24/11/2011

Movie Titling

We've been having training from an After Effects specialist for a few lessons now, and we're gradually getting towards a final movie ident that we're going to use in our final coursework. I've gone through a few different ideas and I've come up with a look of the font;




I think that the title is pretty cool, that's the only thing I can really say about it, as most indy film company names don't really have any kind of joke or relation to anything, they're just there. The only thing that I can say about how [Curiousity] relates to the style that it's in is that there is no reason why it is a bit distorted by the fibre filter and why the square brackets are around, which to be honest I don't know why they are there.


This was one of my first ideas that I had, but it seemed a bit weird and too childish, so I came up with another idea and let it blend into something that I thought would be a good name;



Preliminary Task

It wasn't exactly hard for us to come up with an idea for someone walking into a room, saying a few lines and then exiting. The four of us, Jake, Evie, Bill and Me all got into a group. My first idea was gangsters, which eventually turned into British gangsters who deal sanwiches at low prices of 10p and who are in a loving relationship. I'm not sure if we were going for comedy or not, but either way it turned out like that. Our project turned out as being comedy from the outset. It's set in a music department cupboard because that is all that we could find. When we got in their we could only fit two people in along with the places for the different aspects of the camera angle. Unfortunately we had to leave someone outside, which was Evie, although it was a short task so it was only for about 10 or so minutes.


Evie didn't seem too concerned about the sounds coming from inside the cupboard. And how we'd got to the final storyline inside the cupboard. We made most of the detail of the gangsters inside the cupboard, our original idea was just to have some gangsters who deal sandwiches. It was eventually extended to cover a loving relationship, cramped conditions, awkward snatching of drugs and money and a small conversation about what was in the sandwich.


Instead of telling about how weird it is, you might aswell watch it;



P.S. It's in black and white cos we're cool.

17/11/2011

Distrubution & Production Companies


Warp films are a film production company that works mainly in Britain. Warp films was founded in 2001 with it's first feature film production in 2004; Dead Man's Shoes directed by Shane Meadows. It's more famous productions are This Is England [2006] directed by Shane Meadows, Four Lions [2010] directed by Chris Morris and Submarine [2010] directed by Richard Ayoade. Warp films has a coverage into the music industry with their record company Warp Records. Warp films helps the production of media including music videos, short films, animation and feature films. Some of it's later productions have even won BAFTAs. Warp films mainly has works on dramas or films that just tell the story of someone's fictional life.


Momentum Pictures are a major distrubution and production company in the film industry. Many of their films have had a global release, with some of those films winning Academy Awards and BAFTAs. Their most successful production  The King's Speech, won a total of 7 productions, including Best Film and Best Actor. It's upcoming productions include the film adaption of the play The Woman In Black, Daniel Radcliffe's first film since the Harry Potter franchise. Momentum Pictures also helps the production of Indy film, with the 2011 film Hobo With A Shotgun. The different range in actors and production teams that Momentum films work with really shows how invested Momentum Pictures want to help every type of film maker and production team. Many of their films aren't in English, showing the international distrubution of their films. Still providing film for all countries and distrubuting them to other countries.

Univeral Studios have a logo and name that suggest that they cover the entire world, the logo of the world, with their name orbiting around it suggests that their films cover the entire world and are visible to everyone. Which most of the time, they are. The logo is very simple but with a lot of detail, allowing the audience to make it recognisable as to what it is.

Relativity Media have a more complicated logo, that shows a galaxy with the font of their name in a line through the middle of the galaxy. There are planets and stars in the fore and background. The logo suggests that their company is the centre of the galaxy or around it but avoiding the galaxy's gravity showing it's uniqueness. There is more detail in this logo which will most likely amaze the audience with it's detail of the other world's. The thing that gets me is that it's pretty!

