Monday, 28 January 2013
PRODUCTION: COLOUR CORRECTION
Using adobe premiere I edited some of the film footage so that the colour would be the same as scenes shot earlier in that day with brighter light. I used colour correction to do this. This involved me adjusting the saturation, hue and brightness of the clips
^I watched a video on YouTube to help me colour correct the clips.
<Here you can see me rendering the edited clip.
^Here on the left you can see before and after the colour correction.
Monday, 21 January 2013
RESEARCH: HOW AUDIENCES CONSUME AND DOWNLOAD MUSIC ON THE WEB-
It has become clear to me from what I have read in the press over the
last year or so that patterns of audience consumption of music are
changing. Fewer people now buy physical CD's from highstreet shops like
HMV as more people are buying music online from sources like itunes and Spotify. There is also the huge issue of piracy for example Limewire.
I have created a PINTEREST (click on red) to show a variety of ways in which consumers can consume music using the web.
THE TIMES ARTICLE ( CLICK HERE)
I have created a PINTEREST (click on red) to show a variety of ways in which consumers can consume music using the web.
THE TIMES ARTICLE ( CLICK HERE)
HMV deaf to internet threat
As the internet changed the way we shop, HMV stopped listening to its customers. Now the music retailer has paid the price.
“If people really wanted high streets and market towns to stay the same they would still shop there, but today’s consumer wants convenience,” said David McCorquodale, head of retail at KPMG. “They prize time and value and ultimately if they can get it all delivered, they will.”
Sunday, 20 January 2013
HMV- guardian.co.uk
The disappearance of the last large chain of what used to be called record shops has set off a tsunami of warm memories of such places. There have been tales of the joy of earnestly flicking though the seemingly endless racks of LPs by Led Zeppelin, Snafu and Tonto's Expanding Head Band and of afternoons spent eagerly tramping the aisles housing those shoulder-to-knee cascades of CDs. In some towns, apparently and definitely unbeknown to me, the HMV shop was even the centre of the local romance scene, of what the Human League called Love Action.
Such nostalgia is understandable and not misplaced. For generations of casual record buyers and obsessive music heads alike, HMV (and its myriad imitators and competitors – Harlequin, Virgin, Our Price, Tower, Andy's, Music And Video Club, now all gone) was the place to go and get your mainstream sounds. For many, it was the starting point of a wonderful lifelong love affair with music – and, in truth, the rather less welcome consequence, the battle between an ever-lighter wallet and the need to move to a bigger house in order to accommodate your burgeoning collection. As the operations hub of many people's musical odyssey, the record stores of the 60s, 70s and 80s continue to inspire dewy-eyed recollection.
HMV was brought to its knees, obviously, because it couldn't compete with the no-longer-new digital universe where you can download a piece by Mahler for 80-odd pence or buy the new Tame Impala CD with a single leisurely twitch of your index finger.
But, hey, no regrets. The world of digitised music, and online buying, was supposed (if you listened to the traditional retailers) to be a sterile, soulless, corporate desert, devoid of the sense of adventure, revelation and shared experience in which the record shops of yesteryear specialised. It has turned out to be no such thing. It has turned out to be the opposite.
Getting into music has always involved a journey. Through the works of one artist, then on to another, hopping off into whole new genres and hopeful tributaries, coming back to old favourites to find new things in them. It is literally a voyage of discovery. It is, as musicians down the ages have told us, a trip. And something about the way that digital media works has made that trip more enjoyable than has ever previously been the case.
The benefits of the new world ping at you from all angles. The reviews by consumers on places such as Amazon (even the bonkers ones!) offer passion and balance from a whole range of viewpoints. The computer-generated recommendations have sent me on previously unimagined tangents and explorations. Myriad fan sites and discussion forums share secrets, gently indicate hidden paths, challenge your cherished views and comfort your dodgy ones. The fact that you can sample the music free, and buy it cheaply and in byte-sized chunks, only adds to the feeling of boundless possibility.
Of course I pine for being told, very directly, to go and buy Television's Marquee Moon by a genius writer like Nick Kent in the NME, and yes, I've been pointed in the direction of, and obtained, some unforgivable twaddle. But overall, the transference of music from the old-school high street to the info highway has meant that I have heard, and grown to love, more great music than ever before. And I can tell that (from the torrents of words flowing around cyberspace on the subject) this experience is common to millions.
