Year 13 Term 3 Plan

Week 1

• Preparation for mock exam, Critical Perspectives in Media - Q.1(a) on research and planning and Q.1(b) on narrative.  Smart Notebook presentation on 'Critical Perspectives in Media'.  Materials: question paper  http://www.ocr.org.uk/Images/144693-question-paper-unit-g325-01-critical-perspectives-in-media.pdf   mark schemes http://www.ocr.org.uk/Images/144693-question-paper-unit-g325-01-critical-perspectives-in-media.pdf and exemplar scripts http://ocrmediastudies.weebly.com/exam-papers-g322g325.html  Assessment: Q&A and planned answers.
• Independent reading: http://howardschoolmedia.blogspot.co.uk/search/label/Critical%20Perspectives%20in%20Media  ebook chapter 3.1 'Writing About Production' http://howardschoolmedia.blogspot.co.uk/2011/10/as-and-a2-ocr-media-studies-ebooks.html  Media in the Online Age http://howardschoolmedia.blogspot.co.uk/2012/04/here-comes-everybody-imagine-bbc.html  (Use your notes from Term 5 last year.)
• Assessment: mock exam

Week 2

• Mock examination
• Show 'rough cuts' of films/trailers to the rest of the class, get video feedback (peer assessment) and upload video to blog with your response to the feedback (what improvements need to be made?).
• Independent work: Producers need to give in outstanding task checklists (these were emailed to you) and check that the blog lists the group roles, otherwise your research and planning work will not be assessed. Producers also need to do an updated action plan of their group's current position in terms of research and planning, construction and post production.
• Independent work: Editors need to complete the editing of 1st/2nd cuts of their film.
• All group members need to check their individual research and planning task assessment sheet and make any amendments where necessary and return to me.

Week 3

• Mock examination feedback 
• Remaining 'rough cuts' of films/trailers shown to the rest of the class, video feedback obtained (peer assessment) and uploaded to the blog with your response to the feedback (what improvements need to be made?).
• Ancillary Task 1&2 - progress update and show drafts/planning to the rest of the class for feedback (peer assessment).  Upload feedback to blog with plan of action.
• Independent work: Research into Adobe Indesign  http://howardschoolmedia.blogspot.co.uk/2015/01/how-to-use-adobe-indesign-cs6-to.html
• Independent work: Evaluation Task 1 - Nine frame comparison between your film/trailer and an influential film(s)/trailer(s) http://howardschoolmedia.blogspot.co.uk/2014/03/evaluating-your-a2-coursework-guide.html  http://howardschoolmedia.blogspot.co.uk/2015/01/nine-frame-evaluation-guidance.html
• Assessment: Evaluation Task 1

Week 4

• Media in the Online Age - The Virtual Revolution: "The Great Levelling" http://howardschoolmedia.blogspot.co.uk/2012/04/virtual-revolution-great-levelling.html Watch, discuss, notes.  Further reading/research:  http://www.bbc.co.uk/virtualrevolution/makingofprog1.shtml
• Research and planning task assessment sheets to be handed back to students with suggested improvements.
• Complete final cuts of films/trailers
• Independent work: Complete redrafts of ancillary tasks 
• Independent work: Evaluation Task 4 (technology), complete and upload http://howardschoolmedia.blogspot.co.uk/2014/03/evaluating-your-a2-coursework-guide.html 
• Independent work: all students make improvements to individual research and planning work based on assessment sheet feedback.
• Assessment: Research and Planning tasks, Evaluation Task 4 

Week 5

• Show 'final cuts' of films/trailers to the rest of the class, get video feedback (peer assessment) and upload video to blog.
• Media in the Online Age - The Virtual Revolution: "Enemy of the State" http://howardschoolmedia.blogspot.co.uk/2012/05/virtual-revolution-enemy-of-state.html  Watch, discuss, notes.  Further reading/research:  http://www.bbc.co.uk/virtualrevolution/makingofprog2.shtml
• Independent work: complete final versions of Ancillary Task 1&2.

Week 6

• Final deadline (13th Feb) to upload improved research and planning work before assessment.
• Final deadline (13th Feb) for completed film to be uploaded before assessment.
• Show final drafts of Ancillary Tasks 1&2 to the rest of the class, get video feedback (peer assessment) and upload video to blog.
• Preparation for answering Evaluation Tasks 2 (synergy) and 3 (audience feedback). You must have video copies of your short film or trailer to complete evaluation tasks 2 and 3.
• Independent work: complete Evaluation Tasks 2 and 3 http://howardschoolmedia.blogspot.co.uk/2014/03/evaluating-your-a2-coursework-guide.html  Please note that these evaluation tasks (and any improved ones) must be complete and uploaded to your blog no later than 27th February.
• Assessment: Evaluation Tasks 2 and 3.