13/11/2011

Textual Analysis Of Paranormal Activity and Insidious

Paranormal Activity and Insidious are two of the most popular horror films of the past few years, although both use different ways to scare the audience, this can range from the two basic ways to scare an audience;

  • Visual and sound jumps, that give the audience a shock this is usually associated with dramatic irony as the character on-screen does something that the audience know will come, although this can be used as an advantage to the film crew, as the suspense of the scene may build but the shock come at a point different to what the audience were expecting. 
  • Using the imagination of the audience to create something that will scare them, examples of this are films like Alien, were the alien in the film was never fully shown allowing the audience to come up with its own perception of what the creature is capable of. This can also be used to make the audience feel that they should fear something; the Hannibal series utilises this by not providing the audience with the ability to predict what Hannibal is capable of, and him knowing things outside of his cell in a mental hospital. 
Paranormal Activity uses the audience’s imagination in how to scare them, in the beginning of the final scene, the main character of this mockumentary, wakes up and stands over her boyfriend who is peacefully sleeping in bed. A timer in the bottom right hand corner of the view shows what time of day it is. After the woman stands up and begins staring at her boyfriend the timer speeds up, showing that someone has edited the footage to skip the boring parts of it.

Around three hours goes past, the makes the audience immediately certain that something is wrong. It isn’t normal for someone to stand up in there sleep and stand-staring at their partner showing no emotion. This also has an effect of drawing in the attention of the audience, as getting an actress to stand-up and stay in the same position for 3 hours would have been boring and if the actress moved at all, the shot would need to be re-shot; this brings the attention of the audience in, as it makes it more believable that it actually happened which is the main effect the film-makers want to have on the audience.

After the three hours of sped-up footage is done, the timer returns to normal speed and the woman moves away out of the room and down the stairs, the audience have no idea what is controlling her, why she is doing it and where she has gone after going past the stairs. The camera is in a fixed position, as moving it would break the effect of a documentary style film. After a while of the woman going downstairs, a loud scream is heard this is there to shock the audience, but also to provide a moving point of the story. This makes the audience feel curious, but also scared as they have no idea what is coming next, and what is causing the woman to do what she is doing.

After the scream the man immediately wakes up, shouts his partner’s name and runs downstairs to where the screaming is being coming from, this increases the panic in the scene and increases the curiosity and horror in the audience. Something is obviously wrong as the man runs downstairs, the woman still screaming as the man shouts; “what the f*ck”, he immediately stops shouting and the screaming stops, this increases still the horror and the curiosity in the audience as still there is no answer as to what has happened because of the camera’s stationary position.

The footsteps sound like they’re gradually getting closer and closer, the audience do not have any idea as too what is coming up the stairs, until eventually the woman appears holding a knife and her stomach covered in blood. This implies that she has killed the man, but the viewer cannot be certain. There still isn’t an answer as to what and why she has done this but throughout the film she has been told and shown by the recorded footage that she is being possessed by a demon, but the audience never get a sight of it.

The woman walks slowly towards the bed and sits rocking back and forth at a constant and steady rate. This is still something that no ordinary human would do, and still shows that there is something controlling her or that she has mentally broken. Either way it creates an abnormal perception of her from the audience. The timer on the camera speeds up to later on in the day, after 10 hours nothing has happened other than the woman sitting and rocking back and forth constantly. The phone rings, no-one picks up, which implies that the man (along with the woman being covered in blood and holding a knife) is dead, the woman doesn’t react at all to the phone ringing and continues rocking at the slow and steady rate.

Throughout Paranormal Activity the demon is never shown, the only thing that is shown is its footprints which look more like a dinosaur’s than anything else. The fear is made by not showing this creature, making the audience unable to predict what it is capable of by not knowing its size.

Insidious uses visual scares and sound jolts to get the adrenaline going in the audience, it also utilises suspense that may or may not lead up to a scare in the audience. In the beginning of the final scene, which shows a child’s father going into what is effectively limbo and trying to find his son who has been taken by a demon who is possessing him. Immediately from going into The Further, the mise-en-scené of the film completely changes.

Most of the film uses filters and high contrast to give a cold feeling, which may have a subconscious effect on the audience as cold will increase body functions to produce heat and therefore make the mind feel more awake as it is having to control everything with higher focus, this is all subconscious but it may still have an effect to increase the attention of the audience.

To get into The Further the father must have the help of a ghost specialist, who has told the parents of this child that they need to go and reach their child, who is trapped in The Further, to get him back to consciousness. The father is the one who decides that he should go to find their son. He is sitting in a chair with his eyes shut with the ghost specialist talking to him in a quiet voice about going to The Further. Gradually her voice becomes more and more echoed; this implies to the audience that he is going away from the woman, for me it reminds me of going further and further into a tunnel or a cave, and noise from further away becomes more echoed. The shot immediately turns greyer and a lot blander, the colour goes from a pale orange from the lamps in the room, to a very pale blue and green. This shows something has changed, at this point the audience are not fully aware of what has happened as there has been no explanation of what The Further looks like. This gives a sense of curiosity in the viewer.

