Ancillary Tasks Evaluation

For our ancillary tasks we were challenged to make a poster and magazine double page review. We had the idea to create a link between the poster and the film, with little homages snuck in. The main poster we created was inspired by Kat’s bedroom. With warm tones and many items relating to Kat and her adventures it reflects the film highly. By adding in props such as the radio and the Tv (essential plot drivers in the film) it makes them iconic with the character and thus the film. With a highly detailed set piece it allows the viewer to look along the poster to find the credits that are hidden within the props, which are also slightly links with the role that each member of JAMA played. The lighting set up was to draw focus to the middle of the poster while detracting away from the unnecessary things. Furthermore the connection with the Tv that the alien has, with his main reveal of where he’s from shown on the TV, is represented with his face being projected by the Tv itself.Screen Shot 2018-04-12 at 11.14.18 The secondary poster was created to be more of a 80’s sci-fi poster, rather than a complex interwoven piece. With the 80’s theme being ramped to 110% we went with all the connotations. This meant using the stacked character layout commonly seen with films like “Indiana Jones” and “Star Wars”, classic bold title and to have that handpainted look to it. Even though this doesn’t represent the film such it does represent the interests of Kat, as this was made for the poster that reflected Kat’s room. The stacking of the characters was done with the importance of their roles, with Him obviously being at the top for his massive role in the narrative an so on to the bottom of the poster. The starry background is used to link Him and the others together as Kat longs to be freed from her everyday life and the alien does just that. The colours of the poster match well to our film, with many blue hues and deep blacks, but is a bit more vibrant to catch the viewers eye. Screen Shot 2018-04-12 at 11.22.19 The DPS review is neat and minimalistic. With little to no colour, this matches the films desaturated tone, especially with the picture I chose. The solid black text is used as it is formal and matches the shadowy/bleak background picture. Connotations of film review spreads are followed, with a large title and film name included with a rating. even though my spread looks semi-professional it doesn’t include suggestions about other films, that wouldn’t usually be found with short film reviews and more with big-budget features. However, I believe that adding any more would be unnecessary and take away from the negative space and uncomfortable look that links so highly with the first scene in the film.Capture 4

Screening Night

The gain audience feedback for our film we decided to host a screening at James’s house. It was nice as we were able to see everyone for one final time to celebrate the culmination of everything we did. There was prosecco and food for all the adults and the kids had fizzy drinks. In addition to watching the film and collecting the feedback we decided to give the cast members a little gift for taking part in all the painful filming on cold moors and long shoot days. We got them handmade DVD’s with cases and framed poster from the film (bit narcissistic but oh well). The whole night went really well and we all had fun, and maybe a bit too much to drink.


















Things we did WRONG

Despite of  how delighted we are with our short film, there are still a web of issues and areas of improvement that we can scrutinize. With such a massive production however, it’s very easy to nit-pick the qualities that we weren’t so content with, but we will start by discussing the broader issues which we could have taken into consideration at the start.

The length. As an obvious one, this ‘short’ film is 18 minutes long. It should be said that we don’t think that this at all decreases the quality of the film, but only disgruntled our viewers as it is more of an episodic length as opposed to a short. With a 12 page script, we had anticipated it to be around the 15 minute mark, but the 18 minutes was reached through our decision to leave breathing room for the emotion and dialogue.

Our decision was initially to have a final cut, which would be for the examiners and the blog, but have a personal director’s cut which was longer, with more breathing space which didn’t feel quite so rushed. We made the executive decision to merge these two ideas, because the fast paces scenes work very well, but the slower scenes are also valuable. This way we have one polished cut of the film, and there’s no pretension or snobbery around it. We are confident that this will not affect the film’s quality.

