Student Film Permission
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1. Universal Film & TV Licensing is granting Gabriel Kelly permission to use the Tame Impala track "Why Won't They Talk To Me?" free of charge for a student educational project in the UK. 2. The permission is limited to non-theatrical use on college premises for students, parents, tutors and examiners. 3. Kelly must have purchased the track through normal retail channels and only use the copy for the described project without further permission.
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Zoe Stoll of Universal Film & TV Licensing grants Ryan Jenkins permission to use the Imagine Dragons song "Round and Round" for his educational film project under several conditions:
1) The use is limited to non-theatrical exhibition to students, parents, and tutors in the UK.
2) The copy must be from a purchased record.
3) The copy is only to be used as described and not distributed further.
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Universal copyrights document
1. Universal Film & TV Licensing grants permission to Diogo Ramos to use tracks from Lana Del Rey's "Honeymoon" album free of charge for an educational project at his school in the UK.
2. The permission is limited to non-theatrical use on school premises for students, parents, teachers and examiners. Any other use would require additional permission and possibly a fee.
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Acknowledgement of music video censorship laws within the uk
The document discusses UK censorship laws for music videos regarding depictions of drug use. It acknowledges that showing a character hallucinating after drinking and taking drugs would violate these laws. It outlines rules from media regulator OFCOM prohibiting glamorized depictions of illegal drugs, especially those that could be easily imitated by children. While the video depicts drug use, it claims this was only to drive the narrative and not promote drug use. It concludes that the video could air after 9PM during the watershed period without violating laws, and that music channels would be at fault, not the creators, if they aired it at other times.
BBC Comedy Website 2010
This document outlines the strategy for bbc.co.uk/comedy, which aims to be the destination for the finest British comedy. It summarizes traffic and content from 2008-2010, including the most viewed TV comedy shows. The strategy is to surface comedy from the past by opening up the archive, amplify current TV and radio comedy online, and deliver new comedy talent and audiences through original web content. Success will be measured by traffic, reach, broadening the audience, and nurturing new talent.
Wolne Występy Kinematograficzne W Stolicy
The document contains summaries of multiple unrelated topics in different languages, making a concise 3-sentence summary difficult. It discusses celebrity videos online, environmental protection requirements for product coatings, the health benefits of black pepper, cooking styles in Ayurvedic medicine, promoting Afro-Brazilian culture through dance and history, how the world has changed with advanced communication, and international film credits.
Regulatorybodies
The document discusses several regulatory and professional bodies that govern the UK creative media sector, including the British Board of Film Classification (BBFC) which rates and classifies films, the British Video Association which represents the video industry, the Film Distributors Association which handles theatrical film releases, the Video Standards Council which regulates video games, and Ofcom which regulates broadcasting across TV, radio and telecommunications. It also mentions the Press Complaints Commission which oversees newspapers and magazines, and the Advertising Standards Authority which regulates all advertising in the UK.
Regulatorybodies 1
The document summarizes several organizations that regulate the media sector in the UK, including the British Board of Film Classification (BBFC) which assigns film ratings, the Video Standards Council (VSC) which promotes high standards in the video and games industries, and the Office of Communications (Ofcom) which regulates broadcasting and telecommunications.
Crew List
Gabriel Kelly and Molly York were co-producers and co-directors of the production, with Gabriel handling additional roles like production manager, casting director, and camera operator. Molly was the location manager and script supervisor. In post-production, Gabriel was the assistant film editor and handled animation and visual effects, while Molly was the head film editor.
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Student licence ryan jenkins
Zoe Stoll of Universal Film & TV Licensing grants Ryan Jenkins permission to use the Imagine Dragons song "Round and Round" for his educational film project under several conditions:
1) The use is limited to non-theatrical exhibition to students, parents, and tutors in the UK.
2) The copy must be from a purchased record.
3) The copy is only to be used as described and not distributed further.
4) Proper credit must be given to Imagine Dragons, Interscope Records, and Universal Music Group in the film.
Universal copyrights document
1. Universal Film & TV Licensing grants permission to Diogo Ramos to use tracks from Lana Del Rey's "Honeymoon" album free of charge for an educational project at his school in the UK.