How to use Adobe Indesign CS6 to complete ancillary tasks

http://tv.adobe.com/show/learn-indesign-cs6/
http://tv.adobe.com/watch/adobe-evangelists-terry-white/how-to-get-started-with-adobe-indesign-cs6-10-things-beginners-want-to-know-how-to-do/
Quick guide PDF https://www.ipfw.edu/dotAsset/43c420e3-353d-4bb8-845f-8308cf9338c3.pdf
Detailed PDF instructions http://help.adobe.com/archive/en/indesign/cs6/indesign_reference.pdf
Guide to making a magazine front cover http://design.tutsplus.com/tutorials/how-to-create-a-music-magazine-cover-in-indesign--vector-1052  http://layersmagazine.com/magazine-cover-design-in-indesign.html  http://99easy.com/make-your-own-magazine-cover-indesign/
http://design.tutsplus.com/articles/15-indesign-tutorials-for-magazine-and-layout-design--vector-5456  https://www.youtube.com/watch?v=vhLvDU3ApzM 
Movie magazine front cover http://design.tutsplus.com/articles/creating-a-movie-magazine-cover-using-indesign--vector-9689  https://www.youtube.com/watch?v=3cWfBgIQNzA
Movie poster http://design.tutsplus.com/tutorials/create-a-post-apocalyptic-movie-poster-in-adobe-photoshop-and-indesign--cms-21220
Double page spread  https://www.youtube.com/watch?v=WNVPbs8GMf8

Creating a storyboard - an OCR guide

http://www.ocr.org.uk/Images/168849-the-ocr-guide-to-storyboards.pdf

Nine Frame Evaluation Guidance

You tube tutorial https://www.youtube.com/watch?v=gUmdaRTZ_PA

A student guide:

Look at http://www.artofthetitle.com/  Create your own 9 frame analysis of an influential film opening to show the forms and conventions of: the titles (including style, typefaces, positioning, timing, how they appear and what they say), setting and locations, costumes and props, camerawork, the 'setup' of the story, the creation of genre, how characters are introduced, editing and effects, music, sound and dialogue.  You should use each frame to write about a different aspect of the opening; e.g. one frame could be about the title of the film and the next frame could be about how genre is created (see the example on petesmediablog to see how this is done) http://petesmediablog.blogspot.co.uk/2010/11/evaluation-for-ocr-coursework.html

Then do a 9 frame analysis for your opening.  This time in your analysis compare your opening to the influential film.  Explain which of the conventions from the influential film you 'use' (i.e. things that are very similar).  Also explain which conventions you have 'developed' (i.e. given your own slant or interpretation).  Finally, also consider how you may have 'challenged' the conventions of your influential film (i.e. adopted an approach that is very different from the norm).

Templates for planning documents

Some downloadable templates for planning documents can be found here:  http://www.dependentfilms.net/files.html

How to write a film review - some useful links

http://www.theguardian.com/the-paperboy-movie/how-to-write-a-film-review
http://www.bbc.co.uk/schools/gcsebitesize/english/creativewriting/movingimagesrev2.shtml
http://www.wikihow.com/Write-a-Movie-Review
http://www.spiritofbaraka.com/how-write-a-movie-review
http://www.dailywritingtips.com/7-tips-for-writing-a-film-review/
https://www.ucls.uchicago.edu/students/projects/1996-97/MovieMetropolis/howto.html

Production roles

Here are some roles and the associated tasks for both AS and A2 productions.  Please note that acting is not assessed as a role and therefore your actors do not need to be in your group.  Group members need to state their roles and will be assessed on the tasks connected with those roles (if you only act or  do not  take part in making the film you will get zero marks for construction).  Group members should have clearly defined roles and should take on more than one role.  If you are working on your own, you will execute all roles.

Producer 
The Producer is an organiser, in charge of the budget, hirer and firer of the crew, the implementer of the project.

Manages the team.  Completes: budget, action planning, time management, risk assessment and progress updates.