The story. We have our doubts as to whether we made the most of the opportunity in making a short film of this scale. The attention to detail in Flicker is something that we are incredibly proud of, but after seeing it so much it’s hard to understand why people will like this film. Our anxieties lie in the verisimilitude of the alien character. Why should people believe this? With a bigger budget we could have explored more CGI tricks to showcase this, but our decision to use only practical effects in his powers may have cost us the depth of the plot. Our practical effects weren’t incredibly careful or precise either. The lights flickering is a motif that is ingrained into the viewers’ minds from the beginning of the film, with the knowledge of the old alien man, it would be interesting to see how many people felt a cathartic effect when they paired the two together. Without this connection, the ambiguous resolution is void of any feeling. The cathartic and relieving breath at the end is confusing without the connection of the information. Maybe we shouldn’t be so pessimistic about this, but we will see at the screening whether the message was received.

Performance. Not at the fault of anyone, the performances generally could have been better, with more delicate direction. We are undeniably impressed by our child actors, whose drive to persevere with the stress of the shoots was motivating. They are, after all, children – getting any sort of performance out of them at 10 and 14 years old was impressive. The case is the same for our 80 year old lead, Peter. He was sharp at times, but communication was difficult due to his partial deafness. Some of the lines of dialogue sounded incredibly forced with the children. For instance, we found ourselves cutting a lot out of the TV scene because it was a 7 hour shoot and Libby was understandably very tired. Lines such as “Yes! Emotional! The TV made you feel that way!” grate against our ears, so we were happy to delete them. “We need to go. Now.” The line itself wasn’t bad, but Evan didn’t get the delivery quite right.

Sound and music. Despite our amazing sound equipment, having to sync up the sound in post was a massive delay to the post-production. Also, it left some clips out of sync, and we overlooked them. Furthermore, when we added echoes to some of the clips later on, the effect cut out as soon as the clip stopped. This means that we had to extend the audio clips, which was manual and dulling. Our sound mixing was, however, impressive. We made sure that our tracks were easy to listen to, and flowed nicely into each other. There wasn’t a great deal of noise in the audio, besides Scene 8, but we were by a roadside so avoiding it was difficult.

A further improvement would be our attention to detail with the soundtrack of the film. We have some gorgeous synths and guitar/piano melodies which work excellently in certain parts of the film, but mostly, the synths are random and only provide a gentle hum, to thicken the texture of the sounds.

*written by James Weedon*

DPS Review Construction

To start with I took one of the most interesting shots from the film and used it as a background. Using this shot I took inspiration from magazine reviews I researched such as the review from “Twilight” and “300”. It provides loads of negative space that I place my text in while also keeping the DPS light as only half the spread will be text and the other an interesting picture (screenshot) from the film. CaptureI then went in and placed the article that I had written about the film. By using the pen tool and the text tool I was able to warp the text around the subject’s face and get a nice smooth look. Placing a divider down the middle of the columns means that it separates it better and looks more professional. Capture 1

I then added some screenshots of the film. This follows connotations of reviews as many, if not all, have screenshots from the film to showcase key moments. These were placed between paragraphs to fill gaps in text and leaving to larger background image free to view.Capture 2 A title was added to the article. I used alliteration as this is a good connotation in both articles and newspapers, while also describing the film in a (kinda) arty way. The title was to do with the film and not the title of the magazine as some article can be part of newspapers or larger film reviewing magazines. I would think with a short film it would be included in a newspaper snippet so I went with a descriptive title.

Capture 3Finally, I added the title of the film, Flicker, with basic info about the film and the rating given by the review. In addition to this, I added border box to the images as I felt they were a bit bland, to begin with so they needed to be accented from the background.

Capture 4Final Product ^

 

DVD Cover

In the leading up to the main screening we decided that we should give anyone that wanted one a copy of the film, but since we are so extra we decided that we should create DVD cases for the copies. This meant that we had to make a sleeve that goes over the case. Since the posters we already created were so good we decided to make it the front of the case too.