2. The permission is limited to non-theatrical use on school premises for students, parents, teachers and examiners. Any other use would require additional permission and possibly a fee.
3. Proper credit must be given to Lana Del Rey, Polydor Ltd, and Universal Music in any use of the tracks.
Acknowledgement of music video censorship laws within the uk
The document discusses UK censorship laws for music videos regarding depictions of drug use. It acknowledges that showing a character hallucinating after drinking and taking drugs would violate these laws. It outlines rules from media regulator OFCOM prohibiting glamorized depictions of illegal drugs, especially those that could be easily imitated by children. While the video depicts drug use, it claims this was only to drive the narrative and not promote drug use. It concludes that the video could air after 9PM during the watershed period without violating laws, and that music channels would be at fault, not the creators, if they aired it at other times.
BBC Comedy Website 2010
This document outlines the strategy for bbc.co.uk/comedy, which aims to be the destination for the finest British comedy. It summarizes traffic and content from 2008-2010, including the most viewed TV comedy shows. The strategy is to surface comedy from the past by opening up the archive, amplify current TV and radio comedy online, and deliver new comedy talent and audiences through original web content. Success will be measured by traffic, reach, broadening the audience, and nurturing new talent.
Wolne Występy Kinematograficzne W Stolicy
The document contains summaries of multiple unrelated topics in different languages, making a concise 3-sentence summary difficult. It discusses celebrity videos online, environmental protection requirements for product coatings, the health benefits of black pepper, cooking styles in Ayurvedic medicine, promoting Afro-Brazilian culture through dance and history, how the world has changed with advanced communication, and international film credits.
Regulatorybodies
The document discusses several regulatory and professional bodies that govern the UK creative media sector, including the British Board of Film Classification (BBFC) which rates and classifies films, the British Video Association which represents the video industry, the Film Distributors Association which handles theatrical film releases, the Video Standards Council which regulates video games, and Ofcom which regulates broadcasting across TV, radio and telecommunications. It also mentions the Press Complaints Commission which oversees newspapers and magazines, and the Advertising Standards Authority which regulates all advertising in the UK.
Regulatorybodies 1
The document summarizes several organizations that regulate the media sector in the UK, including the British Board of Film Classification (BBFC) which assigns film ratings, the Video Standards Council (VSC) which promotes high standards in the video and games industries, and the Office of Communications (Ofcom) which regulates broadcasting and telecommunications.
Crew List
Gabriel Kelly and Molly York were co-producers and co-directors of the production, with Gabriel handling additional roles like production manager, casting director, and camera operator. Molly was the location manager and script supervisor. In post-production, Gabriel was the assistant film editor and handled animation and visual effects, while Molly was the head film editor.
Jimi Hendrix Digipak Analysis
The Jimi Hendrix 'Are You Experienced' digipak uses psychedelic design elements and bold colors to represent the album's genre. On the front panel, a distorted fish-eye lens image of Hendrix fits the trippy psychedelic style. Bold yellow and purple colors are used to create a happy, chilled vibe. The back panel switches to black and white for a more serious, dramatic feel. Hendrix is positioned centrally on the images to connect him to the album title. Overall, the disjointed and retro design across the panels aims to immerse the audience in the psychedelic experience of Hendrix's music and target fans of that genre.
Shooting schedule
The document contains a shooting schedule listing various shots needed for a film project on specific dates in November and December. It provides descriptions of over 50 shots ranging from close-ups to wide shots of a girl running, sitting at a desk, interacting with others, and opening a chest. Each shot lists the location, what will be captured, and which actors and crew are needed to film it.
Construction of mise en-scene
The document discusses plans for constructing the mise-en-scene for a music video to depict isolation and a psychedelic aesthetic. Several locations were chosen and modified to illustrate themes and focus attention on the main character. Specific lighting, props, and extras were used to transform settings like a desk area and dark room into scenes that establish the desired mood and genre without lyrics. Planning focused on careful framing, natural lighting, and post-production color correction to create a dream-like and eye-catching mise-en-scene.