Director
The Director is the key creative person on a film or television project. The so-called ‘Director’s Vision’ shapes the whole movie and all of the other determinants involved in the making of the film – sound, lighting, production design and so on work in collaboration with this vision. In a sense the Director makes the film in his or her head before any shooting has begun.  The Director designs the film, orchestrates its emotional content and is the head of the creative side of the filmmaking process. In terms of preparing the actors for their roles it is often the case for the Director to meet with the actors during Pre-production and read through the script with them before any shooting takes place. Improvisation can also be attempted at this stage in order for the actors to explore their roles. Improvisation is basically acting without a script. The actors make up their actions and dialogue according to a brief set out by the Director. Some films are actually made entirely with improvisation and no script. Whatever the case, it is a powerful tool for Director’s to use when working with actors.

Is in charge of the shoot.  Completes: call sheet and works closely with the Cinematographer on the storyboard, shot list and shot schedule.

Writer

The first step in the making of a film is creating the script. The script is the blueprint for the whole movie. Of course there are films which are made without a script such as improvised projects, but generally the script is the starting point for most movies.

Whether the Director has written the script or is interpreting an already created one, the key when directing the film is to attempt to predict the audience’s reaction to the material.  A good script will be formatted correctly and include all of the action, scene descriptions and dialogue that will be featured in the finished film. It will not include any descriptions of shots or how the film will be realised – this is the job of the Director.

Writing the script is a very difficult and often undervalued aspect of the filmmaking process. An idea may start with a single moment or action, a line of dialogue, a character and so on.  A character biography can also be a useful tool for helping the actors prepare for their roles. This is basically a document detailing aspects of the characters life such as family background, social status, history, personality etc. Actors tend to like a character biography, and it should help them to prepare for their texts.

Writes the idea for the film.  Completes: initial ideas, pitch and script.

Editor
Reads the script, shot list and storyboard to understand the aims and context of the film. Edits the film on the editing software.  Creates drama, entertainment and continuity through cutting.  Works with the Sound Editor (this can be the same person) to add music, sound effects and additional dialogue.  Creates production logos.  Also researches editing techniques, writes 'skills progress' posts on the blog relating to ICT skills and completes title timelines.  Produces 'rough cuts' of the film.  Checks labels and posts are correct on the blog.

Sound Editor
Responsible for finding sound effects (including foley sound) and re-recording any unclear dialogue or sounds.

Sound Designer
Plans the arrangement of sound in the production - dialogue, music, foley, sound effects etc.

Composer
Responsible for finding copyright-free music or composing/ recording original music.

Cinematographer
The Director of Photography on a project is ultimately responsible for the film’s visual imagery. He or she controls the lighting and composition of the various shots which will be featured in the finished movie.

Responsible for filming.  Works closely with the director on the storyboard, shot list and shot schedule.

Storyboard Artist
Completes: animatic or photo-storyboard or drawn storyboard; shot list and shot schedule.

Location Scout
During pre-production, various members of the crew will visit possible locations to find settings that the action can take place in. When visiting locations it is a good idea to take photographs or shoot some videotape of the possible places. An overhead drawing can also help in terms of planning camera angles and lighting.  Film-makers should listen intently to make sure there are no sound problems such as air conditioners etc. There are other things to be considered such as power points and a room for the actors to wait in and for make-up to be applied etc. Sets will be built if a suitable location cannot be found or if shooting in a studio is a preferred option. Sets allow the film-makers’ to create anything the imagination can conjure up.
Responsible for finding suitable locations for the film.  Locations are photographed and a presentation is prepared to show the rest of the group.

Technical Director
Completes: equipment list and organises all technical equipment required for the shoot and is able to use it.

Set, Costume and Prop Design
The Production Designer’s role is associated with the visuals on a film. He or she designs any sets required, is involved in the selection of locations and is in charge of dressing the sets and locations with various props.
Responsible for mise-en-scene, including props and costumes.  Completes a list of the same and organises for the shoot.

Make-up Artist
Responsible for make-up.  Works closely with the Set, Costume and Prop Designer.

Marketing
Decides on the target audience for the film and produces a demographic profile.  Also responsible for audience testing and posts relating to audience feedback.


Suggested roles for group members

Group of four:

1 Producer, Location Scout, Production Designer (set, costume and props)
2 Director, Writer, Storyboard Artist (joint), Marketing
3 Cinematographer, Technical Director, Storyboard Artist (joint)
4 Editor, Sound Editor, Sound Designer, Composer

Group of three:

1 Director, Producer, Writer, Storyboard Artist (joint), Marketing
2 Cinematographer, Location scout, Technical Director, Storyboard Artist (joint)
3 Editor, Sound Editor, Sound Designer, Composer, Production Designer (set, costume and props)

"Coming soon...how to make the perfect movie trailer" - Advice from The Guardian

A slightly tongue-in-cheek explanation of how to make a movie trailer...