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Starting with a blank canvas with the original poster design. This initial design meant that the majority of the work had already been done and that only the back of case had to be designed. Capture2We stripped the bottom of the other poster and placed it at the top to fill any negative space that would be left if there wasn’t enough text. The spin of the case was measured and then space was left in the design. a gradiated background was used as solid blue and solid black didn’t look very nice.  Capture3The typical logos and symbols were placed along with the rating of the film and why it was given that classification. A fake bar code was also added for authenticity. Capture4The spine of the cover looked a bit bare so the title from the poster was ripped out and placed on the spine strip, using the cloning techniques the red strip was extended so that the whole strip was covered. Capture5The new and improved 80’s JAMA logo was then added in to show who made it and then 12A logo was placed on the front and the spine, along with the DVD logo. Capture6Information about the DVD was then added on the back to sell the “real” DVD feel. Capture7Finally, a blurp was added on the back of the case along with a quote and the credits of the film enlarge from the poster.

This then became the finished product. In addition, the dimensions of the cover were spot on, meaning that they fit perfectly into the cases.

Creating a Title

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These are our initial designs. We needed a Sci-Fi element to the font, so we based the idea on a developed Metropolis font:
Image result for metropolis font
Also, the ‘flicker’ aspect of the film needed to be presented in the title design.
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I used an image of stars that I took in France last year. Ignore the aliasing in the screenshot.
Flicker Font

VHS Style Intro

To play up the 80s vibe, I decided to change the old production title intro. Not because it’s bad, but because it doesn’t add anything to the film. We have limited time with a short. As soon as viewers will see this, it’ll establish genre.

I took reference from some of the classics.
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Related image
And this was what happened next. making a production title
I made a key-framed grid in AE and scaled it to a 3D near-prism background. This was placed over a black-red gradient solid. To make it seem as if the grid was infinite, I masked over the grid and feathered it. Then I used a track alpha matte on the grid layer to fade it out. Afterwards, I chose a font from DaFont, and coloured it in a primary black and red gradient, as well as the purple productions logo beneath. This was a great success, but it needed more work.

I set the title to music which I found from an older 80s advert intro. On the drum beats, I decided that the drama needed to be represented visually as well as audibly. So, I enlarged the text layer and placed 3 clippings of the edges over the original – in time with the drum beats.

To get the 80s VHS look I blended a fake VHS grain over it in 720p, which was incongruous with the 1080p of the graphics, making it look dated. Then, I added a glow to the text layer which really made a world of difference with the depth of the image. Also, we took colour inspiration from the following:
Image result for Drive 80s
Here’s the final product.

VHS TITLE from James Wentworth-Weedon on Vimeo.

Creating the pOsTer

Our poster idea was to recreate Kat’s room as the main poster. This way we could include many poster designs in the main poster. This would also tie in with the characters obsession of 80’s films. The front stage poster would be in the middle of the page. This poster idea was the 80’s inspired poster, with designs similar to Star Wars and Indian Jones.

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All the photos were taken by us, even the background. The starry background is a staple of both sci-fi and 80’s films. This was to be the base that everything will be built up on. It was edited to be a little darker and more neutral so colours on the characters would pop more. This would later be changed to a screen layer over the existing photos.

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On 80’s poster they were initially drawn or painted then copied from that. We wanted to get this oil painting look. Luckily Photoshop had a filter that did just this. The filter was applied to the head shots taken and then settings were tweaked to get the look we wanted. we also made sure that the skin didn’t look to weird and wrinkly.

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The hard part was getting all the characters layered and blended properly. This was achieved with a black gradient layer tool being applied to the photos to blacken the edges with a nice feathers. This allowed for the characters to be very close to each other while also giving a little bit of space.

