Optimum Releasing/Studiocanal:http://press.optimumreleasing.net/press/ http://www.studiocanal.co.uk/
-Established in 1997
-It is a subsidary of the CANAL+ group
-It operates in the UK, France and Germany
-It distrubutes around 50 films a year to Europe
-It owns more than 5000 international titles
Films they've distributed include: Brighton Rock, Tinker Tailor Soldier Spy, Attack The Block, The Awakening, In Fear, Serena, Sightseers
-It also does home etertainment distributing
Intadem Film Distributors: http://www.intandemfilms.com/distribution.html
-Formed in Spring 2012
-Distributes the independent films that it makes
-Headed by the ex-directors of the 6 majors UK offices
Their list of films includes: Comes a Bright Day, Grassroots, The Kid and The Veteran
Momentum Pictures: http://www.momentumpictures.co.uk/ -Releases around 20 theatrical films a year
-Has Twitter, Facebook and Youtube
-Many of the films they distribute are highly critically acclaimed, and in February 2011 it's films won 8 BAFTAS
-Were owned by Alliance Films
-On January the 9th 2013 Entertainment One acquired the company, and it has been renamed EOne Momentum
-Distributed films include: Amelie, The King's Speech, Eternal Sunshine of a Spotless Mind, Lost in Translation. The Young Victoria, Der Untergang, Defiance, Milk, Control, P.S I love you, The Men who Stare At Goats, Dear John, Chalet Girl, Tamara Drewe, The Girl With The Dragon Tattoo foreign language series, Shame, The Woman In Black
-Have also distributed a few family films
-Also distribute for home release
Anchor Bay Entertainment:http://www.anchorbayentertainment.com/Entertainment.aspx
-Owned by Starz media
-Distributes feature films, quality children’s entertainment, original fitness programming, TV series, documentaries, anime and other filmed entertainment on Blu-ray™ and DVD formats
-Launched in December 2008
-Focuses on the US, but has started to expand into the UK, Canadian and Austrailian markets
Revolver: http://www.revolvergroup.com/uk/article/view/about_us
-UK and Ireland
-In the past 10 years Revolver's independent spirit and flair has been awarded with 18 of the industry's top awards for marketing excellence
-Experts in youth entertainment and exploiting both physical and digital home entertainment distribution channels
-Revolver boasts over 680,000 'likes' across its recent new releases, over 9 million Youtube trailer views and over 2.5 million music video trailer views
-Begins with bird song against a black background, introducing the
beauty of the setting, and building interest.
-Gentle piano music begins during the first shot as soon as the sun
has risen above the trees.
-Bird sounds grow in intensity, signalling the arrival of the dawn.
-Geese and other farm animal sounds showcase the farm setting, along
with water splashing which connotes the naturalness and peace of the setting.
-The piano music is quite cheerful and playful, and as Lizzie passes
the door we discover it is being played by Mary, but as the camera advances
towards her we hear her playing a less sophisticated tune
-As Lydia and Kitty come down the stairs and into shot they girlishly
giggle.
-Jane chastises/calls them saying ‘Lydia/Kitty’, representing her as
more responsible
-A dog runs past barking, indicating the chaos of the Bennet house.
-Mrs Bennet exclaims ‘My dear have you not heard? Netherfield Park is
let at last!’
-Mr Bennet dryly replies that ‘As (you) wish to tell me my dear, I
doubt I have any choice in the matter.’ As well as adding humour, this
reveals Lizzie’s parents as two very different people, and his slight mocking
reveals his superior intellect.
-Lydia’s giggle is heard off screen
Editing
-As the sequence continues the sun rises
-The title fades in with the lens flare, and matches the sun ray’s
golden colour
-Cuts from LS of field to CU of Lizzie and the audience immediately
recognize her as the protagonist and are interested in her.
-Cuts from her reading and walking to a CU of book as she closes it –
We immediately see her love of reading, and that she is clever. She becomes
even more interesting as we realize she is not a typical rich Georgian woman
-The editing is driven by her journey as she walks across the countryside
to her house, which not only connotes her as a unstereotypical woman who is
not confined to a domestic setting, but also indicates that her decisions
will drive the narrative forward.
