evaluation continued..

What kind of media institution might distribute your media product?

Our target audience was that of 16 +. It relates to the hardships of relationships overlooked in today’s society.  As it was a school project we obviously didn’t have a great deal of money to spend on so we had to improvise with the software and equipments we were given. Distribution in the film industry means the business of launching and sustaining films in the market place. Although there is many film distributors, the one we could easily relate to wasFilm4, as they are an independent, low budget, British film distributor, but can also produce top quality Paramount Pictures. To fully benefit form the institution we had to research the UK Film distribution scene and processes, the most favored part in the process of film production, is known as ‘invisible art’. As its name implies, this part of the process is almost irrelevant and unrecognizable yet without it the film industry would suffer. The main aim of distributing films on film4 is the financial aspect. As it is in constant competition with the thriving film and media business, its attempt at staying on top or maintained by releasing and maintaining highly favored films, apparent with the viewing public. Smaller organizations such as film4 usually work within the three stages of; licensing, marketing, and logistics.  Producers usually focus on the production of films with no long-term links with global markets. Industries need the rights and materials of the producer in order to promote and show the film in the best way possible; producing the most money. Thus, film4 cares more about its viewers and their enjoyment rather than taking down competition resulting in better viewing figures. British institution such as ‘Film4′ was needed to market the product in the best way possible; appealing to local markets, but still holding the potential to be globally available . Film 4 is a media institution that develops co-finances and helps to distribute media products; mainly films. Low budget films that Film 4 has helped to make a success are: Looking for Eric and Slumdog Millionaire. Film4 has slammed the UK film industry since 1982 and has been described as in its prime. When funding the production of Boyle’s ‘Slumdog Millionaire’ Film4 found itself in an imperative position in British film-making, picking up eight Oscars’ and a healthy pay. Film 4 might take on a media product like ours because it is low budget and there might be a gap in the market for it. We chose to use film4 because it gives low budget, budding film makers a chance to break into the movie sector of the media industry. The films usually submitted to this distributor, often have a homely, relatable feel to them, an added benefit of a tight budget, in a multimillion pound industry.

who is our Audience.

As above, our piece is aimed at young adults, 16+. We were aware, by personal experience, that many teenagers within this bracket have already been exposed to a variety of thought provoking and deep material. We chose this target age because it gives u a wide spectrum of what we can involve. To relate to our audience we used actors within our age range to relate to them, contrastingly, juxtaposing theme of tragedy isn’t usually associated with teens. We purposefully did this to show the challenged reality of adolescence. Because of the age of our target audience, being stalked by somebody of a similar age. As the underlying tone of our piece has a depressive tone, we made sure we were sensitive to the characteristics and style, technique, or narrative content. By categorizing a film according to its genre, it makes the film easier to promote to a particular audience. When advertizing, it is also important that the style and medium is incorporated with the age range. For example, displaying it on networking sites or television channels, whose viewing public is largely populated by teenagers.  As a certificate for our opening sequence we would give a 15, not because of its content but the story line is more likely to be better understood.

How did we attract our audience?

To ‘advertize’ our product we used the two main websites associated with people our age. This was youtube.com and facebook.com. Whilst YouTube focuses primarily on broadcasting a a wide variety of genres of videos and viral add, it also has a message board feature which allows users to leave feedback an opinions. We also used facebook, which is a social network that connects friends and family through chat, pictures, videos, wall posts, comments and status updates. By having a large majority of our friends using facebook and YouTube we saw it as an opportunity to get inspiration from people within our target audience age on what could be improved to make it more relatable. Also by gaining feedback it boosts the videos popularity making it more accessible to a wider viewing public. Our other chosen website was YouTube. This is a video broadcasting site; however the need for entertaining videos is much more in demand as this is the whole purpose for the site thus allowing anybody to comment on any video, There are many people who are users our age that can be attracted to our product. YouTube creates an online community where people review each others videos, so we thought that this was a perfect example of getting fair and constructive criticism and feedback. To attract out audience we thought, in depth, about the mise en scene contained in our film as this it is the first factor that determines the opinion of the audience. By using quirky fashion and mismatched, busy surroundings, we tried to create a carefree atmosphere, also to help direct the story and compliment the fast pace in which it was set. We thought this would allow the audience to be able to relate more to our media product,  We found this would mostly attract our audience in the same way that hit TV series Skins had done for their target audience. Synergy would be a good way of attracting my audience as people see a lot of certain types of  Synergy advertizing appeals that appeal to the younger generation such as billboards, buses, trailers, and internet pop ups. To make our advertizing successful, without an unlimited budget,  we would consider similar actors to that of skins as role models to appear in our adds. Again boosting popularity.

evaluation so far..