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The font that was chosen was from the saviour of a website: Dafont. We decided on a very blade runner-esk font to keep in theme of the 80’s. This was then coloured blue and a redish glow was added in the effects. This tied the poster together very nicely. The credits of the film were then added to the bottom of the poster just like the main one.Screen Shot 2018-04-12 at 11.22.19

The finished product !!Screen Shot 2018-04-11 at 23.13.29

The poster was then added to the main poster. The main poster image was also taken in the studio, taking advantage of light control. The main poster was colour corrected to be nice and warm and then curves where used to increase blacks and shadows, while bring up the mid-tones and highlight to create contrast and vignetting . A mixture of graphic tablet use and masking allowed us to impose writing on the tapes above the TV then using different fonts we put credits on both the walky-talky and the star wars boxset. This created the base of the poster to them implement the other posters.Screen Shot 2018-04-12 at 00.22.29

A very quick poster was made as only the corner bit would show on the main poster. this means we would not have to worry about it being perfect or having any font on it.

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Then a secondary poster was created for the other corner. This one was very minamilistic but still had an 80’s feel.

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issues like on the corner of the walky-talky clipping from the green was not an issue as it wouldn’t be seen on the main poster.Screen Shot 2018-04-12 at 11.14.18

This poster was then added to the main one and to put a final touch on the whole thing credits and brand logos were added to the bottom of the poster.This tied up everything and meant that the poster was complete and looked very professional.

Movie Review Layout

The layout of a movie review need to be clean and professional. This will make sure that the reader can flow through the article easily and that they enjoy it too. The two approaches that can be taken are having a large picture over the two pages, with a smaller amount of writing, or having a main picture and a few other screen grabs of the film, with a larger amount of writing and subheadings/comments on these pictures. dsc064772The layout of one large picture looks more compelling in the fact it looks nice. Having a large cinematic photo presenting your film usually makes the reader stop and see what this large spread is talking about. However this means that the text is not broken up into different sections by these photos and is just one solid solid text block. This could deter readers that are not very interested in the film or know nothing about it in the first place as the big amount of text in one place can be intimidating. FilmReviews_12_16KBy having lots of extras such as: screen grabs, quotes, facts, external reviews, etc. This means that the reviews text can be broken up into little bit sized pieces and even separated into different chapters. Although the flow of text would be interrupted and this means that the writing would have to be smarter to retain the style and smooth wording. screenshot 1 The colouring of the page is good at upholding a theme of the film. Common colours that occur in the film can be applied to the DPS to give it a nice look and to match with screen shots of the film. The colour scheme can enhance the page and makes it easy to match everything together. If green is the most common colour then placing the larger headings and text boxes with different shades of green holds the page together and pushes this colour forward to the audience so that the colour is associated with the film.
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The amount of writing that will go into the review can depend on how long the film is and its commercial success. Given that out film is a short film (but not a short film) our page will have a smaller amount of writing then a normal review. This can be accompanied with many pictures of the film and maybe even small reviews of other short films made in the past. This will fill the page nicely and make sure that the spacing is not too negative, with large white gaps. It would be best not to have a white background but sometimes its necessary.

Movies and their Reviews

Film reviews are very important as many of the public look towards reviews when not knowing whether to go see a film or not. The review supplied by a film critic or writer can then sway the interest of the audience either towards going to see a film or the opposite. Having a well laid out and easy to read review is key in keeping the reader hooked and spiking their interest in the film. Reviews have many recurring connotations, like a manual to producing a film review. These steps are listed as so:

Brief Summary

Many reviews like to give a brief summary of the film through the writer’s eyes. This will make sure the reader knows what the film is about and that when talking about the film the reader can engage with it. These summaries often show the writing style off the bat, with some having a more serious tone while others have a more laid back comedic tone.Capture(review from Empire on “Three Billboards Outside Ebbing, Missouri”)

1(review from Rotten Tomatoes on “Get Out”)

These reviews also have the rating of the film given by this critic. often displayed out of 5 stars, out of 10 or an overall percentage. This short and snappy snippet of the overall plot allows for the writer to talk about key elements, such as the performance of actors or how the director executed the vision of the film.

Film Elements and Key Points

The bulk of the review should be the highlighting of key points in the film that stood out or made the film distinctive from others. This comes in the form of actors performances, events that occur in the film or how the writer/director made the film.