Action

• "In a world ..." before those ironically grandiose E4 continuity announcements, all you needed was a strong, sonorous voiceover to set the tone for any big-budget actioner. Nowadays, you have to be more inventive. Try assembling fake news footage into a glitchy, distorted montage, and be sure to include words like "epidemic", "catastrophic" and "unexplained". The Cloverfield crowd will go apeshit.

• You haven't got much time to introduce your characters, so aim to sum each one up with a single line of stereotypical dialogue. Loose cannon? "I don't take orders from nobody!" Nerdy scientist? "You don't understand! It's simply not possible!" Female character? "I'll wait for you."

• When it comes to music, the old standards – please rise, Carmina Burana – just won't cut it any more. Dubstep is increasingly becoming a viable alternative, with sub-Skrillex warblings lazily plastered over trailers for films as disparate as franchise smash-'em-up Transformers: Dark Of The Moon and second world war race-relations epic Red Tails.

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• Don't give too much away. Offer only brief glimpses of your most impressive CGI set pieces, accompanied by a quick fade-out and that irritating foghorn noise (or "BRRRRRRAHHHHMM" as it's become known) from the Inception soundtrack.

• Single words written massively across the screen are more impactful than whole sentences, so break your tagline up into its component parts and sprinkle them throughout the trailer. It doesn't matter if they're so far apart that nobody can piece together the meaning; chances are, they're not paying attention anyway.

• You don't want to blow your load too quickly, so take a brief pause for thought just before the climax and let one of your characters say something witty. Good luck bettering Jason Statham's timeless words from the new Expendables 2 trailer: "I now pronounce you man and knife."

• Don't forget, the title is the bit you want people to remember. Put aside at least ten seconds at the end for an agonisingly slow reveal.

Comedy

• Chances are you'll be switching between at least five songs during your two-and-a-half minutes on screen, so don't worry too much about each track. Just make sure they're all upbeat, contemporary and by Katy Perry.

• Record scratches are the easiest way of signposting your biggest and best jokes, but sadly overuse has rendered them less effective over time. Luckily, interrupting the music with the sound of someone falling into a dumpster/down a flight of stairs/off a trampoline works just as well.

• If, as is likely, your stars are all middle-aged white men, laying a hip-hop track over the trailer should score you some points with the irony brigade. Avoid the word "nigga", though

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• Improvisation is very hot right now, so don't be afraid to insert a few ad-libbed moments, especially if they relate to contemporary pop culture or anything vaguely sexual.

• With the increasing popularity of so-called Red Band trailers – which allow for more extreme sex, violence and language – there's no longer any need to include your "smart" material. Trust us: a few well timed F-bombs and a misplaced bikini will sell far more tickets than any amount of sophisticated wordplay.

• It can be hard to build dramatic tension when most of your trailer is comprised of jokes, so you might want to consider ending on a physical fight. This will align you with more anarchic Hollywood comedies like The Hangover and Project X, and give you an advantage over your more timid peers.

• In case of indie comedy, follow these rules but be sure to add plenty of Vampire Weekend, Sundance acclaim and Helvetica.

Drama

• A second not soundtracked by emotive piano music is a second wasted, so get that shit down straight away. Pianos are cinematic shorthand for both melancholy and euphoria so they're perfect for any dramatic scenario.

• Feel free to include all your most heavy-handed dialogue in the opening 30 seconds. This clues the audience in to the movie's key themes and messages, and requires very little effort on their part. If you can illustrate said dialogue with shots of light streaming through trees, even better.

• Any mention of the Oscars will grant your film instant credibility. Even the words "Academy Award nominee" are likely to bolster a movie's reputation, which is great news for Jonah Hill's career.

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• If you're lucky enough to have a real-life subject at the centre of your film, you'll want to make a big deal out of it. Avoid the phrase "true story" though; "real events" is much more 2012.

• Certain subjects might not cause a problem for critics, but could hurt your box-office take once the film goes on general release. Trailers for mainstream gay-themed movies like Brokeback Mountain and J Edgar often hide their homosexual leanings behind a veneer of artificial heterosexuality, just like FHM readers.

