CHRISTMAS CLOSURE!

YAY, IT'S CHRIIIIIIISTMAS!!!
THIS BLOG WILL BE CLOSED FOR THE DURATION OF THE TWO-WEEK HOLIDAY!
MERRY XMAS!
:D

Final Shoot [Re-Shoot] Problem

Unfortunately we were not able to do our re-shoot last Saturday, as our actor was extremely ill. However, we have come up with a plan to either do it tomorrow or Thursday after school...as long as our actor is feeling better! We know we will not be able to shoot during the holidays so we must make sure we get the footage before the end of term! Fingers crossed he gets better soon!

Editing!

Thus far, the editing process has been okay...We have managed to put our sequence together [although we do need to re-shoot some parts!] and it looks pretty good! We're yet to add the titles and newspapers to the sequence [that can wait 'till after the holidays] but we've got the soundtrack and SFX in there. I would say that editing is not one of my strong points; I am fine when I am with other members of my group, but when left to my own devices, I do not feel confident enough to add titles and sound etc. To resolve this, I plan to sit down with the people in my group and watch how they do the titling; hopefully being able to contribute at some point! All in all, we still have quite a bit of work to do but are moving forward at a steady speed. Watch this space for more updates!

Second Shoot

Yesterday, we did our second shooting session! Everyone arrived promptly [shock, horror!] and we got down to business straight away. It was a very productive session - we were able to film every shot we needed; the shooting script was extremely helpful and we're so grateful we had more of a structure this time! We were lucky also because it was quite bright, therefore we didn't really need to use the Paglights for the first few shots [however, as it got darker we used them in the last two]. Because we were organised, we were able to complete the shots in fewer takes; allowing us to experiment a little with alternate angles and shots we came up with on the spot. I really like the idea of the character waking up from a nightmare in the morning, with the sound of explosions and gun-fire fading in as he tosses and turns [great thinking guys!] Next week, we have to film the News Report and any re-shoots. I am extremely happy with yesterday's shoot; the only thing that was a slight nuisance was the fact that we only have a small camera battery [which ran out during filming so we had to use the mains - good thing we were indoors!] ...Check out the Group Blog for a more detailed account and some pictures!

First Shoot!

We had our first real shoot yesterday!! I loved the test one, therefore I was really looking forward to this one! Because we wanted to shoot when it was a little darker, we arranged to meet at 12. Firstly we planned the script and implemented it into our storyboard; we then did a quick shooting list and then began filming. However, we only got through the bedroom, landing and living room shots - we didn't anticipate that some of the shots would take as long as they did [ARRGGGHHHH THE FEET!]. The footage was really good; the dark setting was really effective and I am extremely pleased with our progress. Now we have to plan for our kitchen and conversation on the phone shots, which we will be shooting next week. We also need to start gathering some poppies [we need LOADS!], and start designing our newspaper headlines. Got a busy week ahead, lots to do I'm sure; looking forward to it though! If the rest of our sessions are as good as yesterday's one then we're all set! Check the group blog for photos and things of that nature...

Test Shoot Sequence

After watching our edited Test Sequence, we realised that we're going to have to change quite a few things. Watching the opening footage was very useful because it meant that we were able to see what worked well, and what didn't work so well. It gave us a good insight into what our final sequence might look like and we now also know what to expect in terms of the process itself (planning, shooting and editing e.t.c.).

I am extremely glad we were able to test shoot so successfully. Even though we need to make some adjustments (details of which can be found on our group blog), our overall product was pretty good, which is always a positive sign!

TEST SHOOT!

Today we did our test shoot! Everyone arrived promptly (ahem BEN!) and we got to work straight away. We started wth my idea first, with Tanya and I taking it in turns to film the different shots in the storyboard while Ben acted in pretty much all of them. We next tried capturing some footage for Tanya's idea but soon came across a difficulty when we realised the garage was too cluttered to use...so we decided to go ahead with my idea; we knew we could film it easily and it would definitely be effective. We're on the way to developing the idea further (a new storyboard, detiled expansion of the killer's motive, extra dialogue in new scenes, etc)

I really enjoyed shooting today; it was a great new experience for me as I really got a feel for what an actual production day would be like. Though we did come across a few hiccups (like finding out we couldn't use the garage etc); but I guess that's what a test shoot is for!