4(how Taika Waititi handled the revival of the character of Thor)

8(how Jordan Peele created suspense in “Get Out”) 7(comparing Martin McDonagh’s earlier films to his Three Billboards)

The main part of the review must interweave plot details in with the performance of actors, giving a sense of the characters personality and how the actors did in portraying them. By also giving parts of the film that stood out it makes the reader want to go see the movie to experience these parts. In addition, the writer must be able to include parts that make it so people who have seen the film and who haven’t can enjoy it equally as much, these means not including major spoilers but being able to talk about things that only people who have seen the film will know of.

Ending

The end of the review will contain a brief summary of the review and film as a whole and end with what the reader should do in viewing terms. Go see it, or stay clear.

59However, this is what the writer thinks. This could be completely different to what you personally as a viewer will think of a film. That’s why many people say that you should always go into a film blind and then make up your mind once you’ve seen it. This is the case for one of my favourite films: “Treasure Planet”. This film flopped loosing $31 million and is a claimed to be one of Disney’s worst films, but personally, I love it and the animation style.

Reviews can also obviously involve criticism. Even the most praised film can have a flaw and reviews are essential in pointing out these flaws to challenge the audience and other filmmakers to either disagree with this criticism or agree.

Short film

Short films don’t have much in the terms of full-fledged reviews as they are short and many don’t have the traction or publicity to have a paid writer talk about them. However short films that are nominated or win at festivals often have short critic quotes about the film told by professionals. This is kind of the equivalent to a feature film review.

Soundtracks in Film

In film image and sound have a beautiful relationship, and this relationship is solidified by the soundtrack of a film. Mood can be swayed or intensified by the soundtrack when applied to a scene if done well. With low pitched and slow soundtracks to slow down the pace and high pitched and fast tracks to speed up the pace. In addition to this minor keys in music can cause moods of uncertainty or uneasiness in a scene while major keys can prompt feelings of happiness and security.

call-me-by-my-name“Call me by your Name” has 2 songs that convey emotions very well, both paired with the scene and on its own. The first being ‘Mystery of Love’ produced by Sufjan Stevens. The scene shows the two main love interests of Elio and Oliver being alone together for the first time since the met, letting their forbidden love flourish. This scene is a breath of fresh air compared to the intense secrecy of the rest of the film. This heartwarming and calming scene is extenuated by the song accompanying it. The song is also writen to trigger memeries. These memeries being ones of both good and bad, in this case good. The summer fling between Elio and Oliver is given personality through this song and thats why it fits so well and does such a good job of conveying the overall emotion of the scene.

The second song of the same artists called ‘Visions of Gidion’ being the polar opposite of ‘Mystery of Love’ conveying heartbreak and sadness. This can be through it’s slow and minor piano throughout or even the first lyric of “i have loved you for the last time, is it a video?” showing the ending of the relationship. The line “is it a video?” being a line of rememberance, with Elio playing back the memeries in his head, just like a video… The song plays throughout the credits as Elio looks into the fire and silently sobs, but nearing the end he smiles through the pain knowing that his summer romance is something special, giving him identity and something he will never forget. Without the soundtrack this scene wouldnt have the same power it does with it and thus wouldn’t allow for the audiance to connect and feel for the character as much.

The power that the soundtrack holds is immense and can make the most dull of scenes feel like masterpieces. Interstellar’s delicate, but weighty score does just that.

interstellar

Strings being the wonderful Hans Zimmer’s instrument of choice for the score paired with beautiful piano gives allows for emotions to be attached to the song easily, but for a sci-fi this is unusual as synths and more futuristic sounds are paired with this genre as it is more ossiated with the future of technology and the way thing ARE going to be. However Zimmer’s way of layering these instruments gives that power that synths can sometimes lack. With massive wide shots of whole stars this style of music is needed to get the mood accross. The build up of low and how pitch instruments all at once overpowers your senses, just like if you were to travel at the speeds close to light, which is what happens in the film. These breathtaking shots of new worlds and incredibal feets by man are perfectly backed up by the soundtrack, transmitting the feelings of the characters into the audiance with this music.

