Although, this was a task for the exam part of the course I think there are many aspects that I researched that are useful for the coursework task. For example, some of the filming techniques; how different groups are represented; how film-makers create meaning and the challenges presented by the changing media climate and increasing convergence. All of this will be useful when planning and preparing our thriller opening.
I decided to do my case study on the British TV Drama, Skins...
Friday, October 31, 2014
Tuesday, October 21, 2014
Preliminary Task: Location Scouting
For the short piece of film we have been asked to make, we need a specific type of location that can be seen as both professional and eery at the same time. Me, Jake and Oliver took some time to photograph various different rooms that we thought may be suitable for the interview of the assassin.
This space has the ideal kind of professional look that we would require for our interview. The desk space would allow us the get the sort of shots that we have planned (for example: shot/reverse shot). However, the background did not look suitable for an assassin to conduct an interview in.
We initially like the darkness of this room and how sinister it could look under the correct light. The light creeping in through the window makes the whole room look more intense. The only problem of this room as that it would be hard to find an angle that would not involve the English displays on the wall.
The files on the shelves and paperwork scattered around the room gives the impression that the assassin has a lot of contacts and paperwork for the acts he has carried out. This is ideal for the type of shot we want to create. The only downside to this room is that the desk does not has access from both sides, therefore we would have to change the shots that we plan to use.
The slightly messy look of this room is ideal for the overall look and atmosphere we want to create. The room, however, is slightly small and would be difficult to get both the actors and cameras in without creating too many continuity errors. We would also have to move the room around to fit in a desk which would be time consuming.
The sixth form office was a room we had considered. We were slightly worried of the availability of this room, and whether it would be free for a period of time long enough to film. Although the room could work well for the assassins interview, the availability would be an issue.
The computers around this room suggest that there is a whole network of people working for the assassin. However, putting a desk in the middle of the room might look rather awkward and out of place. For this room we would also have to consider angles and whether the window would create potential light issues.
The dance studio is, personally, my favourite room to film in. I like the background with the punching bags as I feel this would make the assassin look stronger and more superior within the scene. I also like the idea that the room is slightly oversized to be an office. It makes it look as if the assassin works from another secret location that is not stereotypical of an interview.
Our immediate thoughts were that we needed a room that looked like and office, or that could be transferred into one. Finding the right type of room for this was rather difficult as we had to consider lighting issues, availability of the room, and if we could get access to different parts of the room to gather the relevant camera shots. We photographed various different options as seen below.
This space has the ideal kind of professional look that we would require for our interview. The desk space would allow us the get the sort of shots that we have planned (for example: shot/reverse shot). However, the background did not look suitable for an assassin to conduct an interview in.
We initially like the darkness of this room and how sinister it could look under the correct light. The light creeping in through the window makes the whole room look more intense. The only problem of this room as that it would be hard to find an angle that would not involve the English displays on the wall.The files on the shelves and paperwork scattered around the room gives the impression that the assassin has a lot of contacts and paperwork for the acts he has carried out. This is ideal for the type of shot we want to create. The only downside to this room is that the desk does not has access from both sides, therefore we would have to change the shots that we plan to use.
The slightly messy look of this room is ideal for the overall look and atmosphere we want to create. The room, however, is slightly small and would be difficult to get both the actors and cameras in without creating too many continuity errors. We would also have to move the room around to fit in a desk which would be time consuming.
The sixth form office was a room we had considered. We were slightly worried of the availability of this room, and whether it would be free for a period of time long enough to film. Although the room could work well for the assassins interview, the availability would be an issue.
The computers around this room suggest that there is a whole network of people working for the assassin. However, putting a desk in the middle of the room might look rather awkward and out of place. For this room we would also have to consider angles and whether the window would create potential light issues.
Preliminary Task: A Change Of Plan
Our initial planning for filming required two members of teaching staff within the sixth form. As we came to plan and organise our time we came across some issues with this. The members of staff who had originally agreed to be in our piece of film both realised they were not as available as they originally thought and were usually both free at different times.
Instead of seeing this as a drastic issue, our group decided we would take over the acting ourselves. Although this would mean sharing the jobs and filming of editing while also managing our time to actually act in our film, it meant the process of creating the preliminary task would be more efficient and easier to organise our filming time around us rather than two individuals with a lot of responsibility in other areas.
It was decided that me and Oliver would become the two characters. Oliver would take over the role of the Interviewer and myself as the Assassin who was being interviewed for the job. With both mine and Oliver's schedule being similar, and having the same non-contact periods within school time, it made meeting up a lot easier. One issue we did discover was that Jake had other commitments and was not as available. Despite this, me and Oliver continued to film. It also became apparent that we may have to change a few shots that we had planned on our storyboards as they no longer fit or looked natural.
Overall, I feel that our decision to change the actors within the film will be more beneficial and easier to manage.
Instead of seeing this as a drastic issue, our group decided we would take over the acting ourselves. Although this would mean sharing the jobs and filming of editing while also managing our time to actually act in our film, it meant the process of creating the preliminary task would be more efficient and easier to organise our filming time around us rather than two individuals with a lot of responsibility in other areas.
