WWW: I like the colour scheme and cut-out method around the character
EBI: Almost all the text is white, would be nice to have some different colours
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Monday, October 8, 2018
Sunday, October 7, 2018
Continuity Task 2 Evaluation
1. What was your role in the task and what did you actually do?
My main role in this task was to act as the teacher in our short video. I also helped to produce the video, by helping to keep to our schedule to shoot within the allocated time and ensuring the set was dressed and helping to dress the set to achieve the desired look. I was co-screenwriter, helping to write the dialogue and 'stage directions' for dramatic effects. Also, I was directing along with the rest of my group as we collectively chose camera placement and angles. We also discussed camera angles and distance to match our approved storyboard. I edited our version of the task with Raymond - discussing our edit and putting the edit together.
2. What factors did you have to take into account when planning, filming and editing?
When planning we had to consider creating a clear narrative, rough camera placement and angles to help create the storyboard and plan how to dress the room. Our planning had to take into consideration the other groups filming schedule as we had to share a communal area. While shooting, we had to consider the continuity of limbs, people's placement in the frame and dialogue and tone of voice as this was, over everything, our main aim and therefore our main priority. While editing, we had to match on the action and cut shots together in a plausible sequence in a realistic amount of time.
3. How successful was your sequence? Did you manage to demonstrate match on action, shot-reverse shot and 180-degree rule? Did you achieve continuity overall? (WWW/EBI) Did you fill the demands of the brief?
Our sequence was reasonably successful as we managed to match on the action, successfully showed shot and reverse-shot, all while sticking to the 180-degree rule. However, we did not achieve full continuity as some of the actors' limbs were in different places in different shots. This made editing to fulfill the brief increasingly difficulty and our edit was compromised to try to reduce the inconsistent continuity.
4. What have you learnt from completing this task? How might this learning impact on future video production work?
From this task, I have learnt how to match on the action and shoot with dialogue within the 180-degree rule while achieving clear narrative flow. In the future, I will remember to ensure each take is shot exactly the same way with the actors and limbs in the same position.
Wednesday, October 3, 2018
Frankenweenie Trailer
Frankenweenie is a Tim Burton Film made in partnership with Disney in 2012. It follows Victor Frankenstein, a science nerd and an outsider at school, with his only friend being his dog - Sparky. Tragedy strikes and Sparky is killed. Victor is heartbroken, but his science teacher gives him an idea of how to jolt Sparky back to life using electricity. The experiment is successful, and all goes well until Victor's peers at school steal his secret and use it to resurrect other dead animals - with monstrous consequences.
The Disney four quadrant marketing and advertising theory can be seen within this trailer. The clear emphasis throughout the trailer on the Disney partnership, the story told following a child as the main protagonist and the touching relationship with the dog is aimed to target the hardcore Disney fans and families. The use of action and the 'monster' seen later on in the trailer is aimed to target the male demographic. Establishing Tim Burton as the director and the style of animation appeals to adults and fans of film and television.
The film is unconventional for Disney as it's a darker tale, however clear Disney themes can be seen and are established from early on in the trailer. There is a clear sense of light and dark shown throughout the trailer as Victor is trying to bring his dog back to life and make a change for the better. The darkness is shown when the false hero, Edgar, tells the other boys about Victors science plans. This, in turn, spurs the boys to provide villainous characters to tarnish the Hero's ideas and plans.
In this trailer, camera work is used to give effect and interest potential audiences. At the beginning of this trailer, our attention is focussed to the main character by the use of shallow depth of field. This guides our eyes to focus on the main character and listen to the story being told by this character. Shortly after, there is the use of panning and reverse zoom to establish the setting and give the audience a little more knowledge so they aren't confused. Zooming camera movement is used for effect to represent the main characters' epiphany or moment of realisation, thus keeping momentum and advancing the storyline. Tracking in the second half of the trailer builds suspense and a sense of action. Crane shots emphasise the tension and give a good overall summary view, they are also used to belittle the main character, disempowering him and hinting at potential obstacles this character may face. CU shots create more intimate moments within the trailer, appealing to the more hardcore Disney fans and breaking up the action for variety and juxtaposition between the two elements of the trailer. CU shots also focus on individual key pieces of information such as a specific movement or object - crucial to progress the storyline and effectively tell the story in a visual way. In the trailer. An example of this is the close-up on Edgars crossed fingers behind his back, establishing his role clearly as the false hero.