• When you finally unveil your title, the reveal needs to be stirring, emphatic and – most importantly – in a Serif font. Accept no substitutes.
• Finally, remember to always – and we mean always – put a funny bit at the end. Your audience needs to know that however gut-wrenching your war film/cancer drama/Holocaust epic might be, at least one moment is guaranteed to be chucklesome.

Charlie Lyne, The Guardian, 16 June 2012

Advanced Portfolio - Self Assessment

Advanced Portfolio – assessment

1 Research and Planning:

Main Task

Initial ideas have been considered.  The post is titled and labelled correctly.  Roles for the task are stated. 

A pitch has been uploaded to the blog explaining: title, genre, location, time, characters, plot outline and key micro features (including use of match-on-action, shot/reverse shot and 180 degree rule).  The post is titled and labelled correctly.  Roles for the task are stated.
Pitch feedback has been recorded and uploaded to the blog together with an explanation of action to be taken in response to the feedback.  The post is titled and labelled correctly.  Roles for the task are stated.
Research into similar products (textual analysis of influential film extracts) has been uploaded to the blog by every group member.  The posts are titled and labelled correctly and the student responsible for each post is clearly stated.
Extracts from influential films have been shown to the class (focus group) and feedback received.  The video has been uploaded to the blog.  The post is titled and labelled correctly.  Roles for the task are stated.
A photographic storyboard or animatic has been uploaded to the blog.  Camerawork is clearly represented by the photos.  There may be a second version of the animatic with a voiceover explaining directorial ideas.  Camerawork, sound, editing and mise-en-scene are directions are included.  The post is titled and labelled correctly.  Roles for the task are stated.

The animatic has been shown to the class and feedback has been uploaded to the blog.  The post is titled and labelled correctly.  Roles for the task are stated.

A shot list has been created.  The post is titled and labelled correctly.  Roles for the task are stated.

A shot schedule has been created.  The post is titled and labelled correctly.  Roles for the task are stated.

A script (if required) has been written.  The post is titled and labelled correctly.  Roles for the task are stated.

An equipment list has been created.  The post is titled and labelled correctly.  Roles for the task are stated.
Costumes, props and makeup have been organised.  The post is titled and labelled correctly.  Roles for the task are stated.

Location shots have been taken.  The post is titled and labelled correctly.  Roles for the task are stated.
Set designs have been completed.  The post is titled and labelled correctly.  Roles for the task are stated.

A call sheet or Facebook contact page have been created.  The post is titled and labelled correctly.  Roles for the task are stated.

A budget has been drawn up.  The post is titled and labelled correctly.  Roles for the task are stated.

A risk assessment (if necessary) has been completed.  The post is titled and labelled correctly.  Roles for the task are stated.

Music and sound effects have been found and copyright free evidence or permission provided.  The post is titled and labelled correctly.  Roles for the task are stated.

Skills progress has been updated.  The post is titled and labelled correctly.  Roles for the task are stated.

Rough cuts of your film have been tested on an audience and feedback received.  The post is titled and labelled correctly.  Roles for the task are stated.

Action plans have allowed you to establish good time management.  The posts are titled and labelled correctly.  Roles for the task are stated.

A target audience has been clearly identified.  The post is titled and labelled correctly.  Roles for the task are stated.

Ancillary Tasks
An annotated image analysis of at least one similar product (for each ancillary task) has been uploaded to the blog with the correct title and label.  Group roles are stated.
Rough drafts and layout plans of ancillary tasks have been uploaded to the blog with the correct titles and labels.   Roles for the task are stated.
Audience feedback has been uploaded to the blog with the correct titles and labels.   Roles for the task are stated.


2 Construction:

Main task

Titles are appropriate and follow conventions.

Sound is used with images and editing appropriately.

Material that has been shot is appropriate.

The use of the camera is controlled.

There is attention to framing.

There is a variety of shot distances and angles.

There is careful attention to mise-en-scene.

Editing creates meaning for the viewer.

There is selective and appropriate use of transitions.

Ancillary Tasks

There is awareness of conventions of layout and design.

There is awareness of the need for variety in fonts and text size.

There is accurate use of language and register.

There is appropriate use of ICT.

There is appropriate integration of image and text.

Images are framed appropriately.

Mise-en-scene shows care - colour, figure, lighting, objects and setting.

Images have been manipulated appropriately, e.g. cropping and re-sizing.