It was decided that me and Oliver would become the two characters. Oliver would take over the role of the Interviewer and myself as the Assassin who was being interviewed for the job. With both mine and Oliver's schedule being similar, and having the same non-contact periods within school time, it made meeting up a lot easier. One issue we did discover was that Jake had other commitments and was not as available. Despite this, me and Oliver continued to film. It also became apparent that we may have to change a few shots that we had planned on our storyboards as they no longer fit or looked natural.
Overall, I feel that our decision to change the actors within the film will be more beneficial and easier to manage.
Preliminary Task: Script Writing
In the pre-production stage for our preliminary task, Oliver, Jake and I decided to create a script that would be used within our clip as the lines of dialogue for the actors. We felt that creating a script would enhance the realism of the film, and make the dialogue flow better and more naturally. We all felt a script was essential in order to keep things organised and well planned, and also it served as good practice for us in our scriptwriting skills.
Each character will receive a copy of the script to ensure effectiveness in filming and time management.
Sunday, October 5, 2014
Case Study (Utopia): Stylistic Influences And Post-Production
Utopia is infamous for its comic-book style and bright colours. Most of these effects are added and finalised in post-production which is rather unusual for a sci-fi TV series.
Marc Munden, director of the Utopia series, used a technicolour process to give the series its iconic look. It is usually expected that cinematography is constructed with reds, greens and blues, however Utopia is constructed of the complete opposite, yellows, magenta and cyan.
Munden and the series colourist Aidan Farrell colour-corrected each shot in post-production by using Nucoda Film Master, a grading software, which replaced the use of a brush or pen. Munden said, " It's the equivalent of when they used to hand-paint photos in the Edwardian times", suggesting the look of the series was a lot more authentic and original than using the typical software.
Many of the original scenes were shot in autumnal Britain, where the skies were usually grey and bleak. This is where the work in post-production changes a dull scene into a comic style shot. Munden and Farrell successfully managed to create the desired look by making grass greener and eyes brighter and the shots over all more vivid.
Because of the time spent in post-production, the series successfully pulled off the comic-book style scenes they anticipated which mirrored the conspiracies of the comic book the series is based on.
Marc Munden, director of the Utopia series, used a technicolour process to give the series its iconic look. It is usually expected that cinematography is constructed with reds, greens and blues, however Utopia is constructed of the complete opposite, yellows, magenta and cyan.
Munden and the series colourist Aidan Farrell colour-corrected each shot in post-production by using Nucoda Film Master, a grading software, which replaced the use of a brush or pen. Munden said, " It's the equivalent of when they used to hand-paint photos in the Edwardian times", suggesting the look of the series was a lot more authentic and original than using the typical software.
Many of the original scenes were shot in autumnal Britain, where the skies were usually grey and bleak. This is where the work in post-production changes a dull scene into a comic style shot. Munden and Farrell successfully managed to create the desired look by making grass greener and eyes brighter and the shots over all more vivid.
Because of the time spent in post-production, the series successfully pulled off the comic-book style scenes they anticipated which mirrored the conspiracies of the comic book the series is based on.
Case Study (Utopia): Analysing The Opening To Series 2, Episode 6
What is effective about the opening to Utopia, series 2, episode 6?
One of the things Utopia use well is sound. The first sounds heard in the opening sequence are the diegetic noises of the coach station. The use of the tannoy announcements and people going about their own business suggests quite a natural environment where initially the audience would not expect any unusual behaviour or on-goings. By creating a natural and expected environment that opens with a child walking through the station, the creators are giving a sense of innocence and normality to the scene.
This quickly changes when the non-diegetic music is introduced which instantly creates tension and suggests to the audience that everything is not as it seems. The build up of different pitched sounds creates tension by slowly becoming more intense and focused as the assassin appears in shot. The music is used to oppose the innocent image of the child and is used to shock the audience as it makes them realise the situation could potentially be dangerous. The music/soundtrack keeps the audience in suspense throughout the scene.
As the assassin begins his speech into how "selfish" the act of having children is, the shot changes from a long shot to a tracking shot that begins to focus in on the assassin's face. The tracking shot is used for dramatic effect to highlight how shocking and disturbing the facts and ideas of the assassin are and how weak and vulnerable it makes the other characters in the scene.
The male dominance in the scene is also effective as it makes the woman and the child look vulnerable and shocked by the assassin and his ideology. The dominance of the assassin is also effective as it suggests he is rather powerful and ruthless, considering the nature of the scene, and that this is quite expected and quite typical of his personality and nature. The assassin is also seen as intimidating and quite scary which is effective as it relates back to the idea of the movement for sterilisation. This links together as it shows how both those involved and the act of making the population infertile is intimidating and uncomfortable to a lot off people.
The content of the introduction reflects the "Zeitgeist" as it links to the modern day concerns of the environment and atmosphere. This engages the audience as it something that is easy to relate to and mildly popular within society. This is also relevant as audiences are less shocked by these ideas and are more comfortable to engage in programmes that involve this.
Here is a link to the clip analysed above: https://www.youtube.com/watch?v=MEeh-Hse38A
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