Intertextuality
Intertextuality refers to how one creative work is influenced by or references another work through similar styles, characters, or elements. This creates a sense of familiarity for audiences by linking the new work to the existing one. Examples given include Robbie Williams' music video for "You Know Me" referencing Alice in Wonderland through costumes and visuals, and Madonna's "Material Girl" video mimicking the style and clothing from the film Gentlemen Prefer Blondes. The document also states that the creators of an upcoming project will take inspiration from the dream-like music videos of Tame Impala, clever transitions of Childish Gambino and Miike Snow videos, animation in Harry Potter, and use of a
Laura mulvey
Women are often portrayed in one of two ways in music videos: the virgin or the whore. The virgin is innocent and not associated with men, while the whore is highly sexualized through clothing, poses, and camera angles. Examples given are The Neighbourhood's "Afraid" depicting a crying woman, and Robin Thicke's "Blurred Lines" showing women as objects for the male gaze. Traditional gender roles present women as passive objects that advance the male narrative. However, artists like Taylor Swift and Kesha have seen success challenging these traditions by giving women more active roles.
Intertextual referencing
Intertextuality refers to relationships between texts, where one text makes references to other texts through allusions or direct citations. Julia Kristeva coined the term to describe how an audience's understanding of a text is influenced by codes from other texts. There are three types of intertextual references: obligatory, optional, and accidental. Genres often contain intertextual references through conventions that reference prior works in that genre. Music videos frequently use intertextuality, making references through settings, costumes, and homages to other works, such as Goldfish's references to nerd culture, Madonna's homage to Marilyn Monroe, and Iggy Azalea's recreation of the film "Clueless".
Music video
This document provides direction for filming scenes for a music video. It includes timing, camera shots, locations, and actions for various scenes. The overall story appears to be about a girl who feels isolated while wearing headphones and listening to music. She runs through various outdoor locations, has flashbacks to past events, and works on a map trying to make connections. She eventually opens an old chest and has a reaction, implying she found something significant. The document provides highly detailed instructions and timing for capturing these story elements through filmed shots and camera movements.
Shooting schedule
This is the shooting schedule to keep the group on time to get all shots finished for our media main task.
Audience survey
The survey results showed that while age had little correlation to music taste, Tame Impala and Twenty One Pilots were commonly cited as favorite artists. The majority preferred a female protagonist. Most people only watch music videos a few times a month but would be likely to view an official Tame Impala video. Friends' suggestions were the most common way people discover new videos. Respondents felt a good narrative and creative story were important, with forest and urban settings being most popular suggested locations. Feedback on the plot ideas was mostly positive.
Question 7 transcript
1. The document discusses how a film production group improved their skills and filmmaking techniques between a preliminary task and main task focused on a romantic comedy genre.
2. They conducted research to understand their target audience and genre conventions. They introduced the main characters at the beginning and incorporated a variety of shots and angles to enhance the story.
3. Editing and post-production skills improved, allowing for smoother transitions between scenes. Shots were reduced to 1-2 seconds to create suspense. Location choices and sound editing also helped make the film more realistic and coherent.
Evaluation Question 6 - Gabriel Kelly AS Media
The document discusses technologies used to create a film, including a GoPro Hero 4 Silver for 120fps slow motion video recording, the GoPro app for camera control, and Adobe programs like Premier Pro for video editing, After Effects for rain effects, and Photoshop. Flash was used to create and color a logo. A Hama Star 61 slider and tripod were used for filming. YouTube and Tumblr were referenced websites. Overall the document indicates the creator gained experience using various video and design software and equipment for their film project.
Evaluation Question 4 - Gabriel Kelly AS Media
The document discusses the results of an audience survey conducted to inform a media project targeted at ages 16-24. The survey found that over half had seen an independent film and 85% a comedy. Action and comedy were most popular. Respondents preferred an immediately engaging title sequence over one establishing context. These results confirmed the target age group was correctly chosen and informed the project's comedic and visual style.
Story board
This is the story board for our media main task music video, for Tame Impala's song "Why Won't They Talk to Me?".
Question 6 PowerPoint Script
The document discusses the tools and skills used to create a film title sequence. It describes using a GoPro Hero4 camera to film footage at 120 fps, learning to control camera settings, and connecting it to a phone via Bluetooth for live monitoring. Adobe Premiere Pro was used extensively for editing, while After Effects created a rain effect for the title. Some difficulties included slow Bluetooth connection and an unsteady tripod, but various skills were developed in using software and hardware for video production.