...At least we weren't out in the cold all day :)

DILEMMA!!

We came across a bit of a problem when planning for our test shoot - we didn't have a fixed location. We didn't think that any of our houses suited my idea so we decided to give up on it and follow Tanya's one through; so we started planning the location for that [we thought the school would be a good place]. However, at the end of the day, we had a meeting with Ms. Blackborow who told us that we could not shoot at school because we didn't have permission and also it would be really hard to disguise a classroom. We realised that we were just creating more problems by discarding our original idea to test shoot both stories so we agreed to revisit our initial plan. I got permission to shoot at my house, so that is where we will be filming on Monday between the hours of 10 and 6.

I will be posting a few shots of my house onto the group blog shortly.

Groupwork - Ideas

During our first lesson as a group, Tanya, Ben and I mind-mapped possible story ideas. As keen Thriller / Horror fans, we decided to stick to this genre because we feel that it has very specific generic signifiers and we know we can produce something very exciting, yet effective. In our mind-map we identified some of the notable conventions seen in Thrillers and Horrors such as:

• Typical themes (e.g. Revenge, Obsession, Murder, Fear e.t.c.)
• Key iconography
• Dark lighting -create gloomy, tense atmosphere
  
• Typical locations
  
• Typical characters/character roles (e.g. Killer, Victim)
• Use of canted angles, zooms and jump cuts - create sense of disorientation, fear, paranoia
• Alternating the pace of cuts to create and build tension

By the end of our first session we had produced a few ideas. However, only two seemed to be the most practical and we intend to develop these further:

• The ''Rose Killer'' idea - day in the life of the notorious killer, except we don't know it is him until the end

• ''Obsession'' idea - based on an obsessive man who killed his girlfriend out of his love-fueled fixation on her

We agreed to hold the first of our group meetings, in order to discuss these ideas, and any others that may come up. The summary of which, can be seen on our group blog.

GROUPWORK BEGINS!!

Last week, we got told which groups we would be in to produce our 2 minute opening sequence for a film. I was really pleased to find out that I would be working with Ben and Tanya, as I know they are very skilled and creative individuals; I know we will be able to work together extremely well and I really look forward to contributing and taking part in this awesome project!

...Let the games begin!!

Preliminary Exercise

Preliminary Exercise Evaluation - Questions 5 & 6

5. How successful was your sequence? Please identify what worked well, and with hindsight, what would you improve / do differently?

In general, I think our sequence was rather successful. We were able to include some of the criteria, such as the match on action (as the character walks through the door), and we did not break the 180-degree rule. We succeeded in creating a continuous piece of film, in which the character opens a door, crosses the room and exchanges a few lines of dialogue with another character. However, we were not able to get the shot/reverse shot accurately; we did film a lot of footage from both perspectives of the characters, but were not able to fit it into the actual sequence because it disrupted the continuity of the whole piece and looked unnatural. Therefore we ended up with a shot/reverse shot but from slightly different angles. If we were to shoot this again, we would have made the character entering the room sit down on a chair, so that both characters were at the same eye level, as this caused us problems when editing, in order to include a shot/reverse shot that worked effectively. All in all, the task was a success and I think we should all be really pleased with ourselves.

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 think I have learnt a great deal from this task Firstly, I learnt all about the process of filming i.e. the correct terminology used on set to make sure the crew are ready before filming. I also learned quite a bit about directing, using the camera to capture footage from different angles and a bit about sound too. Furthermore, I think I learnt the most about editing, as this process was completely new to me before we started. I learned how to cut up and piece together the different parts of the film we needed, developing my understanding of continuity as a result. I was taught how to add titles to a sequence and how to render the clip. Looking ahead, I think this experience will greatly benefit me when completing the rest of my foundation coursework because I now know what to expect; I am aware of some of the problems that may occur during filming and I also know how to avoid said problems. For example, keeping on the same level will help create a good shot/reverse shot, how to deal with locations and sounds etc. I will to take the knowledge and understanding gained from this exercise and apply it to my next practical activity.

Evaluation of Preliminary Excercise - Questions 3 & 4

3.What technology did you use to complete the task, and how did you use it?