3 Evaluation (each student should have done this):

http://howardschoolmedia.blogspot.co.uk/2014/03/evaluating-your-a2-coursework-guide.html

Main Task
A nine frame analysis of an influential short film or trailer has been uploaded to the blog and is titled and labelled correctly.  Group roles are stated.
A nine frame analysis of your own short film or trailer has been uploaded to the blog and is titled and labelled correctly.  Group roles are stated.
A video explaining the synergy between your three products has been uploaded to the blog and is titled and labelled correctly.  Group roles are stated.
A video explaining what you have learned from audience feedback to your three products has been uploaded to the blog and is titled and labelled correctly.  Group roles are stated.
A photo montage representing your use of new media technology has been uploaded to the blog and is titled and labelled correctly.  Group roles are stated.

Ancillary Task  
An annotated image analysis that evaluates each of your two ancillary tasks has been uploaded to the blog and is titled and labelled correctly.  These should show how you have followed the conventions of your Group roles are stated.

How to write a film script

• The title of the film 
• Edit to start the scene (e.g. fade in)
• Scene number on the left hand side of the page
• INT. or EXT. depending on whether the location is interior or exterior.  Then describe where (e.g. EXT.  OVER MIAMI - DAY)
• Set the scene by describing the location and the action that is taking place.  You can also describe aspects of lighting and camerawork, but don't do this in great detail ( e.g. Stillness.  Long wispy clouds spider across a deep blue sky.  Sunlight glints expectantly off the mirrored high-rises downtown.)
• Character names should be in capitals.
• Dialogue should be placed in the MIDDLE of the page with the character's name (in capitals) on the line above, e.g.

                                                                   HEATHER BURTON

                                                   Ow, Todd!  You almost took my foot off!

• You can explain how a character says something by placing it in brackets before they speak:

                                                                   TODD BURTON

                                                  (under his breath)  Uch, your mother.  Pain in my ass.

• When the scene changes, state the transition on the right hand side of the page (e.g. cut to:)
• Remember to leave a line between each section of your script.  One page of a script is roughly equal to a minute of screen time.

NB  Use courier font for your script.

Here are some examples:

Here is some additional information about how to do it: http://filmschoolonline.com/sample_lessons/sample_lesson_format.htm

Advanced Portfolio - Short film sites

http://www.shortoftheweek.com/
http://www.filmsshort.com/
http://www.bbc.co.uk/filmnetwork/
http://www.thesmalls.com/browse/films
http://vimeo.com/groups/1615
http://www.globalshortfilmnetwork.com/
http://www.shortfilmcentral.com/
http://www.reddit.com/r/shortfilms
http://www.film4.com/film4-productions/shorts
http://www.firstshowing.net/category/shortfilms/
http://www.virginmediashorts.co.uk/#page=1&filter=date

This one is great!  http://www.youtube.com/watch?v=P5_Msrdg3Hk

Weekly plan for the Advanced Portfolio (A2) - Term 1

Week 1

• Decide on groups and brief for the Advanced Portfolio http://howardschoolmedia.blogspot.co.uk/search/label/A2%20Advanced%20Portfolio?updated-max=2012-02-06T06:40:00-08:00&max-results=20&start=20&by-date=false
• Brainstorm 'initial ideas' and upload to the blog.
• Write a pitch for your idea  http://howardschoolmedia.blogspot.co.uk/2013/07/how-to-write-pitch.html
• Get feedback on your pitch and upload to the blog.

Week 2

• Choose similar or influential short films for textual analysis:  http://howardschoolmedia.blogspot.co.uk/2013/11/advanced-portfolio-short-film-sites.html   You can also use sequences from feature films.
• Each member of the group should analyse a sequence of nine frames from an influential film in an 'artofthetitle' style arrangement (evaluation Q1).  Each frame should be used to analyse aspects of a different technical feature, e.g. 1. title(s), 2. genre, 3. setting/location, 4. characterisation, 5. costume and props, 6. narrative, 7. camerawork, 8. sound/music/dialogue, 9. editing.  (There is more information on artofthetitle style analysis here http://howardschoolmedia.blogspot.co.uk/2013/10/evaluating-your-as-coursework-to-be.html )If you are working on your own, you should analyse at least two films. Upload your analysis to the blog together with a link to the film if it can be viewed on the Internet.

