Wednesday 27 January 2016

The Way Short Film Evaluation - DAVID




At the beginning of the production process, I wanted to create a single strand short film (4-7 minutes) targeted for younger audiences my age (16-18). I wanted to create a short film in which some teenagers could relate to, which is the loss of a family member (i.e. mother, father etc.). 

The story begins in a graveyard where we see the boy standing, staring at a tombstone. We then find out this is his mother’s tombstone and his mother died not so long ago. He then starts walking ago. He enters his house, sits down and goes into a frenzy in his house. He starts smashing glasses and plates, punching through walls, breaks down in tears and finds out he is all alone. The next day, he starts going through his mother’s belongings and comes across a purple/red folder. He finds a photo of him and his mother in a picture frame when he was a baby. He opens up the picture and finds that the picture is creased over. He opens the creased picture and finds a boy, similar to his age, sitting next to him. He then opens up the folder and finds different types of papers e.g. adoption papers and care-home papers, belonging to this baby. He assumes this is his brother and immediately goes out to find him. He finds out he, apparently lives very close to where he, and his mother lived. According to one of the papers in his folder, the house he lived on was Sanderstead Court Avenue. He finds the street and looks for number 63, where the boy apparently lived. He knocks on the door and comes across a distraught woman. He then starts to tell his story that he had a brother that went into care and was adopted and lived at this address. The woman then starts to cry and takes the boy inside. In the next shot, we see the same shot we had at the beginning, but instead he is looking at a different tombstone. This tombstone belonged to his adopted brother. He puts some flowers down, next to his tombstone and walks away. On the other side of this tombstone, we see his mother’s tombstone.When coming up with ideas amongst our group of four (myself, James Fisher, Tom Clarke and Daisy Da Silva), we chose my idea as it was the most detailed idea at the time. 

During pre-production, we organised roles amongst our group. James Fisher was the role of a camera operator, so he was in charge of creating storyboards for my idea and using different films as an idea for using camera shots. The film inspirations he used were The Amazing Spider-Man 2 (Cinematographer: Daniel Mindel), Harry Potter and the Deathly Hallows Part 1 (Cinematographer: Eduardo Serra) and The Grand Budapest Hotel (Cinematographer: Robert D. Yeoman). Tom Clarke was the role of a location manager. The location he picked to film was the village of Sanderstead, which is where I live. There was no permission needed to film at this location and at my house as the house scenes were filmed where I live. As we were filming my film, I gave myself the role as Director. During the production process, I was in charge of controlling my team and I made sure everybody behaved in a very professional fashion. I also starred in my short film, which meant I played the role of the 18 year old boy who lost his mother and goes out to try and find his mother. The film genre of my particular film is Drama and Mystery. I believe in the final production, the genre of Mystery is emphasised through the use of its storyline and its only inclusion of one character giving the sense of what's going to happen to him. I wanted the audience to want to know more about the film, I also wanted the audience to relate to it if they were put in his shoes, losing his mother and in search of his lost mother. The film used various camera shots and angles. Overall, we used a lot of mid shots of the character showing his waist up. We filmed scenes from various different angles as well. An example of this would be from 1:12 to 1:39, when the teenage boy is sitting in his living room all alone, grieving over his loss. I wanted to shoot this scene in various angles because I wanted to emphasise the theme of loneliness near the beginning of the film because I wanted to give the audience a sense of what has happened to this boy and to almost feel very sorry for him because he is all alone. I believe it would have a positive outcome if an audience were shown this short film because I believe audiences could relate to the issue of losing a family relative. Normally in mystery movies (The Usual Suspects), audiences are known to be confused on what is going on in the movie. I believe audiences might also be confused near to the end of my short movie because there are a lot of shots condensed in a short space of time, which might lose the focus of an audience. The music used for my short film is the instrumental of 'The Way' (hence the name of my short film, which reached over 3 million hits on YouTube. I believe the use of music is very effective in this short film as there were a lot of scenes that did cut to the beat and the audience could understand. It also emphasises the themes of Drama and Mystery. There were quite a number of scenes that did cut to the beat in my short film, for example at the beginning of the film, when the teenager is at his mother's gravestone and graveyard, there were shots that cut from him to his mother's gravestone to create the sense of loss and struggle of grieving loss over a family member (0:08 to 1:39).     