1. Our opening sequence is about a girl who is remembering her boyfriend who recently died, the piece shows her in a heartbroken state and her inability to cope without him, ultimately resulting in her taking her taking her own life. The first shot we see is the girl and boy on her bed; we tried to create a relaxed, blissful atmosphere. To do this the light is warm and natural, the unintended light effect we got from the sun light coming through the blinds, also added a nice effect. The first camera angle used is a bird’s eye view, and fades in from a black screen. The couple are apparently talking but can’t be heard as it is in mute, with the gradual building of our sound score, we chose Damien Rice’s cannonball. At first the music can be barley heard, but as the scene progresses the volume increases. Then, as the first bar of lyrics start, the girl turns over, apparently in the direction of the boy. This is shown by a straight cut, to the side of the bed, in close up. Evidently, the boy is not there and the girls face in the back ground soon turns to realization and upset. The camera then uses a slight upward tilt; to show he was never actually in the room. Meanwhile the music continues to build. Another close up of the girls face is used as she appears to be focusing on something with great intensity. We then used eye line view to show she was looking at his jumper draped over the back of a chair, then a series of straight cuts to show various objects, apparently belonging to him.

                The genre of our piece is young romance and tragedy. We took much of our inspiration from Shakespeare’s, Romeo and   Juliet i.e. the concept of committing suicide as a result of     loneliness and misfortune. Directed by Baz luhrmann, the 1996 remake was a starting point for our opening sequence. For example one similarity is suicide. We focus on this and make it the climax of our piece by using varying and interesting camera angles,As the camera stays still, she stands up and her feet and bottom half of her legs are all that can be seen. Then she    places one earring at time on the side of the bridge, next to where she is standing. Then    removes her old beaten up shoes and places them next to her jewellery. A straight cut is again used to focus on her profile again, the music is reintroduced as she begins to scream and cry, we can’t hear her but the same music as before is playing instead, then she stands        up and composes herself. The music stops and natural sound can be heard again. The camera then pans round, interrupting the 180 degree rule, to deliberately mystify the audience, creating and uneasy and confusing viewing experience.  Her possessions are then   in the foreground, using a close up, so the audience focuses on them, she is then in the background facing away from the camera, on the opposite side of the bridge, Still wearing the jumper, she sways  over the side.

2.  The media portrays teenagers and youths to be naive and in experienced within the adult world. On a large scale, it groups all   teenagers into one category and never focuses on the hardships of growing up.

In our piece we focus on the largest problem area for teenagers, the beginning and ending of relationships. We realised it could come across as a cliché, and by using contrasting camera angles and interesting editing techniques, we tried to represent it in a different light, so it affects the way people perceive young love.

Our characters are using washed out ‘charity shop’ clothing, truer to today’s modern teenager. We also chose this costume because the particular characters we are trying to portray are more carefree and more about having a good time rather than being too into their looks. Also by using a vintage looking bike, this also adds to the kooky tone as well as the girl wearing a white dress and relaxed natural hair and minimal make up.

The boy is considerably broader and taller than the girl, we did this on purpose to show how small and vulnerable she is when she is alone. One particular shows this well, on the bed shooting from a bird’s eye view, she is enveloped in his arms and curled into a ball, whereas he is relaxed and stretched out, to enhance his size and dominance, in comparison.

The location we chose is mostly in the quite country. We chose to film in rural areas to reflect the simplicity of the piece. Also it gives the piece a more immersive, believable feel and does not distract the audience from what is going on

recollection of visuals..

mise en scene.

• We purposefully filmed during the day to capture the immersive light situation, creating a relaxed, quiet, summery atmosphere.
• Megan’s bedroom is mismatched and the photography wall provides and interesting backdrop.
• The double bed allows ample space.
• His old, washed out jumper shows a fun, well lived life and active adolescence, also contributes to the quirky fashion sense.
• The girls messy hair shows disinterest in her personal appearance, care free and easy-going attitude.
• An old-fashioned bike emphasizes the quirk of our piece.
• We are filming in Glinton graveyard which is surrounded by larger houses, suggesting wealth. with a secondary purpose to imply tragedy can happen to any class of people.
• Castor bridge has a serene, calm atmosphere with quiet fields and hanging willows, which contrast with the tragic, haunting overtone.

costume:

• Her brown belt, white cotton dress- simplicity and innocence of young love.
• His old ‘charity shop’ jumper
• Her vintage bike
• Jewellery
• Old, tatty shoes.

Typical conventions of a tragedy/romance..