Weeks 3 & 4

• Use your similar/ influential films to test ideas on the class, like a 'focus group'.  It might be that you have several different ideas for films, scenes or characters and you want to know which the class prefer.  We can video this discussion and add it to the blog as audience feedback (evaluation Q3).
• Create a shot list (a written shot-by-shot plan of your short film or trailer) and a shot schedule (a similar plan but in the order you intend to shoot the material): http://howardschoolmedia.blogspot.co.uk/2013/01/shot-list-example.html  http://howardschoolmedia.blogspot.co.uk/2013/01/shooting-schedule-example.html  Typically these will include information such as: date, shot, scene, int./ext., location, characters, props and description.
• Use your shot list as a plan and take photographs for a photographic 'animatic' storyboard.  Edit the images together with sound and music: http://howardschoolmedia.blogspot.co.uk/2011/06/animatics.html  You could do a second edit of the animatic with a voiceover describing your ideas (camerawork, editing, mise-en-scene and sound).
• Get feedback on your animatic and upload it to the blog (evaluation Q3).
• Write a script in the correct format  http://www.wikihow.com/Write-a-Script  http://howardschoolmedia.blogspot.co.uk/2013/11/how-to-write-film-script.html  You can use a free program 'Celtx' to do it all for you:  http://download.cnet.com/Celtx/3000-13631_4-10850080.html  Here is a guide to using it: http://www.youtube.com/watch?v=KX06J2cG9eo
• Take location shots of your planned filming locations; upload to the blog with information about why they have been chosen and which scenes they will be used in.
• Create a call sheet showing which actors are required for each shooting scene and on what day and time http://howardschoolmedia.blogspot.co.uk/2013/01/example-of-call-sheet.html  You should also state what costumes, props and make-up are required.
• Create a budget for your film listing all likely costs including travel, food, props, equipment etc.
• Create a risk assessment if you have any potential hazards  http://howardschoolmedia.blogspot.co.uk/2013/11/example-of-risk-assessment.html
• Find copyright free music (if required) http://howardschoolmedia.blogspot.co.uk/2011/10/copyright-free-music-as-a2.html
• Find (or make) sound effects (if required).

Week 5

• Filming/ editing

Week 6

• Filming/ editing

Week 7

• Show 1st cuts of films and get feedback (evaluation Q3).

Example of a risk assessment

'How to' guide to uploading a word file to Blogger

Blogger doesn't allow you to directly upload word files but we can change the file into a JPEG to do it.

Here's how to do it:

'All Programs'
'Adobe Master Collection CS3'
'Adobe Acrobat Professional' click
'Create PDF' click
'Create PDF from a file' click
'Open' - browse to file and click on it
'File' click
'Save as' click
'Save as type' select 'JPEG'
'Save'
Go to blog
'New post'
Click on 'Insert image'
'Choose files' click
Browse for JPEG image and click on it
'Open' click
Click on uploaded file and 'Add selected'
Move image as required and use re-sizing options to make it bigger

How to write a pitch

A pitch should include:

• title
• genre
• form (e.g. short film, trailer etc.)
• location
• time (day, night, time period etc.)
• characters
• plot outline
• key micro features (e.g. camerawork, editing, sound, mise-en-scene)
• target audience
• audience appeal
• influential films
• unique selling point
• your roles
• your pitch could also use an 'animatic' of your ideas - see here: http://howardschoolmedia.blogspot.co.uk/2011/06/animatics.html

Critical Perspectives in Media Q1(b) - Concepts and Theorists

 Representation - Richard Dyer

Dyer says that when considering the representation of a media product (i.e. your media production), we should ask the following questions:

1. What sense of the world is it making?  (In other words, what representation of the world is the product making?)
2. What does it imply?  Is it typical of the world or deviant?  (In other words, what messages are the representations creating?  Are these representations and messages familiar or unusual?)
3. Who is it speaking to?  For whom?  To whom?  (In other words, who is the intended audience for this product and how do the representations attract and address them?)
4. What does it represent to us and why?  How do we respond to the representation?  (In other words, what meanings and interpretations are created by the product?  How do you and other people interpret the product?).

Remember that representation is very complex.  For people it can involve gender, ethnicity, sexuality, ethnicity, regional identity, age, age and social class and status.  These can be constructed through characteristics like appearance (e.g. hair, clothing, make-up, jewellery) , relationships, possessions, behaviour and actions, voice (e.g. tone, accent, dialect, sociolect), job, hobbies, values etc.

Representation is not just about people.  For example, you may be able to analyse the representation of places, time periods and themes (such as betrayal or love).