During production we used various technical equipment to shoot our sequence. As the camera person, I had to use the mini DV camera, which had a hand-held microphone attached to the top of it and I used a tripod to stabilise the shots. We also had to use clapper boards with descriptions of the shot types and takes, and Mel, the sound technician used headphones that helped her to pick up any unwanted noise in the background.

In post-production, we used Adobe Premiere Pro to edit our sequence. We used non-linear editing, which meant that we were able to literally cut and paste the footage we wanted to use for our final piece. As I had never used this software before, I didn’t really want to be the one to edit our work, so Ben physically did the process while the rest of us contributed verbally. Firstly, we watched the entire footage we had gathered and selected the parts we thought would work well. From this we cut, using the razor tool, the sections that were shot well/acted out well and placed them onto a new timeline. We also cut and copied the audio track, to ensure its continuity. Once we had placed the chosen extracts together, we played the clip through the output monitor, to check for continuity, and that it made sense. There was a substantial amount of unwanted footage, thus our finished sequence was only 20 seconds long. We also had to add titles to our video so we used the tools on Premiere Pro to create the titles that appeared at the start of the clip. Later we added the fade out effects to both the titles and the end of the sequence, which made it flow smoothly.

4.What factors did you have to take into account when planning, shooting and editing?

The main factor we had to carefully consider was the amount of time we had in which to produce our sequence. We only had an hour for each section therefore we knew we had to be organised and not get too complicated whilst filming. Other major issues were of course the budget and location; we did not have a vast number of locations to choose from, and as for budget, we simply did not even consider spending money on our sequence – it would not make sense to spend money on a thirty second piece of film either. Finally, we had to make sure that our sequence matched and included the certain criteria specified in the brief. The task had to involve filming and editing a character opening a door, crossing a room and sitting opposite another character, with whom s/he exchanges a couple of lines of dialogue. It had to demonstrate match on action, shot/reverse shot and understanding of the 180-degree rule.

Evaluation of Preliminary Exercise - Questions 1 & 2

1. Who did you work with and how did you manage the task between you?

I worked with Ben, Daniel, Hannah and Mel to complete our preliminary task. As the group was quite large, we found it easy to allocate the specific jobs required, without having to do more than one job each. I was in charge of directing and filming the sequence on the day, Daniel and Ben were acting, Mel was in charge of the sound and Hannah took the role of the PA. As we only had an hour to plan our sequence, we did not spend too much time discussing the allocation of roles; we seemed to all fall into our positions comfortably and we were all happy to do what we had to.

2. How did you plan your sequence? What processes did you use?

During the hour we had to plan our sequence, we came up with the basic plot together. Ben drew out the storyboard, enabling us to visualise the shots we were going to take. Mel and Hannah came up with the different types of shots we would have to include and I produced the shooting script from that. Ben and Daniel were also in charge of writing up the dialogue together, seeing as they were the actors. During this discussion, we also considered the different locations we could use to best suit our shoot. However, we found that one hour was not enough time to finish all of our planning so we decided to hold a group meeting. The duration of this group meeting was spent doing a location recee and a physical walkthrough of the script and camera shots once we found the right setting. I found this extra time very useful as we were able to finalise our storyboard and scripts to the point where we all felt confident about the task at hand.