Evaluation Question 1 response
The document discusses conventions in music videos and how the student's music video project conforms to these conventions to create an effective psychedelic genre video. Specifically:
1) The video includes establishing shots, cuts on the beat of the music, and a dream-like animated sequence to show the protagonist losing control, conforming to common music video techniques.
2) Color schemes and props are used symbolically, with brighter colors representing acceptance and darker colors isolation.
3) Additional materials like the digipak and magazine ads continue the themes, use consistent colors and fonts, and feature the map to intrigue audiences and market the project like a real band.
Main Task Shot List
This document contains a list of 16 shots for a video with descriptions and durations. The shots include various outdoor activities like tripping on a rope, getting hit with a frisbee, chasing objects in the wind, an exploding marshmallow, surprise piggy backs, chucking muddy clothes into a suitcase, crashing into a table while getting a kite, a beer exploding while sitting in a camping chair, and failing to light a fire then smashing it with a stick. The majority of the shots are either wide shots or medium shots and range from 5 to 7 seconds in duration.
Camera shots and angles for a horror and thriller film
This document discusses various camera shot techniques used in horror and thriller films to build suspense and tension. It describes how high angle shots make characters seem powerless, while close-ups show emotion and detail. Tracking shots establish movement and build suspense as the audience doesn't know what will be shown next. Tilt shots can simplify supernatural elements or portray the camera as a victim. Low angle shots emphasize how intimidating villains are, while point-of-view shots make the audience feel emotionally invested. Zooming and shots involving mirrors and reflections also heighten tension.
Codes and conventions in Horror Films
The document discusses common codes, conventions, and techniques used in horror films. It begins by defining codes and conventions, and explains that codes are technical or symbolic ways of communicating meaning, while conventions are generally accepted ways of doing things within a genre. It then lists and describes several common conventions in horror films, such as films being set in isolated locations, characters ignoring threats of danger, the power being cut at scary moments, phone lines being cut, characters investigating strange noises, victims running upstairs instead of outside, and more.
Shot types in horror films
Horror films commonly use close-up shots to create atmosphere and increase audience fear by showing character facial expressions. Close-ups reveal emotions and create emphasis, according to film theorist Goddard who believed they were invented for tragedy. Extreme close-ups, as in Hitchcock's shower scene in Psycho, add dramatic effect. For a horror film trailer, the document author will use various close-ups of the main protagonist only to increase audience involvement and tension as she is in danger.
Risk assessment gabriel.kelly.28.04.21
Gabriel Kelly is organizing a 3 day student film shoot taking place at an apartment in Leeds. The shoot will involve 4 students and will use cameras, lights, microphones and other film equipment. To reduce risks, cables will be taped down and equipment secured properly. The shoot does not involve anything sensitive or hazardous. With control measures like COVID testing and distancing, the overall risk is deemed low.
Shotlist button basher v2
1. The document provides a shot list and shooting schedule for scenes 4-7 of a film called "Button Basher" directed by Gabriel Kelly. It includes 29 camera shots describing the actions of a man in a kitchen as he searches desperately for a button and grows increasingly frustrated when he cannot find it.
2. In scene 4, the man destroys a sandwich and throws a clock in anger after being unable to locate the button. In scene 5, he discovers another identical kitchen through a door.
3. In scene 6, the man sees another person in the other kitchen also searching for a button. In scene 7, the man finds he is locked in the kitchen and tries unsuccessfully to exit through the door.
Button Basher Call Sheet
The document contains scheduling and location information for the filming of scenes 4-7 of a student film shoot taking place on April 29th and 30th at 105 Carr Mills Student Accommodation in Leeds, including call times for the director, crew, and actors along with weather conditions, hospital information, scene descriptions, and a daily schedule. Additional notes provide instructions to be respectful of other flatmates and indicate one actor should bring a costume in a bag.