Also see Stuart Hall https://www.youtube.com/watch?v=aTzMsPqssOY

See here for exemplars for representation: http://www.ocr.org.uk/Images/179236-example-candidate-answers-from-june-2013.pdf

Genre - Daniel Chandler, Steve Neale, John Hartley, David Buckingham, Deborah Knight, Gunther Kress, Nicholas Abercrombie, Tom Ryall, John Fiske, Rick Altman, Jonathan Culler, David Bordwell

Watch the following slideshow http://www.slideshare.net/HeworthMedia/genre-theory-6920670
Which of the theorists says something about genre that connects with your own product and the points you want to make about it?

Here are some of the key points:

Chandler 

• Conventions of content and/or form
• Assumption of the 'ideal reader'
• 'Interpretive community' can share a genre

Neale

• Repetition and difference
• Guarantee of meanings and pleasure (for audience)
• Audience expectations of what a genre will provide

Hartley

• Films often have the conventions of more than one genre

Knight

• We enjoy genres because we anticipate what is going to happen

Ryall

• Genre is a structural framework for producer and viewer

Altman

• Media language (meaning) and iconography defines genres

Culler

• Genre conventions establish a 'contract' of shared understanding between creator and reader

Use these framework for analysing your own product in terms of genre: http://social.ocr.org.uk/files/ocr/Generic%20Markers.pdf

Media Language - Michael Wohl

Michael Wohl is a film maker, author and software designer.  Read his explanation of the 'language of film' and see if his examples relate to your production.
http://www.kenstone.net/fcp_homepage/language_of_film.html

His explanation of how camerawork creates meaning is very useful.  He breaks it down as follows:

• Who - the CU of a character
• What (is going on) - the MS showing a character performing actions
• Where - the LS showing the location
• When - shots that tell the viewer the overall point in the story that has been reached or the time of day or the time period
• Why - the ECU or BCU that suggests what a character is thinking
• How - MCUs of a character perorming an action or a series of CUs or ECUs of actions
• With whom - relationships and interaction (two shot, OTS shot, wide shot etc.)

He also makes some very good points about editing but he does not write so much about sound or mise-en-scene.  

Audience - Stuart Hall

Read about Hall's three interpretative codes here: http://www.slideshare.net/dphillips4363/reception-theory-presentation-833299  How did you intend audiences to interpret your product?  How did they interpret it?

Narrative - Todorov and Levi-Strauss

See here http://howardschoolmedia.blogspot.co.uk/search/label/Narrative

Ideas for film narratives

• Supplication - a supplicant (sufferer) is persecuted and calls on a power for help.

Deliverance - an unfortunate person is threatened but a rescuer comes to their aid.

Crime pursued by vengeance - an avenger seeks to avenge the actions of a criminal.

Vengeance within a group or family upon their own kind.

Pursuit - someone is punished or threatened with punishment and becomes a fugitive.

Disaster - a power is defeated by a victorious enemy and overturned.

Falling prey to cruelty or misfortune.

Revolt against a tyrant.

Daring enterprise - a bold leader with an objective takes on an adversary.

Abduction

The Enigma - a question or problem needs to be solved.

Obtaining - two adversaries (e.g. solicitors) or an arbitrator and two opposing parties try to overcome each other.

Enmity of kinsman - involves a bad kinsman, or two kinsman who hate one another.

Rivalry of kinsman - an object (possibly a woman) is desired by both kinsman; only one can have it.

Murderous adultery - a betrayal of husband/wife and murderous consequence.

Madness

Fatal haste - a rash decision results in a great loss.

Involuntary crimes of love

Slaying of a kinsman

Self-sacrifice for an ideal - someone or something is sacrificed for an ideal.

Self-sacrifice for kindred - someone or something is sacrificed for kindred (e.g. family, tribe, group etc.)

All sacrificed for passion - someone or something is sacrificed for an object of passion.

Necessity of sacrificing loved ones - a hero is forced to sacrifice a loved one by necessity.

Rivalry of superior and inferior - superior and inferior rivals fight for an object.

Adultery

Crimes of love

Discovery of the dishonour of a loved one - a loved one has a guilty secret that is uncovered.

Obstacles to love - two lovers face an obstacle to their love.

An enemy loved - an enemy is loved by his/her opponent.

Ambition - a person covets something but has an adversary

Conflicts with a God

Mistaken jealousy - a person is jealous of someone's possession(s) but his jealousy is mistaken.

Erroneous judgement - a bad decision is made.

Remorse

Recovery of a lost one - someone seeks a lost person.

Loss of loved ones - a kinsman is killed.

Shot list example

Planning and Filming a TV or Film Production: A Guide

http://www.trillian.tv/articles.php?article=directing&partno=1

Shooting schedule example