Goodfellas - Tommy DeVito

There is no doubt that Goodfellas has an extravagant cast, with some very well known and highly accredited actors. However, whilst watching the film, Joe Pesci’s portrayal of the loose cannon, Tommy DeVito, stood out the most. Pesci’s performance is riveting. He dominates every scene he is involved in because Tommy is such an unpredictable character. At one moment he is cracking jokes and then all of a sudden he becomes a violent child throwing a tantrum. Pesci controls the screen and it is impossible to remove one’s eyes from his vibrant performance. The “How am I funny?" sequence in which he frightens Henry Hill and the rest of table to such a degree that they begin to fear for Henry Hill’s life is probably the most memorable scene of the film. Only after minutes of contemplation does Hill realize that he is joking. The fact is that the audience is left stunned as well. They don’t know whether or not he is joking either. Immediately after this sequence, Tommy feels insulted about being asked to pay his tab. He smashes a bottle over the owner’s head and forces him to flee. The rest of the dining patrons laugh at his actions; out of fear of what he may do to them more then out of excitement and amusement. Pesci’s Tommy has a hair triggered temper and it is set off without hesitation. However, he is deeply indebted to his group of friends or “family” members and is truly devoted to his mother who at one point during the film is awoken by Tommy, Henry and Jimmy and goes about preparing a dinner for them after they have just murdered someone (unaware to her). She is the only person that Tommy actually shows any respect for. He is not a one-note character because Pesci refuses to portray him as one. Yes, Tommy is an uncontrollable psychopath but Pesci also provides multiple layers to the character. There is love and loyalty stirring beneath the surface but it is unable to exist as a result of his obsession with power and status. Still, for all that Pesci makes him out to be, Tommy DeVito is still one of the most violent, twisted characters ever imagined. And yet, he is certainly unforgettable.

Goodfellas - Sound

Throughout the film, we are told the story through the point of view of Henry; therefore we often hear his voice over the action. Scorsese is known for using voice-overs and I think it is a very effective way of telling the story, as the viewer is plunged into the very thoughts and feelings of the narrator; we are able to empathise with him on a deeper level than we are with the other characters. At times during the film, the voice-over changes the point of view of Karen. This happens when she meets Henry for the first time. The use of this non-diegetic sound really works well because we switch from one character’s viewpoint to another, so we can tell what they are thinking at that exact moment. Adding voice-overs to a film is an extremely adept way of getting the audience to relate to the character. It feels as if he/she is personally addressing us, hence we feel obliged to take part in the action. In this particular clip, we hear Henry’s voice in the voice-over as he tells us how eager he is to leave the dinner to attend to the business he has with Cicero (1:19). Then at 1:56 the voice-over changes to that of Karen’s; we are now hearing her thoughts and seeing the date from her perspective.


Finally, Scorsese uses contrapuntal sound on a few occasions in the film, but I chose to analyse the scene in which Conway and DeVito kill Billy Batts.

The music used in this scene is a track called ‘Atlantis’ by Donovan; the lyrics say: “Way down below the ocean where I wanna be she may be”. This is an excellent use of contrapuntal sound because the soothing, calming effect of the music is completely asynchronous to the action we are seeing. This contrast in peaceful music and violent action actually exaggerates the scene and makes Batts’ death more horrific than usual.

Goodfellas - Shot types

Whilst watching the film, I couldn’t help but be fascinated by the different types of shots Scorsese uses for varying purposes. For example when Henry is introducing us to all of the members of the mob, the camera tracks and pans smoothly across the club to show us who is who. This type of shot really gives the viewer an understanding of the setting; and creates the feeling of us being there, physically moving from one character to the next as if we are being introduced ourselves.


Another great technique is the use of the tracking steadicam when Henry first takes Karen to the Copacabana club. This sequence is all one take, following the two of them from the car to their table. It is a fantastic choice of shot as it lingers with the audience, slowing down the pace of the action, showing us the kind of treatment Henry gets as an infamous mafia member.


Scorsese loves to use freeze-frames in his films, and Goodfellas is no exception. There are several scenes in which a freeze-frame is used to cut up the action and delay the suspense for the audience. Again, I think this method is very successfully used by Scorsese, as it seems to put the viewer in control, stopping and starting the story at key moments. The use of this technique can be seen in the clip below, at 2:05.

Film Review - Goodfellas

Year of release: 1990

Directed by: Martin Scorsese

Cast: Robert De Niro ... James 'Jimmy' Conway
Ray Liotta ... Henry Hill
Joe Pesci ... Tommy DeVito
Lorraine Bracco ... Karen Hill
Paul Sorvino ... Paul Cicero

Both of Scorsese’s parents, and Samuel L Jackson, had small cameo roles within the film.

The film follows Henry Hill (Ray Liotta) on his journey to becoming a member of the mafia. The film starts off with Henry as a young boy, with a part-time job running errands for the local mob capo, Paul Cicero. Henry soon quits school and continues to work for the mob; working with Cicero’s close friend Jimmy Conway (Robert De Niro). As adults, Henry and his associate Tommy DeVito (Joe Pesci) conspire with Conway to help out in a key heist, stealing over half a million dollars from the Air France cargo terminal.