Editing is also used to give effect and interest potential audiences. There are intertitles throughout to provide information about the film and to vary the type of shot - retaining the audience's interest. The trailer opens using a fade, and at the beginning of the trailer. Fades are used to move between shots to accompany the V.O speaking in the background, providing a visual aid to tell the story. This way of moving from shot to shot in a softer and less harsh way than using cuts. Towards the end of the trailer, quick cuts are used to build tension and drama, leaving the potential audience with an exhilarating final image of the movie. A montage is also used to quickly convey the main points of the narrative without giving away too much information, making the potential audience want to watch the movie to see the entirety of the plot. There is a match on the action when the dogs tail falls off and consequently flies across the room.
Sound is used to give effect and interest potential audiences. Throughout the trailer, we hear a range of diegetic and non-diegetic sound. The trailer begins with diegetic the sound of a projector; we later hear diegetic sounds of a dog panting, a bike bell, flowing electricity, falling metal and thunder and storms. All of this helps to present a realistic setting and environment, capturing the audiences attention and thus creating interest for the audience - which may encourage them to watch the full movie. A V.O is introduced which turns into diegetic dialogue when we see the scene we could previously hear as a V.O. There is a non-diegetic soundtrack played throughout the accompany the diegetic sound and image onscreen. This soundtrack builds atmosphere and tension throughout and aids in telling the visual narrative.
Finally, mise-en-scene is used to give effect and interest potential audiences. The false hero, Edgar, wears dark and striped clothing, often associated with villains in more traditional fairytales and formulaic stories. The rest of the characters wear casual clothing, highlighting Edgar as a misfit and stand-out character. There is usually natural lighting in daylight scenes, with a certain degree of light and shade in the black and white tones. In the scenes set at night, the characters can all be clearly seen which is practical for seeing the action, yet an unrealistic use and distribution of light. As this film is animated, the use of light can be manipulated to provide a good cinematic experience. Framing clearly shows the characters eye line and therefore the reasoning and intent of their facial expressions and reactions.
In this trailer, camera work is used to give effect and interest potential audiences. At the beginning of this trailer, our attention is focussed to the main character by the use of shallow depth of field. This guides our eyes to focus on the main character and listen to the story being told by this character. Shortly after, there is the use of panning and reverse zoom to establish the setting and give the audience a little more knowledge so they aren't confused. Zooming camera movement is used for effect to represent the main characters' epiphany or moment of realisation, thus keeping momentum and advancing the storyline. Tracking in the second half of the trailer builds suspense and a sense of action. Crane shots emphasise the tension and give a good overall summary view, they are also used to belittle the main character, disempowering him and hinting at potential obstacles this character may face. CU shots create more intimate moments within the trailer, appealing to the more hardcore Disney fans and breaking up the action for variety and juxtaposition between the two elements of the trailer. CU shots also focus on individual key pieces of information such as a specific movement or object - crucial to progress the storyline and effectively tell the story in a visual way. In the trailer. An example of this is the close-up on Edgars crossed fingers behind his back, establishing his role clearly as the false hero.
Editing is also used to give effect and interest potential audiences. There are intertitles throughout to provide information about the film and to vary the type of shot - retaining the audience's interest. The trailer opens using a fade, and at the beginning of the trailer. Fades are used to move between shots to accompany the V.O speaking in the background, providing a visual aid to tell the story. This way of moving from shot to shot in a softer and less harsh way than using cuts. Towards the end of the trailer, quick cuts are used to build tension and drama, leaving the potential audience with an exhilarating final image of the movie. A montage is also used to quickly convey the main points of the narrative without giving away too much information, making the potential audience want to watch the movie to see the entirety of the plot. There is a match on the action when the dogs tail falls off and consequently flies across the room.
Sound is used to give effect and interest potential audiences. Throughout the trailer, we hear a range of diegetic and non-diegetic sound. The trailer begins with diegetic the sound of a projector; we later hear diegetic sounds of a dog panting, a bike bell, flowing electricity, falling metal and thunder and storms. All of this helps to present a realistic setting and environment, capturing the audiences attention and thus creating interest for the audience - which may encourage them to watch the full movie. A V.O is introduced which turns into diegetic dialogue when we see the scene we could previously hear as a V.O. There is a non-diegetic soundtrack played throughout the accompany the diegetic sound and image onscreen. This soundtrack builds atmosphere and tension throughout and aids in telling the visual narrative.
Finally, mise-en-scene is used to give effect and interest potential audiences. The false hero, Edgar, wears dark and striped clothing, often associated with villains in more traditional fairytales and formulaic stories. The rest of the characters wear casual clothing, highlighting Edgar as a misfit and stand-out character. There is usually natural lighting in daylight scenes, with a certain degree of light and shade in the black and white tones. In the scenes set at night, the characters can all be clearly seen which is practical for seeing the action, yet an unrealistic use and distribution of light. As this film is animated, the use of light can be manipulated to provide a good cinematic experience. Framing clearly shows the characters eye line and therefore the reasoning and intent of their facial expressions and reactions.
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