Tuesday, 20 March 2012
Thursday, 15 March 2012
Certificate research
Certificate Research
When producing or writing a film the producer already has an idea in mind of the certification and rating the film will have. This therefore means when the British board of film classicisation is rating the film the producer is waiting with a desired outcome they hope for. Every film that is released must be viewed by the British board of film classification (BBFC). This will determine the age range of the potential audience. The cost to the distributor is £9.50 per minute of film viewed. An example of when the BBFC have made a judgement which the producer of the film; which in this case is Steven Spielberg, didn’t like the verdict was Star wars. Steven Spielberg had an idea in mind of which age range he wanted to advertise his film at, he wanted younger children and the younger generation to be able to enjoy his film, however, the BBFC decided the film wasn’t suitable and rated it at a higher certification to the one he had hoped for and planned for; for example merchandise and advertising strategies.
Between 1912 and 1932 the only certifications for films were U and A – Universal and Adult.
When producing or writing a film the producer already has an idea in mind of the certification and rating the film will have. This therefore means when the British board of film classicisation is rating the film the producer is waiting with a desired outcome they hope for. Every film that is released must be viewed by the British board of film classification (BBFC). This will determine the age range of the potential audience. The cost to the distributor is £9.50 per minute of film viewed. An example of when the BBFC have made a judgement which the producer of the film; which in this case is Steven Spielberg, didn’t like the verdict was Star wars. Steven Spielberg had an idea in mind of which age range he wanted to advertise his film at, he wanted younger children and the younger generation to be able to enjoy his film, however, the BBFC decided the film wasn’t suitable and rated it at a higher certification to the one he had hoped for and planned for; for example merchandise and advertising strategies.
Between 1912 and 1932 the only certifications for films were U and A – Universal and Adult.
This means the film industry has excelled and advanced since then as it has gone from having just two certifications to 7.
U FILMS - It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.
PG FILM - Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.
12 FILMS - Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them. Category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.
The ‘12A’ - category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
15 FILMS - No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video work.
18 FILMS – no-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy a ‘18’ rated video work.
R18 FILMS - The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may be show to adults in specially licensed cinemas and cannot be supplied by mail order.
Tuesday, 13 March 2012
Preliminary Improvements
We realised after filming the preliminary task that there were several improvements we could have made to the filming. Our main concern was the sound, in the footage the sound is slightly fuzzy and at times hard to hear. If we were to film the scene again we would definitely take into consideration the sound picked up on the camera and make sure there are no background sounds to interfere with the focus diegetic sound being the dialogue.
The first shot used in the preliminary film was slightly angled to the right, considering the camera was placed on the floor this mistake shouldn’t have occurred. To improve this shot and get the best effect from the frame, we could ensure the shot is as straight as it can be before we start filming. This will guarantee the shot is how the group planned it in the storyboard and get the perfect low level camera shot envisioned.
We also needed to ensure the days that we intended to film were evenly distributed. This was another mishap which interfered with the continuity of our filming. There were several days in between certain scenes filmed which meant there were occasions in which the costumes were different to those in previous scenes; this lead to the group re-filming many scenes due to the continuity error.
We could also have improved the difficulty of the shots used in the film. We used many basic shot types; long shot, over the shoulder shot. However, we could have incorporated other more challenging shots for example a point of view shot from the victim looking up at the main character; this would have diversified the angles and frames.
Thursday, 8 March 2012
Our Facebook Campaign
We used facebook to advertise our production company an to get a fanbase before we even release our film.
Wednesday, 7 March 2012
Tuesday, 6 March 2012
Post-Production evaluation
Post production evaluation
During post-production or simply, 'post' , we incurred many obsticles including editing glitches and differed opinions regarding the score. But as a whole I thoroughly enjoyed every second spent on it.
We decided that first we would import all the footage we had then input it to the video in chronological order, then we cropped the files to the length we needed. This enabled us to quickly work out the different cuts we would need to create a smooth sequence.
While this was going on i decided to shortly leave Adam to editing while i worked on the animations of the titles by myself and once i had worked out how to used Adobe After Effects I was able to quickly assemble two title sequences that suited our short project and i asked the others to check, once they had agreed to it I put it all into motion and before we knew it the video was all edited together with only the audio to go.
But it was not easy to edit the video, as there were a lot to get through and we only had a limited amount of time. We all stayed behind after school at one point or another and spent literally hours editing until we had it perfect.
As hard as I must be to work with I have been nicknamed a 'perfectionist' and I often wasn't satisfied until the most finest of details were exactly right which meant we may have spent more time ironing out small creases in our work that could have easily been left. I just feel that saying 'that will do' means it can be better and I always strive to be create the best.
When our film didn't just look like a bunch of video clips next to each other and it started to look like artwork, which is what we were aiming for, we decided to finally add our score.
Adam and I had already sampled together various different sounds that we wanted to incorporate and when we added certain snippets to our film we knew it matched. Once we spent about an hour sorting out the film score we were finally happy with our outcome and we knew that the post stage was finally finished after about a total time of 6-7 hours.
During post-production or simply, 'post' , we incurred many obsticles including editing glitches and differed opinions regarding the score. But as a whole I thoroughly enjoyed every second spent on it.
We decided that first we would import all the footage we had then input it to the video in chronological order, then we cropped the files to the length we needed. This enabled us to quickly work out the different cuts we would need to create a smooth sequence.
While this was going on i decided to shortly leave Adam to editing while i worked on the animations of the titles by myself and once i had worked out how to used Adobe After Effects I was able to quickly assemble two title sequences that suited our short project and i asked the others to check, once they had agreed to it I put it all into motion and before we knew it the video was all edited together with only the audio to go.