After the colour change, the man stands up and says, “It’s useless, I have no idea what I’m doing”, and he turns around to see himself sitting in the chair with the woman talking to his unconscious body. He looks shocked as the woman turns her head slightly and says “take a stride, into the further”. The shot of her is set-up to look strange and provide the audience an inkling that there is something wrong with the setting, the woman’s central line is on the right third, but she is facing outwards of the frame, which is generally the opposite way to be facing in a shot. The woman also isn’t turned fully around to the man and is talking to him, but also his body in reality. This gives the audience some indication that he is in The Further.

After the man has discovered that he is in The Further, he begins to wander around in search of his son. The man grabs a torch on his way out of the house. He always holds the lamp close to his face, which is most likely because there wouldn’t be any other way for the audience to see his expression, but this also shows that the light should be trusted by the audience, as the entire would is in bleary darkness.

Throughout most of this scene, there is an overall indication that the man is somewhere odd. The entire area is a replication of our world, but it is very foggy. The man meets a boy later on that runs away from him on first sight, but then meets him further down the road and points to where he can find his son, Dalton. Even the way the boy raises his arm to point to where Dalton is is very slow, almost robotic, improving the audiences confusion and curiosity.

The man goes in the direction that the boy has pointed him to go towards, he comes across the house that the family moved out of to try and get away from the demon that is living off of their son. As he goes in there are no lights of, everything is in a normal place, which implies that everything is fine, but with no warning a woman in a bride’s dress appears from behind the front door that has just been opened by the man. The shot has been edited so that the woman appears with speed from behind the door, also there is a loud non-diegetic orchestral jump, that helps the film to shock the viewer.

The man doesn’t seem to be too stirred by the woman appearing from no-where, and shouts at her to find where his son is. He follows her up the stairs, which implies that something is leading him to where his son might be, but in turn whatever is leading him isn’t going to help him, as all that is he comes to is a woman in darkness crying in the corner of an empty room at the top of the stairs. This still increases the confusion and curiosity in the audience.

Before the man gets a chance to light the woman’s face with his lamp a child runs across the landing and makes the man go towards the noise, as he is still in search for his son. This shows that the audience shouldn’t get too distracted by what is going on in this house. The man goes towards the sound, and eventually downstairs to try and find his son. Throughout the rest of the scene more and more abstract things occur, trying to scare the man into getting out of The Further, but he has been told by the specialist that he cannot exit without his son. Whatever is controlling what goes in the limbo-like world is trying to get the man away from it, and give-up the search for Dalton, this makes the audience also want to get him out of it, as it will end all the shocks and jumps that will come about.

For me, the more effective way to make an audience be scared during the film is with the methods used in Insidious, as this really does get adrenaline pumping through the body very quickly, whereas the methods used in Paranormal Activity, scare an audience after viewing the film, as they are still left with the question as to what was haunting the woman and what it may look like.

The mise-en-scené of both films is quite different as Paranormal Activity is in the documentary style and is restricted by what it can use to keep the documentary feel alive. There is very little that can be done to provoke any prediction as to what will happen and very little to shock the audience. In Insidious the filmmakers were allowed to do whatever they wanted to shock and stun their audiences as they went to a traditional feature film style, and because the script showed the man going into a place that had no boundaries of the laws of physics, there were infinite ways to scare the audience.

08/11/2011

Ratatouille: Camera Shots and Mise en Scène Connotations

Ratatouille may seen to most people as a film that is focused towards children, and yes, it is. But the effort that goes into making it is humongous, the people at Pixar don't hesitate to put as much effort that goes into an best picture winning film, that they put into any of their films. Of course there is a major difference between the technologies used in an animated film from a real-time flick, but the basic skills are the same.

I've was watching Ratatouille as I was writing my blog post about camera shots, and it really got me focusing on the camera shots used in the ending scenes of the film and how they affect the audience.

Here's a shot-by-shot analysis of the big ending scene.

The beginning shot taken out of context really sums up what the objective of the character is, he has to face what is behind these doors. The low angle shot makes the character seem big, but because he is out of focus it makes the doors seem more important. Even though he has the ability to complete the task, he still has to climb a mountain. The angle that the camera is set provides a point of view where the lines of the door make them seem like a mountain.