• The play opens with the tragic hero at the height of his fortunes.
• In the course of the play, the tragic hero is reduced to a state of misery.
• Ultimately the hero dies.
• This reversal of fortunes is the result not of chance, or of the wickedness of anotherCharacter, but of a fatal flaw in the hero’s own character.
• This fatal flaw is a flaw that we all possess.
• But just as the tragic hero is in status an extraordinary person, so the degree to which they possess this flaw is much greater than their fellow men.
• Before they die, they should have a moment of realisation, in which they understand for the first time how far they have been responsible for their own undoing.
• But this moment of realisation should come too late, tragically, for them to be able to avert their own fate.
• Whatever their faults, we as an audience never stop identifying sympathetically with the tragic hero.
• We have a sense that the tragic universe of the play is a moral one (because the tragic hero is punished for his flaw).
• But we also have a sense that it is an intensely unforgiving one (because the Consequences of the flaw in their character – and the actions it leads them to take – are so catastrophic for themselves and those around them).
• At the end of the play, there is a terrific sense of human potential wasted.
• Those who are left behind learn lessons from what has happened to the tragic hero.
• But although they may be wiser, the world is not really a better place. In fact, the play ends on a note of crushing anti-climax. Without the tragic hero, things will never be quite the same again, whatever people pretend. Something great has departed from the World.

script for adieu..

The first shot we see is the girl and boy on her bed; we tried to create a relaxed, blissful atmosphere. To do this the light is warm and natural, the unintended light effect we got from the sun light coming through the blinds, also added a nice effect. The first camera angle used is a bird’s eye view, and fades in from a black screen. The couple are apparently talking but can’t be heard as it is in mute, with the gradual building of our sound score, we chose Damien Rice’s cannonball. At first the music can be barley heard, but as the scene progresses the volume increases. Then, as the first bar of lyrics start, the girl turns over, apparently in the direction of the boy. This is shown by a straight cut, to the side of the bed, in close up. Evidently, the boy is not there and the girls face in the back ground soon turns to realisation and upset. The camera then uses a slight upward tilt; to show he was never actually in the room. Meanwhile the music continues to build. Another close up of the girls face is used as she appears to be focusing on something with great intensity. We then used eye line view to show she was looking at his jumper draped over the back of a chair, then a series of straight cuts to show various objects, apparently belonging to him.

The scene then switches to the couple in a field laughing and playing, using handheld techniques, it gives the ‘memory flashback’ a personal, immersive feel. The music is dissociative with this particular shot as it’s a slow and haunting; contrastingly, the couple are having careless fun.

A sudden scene switch is again used to a super close up of the girls eye, and a tear rolling down her cheek.  The camera then pans out to show her wiping it away, but finding it hard to keep it in. An over the shoulder shot is also used, using hand held camera movement, shows her screwing up a picture and dis-guarding it. The music is now at its loudest but is then abruptly stopped:  

 (Mother, softly) “Love, are you ok up there? Can you come down a second?”

(The girl, jumps as she is snapped out of her trance but says, clearly not loud enough) oh, err, yeah, be err….down in a sec…

In a mid shot the girl is shown pulling out her earphones, which are only then made evident that she even had any in, the music can still be heard playing through the earphones. As she pulls on the jumper on the chair, the camera stays in the same position and a slip of paper is left on the bed along with the earphones.

The next straight cut shows her in the kitchen, silently but quickly passing her mother, grabbing an antique looking bike and peddling off, leaving her mother puzzled, but unfazed.

(Mother) (Seemingly talking to herself): oh, lovely, by then, love you too…

The next scene is the camera tracking the girl, cycling numbly, along a country road, all that can be heard is natural sounds.  As the girl approaches a corner, she is shown biking past and up to a grave yard. As she draws nearer to a small wooden cross, an over the shoulder shot is used to show her placing a rose and delicate necklace over this cross.

She is then shown biking furiously back down the same road, using tracking again. In an upset state.

The next scene is using a mid shot, showing the girls profile as she looks dazed and in trance, focusing on endless fields, sitting on the side of a bridge, her eyes are smudged and black and her hair is messy. Then as the camera stays still, she stands up and her feet and bottom half of her legs are all that can be seen. Then she places one earring at time on the side of the bridge, next to where she is standing. Then removes her old beaten up shoes and places them next to her jewellery. A straight cut is again used to focus on her profile again, the music is reintroduced as she begins to scream and cry, we can’t hear her but the same music as before is playing instead, then she stands up and composes herself. The music stops and natural sound can be heard again.

The camera then pans round, interrupting the 180 degree rule, to deliberately mystify the audience. Creating and uneasy and confusing viewing experience.  Her possessions are then in the foreground, using a close up, so the audience focuses on them, she is then in the background facing away from the camera, on the opposite side of the bridge, Still wearing the jumper, she sways  over the side. The shot then goes back to her bed room and re focuses on the piece of paper. In a mid shot her mother is shown opening it, and using a final close up on the paper, adieu is written on it.

The screen the fades back to black and then end credits.

location report..