But it was not easy to edit the video, as there were a lot to get through and we only had a limited amount of time. We all stayed behind after school at one point or another and spent literally hours editing until we had it perfect.
As hard as I must be to work with I have been nicknamed a 'perfectionist' and I often wasn't satisfied until the most finest of details were exactly right which meant we may have spent more time ironing out small creases in our work that could have easily been left. I just feel that saying 'that will do' means it can be better and I always strive to be create the best.
When our film didn't just look like a bunch of video clips next to each other and it started to look like artwork, which is what we were aiming for, we decided to finally add our score.
Adam and I had already sampled together various different sounds that we wanted to incorporate and when we added certain snippets to our film we knew it matched. Once we spent about an hour sorting out the film score we were finally happy with our outcome and we knew that the post stage was finally finished after about a total time of 6-7 hours.
Continuity
Continuity
For us the continuity was very important, especially as we had so many cuts and angles of the same shot, it was vital that everything matched with as little mistakes as possible.
Every member of our group, Evolution Productions, acted as a continuity supervisor, or script supervisor as the actual role is called. This enabled to gain unique perspective on our film through different angles without or audience feeling disorientated by seeing the same clip more than once.
While editing we made sure that the match to action shots and the eye-line match shots were crisp and well delivered, we spent lots of time looking at our sequence almost frame by frame to make sure that there was no major issues concerning continuity.
Perhaps the only fault we had would be the difference in weather and lighting due to the different days that we filmed, we tried best we could to make this seem less obvious in post production but ultimately we did the best we could and it is still noticeable however if it came to it I suppose we could justify that indoors there are some sort of tinted windows creating it darker indoors.
We could have boosted brightness of the lamps on set however we felt the shadows and silhouettes created set the perfect tone for the scene so we decided against it.
I think anyone would agree that due to our careful observation on set and in post-production, we were successful in obtaining minimal continuity errors.
For us the continuity was very important, especially as we had so many cuts and angles of the same shot, it was vital that everything matched with as little mistakes as possible.
Every member of our group, Evolution Productions, acted as a continuity supervisor, or script supervisor as the actual role is called. This enabled to gain unique perspective on our film through different angles without or audience feeling disorientated by seeing the same clip more than once.
While editing we made sure that the match to action shots and the eye-line match shots were crisp and well delivered, we spent lots of time looking at our sequence almost frame by frame to make sure that there was no major issues concerning continuity.
Perhaps the only fault we had would be the difference in weather and lighting due to the different days that we filmed, we tried best we could to make this seem less obvious in post production but ultimately we did the best we could and it is still noticeable however if it came to it I suppose we could justify that indoors there are some sort of tinted windows creating it darker indoors.
We could have boosted brightness of the lamps on set however we felt the shadows and silhouettes created set the perfect tone for the scene so we decided against it.
I think anyone would agree that due to our careful observation on set and in post-production, we were successful in obtaining minimal continuity errors.
Representation - Gender
Gender
For our production we decided to hold the representation of the stereotypical 'damsel in distress' by having the female protagonist kidnapped by an all male team of antagonists.
However the female protagonist strikes the man which challenges the 'week woman' cliche that you tend to see in normal 'damsel in distress' type scenarios.
We portrayed our female character on a very strong independent woman who wouldn't go without a fight, who persists escape in situations that seem impossible to escape from.
The male characters in our opening sequence are your average team of antagonists the driver, leader and the muscle. We can see what there roles are by acting in various different ways. They don't say anything the whole time and they always act calm, which shws us that they are professionals.
Gender as a whole in our sequence is fitting the general scheme of an average stereotype however in certain cases it is challenged which will hopefully provide relation to the a vaster percentage of our audience.
For our production we decided to hold the representation of the stereotypical 'damsel in distress' by having the female protagonist kidnapped by an all male team of antagonists.
However the female protagonist strikes the man which challenges the 'week woman' cliche that you tend to see in normal 'damsel in distress' type scenarios.
We portrayed our female character on a very strong independent woman who wouldn't go without a fight, who persists escape in situations that seem impossible to escape from.
The male characters in our opening sequence are your average team of antagonists the driver, leader and the muscle. We can see what there roles are by acting in various different ways. They don't say anything the whole time and they always act calm, which shws us that they are professionals.
Gender as a whole in our sequence is fitting the general scheme of an average stereotype however in certain cases it is challenged which will hopefully provide relation to the a vaster percentage of our audience.
Changes
Changes.
We decided to completely change the story and overall premise of our original film proposal, as we over complicated a simple story which made it difficult to get smart and creative with basic cinematography.
With all this in mind and after we saw the footage we had shot from our first day of filming we decided to return to chalk board, so to speak, and re-think our idea. In the end we thought it best to develop a whole new concept from scratch rather than change the current one we was working on.
This large change had set us back at least two or three weeks, so we knew that we had to work hard to catch up. So I devised a simple checklist and timetable that we had to strictly keep to in order to retain our deadline which we did.
With our new idea and film we are all satisfied with the work that we have put together and are frankly amazed with what we have accomplished in such a short space of time!
We decided to completely change the story and overall premise of our original film proposal, as we over complicated a simple story which made it difficult to get smart and creative with basic cinematography.
With all this in mind and after we saw the footage we had shot from our first day of filming we decided to return to chalk board, so to speak, and re-think our idea. In the end we thought it best to develop a whole new concept from scratch rather than change the current one we was working on.
This large change had set us back at least two or three weeks, so we knew that we had to work hard to catch up. So I devised a simple checklist and timetable that we had to strictly keep to in order to retain our deadline which we did.
With our new idea and film we are all satisfied with the work that we have put together and are frankly amazed with what we have accomplished in such a short space of time!
Friday, 2 March 2012
Thursday, 1 March 2012
Subscribe to:
Comments (Atom)