Q1. In what ways does your media product use, develop or
Challenge forms/conventions of real media products.
'Genie' is based on the colour gold. This is how we started getting ideas for our film. The way we saw it, is that Genies and magic are usually involved with gold. We see this is the film ‘Aladdin’. This allowed us to play around with the colour gold and to see how we would use the Genie in our film. ‘Genie’ is about a geeky boy called Luke who likes a popular girl who has no interest in him, he does everything to get her attention but the popular girl Olivia shows no interest. Through this, a genie comes to help with his troubles and he ends up liking the genie. The genre of ‘Genie’ is a family fantasy which can be seen in films similar likes ‘Matilda’ as this also has the idea of magic.
The themes in ‘Genie’ include of magic, friendship, love, popularity, confidence and acceptance. Magic can be shown through the genies character when she snaps her fingers and Smartie’s appear. This follows conventions of family fantasies as it uses the use of magic to show its genre of the film. In Aladdin the genie also use’s magic through wishes.
Within the plots and characters, genie is usually a man in fantasy films, for example in Aladdin, however we chose to go against this convention and have a woman. This allowed us to explore and develop a new and different character in which our target audience may or may not enjoy. However we still kept the ideology of genies with wishes the same. In fantasy films the Plot is usually the genie helping someone whereas our genie gets with boy. Genie comes out of lamp.
The way in which the plot uses’ conventions from other fantasy films is in the way Luke doesn’t believe the genie at first but is convinced and fascinated when he sees her snap her fingers’ and chocolate appears. Other films that show this is ‘Matilda’, her teacher never believed she had powers until she saw it for herself. This use of convention will give our audience feeling of familiarity as they would have seen it in other similar films. However ‘Genie’ challenges the conventions of a fantasy drama as Luke and Genie become a couple where as a genie is usually there to help their caller. For example the in ‘Peter Pan’, Tinker bell likes Peter but Peter likes Wendy. In our film Luke likes Olivia but Genie likes Luke, however Luke begins to realise that Genie is so much of a better person than Olivia and falls for her instead. This creates suspense in our film as it never usually happens in a fantasy. This gives our film the unpredictability factor.
Camera and action develops our film to be a fantasy as it shows the development of Luke and Genie and the building of their relationship in scene 3, the makeover, playing on the audience’s emotions as they later feel sorry for Genie as she looks sad when Luke goes off to talk to Olivia. The close up of Genie in scene 4 plays on the audience’s emotions, therefore it develops the theme of love. The sound also develops the feeling of a fantasy film as it plays recognisable instruments such as violins, drums and other soft music that relates to a genie based story.
The Mise-en-scene settings challenge fantasy films as they tend to be set in desserts or fantasy places no one has ever heard of. Whereas our film takes place in a place everyone is familiar with, a school.
In conclusion our film follows the basic conventions of a fantasy film which will make our audience familiar with the themes and so on, but it also has different plots and twists to it, giving our film a different flavour.
Monday 14 December 2009
final draft
Q4. How did you use new media technologies in the construction and research, planning and evaluation stages?
During our time of this coursework we became more familiarised with new media technologies which we usually take advantage of. You could say research, planning, production and evaluation is easier and accessible for us to use now because of the way media technology has become converged. We now can take advantage and be more creative as it is available to us. Everything is digital now, portable and media now works together.
Within the research stage we used new media technologies such as Blogs, You tube, mobile phones, Face book. Things such as Face book and mobile phones helped us to get in contact with our group and you tube and the Blog allowed us to research on our film more. We looked at previous blog owners who did media and on You tube, videos on short films. This therefore helped us to develop on our ideas as we could show each other example’s of things that we found. For example when we had to research on the colour gold we used things such as Google and You tube to find poems, pictures and symbols that would relate to gold. This then helped us at a later stage to come up with an idea for our film.
In the planning stage we used media technologies such as slideshows to show different stages of the pitch with the feedback on it. To do this we needed the internet and a user with a website http://www.slideshare.net/ . This allowed us to show developmental stages of our pitch from where we first started before getting feedback, to the last piece of feedback received and our pitch more improved. It made it easier for the group to get and everyone to see, clearly. We also used a digital camera in the planning for our location recce and photo storyboard. Again this allowed us to see a digital development of our film and make us see further and clearer in to our film. Making us imagine it in more depth. We took pictures of the locations needed for our film – and this allowed us to see whether or not this location would work with our film. Therefore, we became more creative as we could see how our film was going to turn our, more or less.
Within the evaluation stage we used our blog, editing software, photo shop software and title making software. We used this in ways to sell and market our film in a more productive, professional way. All these in one way or another helped our film to look the part (editing, titles), to publish our film to an audience (blog) and to promote our film. Again, this works together to distribute our film, just like a big mainstream film would do so.