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Jimi Hendrix Digipak Analysis
The Jimi Hendrix 'Are You Experienced' digipak uses psychedelic design elements and bold colors to represent the album's genre. On the front panel, a distorted fish-eye lens image of Hendrix fits the trippy psychedelic style. Bold yellow and purple colors are used to create a happy, chilled vibe. The back panel switches to black and white for a more serious, dramatic feel. Hendrix is positioned centrally on the images to connect him to the album title. Overall, the disjointed and retro design across the panels aims to immerse the audience in the psychedelic experience of Hendrix's music and target fans of that genre.
Shooting schedule
The document contains a shooting schedule listing various shots needed for a film project on specific dates in November and December. It provides descriptions of over 50 shots ranging from close-ups to wide shots of a girl running, sitting at a desk, interacting with others, and opening a chest. Each shot lists the location, what will be captured, and which actors and crew are needed to film it.
Construction of mise en-scene
The document discusses plans for constructing the mise-en-scene for a music video to depict isolation and a psychedelic aesthetic. Several locations were chosen and modified to illustrate themes and focus attention on the main character. Specific lighting, props, and extras were used to transform settings like a desk area and dark room into scenes that establish the desired mood and genre without lyrics. Planning focused on careful framing, natural lighting, and post-production color correction to create a dream-like and eye-catching mise-en-scene.
Intertextuality
Intertextuality refers to how one creative work is influenced by or references another work through similar styles, characters, or elements. This creates a sense of familiarity for audiences by linking the new work to the existing one. Examples given include Robbie Williams' music video for "You Know Me" referencing Alice in Wonderland through costumes and visuals, and Madonna's "Material Girl" video mimicking the style and clothing from the film Gentlemen Prefer Blondes. The document also states that the creators of an upcoming project will take inspiration from the dream-like music videos of Tame Impala, clever transitions of Childish Gambino and Miike Snow videos, animation in Harry Potter, and use of a
Laura mulvey
Women are often portrayed in one of two ways in music videos: the virgin or the whore. The virgin is innocent and not associated with men, while the whore is highly sexualized through clothing, poses, and camera angles. Examples given are The Neighbourhood's "Afraid" depicting a crying woman, and Robin Thicke's "Blurred Lines" showing women as objects for the male gaze. Traditional gender roles present women as passive objects that advance the male narrative. However, artists like Taylor Swift and Kesha have seen success challenging these traditions by giving women more active roles.
Intertextual referencing
Intertextuality refers to relationships between texts, where one text makes references to other texts through allusions or direct citations. Julia Kristeva coined the term to describe how an audience's understanding of a text is influenced by codes from other texts. There are three types of intertextual references: obligatory, optional, and accidental. Genres often contain intertextual references through conventions that reference prior works in that genre. Music videos frequently use intertextuality, making references through settings, costumes, and homages to other works, such as Goldfish's references to nerd culture, Madonna's homage to Marilyn Monroe, and Iggy Azalea's recreation of the film "Clueless".
Music video
This document provides direction for filming scenes for a music video. It includes timing, camera shots, locations, and actions for various scenes. The overall story appears to be about a girl who feels isolated while wearing headphones and listening to music. She runs through various outdoor locations, has flashbacks to past events, and works on a map trying to make connections. She eventually opens an old chest and has a reaction, implying she found something significant. The document provides highly detailed instructions and timing for capturing these story elements through filmed shots and camera movements.
Shooting schedule
This is the shooting schedule to keep the group on time to get all shots finished for our media main task.
Audience survey
The survey results showed that while age had little correlation to music taste, Tame Impala and Twenty One Pilots were commonly cited as favorite artists. The majority preferred a female protagonist. Most people only watch music videos a few times a month but would be likely to view an official Tame Impala video. Friends' suggestions were the most common way people discover new videos. Respondents felt a good narrative and creative story were important, with forest and urban settings being most popular suggested locations. Feedback on the plot ideas was mostly positive.
Question 7 transcript
1. The document discusses how a film production group improved their skills and filmmaking techniques between a preliminary task and main task focused on a romantic comedy genre.
2. They conducted research to understand their target audience and genre conventions. They introduced the main characters at the beginning and incorporated a variety of shots and angles to enhance the story.