As the film continues, we see that Tommy DeVito becomes more and more aggressive. Aided by Conway, DeVito brutally murders Billy Batts (Frank Vincent), a made man in the competing Gambino crime family; a major offence that could get them all killed by the Gambinos if discovered. Henry, Conway and DeVito bury Batts' corpse in an abandoned field. Henry also meets and falls in love with Karen (Lorraine Bracco), who feels uneasy with her boyfriend's career, but they eventually marry.

The plot thickens as Henry and Conway are sent to prison for four years. When inside, Henry begins dealing drugs for money and carries on dealing once freed. Henry and his courier are eventually arrested by police. After this arrest, Cicero and the rest of the mob abandon Henry. Convinced that he and his family are marked for death, Henry and his family enter the federal Witness Protection Program. The film ends with a few title cards of what became of Hill, Cicero and Conway. Henry's marriage to Karen ended in separation with her getting custody of their children, and Cicero and Conway spend the rest of their lives in prison. Cicero died in 1988. Conway was eligible for parole in 2004, though he died in prison in 1996.

While watching the film, I picked up on a few elements, which I thought I should discuss. Firstly, the film opens with a trade-mark Scorsese opening – a flash-forward to the scene where Henry, Conway and DeVito are burying the body of Batts. The film then cuts back to when Henry was young, and starts to piece the film together. I thought this was a very ingenious way to start the film because it intrigues the viewer from the very beginning, without giving too much away.

I thoroughly enjoyed everything about the film; from the actors cast to the camera shots used, and also the use of different types of sound (all of which I will be addressing in the following posts). Goodfellas captures the audience from the very beginning and leaves us wanting to watch more as the story dramtically unfolds. A very well thought out, smartly directed film, no wonder why Scorsese is considered one of the greatest directors of our time!

Lighting

KEY LIGHT
The key light is the first and usually most important light that a photographer, cinematographer, or other scene composer will use in a lighting setup. The purpose of the key light is to highlight the form and dimension of the subject. The key light is not a rigid requirement; omitting the key light can result in a silhouette effect. Many key lights may be placed in a scene to illuminate a moving subject at opportune moments.

BACKLIGHTING
The background light is used to illuminate the background area of a set. The background light will also provide separation between the subject and the background. In the standard 4-point lighting setup, the background light is placed last and is usually placed directly behind the subject and pointed at the background. In film, the background light is usually of lower intensity. More than one light could be used to light uniformly a background or alternatively to highlight points of interest.


FILL LIGHT
In television, film, stage, or photographic lighting, a fill light may be used to reduce the contrast of a scene and provide some illumination for the areas of the image that are in shadow. A common lighting setup places the fill light roughly perpendicular to the key light. The fill light is often softer and usually less intense than the key light. The ratio between light and shadow depends on the desired effect. For example, a fill light that is a small fraction of the power of the key light will produce very high-contrast or low-key lighting, while filling with half or more of the key light power will produce a high key, low-contrast tone.

CAMEO LIGHTING (SPOTLIGHT)
Cameo lighting in film is a spotlight that accentuates a single person in a scene. It helps focus on the subject and not its environment.

UNDER LIGHTING
This helps create a shadow on the top of the subject’s face. This lighting is used in some horror films, to build suspense; as only part of the subject is revealed while the rest is cast in a ominous-looking shadow.

HIGH-KEY LIGHTING
High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present in the scene. This was originally done partly for technological reasons, but now is used to suggest an upbeat mood. It is often used in sitcoms and comedies. High-key lighting is usually quite homogeneous and free from dark shadows.
The advantage to high-key lighting is that it doesn't require adjustment for each scene which allows the production to complete the shooting in hours instead of days. The primary drawback is that high-key lighting fails to add meaning or drama by lighting certain parts more prominently than others.


LOW-KEY LIGHTING
Low-key lighting is a style of lighting for photography, film or television. It attempts to create a chiaroscuro (a contrast between light and dark) effect. In traditional photographic lighting, three-point lighting uses a key light, a fill light, and a back light for even illumination. Low-key lighting requires only one key light, optionally controlled with a fill light or a simple reflector.
Low key light accentuates the contours of an object by throwing areas into shade while a fill light or reflector may illuminate the shadow areas to control contrast. It tends to heighten the sense of alienation felt by the viewer, hence is commonly used in film noir and horror genres.