Tuesday 26 January 2016

Structure and Ownership of the Media Sector - REBECCA

Creative Media sector includes wide range of industries, employing large numbers of people in a variety of creative and technical roles, working in more than one industry. These are:

  • Film (27,800), 
  • Television (55,800), 
  • Publishing (200,000), 
  • Interactive Media (40,000), 
  • Games (10,000), 
  • Radio (22,000), 
  • Photo-imaging (44,000), 
  • Advertising (17,000) and 
  • Animation (4,700)
What do these industries have in common? They use, words, sounds, and images to communicate with audieces and require creativity of people with ideas which will appeal to audiences. The creative media industries also employ people who can organise and manage companies which create different productions.

The sector is made up of companies of all sizes. Small companies with two or three staff work successfully in media production along global corporations such as the BBC. 

There are three different models of production, according to size, set up and funding. 
  • A client invites companies to tender for the job in response to a brief
  • A small number of companies respond and then pitch for the work through a presentation of ideas and costs
  • One of the companies is chosen, commissioned, and a contact is drawn up
Once supplier has been chosen and commissioned, the following stages take place:
  • Consultation
  • Design
  • Production
  • Delivery
  • Payment
Broadcast television and radio have different models of funding. BBC receives its income from license fee while commercial broadcasters are funded by advertising. The production sequence of events is similar to small company productions, BBC commissioning process is constrained by organisational requirements. 

Film, Games and sound recording, the usual production model involves at least one large company used for funding. Hollywood studios would put money into a film and music companies would put money into recording a new album. Projects involve a multi-million pound budget. 

The internet offers ways for film makers, musicians and radio producers to reach audiences which don't involve major companies. Small companies, no longer have to wait until they have the backing of a major broadcaster. MySpace was used by the Arctic Monkeys to promote their band in 2005.

A successful film can not only produce income from box office, television or sales, but through licensing companies to use that name, logos and characters of films in a computer game, spin-offs, or 'book of the films'. Creators of a television game can earn a significant amount of money by allowing television companies in other countries to make their own version of the game.

Private Ownership
Funded by advertising. Example is ITV. Runs on advertising funds and advertising companies want their products to be advertised and are willing to pay millions to get their adverts on TV. The more popular the channel, the more money companies are willing to pay.

Public Service
Funded by government. Example is BBC. Public get to watch a channel that is devoted to them with a wide variety of shows to suit a wider audience. The BBC run on what the public want.  

Independent
Independent Ownerships operate without funding. Record labels don't have funding or backing from major organisations. 'Domino's' is an independent record label. They can control everything, but they don't have as much money 

Conglomerate
Media conglomerates is a company that owns large numbers of companies in different media. Aim for policies that makes it easier to control markets around the world. 

Horizontal Integration
Organisation develops by buying up competitors in section of the market, like one music publishers or other music publishers. Allows for great control of prices and costs, allowing increased presence in foreign markets.

Vertical Integration
Company has the ownership of the means of the production. They receive all profit of the production, distribution and consumption. Improves supply chain coordination. Potentially higher costs.

Cross Media Convergence
Companies coming together. Example is Working Title, making use of its parent company to gain access to bigger stars and bigger distribution. They get more companies and money will increase

Synergy
Selling products to promote an artist or band. Will sell tops, phone cases, mugs, hats, posters etc. Money will get split between artist and company.