Mountains really stands out with its blarring organ that brings out raw emotions in the audiance and can build strong conections to the scene, especially if it is key to telling the story.

“Stay” being another of Zimmer’s songs that really hammers home the feeling of the scene near the end, being ridiculasly loud to make the hightening of emotion in the scene as Cooper leaves his family to explore space.

Soundtrack in FLICKER

On Saturday, March 3rd, we were given the privilege to record our film soundtrack with professional audio equipment in a studio. We had the fantastic opportunity given to us by James A. A. Reid of Dear Friends, a fellow teacher at our school, whose work I’ve been involved with in the past: http://titussaltmedia.co.uk/blogs/weedonjames4320/2017/09/17/shooting-a-music-video/

recordingJames Reid, whose virtuoso piano aided us in shaping our soundtrack, for both the synth ideas and “His Theme”.

gitar

Our first step was recording my ideas into the piece. Having practised to Grade 7 with Guitar Theory, you’d think I’d know how to hold one, but no. Hours of experimentation with this acoustic guitar led to an epiphany which resulted in musical ideas that became quickly suitable and iconic to the film. For reference, I had drafted ‘Kat’s Theme‘ before we had fully crafted the idea – so parts of the film are influenced by this. For example, Scene 8 on the Glen, where they meet for the second time was a perfect opportunity to use the idea in it – you’ll understand when watching the film.

How did I craft the idea?

Part One: Harmonics

harmHarmonics are overtones which accompany normal tones when fretting (placing fingers lightly over) at certain intervals, as seen above. This sound can only be created when a string is vibrated on only an exact fraction of it’s total length. For example, the 12th fret harmonic is the loudest as it splits the string in half directly. We use the 12th fret harmonic in our soundtrack frequently.

But wait, there’s more. The intervals that you see in the diagram are used in the soundtrack, but only in His Theme. I discovered intervals above the 12th fret, over the guitar’s sound hole. I marked them, tuned the guitar to Drop D tuning (DADGBE), and wrote this.

We agreed that the harmonics allow for notes to really ring out and reverberate through the guitar. The layering creates a texture, and with the D-major key, we have a positive feel to the theme of this young girl’s short adventure into a Sci-Fi world.

We were missing something.

If you see Blade Runner 2049, you’ll hear the gorgeous murmurs of Hanz Zimmer and Benjamin Wallfisch. If you binge Stranger Things season 2 you’ll be delighted by the light hum of Kyle Dixon & Michael Stein’s masterful score. The key to these soundtracks lies here:

S Y N T H .

Our film, being a sort-of Sci-Fi, needs to ramp up it’s Sci-Fi-ness to accommodate for the lovers of the genre. We decided to introduce some synth tracks into the film. It provides a gentle hum, or deep roar, which enhances the feel of a scene. We were delighted when we heard what James and Caleb could seperately achieve using special audio effects.

We’re still waiting on more synth, I’m sure it’ll be just as satisfying as the last.

reidyOn the day of recording, we also enjoyed the delightful experience of visiting Fox’s biscuit factory next door. 500g bags for £1 or less. Enough said.

Finally, before leaving the studio, we had one more issue. Kat had a theme, but the main character, the alien or ‘him’ didn’t.

I played a variation of harmonics, and James improvised for around 15 minutes after showing him a short scene, finally resulting in this, which we love.

MY poster DESign

This is my poster design. It is a very generic poster design with many connotations of sci-fi posters and superhero films. I took inspiration from the Thor: Ragnarok poster.

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The poster shows of the plethora of characters in our film, with many key objects associated with characters or events in the film. The connotations of my poster follow the key points are the main characters being in bigger sizes, with minor characters being in lower layers and smaller. In addition having the characters centered and having key events in the background of the poster is a main staple of Marvel posters.

