 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
10. 43 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
44 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
45 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
46 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
47 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
11. 48 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
49 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
50 SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
SHOT 35 – 50
ARE THE
SAME AS
SHOTS 17-29
SHOT 35 – 50
ARE THE SAME
AS SHOTS 17-29
51 Long Shot Cross cut to
the field. The
shot reveals
the man
appearing
from the
smoke. Slowly
walking.
It will be
significantly
darker and a lot
more smoke will
appear.
He will just be
wearing skinny
jeans and a grey
or black plain t
shirt.
52 Deep focus. The girl will be
the main
focus,
revealing the
girl having her
head down
with the man
still walking
towards her,
slightly blurred
out.
It will be
significantly
darker and a lot
more smoke will
appear.
He will just be
wearing skinny
jeans and a grey
or black plain t
shirt. The girl will
be wearing the
floaty dress.
12. 53 Deep focus The man will
then be the
main focus, an
over the
shoulder shot
will show him
still walking
towards the
girl.
It will be
significantly
darker and a lot
more smoke will
appear.
He will just be
wearing skinny
jeans and a grey
or black plain t
shirt. The girl will
be wearing the
floaty dress.
54 Medium Shot The girl turns
to see the
man. They
begin to walk
towards each
other.
It will be
significantly
darker and a lot
more smoke will
appear.
He will just be
wearing skinny
jeans and a grey
or black plain t
shirt. The girl will
be wearing the
floaty dress.
55. SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
SHOTS WILL
BE PLACED
WITHIN THIS
PART OF THE
SONG SIMILAR
TO SHOTS 17-
29, MIXED
WITH THE BOY
AND GIRL
WALKING
TOWARDS
EACH OTHER.
SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
56. SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
SHOTS WILL
BE PLACED
WITHIN THIS
PART OF THE
SONG SIMILAR
TO SHOTS 17-
29, MIXED
WITH THE BOY
AND GIRL
WALKING
TOWARDS
SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
13. EACH OTHER.
57 SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
SHOTS WILL
BE PLACED
WITHIN THIS
PART OF THE
SONG SIMILAR
TO SHOTS 17-
29, MIXED
WITH THE BOY
AND GIRL
WALKING
TOWARDS
EACH OTHER.
SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
58 SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
SHOTS WILL
BE PLACED
WITHIN THIS
PART OF THE
SONG SIMILAR
TO SHOTS 17-
29, MIXED
WITH THE BOY
AND GIRL
WALKING
TOWARDS
EACH OTHER.
SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
59 SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
SHOTS WILL
BE PLACED
WITHIN THIS
PART OF THE
SONG SIMILAR
TO SHOTS 17-
29, MIXED
WITH THE BOY
AND GIRL
WALKING
TOWARDS
EACH OTHER.
SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
14. 60 SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
SHOTS WILL
BE PLACED
WITHIN THIS
PART OF THE
SONG SIMILAR
TO SHOTS 17-
29, MIXED
WITH THE BOY
AND GIRL
WALKING
TOWARDS
EACH OTHER.
SHOTS WILL BE
PLACED WITHIN
THIS PART OF
THE SONG
SIMILAR TO
SHOTS 17-29,
MIXED WITH
THE BOY AND
GIRL WALKING
TOWARDS EACH
OTHER.
61 Medium Shot This shot will
reveal the girl
and man
finally
meeting. They
look at each
other. They
don’t touch.
The light
behind them
signifies the
‘block’
between them
that they cant
be together
because he
left.
It will be
significantly
darker and a lot
more smoke will
appear.
He will just be
wearing skinny
jeans and a grey
or black plain t
shirt. The girl will
be wearing the
floaty dress.
62 Medium Shot Mixture of
colours of
powder paint
will hit
together.
Shot will a black
background so
the paint stands
out.
63 Long Shot Shots will
begin to
overlay to
really
emphasise the
feelings and
thoughts.
She will be in
the studio
infront of the
Girl will be
wearing along
black to create a
strong
silhouette.
15. lights and
smoke.
64 AGAIN SHOTS
WILL BE
REPEATED.
MIXTURE OF
THE GIRL IN THE
STUDIO
INFRONT OF THE
LIGHTS, HER ON
THE HORSE,
JUST THE
HORSE, HER LIP
SYCNING AND
THE BOY. FROM
3:06-3:44
AGAIN SHOTS
WILL BE
REPEATED.
MIXTURE OF
THE GIRL IN
THE STUDIO
INFRONT OF
THE LIGHTS,
HER ON THE
HORSE, JUST
THE HORSE,
HER LIP
SYCNING AND
THE BOY.
3:06-3:44
AGAIN SHOTS
WILL BE
REPEATED.
MIXTURE OF THE
GIRL IN THE
STUDIO
INFRONT OF THE
LIGHTS, HER ON
THE HORSE, JUST
THE HORSE, HER
LIP SYCNING
AND THE BOY.
3:06-3:44