I'll miss the little dog – you'd have to be made of flint not to – but don't mourn the tumbling down of his massive kennel. Technologies change, as do social mores and shopping habits, but music continues to find unpredicted and life-affirming ways into our hearts and minds.
Such nostalgia is understandable and not misplaced. For generations of casual record buyers and obsessive music heads alike, HMV (and its myriad imitators and competitors – Harlequin, Virgin, Our Price, Tower, Andy's, Music And Video Club, now all gone) was the place to go and get your mainstream sounds. For many, it was the starting point of a wonderful lifelong love affair with music – and, in truth, the rather less welcome consequence, the battle between an ever-lighter wallet and the need to move to a bigger house in order to accommodate your burgeoning collection. As the operations hub of many people's musical odyssey, the record stores of the 60s, 70s and 80s continue to inspire dewy-eyed recollection.
HMV was brought to its knees, obviously, because it couldn't compete with the no-longer-new digital universe where you can download a piece by Mahler for 80-odd pence or buy the new Tame Impala CD with a single leisurely twitch of your index finger.
But, hey, no regrets. The world of digitised music, and online buying, was supposed (if you listened to the traditional retailers) to be a sterile, soulless, corporate desert, devoid of the sense of adventure, revelation and shared experience in which the record shops of yesteryear specialised. It has turned out to be no such thing. It has turned out to be the opposite.
Getting into music has always involved a journey. Through the works of one artist, then on to another, hopping off into whole new genres and hopeful tributaries, coming back to old favourites to find new things in them. It is literally a voyage of discovery. It is, as musicians down the ages have told us, a trip. And something about the way that digital media works has made that trip more enjoyable than has ever previously been the case.
The benefits of the new world ping at you from all angles. The reviews by consumers on places such as Amazon (even the bonkers ones!) offer passion and balance from a whole range of viewpoints. The computer-generated recommendations have sent me on previously unimagined tangents and explorations. Myriad fan sites and discussion forums share secrets, gently indicate hidden paths, challenge your cherished views and comfort your dodgy ones. The fact that you can sample the music free, and buy it cheaply and in byte-sized chunks, only adds to the feeling of boundless possibility.
Of course I pine for being told, very directly, to go and buy Television's Marquee Moon by a genius writer like Nick Kent in the NME, and yes, I've been pointed in the direction of, and obtained, some unforgivable twaddle. But overall, the transference of music from the old-school high street to the info highway has meant that I have heard, and grown to love, more great music than ever before. And I can tell that (from the torrents of words flowing around cyberspace on the subject) this experience is common to millions.
I'll miss the little dog – you'd have to be made of flint not to – but don't mourn the tumbling down of his massive kennel. Technologies change, as do social mores and shopping habits, but music continues to find unpredicted and life-affirming ways into our hearts and minds.
NARRATIVE
My film opening 'faded' is about a young man that has his world turned upside down overnight, this event is left mysterious for the audience to figure out and as a result the man has turned severely depressed leading to himself possibly committing suicide.
An opening must set up some of the issues that the rest of the film’s narrative will deal with, but must not give too much away, since it is only an opening and you would want the audience to carry on watching.
Technical Codes
are used to construct narrative. We have
used these codes within my film opening to construct movement, emotion and to
focus upon key aspects of my film. This includes the way we have used camera
angles and movement, lighting, sound, props, shot framing and
composition, design and layout and editing.
Enigma is created from the mystery of the two main
characters formation and end. Claude Levi-Strauss suggested that all
narratives had to be driven forward by conflict that was caused by a series of
opposing forces. He called this the theory of Binary Opposition, and it is used to describe how each main force
in a narrative has its equal and opposite. This film leaves this convention mysterious,
adding to an audiences appeal and desire to continue watching. The soundtrack
creates enigma through its mysterious tone and long chords as well as verbal
codes such as the girls mysterious scream, prompting audience intrigue. Gloominess
and darkness of the scene creates suspense. Theorist Roland Barthes created the hermeneutic code, this is the way the story avoids telling the truth or revealing all the facts, in order to drop clues in through out to help create mystery. This is very evident within my film as subtle yet mysterious clues have been used to connote emotions and possible reasons for the characters depression. He also identified the enigma/Proairetic code which is the way the tension is built up and audience is left guessing what happens next. This is clearly represented through the vagueness of our clips and also the suspenseful cliffhanger ending which leaves audiences with a keenness to find out the outcome and whether he actually jumped or not. Flashback scenes set in the
afternoon so that they appear lighter enhancing a more positive mood. False sense
of security as beginning is steady and clam but is suddenly disrupted by Karen screaming,
this enhances further mystery.