When placed in Photoshop I gave the poster a background and redrew the lines so that the are more prominent, adding a little colour to it as well. However i encountered a problem that more poster design called for 6 characters, when we only had 5 main characters, any other appearances were too small to introduce or build a character, thus meaning they couldn’t be used. This meant that i had to come up with some alternate poster designs to accommodate for not having that 6th character.

Alternate Poster Designs:

The poster will be created by taking head shots of the different characters in a studio using a controlled light. This lighting setup will be somewhat of a over head light to create drastic shadows and then a fill under the characters to fill the shadows a little so detail can be seen and the eyes of each person, the most important feature to convey emotions, can be seen. These head shots, along with a  a nice night sky photo, will be put together in Photoshop and adjusted to make a lovely little poster that follows sci-fi and superhero conventions.

PoStEr DeSiGnS

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This is my first design, a simple idea of a VHS tape with reflections from the film within. It carries that 80s style well, and suits the ‘Indie’ short film style – nothing too bold. FILM POSTER DESIGN

THIS IS MY DESIGN. A setup of the TV and the VHS player – a key electrical component and motif in this film. ‘The Sound of the TV’ is also our credits song. Also, it gives us an opportunity to include everyone else’s poster designs. The film is very much one with intertextuality.il_570xN.1410866984_rmtw (1)

For the design, I took inspiration from the Lady Bird (sick filum) poster. As you can see, they have drawn influence from the 80s nature of the film. The cassettes are designed to show the title of the film and the credits involved. We’d love to incorporate this kind-of meta approach to the poster. Lady Bird is a feature, but independent film, so we find that it’s a fitting influence for our independent short film. We’ll have film posters for Flicker in the background.

Poster mock up_drawing

This is Matthew’s design. It features conventions of a far more conventional Sci-Fi film. The character layering and the abstract PS design around them has ties to the Thor Ragnarok Poster.

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This is great for the kind of poster we’d have on the wall in the meta design. Matthew’s design is difficult to execute, given the number of characters which we have, though the layout is far more recognisable and eye catching for ‘blockbuster’ Sci-Fi cinema-goers than our others.

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Annabelle’s poster is a simple still from the film. It would go on the wall of the main poster in the background, as it plucks out a key moment in the film and so would create an instant iconic image, with the two main characters connecting.

Realism in FLICKER

Our film is stereotypical classicism. A realistic world with the one aspect that is added to take the real and give it a childish sense of fantasy: the alien.

The gritty northern drama aspect of the film – the lack of dialogue, the bleakness of the cinematography, the slow, wavering pacing – are all complimented by the childish charm of our protagonists, who are essentially both the same… an old alien man, unaware of the ways of our world, and Kat, a young girl who prefers to live in a fantasy Sci-Fi. Classicism in our film is used to put a realistic perspective in place; a realistic situation which audiences, both young and old can relate to. The young for the opportunity of meeting an extraterrestrial, innocent being made to teach and nurture, and the old for the sense of betterment, and forgiveness with the deliciously creative minds of young children.

The realism in our film comes from the harsh reality of Northern England in the 80’s era. The drab and serious tones that come from aspects of the film bring it down to reality, giving the realism side of our classicism piece. The character of Uncle is taking on the embodiment of this realism by being a stern, grumbly man. This constant mood of flat and depressed personifies the time period and the resonance of this character on the scenes that he is in.

Another factor is the dysfunctional family that Uncle and Kat live in. This projects the reality of the world, that everyone wasn’t a perfect happy family and that many had broken families. by incorporating this it is like recording the history of the time period instead of what the media presents a family to be like.