Independent company taken over by a conglomerate
  • Sky (40% owned by Fox)
  • CBS (shares with Time Warner)
  • Marvel (taken over by Disney)
Independent companies or artists using internet to reach audiences
  • Bastille
  • Ed Sheeran
  • 50 Cent
Franchise generating income from its creators
  • Call Of Duty series
  • Grand Theft Auto series
  • Fifa gaming series
Global Radio

UK based company that owns top commercial radio stations in the UK. Currently listening figures stand at 18.5 million pounds through a different range of radio stations. 

What is the difference between commercial radio and public radio services such as the BBC?

Public services is funded by the government and is promoted by the broadcaster. Commercial services are for profit, so the agenda of the owners are promoted.

What is a commercial broadcaster's main source of income?

Their sources of income involves advertising.

Look into commercial broadcasters in your local area. How do they ensure a stable listenership.

I live in London. Examples are Absolute Radio, BBC Radio London, Capital FM, Heart FM and LBC 97.3. I listen most to Heart FM which is media.info's 4th most popular radio stations with 8.9 million listeners on a daily basis. Owned by Global Radio, Heart FM help maintain a stable listenership by including adverts that would appeal to an audience aged 16-35. They also maintain a stable listenership by including well-known celebrity faces as presenters including Emma Bunton (most known for being in the Spice Girls), Jason Donovan (Australian actor and singer) and Mark Wright (presenter and for also being in The Only Way Is Essex).  






Monday 25 January 2016

Regualtions of the media sector - REBECCA

Ofcom – regulate all communications of media sectors

ASA (Advertising Standards Authority) – regulate advertisements

BBFC (British Board of Film Classification) – classifies films under age ratings

PEGI (Pan European Game Information) – regulate and classifies video games

IPSO (Independent Press Standards Organisation) – regulates press

Which media sector does the body regulate?
How does each body enforce it's regulatory powers?
What are the consequences of not adhering to the regulator's rules and codes of practice?
Why is it important to have regulation in the media industries?

Ofcom formed in December 2003 and is the communications regulator in the UK. Ofcom regulates the TV, radio and telephone media sectors. Ofcom's role includes securing a wide range of electronic communications services is available in the UK, securing a wide range of TV and radio services are available in the UK and provides protection for viewers from harmful content on any TV or radio services. If services do not stick to the regulator's rules and codes of practice, Ofcom has powers to punish those who act unlawfully or breach regulatory requirements. Ofcom can make sure a program that breaches regulations not to go on air again and can punish the television companies that are involved in the program. It is important to maintain regulation of TV and radio services to make sure people in the UK get the best from their communication services and are protected from various scams or sharp practices that can affect audiences in the UK.

ASA is the UK's independent regulator of advertising in the media industries. ASA works include acting on complaints given from the people of the UK and to always check every kind of media and to take action against misleading, harmful or offensive advertisements, sales promotions and direct marketing. They consider over 30,000 complaints and over 20,000 adverts each year. There are consequences that the ASA sanction to make sure they are not shown again. Broadcasts might face bad publicity if they are complaints given to the ASA. They cannot show advertisements that breach the code and advertisers might lose prime advertising slots and are disqualified from industry awards, denying them to show their work ever again. It is important to have regulations for advertising because they are made sure they aren't shown again on television services if they are deemed offensive and cause controversy amongst an audience.



Regulations for Actors - REBECCA

Engaging Actors
You will need to ensure that all the actors and/or contributors (e.g. interviewees) who appear in your film sign a contributor's release form, giving you the rights to use their performances in your film and in the related marketing. Release forms aren't necessary for anyone who appears as part of a crowd scene or fleetingly in the background of your film.

Some clauses to look out for in actors' agreement are:

Term of Engagement: Producers should be entitled to the exclusive services of an actor for X amount of days/weeks to complete filming of the part (usually referred to as "the shooting period"). In addition the agreement should set out if the actor will be required for rehearsals and wardrobe fittings. Subject to the actor's prior professional commitments, the producer may also require the actor for retakes, post-synchronisation and otherpost-production services.

Remuneration: The agreement should set out what monies are to be paid to the actor and when. For short films payment is often due once all services are rendered by the actor i.e. at the end of the shooting period. In feature films, payment is usually paid in equal instalments at the end of each week of the shooting period.