-There is a shot that lasts over 1 and a half minutes, connoting the
family’s unity, and showing all the inside working of the family within 1
shot. We meet all the main characters, and already learn the basics about all
of their characters.
Mise En Scene
-Starts in the early morning, making use of the natural light
-First shot is of a pale, misty and dew covered field with the sun
rising behind a hedgerow full of trees, and the blue colour scheme grows
brighter as the suns bright yellowy orange light floods the shot
-First shot of Lizzie is not obvious that it’s a period drama – she’s
reading an old fashioned bound book and has her hair in a bun, with her brown
dress fitting in with the bright green landscape around her
-Domestic and idllyic countryside scene, with farm animals, ivy
covered cottages and white clothes and sheets flapping in a gentle breeze –
beautiful and picturesque, but not particularly exciting.
-Her brown dress is practical and quite plain, but the material and
cut show that she is not a servant, and is not dowdy. Rather, it is a rich
and warm brown everyday dress that matches her hair, eyes and surroundings,
showing her at home where she is, and representing her as unmaterialistic.
-Mary is dressed in dark clothes and seated at the piano, connoting
her studiousness and seriousness.
-Jane is dressed in pastel pink and blues, with blonde hair and blue
eyes, and is holding some scraps of fabric, representing her as the ideal
woman, and perhaps more of a stereotypical domesticated woman than Lizzie
-The table is covered in discarded pastel coloured clothes and hats,
further indicating the presence of lots of girls
-Everything is naturally lit by light streaming in through bay
windows
-A stone porch indicates that her house is from an older time, and is
well made, showing that she comes from an upper class family
Camera
-Starts with a LS of a field as the dawn breaks, lasting for slightly
less than 50 seconds. This reflects the relatively slow pace of the film, and
the quiet countryside setting.
-As the sun rises there is lens flare.
-CU of Lizzie reading with lens flare, showcasing her little smile as
she reads, and we see her intelligence and beauty.
-OTS CU of the book as Lizzie lovingly shuts it.
-ELS with a frame provided by the wide river, and though it could be the
modern day countryside the framing emphasizes her long brown dress, and her
walking across the bridge is the focus on the shot, indicating that the film
will follow her journey.
-The camera follows her around, presenting her as interesting, and
setting the audience up to follow her for the rest of the film
-There is a MCU tracking as she walks through the washing, connoting
her class, as she does not have to do any actual work
-This shot continues even when Lizzie continues walking, tracking
through a (servants) doorway in an ELS of Mary until Jane steps into frame
-The way the family flow into and out of frame represents their
domestic bliss, as they all share the framing, and it also shows all the
little dramas going on between different members of the family
-Lydia and Kitty burst into shot, running and giggling through the
shot, representing them as young, excitable and frivolous.
-The camera pauses on Mary for a moment, but she doesn’t stop playing
the piano
-The camera pans on the dining room table to the porch, and outside
we see Lizzie walking again, as she is not involved in all the
stereotypically womanly things happening inside the home
-The shot tracks her as her walks up the stone steps, and it pauses
as we see along with her an OTS of her parents talking through the window,
and they are kept inside the domestic setting by the window frame
-Lizzie’s smile as she turns from the window reflects the love she
has for her family, and the friendship she shares with her father.
-The camera zooms out and passes through a one door as Lizzie passes
through another, connoting the fact that we are following her again, and it
is her POV we will see
Title Information:
·Starts with Universal Ident for 20 secs
·Working Title ident 13 secs
·Titles fade in and out over the shots of
countryside in a pale typing font
2. How did your group plan to edit the title sequence? (consider timings, industry requirements etc).
We made sure we had at least 10 titles
We put certain roles near the end like the director
We tried to space out our titles equally
We kept the same transitions throughout
Tried to make the titles equal in length
3. Explain the creative decisions made by your group.
We tried to match the titles transitions with the actions taking place, like when he swaps the mosquito or when the bacon is thrown into the pan the title also disappears
We chose a stylized white font as we felt it matched the background of the shots, the miami setting of the programme, and the feel of the show
We placed the titles in positions where they wouldn't obscure the action, but culd still be read and seen
4. How does your re-edit compare to the original?
We used a similar font, but ours was white whereas theirs was red
They had more titles than us
We put one of our titles befor the progrmme name came up but they did not
Some of our cuts and positions of titles were more creative than theirs, but also slightly more confusing
1. Who did you work with and how did you manage the task between you?
The people in my group (besides me) were Emily and Arianna, and we shared the different responsibilties. We all had equal input in the planning progress, and we all contributed to the shot list, shoot schedule and storyboard. However during the shoot Arianna did the majority of the filming, because she was the only one not acting in our task. When Emily and I were not in shot we often took on the roles of cinematographer, director or cameraperson, for instance the pan from the killer's POV was shot by me. I think we worked well together, and we had a lot of ideas about possible storylines for our task. Also while editing we had equal input and roughly the same amount of time actually controlling the mouse, and we agreed on all the editing choices and cuts.
I played the character of the killer in our film, and Emily was the victim.
2. How did you plan your sequence? What Processes did you use? What theories did you take into account?
We started planning by brainstorming all our ideas, which included a musical, a makeover and , but we were limited by the size of our group and the lack of boys. We decided to make a thriller, and wrote a scrip. Then we compiled a shot list and made a storyboard which I later turned into a shoot schedule.We also took pictures of possible shots to evaluate how they looked, and in this way very effectively planned out what we would shoot, and what technical codes we would use.
We tried to take to avoid continuity errors by using shot/reverse shot, and by not crossing the line. However, we had trouble keeping the lighting continious whilst trying to follow the conventions of the thriller genre by having dark moody lighting. We had a PAG light but in 2 shots we had no one to hold it, as we only had 3 members in our group. However we got round this by having me holding the PAG light in my hand whilst we were filming OTS, but the shadows were not in the exact same place as they were in the CUs. On a more positive note, the small PAG light did create dramatic shadows especially in the LA MCUs and CUs of the killer, which made her seem more threatening and evil.We obeyed the rule of thirds in our compostion, and the 180 degree rule. We also had an establishing shot which immeadiately helped the audience to identify the setting, a little of the narative and get some idea of character, and we tried to get matches on action.
3.What technology did you use to complete the task, and how did you use it?
The technology we used to complete this task included; a Canon 3C30, tripod, and PAG light, and for editing we used Adobe Premiere Pro. The PAG light was useful for creating shadows as in the LA MCUs of the killer and the CUs of the victim, which helped us to follow the conventions of the genre and produce good quality footage. We used it because while we wanted the room we were filming in to be dark, we wanted to end up with good footage where you could actually see what was going on. The tripod enabled us to keep the camera steady so our shots were clearer and the audience weren't distracted by all the excess movement, but equally we had to remove the camera from the tripod for some shots such as the CU of the killer's feet and the pan from the killers POV.
4.What factors did you have to take into account when planning, shooting and editing?
Originally we had planned to have the killer waiting in the room and the victim bursting in on them, but we swapped this around when we realized that this would mean the victim would be framed in a HA while the villain (who was supposed to be sitting on a chair) would be framed in a LA. Another restiction we had was the space we were shooting in, as it was a small edit suite. This limited the types of shots we could do and consquently there aren't many LSs in our film. It also meant we couldn't film any OTS shots from the victim's side as they were against the wall and there wasn't enough space. Another restraint was the number of people in our group, as we often had only one team member who wasn't in shot, so we often had to do several jobs at once. We tried to plan as sequence that contained all the nessecary requirements.
While filming we had the door of the edit suite open which posed problems as there was another group filimng in the classroom adjacent to it, which meant that we had to decide which group would film at what times and when to be silent so as not to disturb one another.