3. Editing and post-production skills improved, allowing for smoother transitions between scenes. Shots were reduced to 1-2 seconds to create suspense. Location choices and sound editing also helped make the film more realistic and coherent.
Evaluation Question 6 - Gabriel Kelly AS Media
The document discusses technologies used to create a film, including a GoPro Hero 4 Silver for 120fps slow motion video recording, the GoPro app for camera control, and Adobe programs like Premier Pro for video editing, After Effects for rain effects, and Photoshop. Flash was used to create and color a logo. A Hama Star 61 slider and tripod were used for filming. YouTube and Tumblr were referenced websites. Overall the document indicates the creator gained experience using various video and design software and equipment for their film project.
Evaluation Question 4 - Gabriel Kelly AS Media
The document discusses the results of an audience survey conducted to inform a media project targeted at ages 16-24. The survey found that over half had seen an independent film and 85% a comedy. Action and comedy were most popular. Respondents preferred an immediately engaging title sequence over one establishing context. These results confirmed the target age group was correctly chosen and informed the project's comedic and visual style.
Story board
This is the story board for our media main task music video, for Tame Impala's song "Why Won't They Talk to Me?".
Question 6 PowerPoint Script
The document discusses the tools and skills used to create a film title sequence. It describes using a GoPro Hero4 camera to film footage at 120 fps, learning to control camera settings, and connecting it to a phone via Bluetooth for live monitoring. Adobe Premiere Pro was used extensively for editing, while After Effects created a rain effect for the title. Some difficulties included slow Bluetooth connection and an unsteady tripod, but various skills were developed in using software and hardware for video production.
Evaluation Question 1 response
The document discusses conventions in music videos and how the student's music video project conforms to these conventions to create an effective psychedelic genre video. Specifically:
1) The video includes establishing shots, cuts on the beat of the music, and a dream-like animated sequence to show the protagonist losing control, conforming to common music video techniques.
2) Color schemes and props are used symbolically, with brighter colors representing acceptance and darker colors isolation.
3) Additional materials like the digipak and magazine ads continue the themes, use consistent colors and fonts, and feature the map to intrigue audiences and market the project like a real band.
Main Task Shot List
This document contains a list of 16 shots for a video with descriptions and durations. The shots include various outdoor activities like tripping on a rope, getting hit with a frisbee, chasing objects in the wind, an exploding marshmallow, surprise piggy backs, chucking muddy clothes into a suitcase, crashing into a table while getting a kite, a beer exploding while sitting in a camping chair, and failing to light a fire then smashing it with a stick. The majority of the shots are either wide shots or medium shots and range from 5 to 7 seconds in duration.
Camera shots and angles for a horror and thriller film
This document discusses various camera shot techniques used in horror and thriller films to build suspense and tension. It describes how high angle shots make characters seem powerless, while close-ups show emotion and detail. Tracking shots establish movement and build suspense as the audience doesn't know what will be shown next. Tilt shots can simplify supernatural elements or portray the camera as a victim. Low angle shots emphasize how intimidating villains are, while point-of-view shots make the audience feel emotionally invested. Zooming and shots involving mirrors and reflections also heighten tension.
Codes and conventions in Horror Films
The document discusses common codes, conventions, and techniques used in horror films. It begins by defining codes and conventions, and explains that codes are technical or symbolic ways of communicating meaning, while conventions are generally accepted ways of doing things within a genre. It then lists and describes several common conventions in horror films, such as films being set in isolated locations, characters ignoring threats of danger, the power being cut at scary moments, phone lines being cut, characters investigating strange noises, victims running upstairs instead of outside, and more.
Shot types in horror films
Horror films commonly use close-up shots to create atmosphere and increase audience fear by showing character facial expressions. Close-ups reveal emotions and create emphasis, according to film theorist Goddard who believed they were invented for tragedy. Extreme close-ups, as in Hitchcock's shower scene in Psycho, add dramatic effect. For a horror film trailer, the document author will use various close-ups of the main protagonist only to increase audience involvement and tension as she is in danger.
