Sex
Age
Occupation
Social Class
List the soaps you watch
What's your favourite?
Which soap would you think is the most successful?
Why do you think this is?
What do you think of the soap?
Would you say it is realistic?
State what you think is unrealistic about it
Whos' your favourite character generally?
Why is this?
What storylines would you like to see more of?
Is there anything you would like to see more of?
Is there anything missing from your favourite soap that you would like to see?
Would you watch a soap that has a strong reality element? (eg. real scenarios based around the reccession)
Is there any part of reality you wouldnt like to see in soaps?
What would you relate to most in soaps?
When would you sit down to watch these soaps?
.
This is the questionnaire we are using to determine who the target audience is, and what sort of pitch we would like according to the information we receive.
Tuesday, 29 September 2009
Importance in camera movemet
Camera movements give the audience a more intelligent understanding of what is appearing on the screen, a good example would be someone getting angry, the camera would move from a long shot to a close up of the man or woman's facial expression. This would express the situation in a more highlighted approach , conveying to the audience the actor rage and frustration, and try to get the audience engaged in what is happening in the screen and to also feel what is happening as if they are in the situation of the person playing in the film.
Camera movement is one of the most expressive tools available to a filmmaker. It alters the relationship between the subject and the camera frame, shaping the viewer's perspective of space and time and controlling the delivery of narrative information. As the camera frame orients the viewer within the mise-en-scene, movement of the frame provides the illusion of the viewer journeying through the world of the narrative. The camera height and angle, the distance to a subject, and the composition of a shot may change during camera movement, as the framing travels above, below, around, into, and out of space. Types of camera movement are distinguished by their direction and the equipment used to achieve motion this creates the realism in any soap or film, which also makes it interested to the viewers watching at home.
A tracking shot indicates the camera through space parallel to the ground and can travel forward, backward, from side to side, diagonally, or in a circle. Whereas a pan or a tilt reveals what one might see when standing still and rotating one's head, a track provides the impression of actually advancing into space. Tracking shots are often produced with the camera mounted on a dolly, a small, steerable platform with rubber tires. Tracking shots receive their name from the railroad-like tracks that are frequently laid on the ground to guide the dolly during long camera movements, again another thing which adds to the realism in a soap or film.
KENJI MIZOGUCHI
b. Tokyo, Japan, 16 May 1898, d. 24 August 1956
One of the most acclaimed directors of world cinema, Kenji Mizoguchi created elegant, precisely staged long takes in films that examined the circumscribed choices of women in Japanese society. His tightly controlled camera movement, recessed foregrounds, and depth staging served to subordinate characters to the overall composition, positioning the viewer as an observer to highly emotional yet distanced subject matter. (As you can see this is a well known director)
A tracking shot being filmed for the chariot race sequence in Ben-Hur (Fred Niblo, 1925). (director decribing opinion of his own film)
rises and lowers on a platform connected to a mechanical arm, much like utility company cherry-pickers. A crane enables the camera to traverse great distances up and down, as well as forward and backward and from side to side. Although in use as early as Intolerance (1916), crane shots became a signature of the 1930s musicals of Busby Berkeley (1895–1976) and multiplied following technological improvements after World War II. In the late 1970s the introduction of the Louma crane further increased shooting options. The Louma operates like an oversized microphone boom, with a rotating arm and a remote-control camera mount at the end. The Louma transmits the image from the camera to the operator in another location, enabling the camera to move through very tight, narrow spaces that were previously inaccessible.
Aerial shots taken from a plane or helicopter are a variation of crane shots. A camera mounted on an aerial support can move into space in all directions while achieving much greater heights than can a crane. Filmmakers began exploring ways to mount a camera on a plane during the 1910s, and in the 1950s helicopter mounts created additional shooting possibilities. An aerial shot may frame another flying object, as during the Huey helicopter battle sequences of Apocalypse Now (1979), or it may provide a "bird's eye view" of the landscape, as in the swooping helicopter shot of Julie Andrews in the Alps at the opening of The Sound of Music (1965).
