Tuesday, 15 November 2011

How has technology changed the film industry?

How has technology changed the film industry?
Production
New digital cameras have the ability to capture images with a much higher pixel count which enhances the experience of watching the film on the big screen. Technology has dramatically reduced the physical effort of editing by making all the editing digital on computers which are a non linear form of editing.
Distribution
The marketing of films has changed a lot. To appeal to an audience which is constantly on their phones, the distributor needs to advertise in a way that will capture their attention. This can be done by using social networking sites as a location for adverts, producing a website is an absolute must, and making ‘apps’ which are related to the film is a good way to engage your target audience. Another good example of how to use phones as a distribution tool is using the network: Orange Wednesdays are exclusive half price tickets to customers on Orange.
Exhibition
Digital projection means our cinema experience is much clearer with higher resolution screenings. The change from VHS to DVD has greatly improved the quality of the films we watch at home.
Piracy has always been a big issue for the film industry, it can impact figures and sale of tickets and DVDs/Blu-rays greatly and can even result in the collapse of companies who are at a loss. A way to combat this is worldwide releases, which reduces the lag in release dates between different countries. Another method to reduce piracy is 3D films; to get the full experience of watching the film in 3D, you have to go to the cinema, pirate copies just don’t cut it.

Thursday, 3 November 2011

Universal Studios

Universal Studios

Universal Studios was founded in 1912, it’s parent company is NBC, who’s parent company is General Electric.

Cowboys and Aliens (2011)
Production companies:
Universal
DreamWorks SKG
Reliance Entertainment
Relativity Media
Distributor:
Paramount Pictures
Producers:
Brian Grazer
Ron Howard
Alex Kurtzman
Damon Lindelof
Roberto Orci
Scott Mitchell Rosenberg
Writers:
Roberto Orci (screenplay) & Alex Kurtzman (screenplay) & Damon Lindelof (screenplay) and Mark Fergus (screenplay) & Hawk Ostby (screenplay)
Mark Fergus (screen story) & Hawk Ostby (screen story) and Steve Oedekerk (screen story)
Stars:
Daniel Craig, Harrison Ford, Olivia Wilde
Budget:
$163,000,000
Gross revenue (to date):
$171,222,396

Paul (2011)
Production companies:
Universal
Relativity Media
Working Title films
Big Talk Productions
Distributor:
Universal Pictures International
Producers:
Nira Park
Tim Bevan
Eric Fellner
Writers:
Nick Frost and Simon Pegg
Stars:
Nick Frost, Seth Rogen and Simon Pegg
Budget:
$40,000,000
Gross revenue (to date):
$97,591,665

Get Him to the Greek (2010)
Production companies:
Universal
Relativity Media
Spyglass Entertainment
Apatow Productions
Distributor:
Universal Studios
Producers:
Judd Apatow
Joshua Blake
Nicholas Stoller
David Bushell
Rodney Rothman
Writers:
Nicholas Stoller, Jason Segel
Stars:
Jonah Hill, Elizabeth Moss and Russell Brand
Budget:
$40,000,000
Gross revenue (to date):
$91,390,982

Green Zone (2010)
Production companies:
Universal
Relativity Media
Studio Canal
Working Title Films
Antena 3 Films
Dentsu
Distributor:
?
Producers:
Tim Bevan
Eric Fellner
Lloyd Levin
Paul Greengrass
Writers:
Brian Helgeland, Rajiv Chandrasekaran
Stars:
Matt Damon, Jason Isaacs and Greg Kinnear
Budget:
$100,000,000
Gross revenue (to date):
$ 94,882,549

Drag Me To Hell (2009)
Production companies:
Universal
Ghost House Pictures
Producers:
Grant Curtis
Robert G. Tapert
Writers:
Sam Raimi, Ivan Raimi
Stars:
Alison Lohman, Justin Long and Ruth Livier
Budget:
$30,000,000
Gross revenue (to date):
$90,842,646

Big Talk Productions

Big Talk Productions

Big Talk Productions was established in 1995 by Nira Park. It is an English film and tevelision company that had produced films such as Scott Pilgram vs the World (2010), Paul (2011), Attack the Block (2011), and coming soon Sightseers (2012).