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Risk assessment gabriel.kelly.28.04.21
Gabriel Kelly is organizing a 3 day student film shoot taking place at an apartment in Leeds. The shoot will involve 4 students and will use cameras, lights, microphones and other film equipment. To reduce risks, cables will be taped down and equipment secured properly. The shoot does not involve anything sensitive or hazardous. With control measures like COVID testing and distancing, the overall risk is deemed low.
Shotlist button basher v2
1. The document provides a shot list and shooting schedule for scenes 4-7 of a film called "Button Basher" directed by Gabriel Kelly. It includes 29 camera shots describing the actions of a man in a kitchen as he searches desperately for a button and grows increasingly frustrated when he cannot find it.
2. In scene 4, the man destroys a sandwich and throws a clock in anger after being unable to locate the button. In scene 5, he discovers another identical kitchen through a door.
3. In scene 6, the man sees another person in the other kitchen also searching for a button. In scene 7, the man finds he is locked in the kitchen and tries unsuccessfully to exit through the door.
Button Basher Call Sheet
The document contains scheduling and location information for the filming of scenes 4-7 of a student film shoot taking place on April 29th and 30th at 105 Carr Mills Student Accommodation in Leeds, including call times for the director, crew, and actors along with weather conditions, hospital information, scene descriptions, and a daily schedule. Additional notes provide instructions to be respectful of other flatmates and indicate one actor should bring a costume in a bag.
Button Basher Shot List V1
This document provides a detailed shot list and storyboard for a short film about a man who is obsessed with hitting a button that appears on surfaces in his apartment. It outlines 135 scenes showing the man repeatedly pressing the button in various locations and growing increasingly frustrated when it does not appear. The shots progress from him calmly hitting it to angrily smashing objects like a clock and sandwich when the button frustrates him. The final shot shows the button appearing again as the man stares stunned at the door.
Button Basher Final
The document is a short story that follows a man who lives in a sparse apartment. His daily routine involves waking up, eating a sandwich, and obsessively pressing a red button that appears on surfaces around the room. As the button leads him on an escalating chase, pressing it starts to take a psychological toll. He eventually finds an identical apartment through a door, realizing there may be no escape from the button's control.
Button Basher 1st Draft
The document is a short story about a man who is obsessed with pressing a red button that appears on surfaces throughout his sparse living area. Each time he presses the button, it rewards him with a satisfying ding but then moves to a new location. The man spends his day frantically searching for and pressing the button. It leads him to feel increasing frustration, pain and despair as the button becomes harder to find and press. At the end, he discovers an identical living area next door with another person obsessively pressing a button, causing the man to question his reality.
Button basher step outline
The document describes a man's daily routine of pressing a mysterious red button that appears in different locations around his sparse living space. Each day, the button gets more challenging to press, appearing in harder-to-reach spots. The man enjoys the game but gets increasingly frustrated as his efforts to press the button are thwarted. Finally, the button leads the man to a closet where he discovers an old Bop-It toy, bringing him joy.
Gabriel Kelly Coronavirus Certificate
This certificate certifies that Gabriel Kelly successfully completed a ScreenSkills e-learning module on basic coronavirus awareness for production training, as delivered by ScreenSkills. The certificate was issued on February 23, 2021 by ScreenSkills CEO Seetha Kumar and expires on August 23, 2021, with a verification code that can be used to validate the certificate online.
Safety assessment "Weary Traveller"
The shoot will take place over two nights filming at outdoor locations near Carr Mills student accommodation. About 10 cast and crew will be using camera, lighting and audio equipment. Some potential risks include cast getting cold, tripping over equipment, and a small chance of injury from fake blood or a retractable fake knife prop. However, risks will be controlled through measures like providing warm clothes, stable equipment placement, and safe prop use.
Sidney Sower Final Draft
1) Sidney is nervous to ask Buffy to his school's talent show, but she rejects his mixtape.
2) Years later, Sidney's friend Ricky convinces him to perform at the show again, but they lose the music tracks.
3) Sidney realizes he still has an old mixtape for Buffy, so he and Ricky remake the tracks using household objects and have fun doing it.
Sidney Sower Draft 3 Full
1) Sidney is nervous to ask Buffy to his school talent show and gives her a mixtape, but she rejects him, saying she doesn't listen to music.