The setting is also set in a very realistic everyday
environment where audiences can easily relate and imagine that they are
experiencing the scenes and emotions of the characters themselves. We wanted to
keep the film effects as simple as possible as we wanted to keep it as close to
human real life as possible so that the audience can relate to the film. Loss is
very present in out TV drama, very frequent. Boyfriend has lost his girl friend
and eventually loses his life in theory, however...
Wide range of shots to show as much background information
in the shortest amount of time and show continuity. We made used of panning to show the setting and views
of the roof where the character is positioned and to show the surrounding
areas very quickly, this intern creates suspense and curiosity. Cutaway shot
of the main character jumping off the roof is used to create mystery and give
the illusion to viewers that he has jumped. This keeps them on the edge of
their seats through desire of wanting to know whether he has survived or not
and why he has supposedly committed suicide.
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We aimed to use a wide range of shots in order to show the background
information as much as we can and show continuity. Other camera shots we made
use of are point of view shots midshot, establishing shot , long shots and
tracking shots. The close up shots show emotion and expression of the character
and allows the viewer to see how the characters emotions have increased up to
the point of him jumping.
The footage that we got was very dimly lighted as we filmed
it during the evening. However we wanted to lighten it to show greater
contrasts and the half lighted tone shows enigma
and mystery so we did colour correction using Adobe Premier. We edited
the exposure,
contrast, white level and black level.
We
purposely filmed Swans in our flashback scene when the main characters of our
film are on a date. They are walking along the side of a river having fun and
laughing. We purposely waited for a group of swans to swim by. We lured them in
using bread. Swans traditionally been used to convey romance for example swan
pedal boat rides and used in literature such as the poem by
famous poet William Yeats- The Wild Swans At Coole.
This poem showing that Swans are loved and are seen by many as beautiful creatures
and a symbol of love and romance. We used swans to create a symbolism of the
characters' strong love especially to emphasise the loving close relationship
during the date flashback. Our chosen location in Kingston also furthered emphasised the
films feeling of love and happiness at sunset and in a river location added to
our scene’s romantic and happy feel.
Further
evidence to why we chose to film swan. In a recent film ‘The Black Swan’, The white swan symbolises beauty, perfection,
and purity. However, black swan symbolises darkness, evil, destruction and
mysterious. Just like how we made use of white swan in our film, showing that
the relationship between George and Karen was beautiful and almost perfect.
Furthermore we chose to create a contrast between love and
loss, this was clearly demonstrated through the characters distress and
loneliness as well as his emotional state, captured through close up shots. We
also made use of the energy of children. George wore all black clothing, and when he
walked pass the camera, people can see his facial expression and he looked sad
and depressed. However, on the right, we can see children playing happily,
having fun and laughing. It shows a very strong contrast here, and it reminds
him of something that he can never get back in his life, love and joy.
Flashbacks
can give the narrative a less linear take by adding dimensions and layers into
the story plot. Theorist Todrov suggests that linear narratives are often
structure in five stages by starting at equilibrium and through series of
events of disruption again returns to the initially state of equilibrium.
The titles in our film are often introduced at significant
points of the film. The titles themselves are simple, bold and are a
contrasting colour compared to the background. We have chosen to use font, not
dissimilar to handwriting to give the illusion that the words are the writings
of the suicidal boy before he jumps. This makes the titles clear and the names
stand out amongst the picture. The titles have been placed in different angles
and heights creating tension.
The use of symbolic codes in our sequence such
as the characters’ appearance such as his unkempt appearance and dark clothing
can be interpreted as suggesting his mood and emotions. He is wearing very dark
clothing, possibly showing his dark and negative thoughts. Suspense is created
as dark has been often used to symbolise death and evil, leaving audiences to
wonder what has happened to the girl and what is he going to do.
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