Scott Pilgram vs the World (2010)
Production companies:
Universal
Marc Platt Productions
Big Talk Productions
Closed on Mondays Entertainment
Dentsu
Distributor:
Universal studios
Producers:
Edgar Wright
Marc Platt
Eric Gitter
Nira Park
Writers:
Michael Bacall (screenplay) & Edgar Wright (screenplay)
Bryan Lee O'Malley 
Stars:
Michael Cera, Mary Elizabeth Winstead and Kieran Culkin
Budget:
$90,000,000
Gross revenue (to date):
$47,664,559

Paul (2011)
Production companies:
Universal
Relativity Media
Working Title films
Big Talk Productions
Distributor:
Universal Pictures International
Producers:
Nira Park
Tim Bevan
Eric Fellner
Writers:
Nick Frost and Simon Pegg
Stars:
Nick Frost, Seth Rogen and Simon Pegg
Budget:
$40,000,000
Gross revenue (to date):
$97,591,665

Attack the Block (2011)
Production companies:
Studio Canal
Film4
UK Film council
Big Talk Productions
Distributor:
Optimum Releasing
Producers:
Nira Park
James Wilson
Writers:
Joe Cornish
Stars:
Jodie Whittaker and Nick Frost
Budget:
£9,000,000
Gross revenue (to date):
£3,442,302

Tuesday, 1 November 2011

Life cycle of films

IdeaA producer will find an idea for a story to be made into a film. This idea may be inspired by a book, a true event or an original script.

Pre-Production
The producer will identify a theme/underlying message. In some cases a script will be developed after the story has been decided. The script will be altered and rewritten many times to improve it. In this stage, every step of creating the film will be carefully planned.

Funding
A film pitch will be prepared which will go on to be presented to potential financiers. These financiers will typically be a major film studio, film council or independent invester. If the pitch is success, then the film will be given the 'green light'. After this, the producer will hire a film crew, the size of which will be dependent on the budget on the film

Production & Post-Production
In this stage, all the scenes of a film will be shot. This can be a long process, with workdays often lasting 14 to 18 hours, with very little minutes of material being produced each day. After this, the film will go into post-production. This is where all of the material that has been shot will be reviewed and the best scenes will be selected for the final cut. This process involves the editor who puts the scenes together.

Distribution & Marketing
This is the stage where the film companys aim to raise public awareness of the film. This will involve releasing a trailer, a small preview of the film along with film stills. The stars of the film will give various interviews on television, magazines and radio. Film critics who write for papers or magazines will get an early screening and write a review for the film. Another feature in the marketing stage is that a website for the film will be set up. The website will usually include the film's trailers, television adverts, clips from the film, stills and the opportunity to pre-book tickets

Exhibition
The exhibition stage is the final stage in the life cycle of a film. The film will be released to cinemas (big budget films will be released to cinemas across the world, while independent films will be shown at independent cinemas or at film festivals) and the amount of money the film makes in it's first weekend can affect the success of the film. This is because if the film has good opening numbers, other people will believe that the film is good and go and see the film, therefore giving the film studio more profit. If the film doesn't get good opening numbers, it will most likely be pulled early from cinemas and released to dvd quite early. Usually after a couple of months the film will be released on dvd and also made available on pay-per-view channels such as Sky Box Office. Eventually terrestrial channels such as Channel 4 or BBC One or Two will get the rights to screen the film.