In this shot the father of the main character, Remy, is telling him that he finally understands what his son is doing and is proud of him for following his dreams and going past everything that his father has told him to get there. The shot is set so that the audience can see all of the on-screen characters.

This over shoulder shot gives a high angle shot of Remy, which makes the audience feel more pity for the character, and even though the difference in the characters has more to do with the high angle, it still makes it seem that the father is in control of the situation. This is foreshadowing for how the father can help Remy, or not as will soon be found out by the audience.

Here the same effect is being made, as the father is being viewed from a low angle shot, giving him the greater height in the scene.





This is the foreshadowing that the previous two shots have been making, where the father gets the rest of the family to help Remy complete his dream. This wide shot allows the audience to understand the situation and how insignificant Remy really is without help. The rest of the rat family take up half of the shot, and are facing Remy who is on the other side of the frame, but doesn't take up any of that half.

Just after the entire rat family has come over and Remy's father says that the gang will help him. Then a health inspector walks in, one group of the rats goes after him as he frantically tries to start his car. The shot of him hurriedly trying to start his car is focused on by having a close-up of him trying to turn the key in his car which makes the audience more aware of the harassment that he is having about starting his car.
This shot zooms out and shows what a predicament the man is in, with the rats crawling all over his car, the zoom out finally puts the situation into the audiences eyes. Also the view of the health inspector's eye in the mirror gives a sense of fear and unease towards the character, but because the health inspector would have stopped the main protagonist otherwise, the audience doesn't feel as much of a connection with the inspector.

This close up of his eyes still increases the audience's awareness of his panic, also the rats running across the foreground of the shot, but out of focus makes the audience believe that the inspector is trapped by the rats. For me it also gives an image of bullies, with the classic shot of someone about to be beaten up with the figures of the bullies on either side of the shot and the victim in the centre with a terrified look on their face.

Another close up of the man's foot stomping on the accelerator pedal of the car lets the audience know fully what is happening, and because of the quick change of shots, it gives the scene a greater sense of panic.



This shot is a cut-away shot of what Remy is looking at, and his next idea in the restaurant. He always focuses on hygiene, which makes the other rats see him as a kind of freak with how hygienic he is. The close up of this sign gives that sense of hygiene.

This very-wide shot of Remy shows his control over the rest of his family, in the background. With Remy in the foreground it gives the audience with only Remy to look at, with the family behind him it makes the audience believe that he is the chief of all the other characters on screen. He also points in a direction and tells the characters to go that way and they do very quickly, giving the audience a better belief of his chiefness.

This wide shot of the kitchen shows that Remy is on the way to getting his dream coming true. It also shows how organised and OCD Remy is, with all the rats in their different battalions and platoons it gives a sense of discipline on Remy's part. The way that the rats are using mops to get themselves up onto the cookers and such reminds me of ladders going up to battle like in WWI and Medieval battles going over a castle wall. With the wide angle shot, it gives the audience the sense of amazement that has never been met with what is going on in this final big scene.

This shot gives another amazement session for the audience with a human character in the shot it can help provide a size reference for the audience which is procrastinated by the human character being in the foreground, with depth of field it makes it a false reference. The shot also shows that the rats are capable of doing things that humans can do, but quickly because they are all working together.

The human, Linguini, has just pointed out the big factor that there is no-one waiting the tables in the restaurant, and the next shot is this. The close-up of the roller-skates may provide a bit of comedy for the audience, which I find it is because it is completely random. But still it makes the scene seem more hectic than it already is for the audience. As if the rats cooking wasn't already enough.

This shot of Linguini pouring wine on the go for the partial villain of the film. The way that the villain, Ego, isn't fully shown and what is is his back and right arm. This makes him seem bigger and a darker character as not much of him is shown. Also Linguini is blurred because of the hurry that he is in.

Another shot showing how in control Remy is. In the driver's seat.
The focus is on the food, which shows a connection to what the character is doing. It's his job bro.


This is also what the entire scene has been building up to, with this small action of Ego's being the entire conclusion to the scene. It's one small bite for man, one giant leap for rodent kind.