SOFT LIGHT
Soft light refers to light that tends to "wrap" around an object, casting shadows with soft edges. The softness of the light depends mostly on the following two factors:
+Distance - The closer the light source, the softer it becomes.
+Size of light source - The larger the source, the softer it becomes.

Directors - Christopher Nolan & Wes Craven

...Just a couple more directors I find interseting and inspiring; both of which I enjoy watching a variety of their films!

Christopher Nolan

Best known for directing the psychological thriller Memento, and for reviving the Batman film franchise as the director of Batman Begins (2005) and The Dark Knight (2008). One of the most striking themes of the film is the utter inconsequence of actions and indeed emotions such as revenge and jealousy.

Wes Craven

American film director and writer, perhaps best known as the creator of many horror films, including the famed Nightmare on Elm Street series featuring the iconic Freddy Krueger character, and as the director of the Scream trilogy. Craven's works tend to share a common exploration of the nature of reality.

Directors - Steven Spielberg

Spielberg's films often deal with several recurring themes. Most of his films deal with ordinary characters searching for or coming in contact with extraordinary beings or finding themselves in extraordinary circumstances.

Films

Some of Spielberg’s most influential and well known films:

1975 - Jaws

1977 - Close Encounters of the Third Kind

1981 - Raiders of the Lost Ark

1982- E.T. the Extra-Terrestrial

1993 - Schindler's List

1998 - Saving Private Ryan

2005 - War of the Worlds

2005 - Munich

Sound Editing

There are two types of Sound Editing:

Sound Mixing -- This can be done in either the original shooting process or in editing. Two or more sound sources can be connected to a sound mixer and then inputted into a camcorder's external mike jack (note: not all camcorders have an external mike jack). Two or more sound sources can be connected to a sound mixer, and then inputted into the record VCR's audio input jack(s). This enables the sound to be altered or added to during the editing process.

Audio Dubbing -- This is the technique of adding audio to footage that is already edited together or previously shot. The audio is added to the video tape without altering the previously recorded video and, in some cases, without altering the previously recorded audio. In order to do either of these processes, the VCR must have an Audio Dub function already built-in. In addition, the recording VCR must be a HiFi Stereo VCR with a built-in Audio Dub function.

Video Editing

The process of video editing consists of deciding what elements to retain, delete, or combine from various sources so that they come together in an organized, logical, and visually pleasing manner.The technical process of video editing consists of copying the various elements onto a single video tape (or CD Rom, or other media) for final viewing or distribution.

TYPES OF VIDEO EDITING

Linear Editing - This process is basically mechanical in nature, in that it employs the use of Camcorders, VCR's, Edit Controllers, Titlers, and Mixers to perform the edit functions. This editing technique is performed in linear steps, one cut at a time (or a series of programmed cuts) to its conclusion.

Non-Linear Editing - This method of video editing utilizes the computer environment to aid in the editing process. This process is almost entirely digital and employs no mechanical functions except for the input of the video sources and its final output to Tape or CD. Editing in this environment is essentially is a visual Cut-and-Paste method.

Because we will be using Non-Linear Editing to put together our sequences, I shall only discuss the method for it.

The basic concepts and rules of the video editing process are the same, but working in a digital environment allows the editor more creative freedom at each step in the process, such as being able to preview and correct each edit decision without having to go to tape or disk first. The video editing process then becomes similar to putting together a document or graphics presentation, where the user cuts and pastes the segments together adding effects and titles. Even audio editing is available. Once the video is finished it can be "dumped" back onto video tape and then viewed or duplicated.

You must have the right combination of Ram, Hard Drive Space, and Operating System. Often, there are hardware and software conflicts with other elements within the computer, which can result in crashes. Outputting the finished video back to tape can have mixed results, such as jumpy or skipped frames.

The most basic way to connect a video source, such as a Camcorder or VCR to a computer is:

Video Capture Board --

Video capture boards are bundled with software for editing and other functions and are usually inserted into a computer PCI slot. These boards are usually equipped with S-video or Composite video inputs. Many boards also have video outputs, to allow you to copy your finished video back out to tape, but not all of them have outputs.