Thursday, 13 October 2011

Primeval - Representation of Gender

In Primeval a wide shot is used to show the blonde woman who is driving a digger truck. This is our first view of the swapping of gender identity. Constructive work that requires the use of diggers is usually associated with strong men, but the fact the she is driving the truck indicates that she had a strong gender identity that is more masculine.
A high angle shot is used as the man running from the sabre-tooth tiger comes closer runnign to the tree which makes him look very vulnerable. Shot reverse-shot is used when the chase between the sabre-tooth tiger and the man begins as he is climbing up the ladder and the tiger climbs on the tree. This increases the intensity of the chase scene.
A close up is used when he is in the tree to show the emotion on his face. He is fearful of the dangerous animal. There are many angles of him as he slides down the rope holding onto the tie to show the disorientation he feels.
An establishing shot shows that the scene has changed to the man digging with his hands in the hole. This ‘dirty work’ is more typical of a male character; it is almost a metaphor for him regaining his masculinity after being a damsel in distress type character being chased by a big scary monster.
Shot reverse shot is used again later in the extract when the farmer character is being pressured by the feminine lady when they are having a conversation. As the conversation gets more intense the shots become closer together.
In terms of editing, the chase scene is quite fast paced, which is an important device in creating an overall intensity for the scene and the escalating threat of the tiger.
Sharp cuts are used when the tiger is fighting the digger. This is to disorientate the viewer and create an effect of tension for the audience. The sabre-tooth tiger is the most obvious aspect of editing, as they do not exist in the modern day.
Another interesting use of editing in this extract is the slow motion part in the barn when the feminine lady is thrown onto the hay, this is an anxious moment for the character and it is effective to use slow motion to exaggerate everything happening in that one moment. She is very weak and vulnerable at this point, which is typical of a damsel in distress character in her situation which is more expected of females. By this point the Drama has portrayed both a female and male character as defenceless.
When the hand is discovered sharp soundtrack is used, to make it more shocking, this is non-diegetic sound. The soundtrack when the tiger is approaching uses bells. This is significant because it is like the chiming of a clock, which indicates the danger is getting closer; their time is running out, making them both vulnerable.
Sound effects used in the extract include the roaring of the tiger, the sound of the tie moving along the rope at speed and gun shots. Ambient sound is also used when the group has come together and they are figuring out the story and that the feminine lady has gone to the barn. This is also important for establishing a diegesis, and to make their location near the forest more credible.
A sound bridge is used to carry suspense to the next frame, and when the camera cuts to the subsequent shot, a crashing percussion sound is the climax of the soundtrack.
In the forest, natural light is used to enforce to outdoors atmosphere. In the barn scene some natural light is used, and there is low key lighting as it is quite dark. This lowers the tone of the scene and reinforces the lady’s vulnerability when she is thrown on the hay. She wears a dress which makes her seem more feminine, and once she is saved she seems more concerned about her coat than the fact that she could have been killed.
In contrast, the blonde woman wears black leather effect clothes which make her look more masculine, however her bright blonde hair makes her look feminine, her overall costume makes her look confident.
The farm man wore clothes typical of a farmer, dull clothes, which would be used to work in. The man who was being chased wore casual clothes, the sort of thing that a man would wear that he doesn’t mind getting dirty, but the neutral colours create conflict about his gender identity, because at one point he was vulnerable, and at another he was being masculine.

Thursday, 29 September 2011

Sound in Secret diary of a call girl

The first piece of dialogue we hear is quite awkward. The girl’s sentence becomes slow and trailing at the end questioning who the unexpected man is. The fact that there is no sound is a little bit uncomfortable and quite noticeable. The lack of sound means we can clearly hear footsteps and the sound of the wheels squeaking on the wheelchair which also makes the audience feel more awkward.
The characters sound quite weak in their voices, making the dialogue a contributing factor to the representation of disability because it enhances the awkwardness. They are also using short sentences, which usually remained unfinished and in a question format, so there is no flow of conversation, which is important for us as an audience to feel comfortable.
Sound effects used to emphasise the sound of the locks on the door being locked up are used to make clear the discomfort Blake feels. Again, dialogue shows us that the characters are still feeling awkward as the girl is unable to finish her sentences. At this point there is no dialogue from Blake to show he is feeling uneasy.
Asynchronous sound is used to accentuate that the music does not suite his mood, and at this stage nothing will. A series of jump cuts including sound effects show how awkward the dad feels, having to wait. A sound bridge is used to move on to the next scene. The music played is quite sad sounding, and a harmonica is used to create a blues feel. The reason that this is done is to make the audience feel pity towards Blake because he is disabled and will never get to experience life as a normal boy of his age. This is common representation of disability in British TV and film.