 This is Ego's reaction to the food, obviously something is wrong, with him being in a shocked state. It makes the audience feel that Remy has either succeeded, or for me; killed him. But the next shot is of Ego as a child, therefore the audience know that the food was so good it tastes as good as when food does as a child.

 Yes, the food was so good; he drops his pen. But this still doesn't detract from how the character has amazingly reacted to how amazing the food was.
 This shot is a POV shot from the villain of the story, who previously worked at the restaurant as the boss until Linguini overtakes him as boss. He is furious over who has cooked the food and jumps into the kitchen like a boss, and sees rats working in the kitchen. The shot tries to get the audience to have the same reaction as the villain by using a POV shot, but I don't think it has the right effect as the entire film has classed rats as good.

 This shot is when Ego is being told who the chef is, which is shown with Remy being the same size as Ego, which shows that Remy has managed to beat Ego, and that Remy is no less of a human that Ego is.


Thas a lot of writing.

06/11/2011

Timing Title Sequences

Title sequences can be used in different ways, some films use them to create an emotion towards a character or what the film will be, others to introduce the characters and other films just to tell the audience who has made this film.

I've chosen two title sequences and have time lined them.

Moon - 


0:00-1:05 - Story introduction
1:05-1:18 - Production companies
1:25-1:30 - Main character actor
1:35-1:42 - Movie title
1:54         - Story location
1:57-2:24 - Rest of cast
3:00-5:25 - Casting, Make-up, costume, Conceptual design, Production design, VFX, Post  Production, Cinematography, Music, Editing, Line Producer, Executive Producers, Co-producers, Story, Writing, Producers, Director.

Reservoir Dogs - http://www.artofthetitle.com/2008/04/17/reservoir-dogs/

0:22         - A film by
0:37-1:14 - Main character cast
1:20-1:27 - Movie title
1:33-1:39 - Rest of cast
1:41-2:22 - Casting, Music, Costume, Editing, Production Designer, Cinematography, Co-Producer, Executive Producers, Producing, 

Camera Angles, Movement & Shots

Camera Angles
Different camera angles can evoke different views in the audience. There are two different extremes of angles; high and low.

High Angle- The camera high up looking down on something which creates a vulnerable or weak sense towards the subject. At increasingly high angles the subject loses it's sense of height which makes it look even smaller.



Low Angle- The camera looking high up at something, making the subject seem a lot bigger than it really is, it can also make the subject look as if it is the same height as a background object.


Camera Movements
Pan - Pivot at a horizontal angle. Normally used to set the scene or reveal something.
Tilt - Panning, but at a vertical angle.
Track - Camera following a subject, normally on a dolly tracking system.

Camera Shots



 Extreme Wide Shot - Establishing shot.



Very Wide Shot - Object is still not fully visible, but takes the focus of the frame.


Wide Shot - Subject takes up full focus of the frame.


Mid Shot - Bottom of the frame is just above the waist, leaving a small gap above the head to the top of the frame.


Close Up - Normally focusing on the face, allowing a small gap below the chin, and just cutting off the top of the head.



Extreme Close Up - Focus on one object or part of the face.

03/11/2011

Storyboarding

Since we did the remake of the hangover, I've started to think about what I could use as a story in my main coursework this year. I've watched quite a few films about serial killers, like Silence Of The Lambs, Zodiac and Red Dragon, and I've always thought in them that the way that the serial killer is perceived in most serial killer films is often very commonly obvious that it is them they have something major to play in the story because of their outlandish personality. In Silence Of The Lambs, Buffalo Bill is never really shown up until the end of the film, but yet he is known to be something crucial in the plot. I wanted to change this and create a very realistic character that would seem like an everyday person, but still be known to be serial killer, playing around with the way that the audience perceive him; is he a serial killer or not?

In Zodiac the serial killer is never really known but there are a lot of suspects in the story, the detectives and the writer in the story never really capture him for the majority of the film, but they meet him in the first half of it. I found that because the story was real it was more interesting, but still I found the ending really frustrating as the audience because of the films length it made it really annoying that even though they had captured the suspect halfway through the film, the let him go and didn't cath him at the end of the film because he dies of a heart attack.

To make the audience more engaged with how the killer is known from the very first shot of the film, but make his character more realistic as a normal person would make it very complicated for the audience to choose whether he is the killer or not, applying plot points that point to someone else being the killer, but still left with a massive plot point that points the finger at the first suspect.