Within this section I will give short and brief description of the area and how this region will help with our filming

The locations that we may use around the city for our filming are areas such as:

• Glinton – Road, Grave yard, School field, Park
• Ferry Meadows – Bridge
• Megan’s House – Bedroom

 

Location: Glinton

Within Glinton we will use areas such as the long road between Glinton and Northborough. We chose this location as it gives us the opportunity to use a variety of shots for the scene when Megan is riding the bike on her way to the grave yard.

We are also going to use the grave yard at Glinton church. We have chosen to use this location because it is a real grave yard so it will give the shots the authenticity that will make the scene believable.

We thought that the school field would be a good location for the scenes that Megan is remembering the relationship that she had with Matty. The scene that is going to be shot on the school field will be used as a flash back when remembering all of the good times that they had together. The scene that is going to be shot in Glinton Park is also going to be used for this purpose. There is going to be a shot of Megan and Matty on the swings.

 

Location: Ferry Meadows

We are going to use a bridge in Ferry Meadows to shoot the scene where Megan is standing on the bridge screaming and ready to take her life to be with her boyfriend.

 

Location: Megan’s House – Bedroom

The location of Megan’s Bedroom is going to be a vital place for our opening sequence. It is in this location that the opening shots are going to take place, and the main location for the sequence. There are going to be shots of Megan reminiscing on the relationship that she had and remembering the good times.

Preliminary task evaluation..

Our preliminary task was to experiment with different camera, sound and editing techniques to see what would work best for our actual opening sequence. We treat this task as a practice and a trial to gain ideas for the real thing. By doing this, we discovered several things:

• In our plan we made a few spider diagrams, discussed and evaluated each other’s ideas, we grouped them together and started filming. However more detailed planning was soon evident id we wanted to meet criteria.
• Our more detailed and precise plan involved location choice, script, and story board.

One key hitch that we come across, during the process of filming, is when we used still mid shots, the camera was unsteady, giving our piece a mediocre quality. To resolve this, we attached the camera to a tripod, thus giving a more steady and finished effect.

Our next improvement was to adjust our story board, making it easier to follow and flow more smoothly. By doing this, we were able to discuss, evaluate and incorporate every body’s ideas into the shot, so everybody contributed to each process. Also we could keep referring back to our notes, ensuring no factors were missed out, hindering our chances of meeting criteria. By brain storming location, script and dialogue, we weighed up the pros and cons for possible filming areas, taking into consideration, being exposed to winds, background noise, unwanted non diagetic  conversations, the mise en scene our surroundings may have provided, lighting, and space.

After assessing our preliminary task, it become evident that there was a lot of background noise, such as pupils walking about holding loud conversations, picked up by the mic, that added an unconvincing tone to the tension and suspense we were trying to create.

Also when producing our preliminary task we took into consideration the ‘180 degree’ rule. Imagine when watching footage we see three ‘walls’ and the camera is standing in the fourth. It is important not to cross this ‘fourth wall’ when filming, and continue to shoot from the same side, consistently throughout to avoid confusion. In our piece we applied the ‘180 degree rule’ when filming a walking scene or in over the shoulder shots during conversation.

Also using ‘match on action’ was a beneficial factor, fundamentally giving the recording a polished, tweaked appeal. Match on action is when a shot, containing various editing techniques, progresses so the camera angles change, but the editing should match as before, essentially giving it a smooth outcome. For example, Jack, who plays the victim in our piece, is shown opening a door whilst the camera is behind him. He opens the door and as he does so, the camera switches to a view from the other side; evidently, the door has only opened the same amount as from the previous shot.  

By attempting to include adding these two rules, it gives our piece an authenticity and immersive value. By paying attention to detail, researching and planning, we feel it reflected in our piece. We were pleased with the result and material we came up with, if still a little rough around the edges, we were able to see what would have to be taken into account when making our opening sequence.

Match on action..

another way of making cuts between shots less noticeable, is to cut from one shot to another during some movement. If a character gets up and moves across the room, imagine the first shot of the seated character is a medium shot and a long shot is used for the characters walk. The cut between the two shots will be made as the character starts to stand up in the first shot, the second shot must be cut in with the characters body position matching that of the first shot. similarly if someones goes through a door, the door can be shown partly opening from one side then the shot taken from the other side will already open the door the correct amount.

180 degree rule..

with in a scene there should be at least two characters, in imaginary line is taken between then and all the shots in the scene are photographedwithin an arc fromone side of this line (hence the 180 degrees.) there are several reasons for this, the main one is that two characters will stay on the same side of the frame (either left or right) so that the audience is not confused as to who is facing where. Also if the shot cut from long or medium to close there will be some part of the background which stays constant, so reinforcing the the sense of single space.

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