Expenses: This sets out what expenses the producer is providing the actor e.g. transport, accommodation, per diem allowance.

Credit: This clause should state the position of the actor's credit(e.g. front or end credits) and whether it will appear on a single card in the on-screen credits. It should also state as to whether the actor will be credited on any advertising material.

Health: Actors should give assurance that they are not suffering from any injury, illness and the like which would prevent them from rendering their services and are often expected not to engage in hazardous activities during shooting.

Tuesday 19 January 2016

Unit 7: Understanding the Creative Media Sector - REBECCA

Unit 7: Understanding the Creative Media Sector

1.     Understand the structure and ownership of the media sector
2.     Understand ethical and legal constraints within the media sector
3.     Understand the regulation of the media sector
4.     Know about employment opportunities and job roles in the media sector
5.     Be able to prepare personal career development material

Sectors

Film
Television
Publishing
Interactive Media
Games
Radio
Photo Imaging
Advertising
Animation

Research ONE media sector and find out what job roles are available
List the roles that you are most interested in
Are these jobs entry-level posts?
Are the jobs likely to be short-term freelance or long-term employed posts?
Choose one job role and research:

·      What the job involves
·      Skills, qualifications and experience needed
·      Pay rates
·      Types of employment
·      What you need to apply

Television Industry

There are over 55 jobs involved in the television industry. A select few include actors, art directors, camera operators, choreographers, costume designers, television directors, editors, executive producers, graphic artists, lighting directors, location managers, make-up and hair artists, marketing managers, prosthetics artists, receptionists, television researchers, sound supervisors, stunt performers and television presenters.

The roles I am most interested in are the job roles of actors, agents, camera operators and stage performers. 

Actor

Actors are involved in the film, radio and television industries. Their job is to interpret a writer's script and bringing it to life and also to create various different characters. To fulfil this role, you would need to:











  • know how to prepare for and perform at auditions and casting sessions
  • have a good short-term memory and the ability to ‘learn and forget’, especially when working on a popular drama series with little time for rehearsals or repeat takes
  • be able to learn new lines at very short notice, to accommodate script changes and cuts
  • be able to assume a different body shape or language
  • be able to drive 
  • have singing and dancing skills, ideally
  • have clear and concise diction, and be able to assume different regional and national accents
  • be able to deliver lines at a specific pace and to precise timings, particularly when dubbing lines onto live action or animation
  • have strong powers of observation, in order to learn from others' body language and create believable characters
  • be aware of how your performance may be affected by: the types and positions of microphones, cameras and cables; different lighting techniques; the requirements of different sets and locations; and whether there is a live audience for a studio recording 
  • be aware of a professional etiquette 


  • You will need to train to become a professional actor in order to work in the film and television industries. There are full time-academies that offer full-time acting courses including children in the primary school region, such as the Sylvia Young Theatre School, situated in London, which offers children aged 4-18 years old. There are specialist drama schools who usually only accept students aged 18 years. These schools have strong links with acting agencies, casting directors, production companies and broadcasters. There is a down side in becoming an actor, as there are no guarantees of work or progression. If you are managed to get work and for example, you work on a film for 10-12 weeks will get a minimum pay rate of $2,506 per week (£1,750 per week). For a project over 20 weeks, actors will get a minimum pay rate of $2,087 per week (£1,458 per week). 


    Regulations in becoming an Actor

    You will need to ensure that all the actors and/or contributors (e.g. interviewees) who appear in your film sign a contributor's release form, giving you the rights to use their performances in your film and in the related marketing. Release forms aren't necessary for anyone who appears as part of a crowd scene or fleetingly in the background of your film.

    Some clauses to look out for in actors' agreement are:

    Term of Engagement: Producers should be entitled to the exclusive services of an actor for X amount of days/weeks to complete filming of the part (usually referred to as "the shooting period"). In addition the agreement should set out if the actor will be required for rehearsals and wardrobe fittings. Subject to the actor's prior professional commitments, the producer may also require the actor for retakes, post-synchronisation and otherpost-production services.