Film Marketing - Selling, Brand Loyalty and Shelf Life

SELLING A MOVE AND BRAND LOYALTY

Most cinema tickets are one-off purchases. You base your decision to buy a ticket on the basis of the marketing you have seen for an individual movie. You might be quite loyal to that brand while it lasts (you might buy a t-shirt, a soundtrack CD and the DVD when it’s released), but in most cases, it's a short-lived loyalty. And that loyalty is very expensive to purchase. With each new movie release, a studio has to create a new brand. This is why they like sequels and franchises so much — a string of movies all based around the same brand are easy to market as audiences have already had a taste of them.

The Star Wars movies are perhaps the most successful example of this, with consumers demonstrating rabid brand loyalty, and the brand being associated with a whole range of merchandising, from pillowcases to happy meals. Although many fans of the first three movies had major “issues” with The Phantom Menace, they all felt compelled to see Attack of The Clones, and no matter how many “issues” they had with AOTC, they will still all go and see whatever the third one is going to be called. They are loyal to the brand, and the marketing of the movie reflects that.

Stars may also be considered brands, particularly if they are associated with only one type of movie. Audiences feel comfortable going to see a movie starring an action hero such as Arnold Schwarzenegger, because they know that they are going to get a specific sort of action movie. However, stars as brands go stale after a while, as audiences tire of actors doing the same thing over and over again. People may be fans of an individual actor, and will go to see a movie because he or she is in it, but actors do not like to be restricted in their choice of scripts, otherwise they will quickly become typecast. Therefore the marketing of a movie is all about creating instant brand identity. A movie's brand is established by signalling to consumers what it is like and where it has come from.

SHELF LIFE

Films can only be marketed effectively prior to their release. Once they have been shown in cinemas, the cat is out of the bag, and word-of-mouth takes over from the marketing department in persuading audiences to go and see a particular movie.

Films have a limited distribution window, and therefore a limited shelf-life. They may play in cinemas for as long as six months, sometimes only for a week. The marketing has to happen at absolutely the right time to get audiences into cinemas. A marketing campaign may build for as long as it takes to make a film, but it is over once the movie has been released.

Tzvetan Todorov

Tzvetan Todorov was a Bulgarian structuralist linguist who published influential work on narrative form from 1960s onwards. Todorov suggested five stages that can be found in any genre of story. These stages are:

1. Equilibrium (an ordered state)
2. Disruption (by an event)
3. Recognition of the event
4. Attempt to repair the damage
5. Return to a new equilibrium

This theory can be applied to almost any genre of film where there is a disturbance of some sort.

Examples of this can be seen in Action Adventure films such as: Mission Impossible, Indiana Jones etc. Other examples include War of the Worlds, Scream, The Mummy, etc. Most commonly found in Action/Disaster films, where the film revolves around a complication, and the attempt to resolve it.

Repertoire of Elements - Horror

A repertoire of elements are the key features that are repeated throughout a certain genre. Each genre has its own specific repertoire of elements, which help to distinguish it from other genres. They all come under these categories:

• Iconography
• Props
• Style
• Settings
• Narrative
• Characters
• Themes

HORROR

*ICONOGRAPHY*

-Halloween mask

-Psycho shower scene

-Bloody dagger

-Dracula – black cape, fangs

-Frankenstein (bolts through neck)

-Silhouettes

-“Here’s Johnny!”

*PROPS*

-Weapon

-Dagger

-Masks

-Blood

-Candles

-Cloaks

*STYLE*

-Dark and shadowy

-Low key lighting or high key on dark sets

-POV shots

-Dark, slow movements followed by fast cuts (to disorientate the viewer)

-Eerie music

-Sense of fear created through style

-Climatic moment

*SETTINGS*

-Dark places

-Haunted, isolated places

-Supposedly ordinary or safe places (like home or school)

-Castles, mountains, forests

*NARRATIVES*

-Co-incidence

-Chase

-Supernatural

-Being trapped, captive

-Most die, only a few survive or escape

*CHARACTERS*

-Killer

-Monster

-Damsel in distress

-Female victims

-Demons

-Devils

-Vampires

-Human heroes (usually male)