Camera movement is one of the most expressive tools available to a filmmaker. It alters the relationship between the subject and the camera frame, shaping the viewer's perspective of space and time and controlling the delivery of narrative information. As the camera frame orients the viewer within the mise-en-scene, movement of the frame provides the illusion of the viewer journeying through the world of the narrative. The camera height and angle, the distance to a subject, and the composition of a shot may change during camera movement, as the framing travels above, below, around, into, and out of space. Types of camera movement are distinguished by their direction and the equipment used to achieve motion this creates the realism in any soap or film, which also makes it interested to the viewers watching at home.
A tracking shot indicates the camera through space parallel to the ground and can travel forward, backward, from side to side, diagonally, or in a circle. Whereas a pan or a tilt reveals what one might see when standing still and rotating one's head, a track provides the impression of actually advancing into space. Tracking shots are often produced with the camera mounted on a dolly, a small, steerable platform with rubber tires. Tracking shots receive their name from the railroad-like tracks that are frequently laid on the ground to guide the dolly during long camera movements, again another thing which adds to the realism in a soap or film.
KENJI MIZOGUCHI
b. Tokyo, Japan, 16 May 1898, d. 24 August 1956
One of the most acclaimed directors of world cinema, Kenji Mizoguchi created elegant, precisely staged long takes in films that examined the circumscribed choices of women in Japanese society. His tightly controlled camera movement, recessed foregrounds, and depth staging served to subordinate characters to the overall composition, positioning the viewer as an observer to highly emotional yet distanced subject matter. (As you can see this is a well known director)
A tracking shot being filmed for the chariot race sequence in Ben-Hur (Fred Niblo, 1925). (director decribing opinion of his own film)
rises and lowers on a platform connected to a mechanical arm, much like utility company cherry-pickers. A crane enables the camera to traverse great distances up and down, as well as forward and backward and from side to side. Although in use as early as Intolerance (1916), crane shots became a signature of the 1930s musicals of Busby Berkeley (1895–1976) and multiplied following technological improvements after World War II. In the late 1970s the introduction of the Louma crane further increased shooting options. The Louma operates like an oversized microphone boom, with a rotating arm and a remote-control camera mount at the end. The Louma transmits the image from the camera to the operator in another location, enabling the camera to move through very tight, narrow spaces that were previously inaccessible.
Aerial shots taken from a plane or helicopter are a variation of crane shots. A camera mounted on an aerial support can move into space in all directions while achieving much greater heights than can a crane. Filmmakers began exploring ways to mount a camera on a plane during the 1910s, and in the 1950s helicopter mounts created additional shooting possibilities. An aerial shot may frame another flying object, as during the Huey helicopter battle sequences of Apocalypse Now (1979), or it may provide a "bird's eye view" of the landscape, as in the swooping helicopter shot of Julie Andrews in the Alps at the opening of The Sound of Music (1965).
Monday, 28 September 2009
Eastenders trailer- Christmas is coming
The trailer starts off by popping up three words on to blank black screen. we see the word "Christmas is coming" in normal sized font in white colour but with a shadow in each letter, which links up with the soap very well giving it a Christmas look with the snowy font.
we also see the owner of the Queen Vec breaking a cracker with the non-diagetic music really adding to the atmosphere. The "BBC" icon is displayed underneath Peggy's chin in white , in standard font for the audience to focus mainly on Peggy's face. Then it cuts to a black background with small white blocks spelling " To Albert square", the non-diagetic music also implies that its going to be a happy day for some and sad for others, with the change in the singers voice. when the camera does a shot reverse shot from Max's daughter to Stacey you could feel the tension in Stacey's facial expression, which makes the audience want to see more
We see a shot reverse shot of Max's family and friends playing the video of max holding Stacey in the video with the non-diagetic music adding the shocking factor to this situation, a black out is used to indicate Bradley's animosity on his face, the eye brows really represent how serious Bradley is, which quickly switch's to a shocked reaction of Stacey's face to a gutted reaction on Max's face, with the lyrics in the non-diagetic soundtrack saying "all i want for Christmas is you" people aspect to see these kind of events appear in Eastenders, because there realistic things which do happen in our day t day lives.