We watched all the shots so see in what take the actress's delivery was the best, and in which ones the composition was right and we had made any continuity mistakes. Some takes we couldn't use as there was a bit of equipment visible, or there was movement in the background of the shot. We didn't realize that in our OTS shots from the killer's POV the tripod was in frame, so we couldn't use all those shots, which was a shame as they made the victim look really small and helpless.
5. How successful was your sequence? Please identify what worked well, and with hindsight, what would you have done differently? I think our sequence was successful in conveying the thriller genre, and I think that our matches on action were good, such as when the killer opens the door. The narrative is also very clear, and I think we were effective in following genre conventions and creating enigma and suspense. I think our lighting worked well (for instance in the clenching the fist shot there is a silhouetted effect), and our quick cuts help maintain a fast pace throughout, keeping the audience on the edge of their seats. The fade to black at the end was also satisfactory as it connoted to the audience of the victim being killed and time passing, and the fade in from black at the beginning of the sequence foreshadows the death to come and makes the scene more mysterious. We also used CUs well in the shot where the killer clenches their fist, and in the shots showing the killer and the victim's emotion, bu particurlarly in the CU of the killer's feet. This was effective as our master shot as it gave a sense of space and indicated that the killer had the power and the victim was helpless. The beginning of our sequence had lots of movement, starting with a MS pan which we cut back to after the LS wide of the room, which created a frantic, and forboding atmosphere.
However there were a lot of things we could improve, including my acting which could have been better, especially since as I have a lisp I couldn't pronounce 'breath' properly. There are a few continuity errors, like between the shots where I enter the room, to the one where I am saying 'Did you think you could run away from me' my position changes slightly.
On some of the shots of the victim we zoomed in slightly, but it was quite a fast zoom, normally about half way through the shots instead of a constant steady zoom, which looked slightly odd, and most of our shots were MCUs or CUs so we could have used a wider range of shot types.
As you can see from the photo storyboard below, we planned our shots out extensively, however we didn't manage to film all the shots we had hoped for, and if I had to re do it I would give each shot an allocated time to be filmed in so we didn't get behind schedule and didn't continue redoing the same shots.
6. What have you learnt from completing this task? Looking ahead, how will this learning be significant when completing the rest of your foundation coursework, do you think?
I learnt how to effectively plan a shoot, and it was very educational trying to make the shoot schedule, and even harder trying to keep on time, so I do think my time keeping and planning skills have improved, whih will be useful for future shoots. It was also useful putting the theory we had learnt in class into practise, such as the 180 degree rule, which I can now apply to future projects, as well as learning what shots work or not. Trying out the technology like the PAG light also helped us experiment with different elements of the cinematography, and I have a greater awareness of the possibilities open to me during production. It was good to revise my knowledge on editing and shooting, and I feel that I will be more prepared for completing my coursework later on in the year.
Dialogue:
- The film starts off with a voiceover that matches the text seen on screen, and adds pathos and dramatic tension, which is then undermined by the fact he is announcing that Scott Pilgrim is dating a high schooler, which sets up the genre as comedy.
-The voiceover is repeated in a sarcastic girl's voice, which is followed by a male's voice asking 'Is she hot?'. This introduces these two characters immediately, and the audience can instantly gage the relationship between Scott and his various friends
-Their conversation introduces us to the character of Knives Chau before we've met her, so we want to meet her, and when she arrives she is expected. It also provides humour for instance when Scott says 'We have meaningful conversation about yearbook club'
-The first thing Knives says is a giggle then a nervous 'Hi' which introoduces her as quite young and a bit innoncent/silly
-When Young Neil says that he plays 'Zelda, tetris' this introduces him to us a lonely gamer.
-When Scott says 'Lets start with Launch pad McQuack' this informs the audience that nthis will be a quirky and unusual film
-Kim Pine yells 'We are sex bo-bomb one two three four' then the music starts, telling us the name of their band and starting the actual titles sequence.