    Remuneration: The agreement should set out what monies are to be paid to the actor and when. For short films payment is often due once all services are rendered by the actor i.e. at the end of the shooting period. In feature films, payment is usually paid in equal instalments at the end of each week of the shooting period.

    Expenses: This sets out what expenses the producer is providing the actor e.g. transport, accommodation, per diem allowance.

    Credit: This clause should state the position of the actor's credit(e.g. front or end credits) and whether it will appear on a single card in the on-screen credits. It should also state as to whether the actor will be credited on any advertising material.

    Health: Actors should give assurance that they are not suffering from any injury, illness and the like which would prevent them from rendering their services and are often expected not to engage in hazardous activities during shooting.

    Friday 15 January 2016

    Bring Back The Lights 2016 Video and Evaluation - REBECCA



    Constraints experienced (limitations or restrictions)
    At the beginning of my documentary, it was extremely difficult to use college equipment outside of the college environment. My documentary was about an issue located and situated in Sanderstead, so using cameras and technology was quite difficult. I was allowed to take a camera and a tripod home to use in the village of Sanderstead. I filmed all of the location shots on the camera owned by the college, I also used my Mac's camera at home to film the setting of Sanderstead which is included in my documentary. Coming to editing my documentary, there were a couple of sound errors which I fixed, but near to the end of the documentary, it is extremely hard to hear me talking which was difficult as I had already published the documentary. Other than these, there were no other limitations or constraints experienced in the process of the making of my documentary.

    At the beginning of the production for my documentary, I was planning to travel to Enfield Town Park, located in Enfield, London (1 hour 26 minutes from Coulsdon College). I thought this would be a great location to film as this park also had a fireworks cancellation due to funding costs, so it would have been a great idea to get the views of residents near Enfield Town Park and see how this cancellation has effected them. As production went on, I spent a lot of time researching about the fireworks that affected the village of Sanderstead (my local village), and not enough research into Enfield's fireworks. I also didn't get to go to the village of Enfield due to funding costs, transportation and the amount of people involved in my project. In my planned final edit of my documentary, I was going to include footage of Enfield Town Park and asking local residents questions, but unfortunately in the final filmed edit, I mentioned no information on the village at all. 

    Your management of the production

    I feel like I managed my production very well as I managed the time in which I am allowed to use cameras to film in my documentary. Every shot was key in my production and I feel I managed this well to the best of my ability. I managed time outside of school to film shots outside of college grounds as I filmed the first minute of my documentary inside my house, located in Sanderstead, and also the village itself. I managed to interview people in a very organised matter, in which I organised a time slot for each interviewee to be interviewed. 

    I seemed to be very organised in the production of my documentary, with presenting a final shooting script, location plan (I only shot at two locations, these locations were Sanderstead and Coulsdon College, Coulsdon). The final shooting script is presented here:

    WELCOME TO SANDERSTEAD!!

    Sanderstead is a small village situated in South Croydon which is here…(point anywhere)

    It is also populated to almost over 13,000 people

    There are 2 railway stations, 3 schools, and 4 churches situated here

    Many notable celebrities lived in Sanderstead for a various period of time including Kate Moss, Kieran Gibbs and Ruth Ellis who was the last person to get hung in Britain.

    But we're not here to talk about that.

    We are here to talk about an important event that has been cancelled recently and has caused controversy amongst our community and that is, The Cancellation of the Sanderstead Fireworks.


    The Sanderstead Fireworks has been running for over 40 years and has brought the people of Sanderstead together as one as a community.

    In 2014, more than 3,000 people attended the Sanderstead Fireworks at Sanderstead's recreation ground and another 6,000 people were watching on Limpsfield Road, the road leading to the ground, giving a total of 9,000 people watching these fireworks, which is QUITE a lot of people.