Sunday, 27 September 2009
Eastenders title sequence
The theme tune of Eastenders is something our ears are getting used to, especially when it zooms in then out over the millennium dome, which we call a birds eye view.
which enables us to see everything on the screen, but could also imply heirach and lowrach, which is the reason why the camera turns 360 degrees through the clouds of London.
We also see the river Thames,kind of separating two areas of London, and of course we see the standard size font(bold) fading in on on the screen to let the audience know the name of the soap, we also see the "bbc" symbol in standard font(bold) underneath the soap's name. both the soap name and "bbc" symbol are in white font. it could symbolize Innocent people. another thing which caught my eye is that the soap name and "BBC" symbol is in the middle of the screen, but on the top of the river, which think adds a very good effect showing a small map of London.
Cgi was used to create clouds which made the opening look more realistic, you can also see famous architecture which include the cityscape.
which enables us to see everything on the screen, but could also imply heirach and lowrach, which is the reason why the camera turns 360 degrees through the clouds of London.
We also see the river Thames,kind of separating two areas of London, and of course we see the standard size font(bold) fading in on on the screen to let the audience know the name of the soap, we also see the "bbc" symbol in standard font(bold) underneath the soap's name. both the soap name and "bbc" symbol are in white font. it could symbolize Innocent people. another thing which caught my eye is that the soap name and "BBC" symbol is in the middle of the screen, but on the top of the river, which think adds a very good effect showing a small map of London.
Cgi was used to create clouds which made the opening look more realistic, you can also see famous architecture which include the cityscape.
Group meeting
In lesson we looked at the conventions and forms of soaps. With this list we then (in our group) discussed possible conventions we'd like to keep, others which we'd like to develope and ones which we would discard.
Our ideas so far:
-Realism is crucial
- Ecentric characters
- 'Big Brother' soap - bizare characters in reality
- Viewing time is not crucial as with the internet and sky plus intelligent viewers can view it at any time that suits their leisure.
- Relevent to the year (eg, finacial year)
- Include more ethnic groups (possible sub titles)
- Documentary style (as similar to dramas such as desperete housewives)
- More depth than a love triangle
- 'ghetto twist'
- Keep strong narratives with gossip
- show more of a minority lifestyle within the mainstream (eg homeless people)
- Two sides of life in one location
- Have quirky camera work to appear glamorous/stylised
- Show glamorous lifestyle and reality
By next tuesday we should have a complete record of questionaires (which Zoe will do)
Everyone should do atleast one trailer and title sequence analysis (independently) we shall feed this back to eather either over the blogs or on Tuesday.
I hope people can begin posting pitches/treatments/general ideas about characters/storylines/storyboards etc.
Our ideas so far:
-Realism is crucial
- Ecentric characters
- 'Big Brother' soap - bizare characters in reality
- Viewing time is not crucial as with the internet and sky plus intelligent viewers can view it at any time that suits their leisure.
- Relevent to the year (eg, finacial year)
- Include more ethnic groups (possible sub titles)
- Documentary style (as similar to dramas such as desperete housewives)
- More depth than a love triangle
- 'ghetto twist'
- Keep strong narratives with gossip
- show more of a minority lifestyle within the mainstream (eg homeless people)
- Two sides of life in one location
- Have quirky camera work to appear glamorous/stylised
- Show glamorous lifestyle and reality
By next tuesday we should have a complete record of questionaires (which Zoe will do)
Everyone should do atleast one trailer and title sequence analysis (independently) we shall feed this back to eather either over the blogs or on Tuesday.
I hope people can begin posting pitches/treatments/general ideas about characters/storylines/storyboards etc.
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