2) Years later, Sidney's friend Ricky convinces him to perform at the talent show again, but the mixtape Sidney made is destroyed. They instead record a new song using household objects.
3) On the night of the show, Ricky admits Buffy will not be there, but the homemade song cheers Sidney up. His mother then finds the original mixtape, but Sidney is no longer concerned with impressing Buffy.
Sidney Sower Draft 2 Full
This is the second draft of my Sidney Sower script, after I received peer and tutor feedback on my first draft.
Sidney Sower draft 1 pg1-3
Sidney is a 16-year-old student who has put off doing his math homework until the morning it's due. His mother hurries him to finish as she is running late. Sidney texts his friend Ricky asking to come over but sees Ricky has already messaged that he's waiting at the front door. When Sidney opens the door, his friend Ricky is soaked from the rain but offers to help Sidney with the math homework so they can make beats together instead.
Building a story
An exploration into scriptwriting, starting with, what I believe to be, some of the fundamentals of of filmmaking and storytelling as a whole. This is all based on what I have learned on the filmmaking course at Leeds Arts University, through my own practical work, lectures and seminars.
Evaluation Question 2
The combination of the main product and ancillary texts is effective in establishing Tame Impala's brand. The logo, designs, and themes are consistently carried over from the music video to the digipak, magazine poster, and other products. This consistency creates a recognizable style that builds loyalty among fans. In addition, references to the band's psychedelic rock genre and motifs from the music video help link all the materials to the music. The enigmatic elements of the designs further engage fans and encourage repeated engagement with the band's releases and promotions.
Script media main task
This document outlines a sequence of scenes for a camping-themed title sequence for an independent movie with a young protagonist. The sequence consists of 13 cuts between short scenes showing various characters engaged in typical camping activities like pitching tents, lighting fires, and playing games. Many of the scenes involve comedic mishaps or accidents like tripping over guy ropes, being splashed with water, or failing to contain an exploding marshmallow. The sequence ends by returning to the scene of two people struggling to pack up their tent, with it unraveling just as they think they have succeeded.
Main task audience survey
These are the results and analysis from my main task audience survey. They have helped me discover things about my target audience and also given me confidence in some of the decisions I have made about the film.
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9
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Student Film Permission
- 1. TO : Gabriel Kelly E-MAIL: gabeskelly@gmail.com FROM : JasonMirchandani COMPANY: UNIVERSAL FILM & TV LICENSING TEL NO : 0207 471 5238 DATE : 04/10/16 RE : Tame Impala - Why Won't They Talk To Me? PAGES : 2 _____________________________________________________________________________ In view of the educational nature of the project we are happy for you to use the above tracks free of charge under the following conditions: 1. This permission is limited to the territory of the United Kingdom and covers the non- theatric exhibition of the film/ video on college premises to fellow students, parents, course tutors and external examiners. 2. The copy or re-recording must be from records which you have purchased through normal retail channels. 3. The copy or re-recording shall be used solely in the manner described in your letter and in no other manner whatsoever without the necessary permission in writing. 4. In no circumstances shall the original recording be made available to a third party. 5. No further copies or re-recordings shall be made from your copy or re-recording without the necessary permission in writing. 6. The master tape must be erased after such time as it is no longer required as part of the production for which it was recorded. 7. If you require use of the recording at any other time - for example in any film festivals, you must inform us of your proposed usage. It will not be guaranteed that the track will be clearable and any use of the recording will involve a fee. 8. Any permission granted by us is for copyright in the sound recording only and does not include the necessary publishing copyright which must also be cleared with the relevant publishers. 9. A credit must be given as follows:
- 2. Tame Impala - Why Won't They Talk To Me? Courtesy of Modular Recordings Licensed by kind permission from The Film & TV Licensing Division, Part of the Universal Music Group Yours sincerely Jason Mirchandani Film & TV Licensing UNIVERSAL MUSIC UNIVERSAL MUSIC OPERATIONS LIMITED 364-366 KENSINGTON HIGH STREET LONDON W14 8NS TEL: +44 (0)20 7471 5000 REGISTERED OFFICE AT THE ABOVE ADDRESS REGISTERED IN ENGLAND 950138 www.universalmusic.co.uk