    This event has affected the community of Sanderstead in very mixed ways. I decided to interview residents of Sanderstead and see how this cancellation has affected them


    The fireworks were funded by a company named the Rotary Club of Croydon Jubilee, and they have decided to cancel this great event because they cannot afford the funding for fireworks.

    We want to bring them back. We want to send out a message: #BringBackTheLights. We want this message to be spread across the whole community of Sanderstead and to say to the Rotary Club of Croydon Jubilee that we want these fireworks back!

    Please join in our cause. We want you to write on Facebook, Twitter, any type of social media a hashtag #BringBackTheLightsToSanderstead. If you can, we want you to write on the Rotary Club's Facebook page to convey this message.

    If you want these fireworks back, please let's, as a community, let's #BringBackTheLights.

    In the final shooting script, I used verbal terminology that is normally spoken to teenagers my age, for example using hashtags as a promotion, mentioning social media which is what appeals to most teenagers and using small facts to keep the audience engaged. I didn't want to bore my audience so by keeping the script short and simple, it was easier.

    I felt I managed filming interviews of residents of Sanderstead to a professional standard. I asked simple questions to both of my interviewees, James Fisher and Carolyn Backway, like, for example:

    1) How long have you lived in Sanderstead?

    2) Do you have any fond memories of the Sanderstead Fireworks?

    3) Do you think it is a shame they were cancelled?

    After asking these questions, I soon expanded on the questions by asking both interviewees 'Do you have one particular memory that will stick with you before the cancellation?' and 'Why do you think they were cancelled by the Rotary Club of Croydon Jubilee?'. I received extremely detailed answers by both residents and they were then included in the documentary.

    Overall, I feel like I managed the process of my documentary extremely well and published a documentary in which I feel appeals to young teenagers, aged between 16-18, which was my target audience. I managed everyone involved to a professional standard by shooting another shot of Sanderstead because I didn't feel that it was right. I think it was a very successful documentary as it delivered facts that would appeal to a younger audience and make them feel engaged with what I am saying to them. My main aim after the completed documentary was to catch the interest of the audience and when it was shown in front of a small group of teenagers my age, it received positive feedback and the audience seemed engaged with what they saw in front of them.

    Sunday 3 January 2016

    Bring Back The Lights Script - REBECCA

    WELCOME TO SANDERSTEAD!!

    Sanderstead is a small village situated in South Croydon which is here…(point anywhere)

    It is also populated to almost over 13,000 people

    There are 2 railway stations, 3 schools, and 4 churches situated here

    Many notable celebrities lived in Sanderstead for a various period of time including Kate Moss, Kieran Gibbs and Ruth Ellis who was the last person to get hung in Britain.

    But we're not here to talk about that.

    We are here to talk about an important event that has been cancelled recently and has caused controversy amongst our community and that is, The Cancellation of the Sanderstead Fireworks.

    The Sanderstead Fireworks has been running for over 40 years and has brought the people of Sanderstead together as one as a community.

    In 2014, more than 3,000 people attended the Sanderstead Fireworks at Sanderstead's recreation ground and another 6,000 people were watching on Limpsfield Road, the road leading to the ground, giving a total of 9,000 people watching these fireworks, which is QUITE a lot of people.

    This event has affected the community of Sanderstead in very mixed ways. I decided to interview residents of Sanderstead and see how this cancellation has affected them

    The fireworks were funded by a company named the Rotary Club of Croydon Jubilee, and they have decided to cancel this great event because they cannot afford the funding for fireworks.

    We want to bring them back. We want to send out a message: #BringBackTheLights. We want this message to be spread across the whole community of Sanderstead and to say to the Rotary Club of Croydon Jubilee that we want these fireworks back!

    Please join in our cause. We want you to write on Facebook, Twitter, any type of social media a hashtag #BringBackTheLightsToSanderstead. If you can, we want you to write on the Rotary Club's Facebook page to convey this message.

    If you want these fireworks back, please let's, as a community, let's #BringBackTheLights