-The opening finishes with a LS then a CU of Knives Chau saying 'You guys are so amazing'
Music:
-The Universal Theme music is played in an electronic way, making it sound like an old-fashioned video game and matching reductionist 8-bit rendering of the Universal logo
-Electronic game music is used to make the characters seem like nerds, or to add extra surrealism, making it feel like the characters are in a video game
-The cheery electronic music stops when he opens to the to Knives Chau
-There is very quiet background music that sounds like video game background music
-The song is "We Are Sex Bob-Omb" by Beck and it is allegro and forte, creating excitement and anticipation in the audience
SFX:
-Wind blowing during the shot of the outside of the house
-Bird tweets whilst the camera pans past the tree
-Door bell
-Most of the indoor sound have been recorded by folley artists, like the crunching toast and the squash being poured
-There is a quiet electronic whistle sound when the information about the characters pops up
-There is a two not sound like you find in video games
-Another video game sound is a little tune that plays while you wait or the game is reloading as he tells them that he's chinese
-There are outdoor sounds when he opens the door, including the creak of a swing and cars passing by
Sound and Video Editing:
-At first we only see Scott's back and hear his voice, which builds up enigma about him
-A few of the sounds such as the doorbell, and when he sings 'Yeah Yeah' are also titles, giving the sequence a comic book feel.
-The sound bridge between the shot of the house and the interior master shot makes it clear that they are inside
-While characters are speaking we usually see a CU or a MCU so we know its them and can see their emotions
-The sounds of the band tuning their instruments remind us that they're there and what they're doing while Knives and Young Neil are talking
-The lighting shaped graphics that surround the band while they play indicate how good they are, in a superheroic way. The lightning shapes throb with the beat of the music and then suddenly transform into the film's title. They only appear while the music is playing, which brightens up the otherwise dreary surroundings.
-The fast and upbeat tempo of the song matches the frenzied and bright titles made of scratched celluloid.
-During the part of the song where the guitar is strongest, drawings of guitars are present behind the text
The clip I have chosen is from the ending of 1942 film Casablanca starring Humphrey Bogart as Rick Blaine and Ingrid Bergman as Ilsa Lund.
Continuity Techniques: Establishing Shot:
-The first shot doesn't really establish the exact location of the shot (but the audience can work it out from the line 'Put it on the plane') but it does indicate that the scene takes place at night, and it has been recently raining, which foreshadows the sadness to come and creates a romantic and dramatic backdrop.
180 Degree Rule:
-The camera obeys the 180 degree rule, allowing the scene to flow quickly and fluently, so the audience are not distracted from the sentiments being expressed by the charecters.
Shot reverse shot:
-They uses the technique of shot reverse shot during Rick and Ilsa conversation so you can see each of the character's from the other's view, aswell as displaying their emotions to the audiencce who are therefore able to sympathize. This is especially effective during the CU of Ilsa crying, as the audience sees how much she loves him and her pain.
-The shot reverse shot technique is also used when Rick speaks to the chief of police, but the length of the LA MS shot is so short it doesn't divert attention from the maibn event of the scene.
Other Points:
-The way the camera zooms in on Ilsa's face when her husband is leaving then cuts to the master shot of the 3 of them signifies that she is impatient to be with Rick, and enhances the guiltiness of their affair, promoting a sense of trepidation and urgency.
-In the distance of the 2 shot of them we can see figures moving around the plane, making it feel like a quick private moment, whilst promoting a sense of urgency because they will have to leave soon.
-The cut from the slightly HA OTS CU of Isla to the LA of Rick emphasizes his words about him thinking it over and making the right decision as he seems firmer and stronger, whereas the LA of her makes her seem weaker, like she's been crushed or is pleading with him.
-The OTS's reveal how close they are standing to each other, indicating their intimacy.
-The zoom in from MLS with the police officer to the MCU 2 shot of them makes it feel like a private moment that we are privileged to witness, and also reliterates how they must keep their love a secret. It also suggests that they are in their own little world at that moment, and nothing else is important.
-The scene constantly cuts back or zooms in to a MCU of the two of them, putting the audience's focus on them and reiliterating the idea that they are all that matters.
-Releases around 20 theatrical films a year