Our film, being more on the realistic side of the spectrum, doesn’t have must formalism in it. However, there is one particular scene that is more formalism than classicism. The scene is that of when the alien comes to his demise at the hands of the Uncle. The last shots of this event bring the formalism side to the film. The shots consist of the characters of Kat, Uncle and Him being plucked out of the real world and into this dark and isolated specter. With surrounding black backgrounds and only a singular light to show the character. These scenes are done to show the full extent of emotions from each character as the life-changing event occurs. It brings them out of the normal world and into their own. This can be seen as formalism as this can not occur in real life or even an exaggerated world. It brings the audience into their minds and shows how each character is feeling at this point in time.
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A good example of this is in “LA LA Land” when Mia is singing ‘Somewhere in the Crowd”.
 

 

Realism and Formalism

The spectrum of film reality stretches from the form of realism to formalism, with classicism in the middle. The film world currently sits mainly in the classicism area with films having serious tones and realistic world representation, but having a premise that extenuates a real world factor, or creates a new one altogether. For example Marvel’s Captain America: Civil War has real world problems with tackling governmental involvement in global issues, but with having the whole new factor of superheroes being the one controlled by the government.

Realism has the premise that the camera is acting as a person and is just observing the world as it is. Films by the Lumiere Brothers are just static shots of everyday life which is as realistic as you can get… because it is real life. In my opinion this is boring as it relies solely on artistic interpretation and imagination of the audience without any ideas being given or hinted towards them.hith-lumiere-brotehrs-E

While on the other end of the spectrum is formalism which takes every aspect of real life and takes it too extreme. The much stylised presentation and way of storytelling gives a very different approach to how realistic movies are made. Imaginative costume and set design combined with special effects are used to create things that don’t exist in the realms of the real world. Georges Melies is the pioneer of sci-fi with his highly recognized “journey to the moon”film__4290-le-voyage-dans-la-lune-a-trip-to-the-moon--hi_res-0d80ee00

Classicism aims to combine both aspects of realism and formalism. This means that it uses the designed costumes and sets, while also using special effects and such, but it’s more focused on the story and making it seem real. A good example of this is the Lord of the Rings trilogy of the TV series Game of Thrones. These forms of film sometimes let shots play out into long scenes, however using pronounced lighting and exaggerate angles. In the 21st century movies have tilted towards more of a realism side, embracing serous and realistic stories. Directors like Christopher Nolan have risen in popularity for his magical ways of creating tension in films like The Dark Knight and Dunkirk.

Films can be good all along the spectrum of realism, as long as it has verisimilitude. Verisimilitude is the purpose of the film or “inner truth”. The films verisimilitude its creating its own set reality and sticking to it. By creating a reality this lets a film stick to the parameters by this reality. In the first few minutes of a film this reality needs to be created and presented to the audience and then stuck to. If this reality is broken in anyway it will confuse and audience.

Woods Re Shoot 4/2/18

In film re shoots are sometimes needed when shots are not up to standard. We want our film to be perfect so when we looked back on footage from the woods shoot we noticed that the shots of Libby and Evan were appalling. This called for a re shoot.

The re shoot allowed us to re think the scene and get better looking shots. This also allowed us to follow the script more closely.

Simpsons did it First

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£52 billion dollars. Is that what it’s worth to bottleneck our sources of media, strangling yet another source of news and politics. Disney have made a deal with 20th Century Fox‘s Rupert Murdoch, in which they inherit “its 20th Century Fox movie and TV studios, cable networks and other international operations.” When this deal commences, Disney will take Fox FX, National Geographic, Sky, and Hulu.

As you can see in this disgraceful diahegram, we can see that Disney will eradicate 1/6 of the major media companies. Disney will inherit $78.4bn of market capital.

This deal strikes us as being peculiar as Murdoch has been focused on expanding his conglomerate as opposed to selling it. However this deal may prove a step in the right direction for Murdoch as he wished to focus on the news side of the business. This also makes sense as Fox executives believe that their film and TV assists wont be able to keep up in the world of merging media companies.

This deal also effects the sky news bid for the 61% that fox doesn’t own yet. This will directly effect the bid as Disney owning fox then takes over the offer and can end up buying into the rest of the Sky stocks. This outcome is highly supported by the UK government due to the mixed history of the company, such as the Phone hacking scandal.