-Children appear quite often

*THEMES*

-Death

-Fear

-Isolation

-Pursuit

-Traps

-Gore

-Revulsion

-Premonitions

Genre

Genre means ‘type of’. It usually refers to films, books, TV programmes etc. By grouping films by their genre; we place them in categories according to common elements of content, form, or technique. When considering the genre of a film, we tend to focus on its characteristics (the way it is made) and key features (what it is about). These are called conventions. These can be broken down into 4 categories that help us to analyse and discuss films:

1. CHARACTERS: typical roles, characteristics, relationships, action and behaviour, names, dress codes etc.

2. NARRATIVES: typical plots/structures, actual events i.e. what happens and how.

3. THEMES: typical ideas behind the story, what the film is about, what the director wants the audience to think about, reactions and ways of thinking inspired by the film.

4. ICONOGRAPHY: typical mise-en-scène, visuals, props, locations, colours, shooting and lighting techniques.

A genre can only exist if there are enough similar films to create a category (Sci-Fi, Horror, Western, and Comedy). Once a genre is large enough, sub-genres can develop from them. For example, Zombie and Vampire movies are all sub-genres of horror; each with similar characteristics but their own distinctive set of conventions.

Thriller, Romance and Comedy are also genres with distinctive characters, but more often combine with another genre e.g. Sci-Fi Thriller. These combinations of genre characteristics and conventions are called hybrids.

The key to a genre is REPETITION and DIFFERENCE. The director will take elements from other films that have worked successfully, but will combine them or use them in different ways. Genre films work by combining the familiar with the unexpected; the formula to creating a successful genre film.

Storyboarding

A storyboard is a sketch of how to organize a story and a list of its contents.

A storyboard helps you:

• Organise and focus a story
• Structure the story the way you want
• Visualise exactly what your shots will look like
• To get a better understanding of the story

On a sheet of paper, sketch out what the main story will look like and the elements it will include:

Film Marketing - The 5 Ps

The purpose of marketing is to maximise the target audience for a film and to therefore maximise its earnings i.e. to make as much money as possible.
Most blockbuster movies already have an audience. The studio has pumped millions of dollars into the movie because they already know people will go and see it; because it is based on a media text that already has an audience. This may be a previous film (eg Spiderman 2's audience will consist of many people who are fans of the first movie), or the source material (the first Spiderman movie was based on the comic book of the same name created by Stan Lee in 1962). However, the studios need a guarantee that the film is going to be make not just a small profit, but a comfortable one, and after spending, say $100 million dollars on a movie they will usually spend around half as much again on marketing it.

The 5 Ps of marketing are:

*Price, Product, Placing, Promotion, Publicity*

Price aside (the price of a cinema ticket varies between movie theatres, not necessarily films), the other three are all vital elements of a film marketing campaign. It is possible to add in publicity to a film marketing campaign although this is technically a part of promotion which is not the direct result of a financial deal made by the studio.

Product A film needs to be clearly identifiable in its marketing — genre, stars, story, special effects, style all need to be presented to the audience so they can select the film on the basis of content.

Placing A film has to have the right release date — Christmas for a Christmas movie etc. Its release date will also depend on what else is being released at the same time; films have to fight it out for cinema screens. It would be pointless releasing any big blockbuster movie the same weekend as MIB II simply because cinema goers would choose between it and the competition, potentially halving the box office takings.

Promotion for films takes many forms:

• Print advertising (posters & ads in newspapers & magazines)
• Trailers (screened at cinemas & on TV/radio)
• Free screenings to select audience (to spread word-of-mouth)
• Internet sites, viral marketing, links on blogs
• Merchandising — the list is endless books, t-shirts, food, soundtrack CDs, computer games, toys, cars, mobile phones, anything that can be associated with the brand of the movie

Publicity The publicity department of a studio will spend a great deal of time and money trying to gain maximum benefit from the following forms of publicity:

• Star Interviews — in print and broadcast media
• 'Making Of' documentaries add to the hype
• Gala Premieres
• Reviews and profiles in magazines and newspapers
• News stories - who did what on set and what records has this movie broken?