In conclusion, recent decades have proven that media technology has developed, which has allowed us to make our film look more or less like a independent film.
During our time of this coursework we became more familiarised with new media technologies which we usually take advantage of. You could say research, planning, production and evaluation is easier and accessible for us to use now because of the way media technology has become converged. We now can take advantage and be more creative as it is available to us. Everything is digital now, portable and media now works together.
Within the research stage we used new media technologies such as Blogs, You tube, mobile phones, Face book. Things such as Face book and mobile phones helped us to get in contact with our group and you tube and the Blog allowed us to research on our film more. We looked at previous blog owners who did media and on You tube, videos on short films. This therefore helped us to develop on our ideas as we could show each other example’s of things that we found. For example when we had to research on the colour gold we used things such as Google and You tube to find poems, pictures and symbols that would relate to gold. This then helped us at a later stage to come up with an idea for our film.
In the planning stage we used media technologies such as slideshows to show different stages of the pitch with the feedback on it. To do this we needed the internet and a user with a website http://www.slideshare.net/ . This allowed us to show developmental stages of our pitch from where we first started before getting feedback, to the last piece of feedback received and our pitch more improved. It made it easier for the group to get and everyone to see, clearly. We also used a digital camera in the planning for our location recce and photo storyboard. Again this allowed us to see a digital development of our film and make us see further and clearer in to our film. Making us imagine it in more depth. We took pictures of the locations needed for our film – and this allowed us to see whether or not this location would work with our film. Therefore, we became more creative as we could see how our film was going to turn our, more or less.
Within the evaluation stage we used our blog, editing software, photo shop software and title making software. We used this in ways to sell and market our film in a more productive, professional way. All these in one way or another helped our film to look the part (editing, titles), to publish our film to an audience (blog) and to promote our film. Again, this works together to distribute our film, just like a big mainstream film would do so.
In conclusion, recent decades have proven that media technology has developed, which has allowed us to make our film look more or less like a independent film.
PERMISSION FROM DRAA TEACHER
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From: Entwistle G (Drama)
Sent: Tue 10/6/2009 2:37 PM
To: Thomas Gemma (2003)
Cc:
Subject: Drama Rooms
Attachments:
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Hi Gemma, The Drama rooms we talked about are freed up from the 12th when Year 11 go on study leave. Hope that’s ok?
Thanks Gill
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From: Entwistle G (Drama)
Sent: Tue 10/6/2009 2:37 PM
To: Thomas Gemma (2003)
Cc:
Subject: Drama Rooms
Attachments:
View As Web Page
Hi Gemma, The Drama rooms we talked about are freed up from the 12th when Year 11 go on study leave. Hope that’s ok?
Thanks Gill
IDEAS FOR MY REVIEW
Peter Pan (PG)
Plot
In Edwardian England, three children — Wendy, Michael and John Darling — receive a visit from Peter Pan, a boy who refuses to grow up. He takes them to the magical realm of Neverland, where an ongoing war with the evil pirate captain Hook is taking place.
Review
Discount Steven Spielberg's much-maligned Hook and this is the first official live-action adaptation of J. M. Barrie's children's classic since the silent days. However, while kids will love it, for the rest of us the wait for a truly great Pan goes on.
There are lovely touches (the early transcendent flight to Neverland) and noble attempts to weave weighty themes (fear of ageing) into a child-friendly framework of swordfights, comedic slapstick sequences and mostly dazzling storybook visuals. However, tonally the film is never more than the sum of its parts, while Sumpter, although physically perfect, just isn't charismatic enough as Peter.
The last 30 minutes are wonderful, though, culminating in a cracking and imaginative aerial duel between Pan and Isaacs' excellent Hook. The genuinely emotional send-off soars to magical heights that the first two largely mundane acts fail to reach.
Verdict
It won't give Harry Potter a run for his money, but it beats the hell out of a Cannon & Ball panto in Skegness.
Plot
In Edwardian England, three children — Wendy, Michael and John Darling — receive a visit from Peter Pan, a boy who refuses to grow up. He takes them to the magical realm of Neverland, where an ongoing war with the evil pirate captain Hook is taking place.
Review
Discount Steven Spielberg's much-maligned Hook and this is the first official live-action adaptation of J. M. Barrie's children's classic since the silent days. However, while kids will love it, for the rest of us the wait for a truly great Pan goes on.
There are lovely touches (the early transcendent flight to Neverland) and noble attempts to weave weighty themes (fear of ageing) into a child-friendly framework of swordfights, comedic slapstick sequences and mostly dazzling storybook visuals. However, tonally the film is never more than the sum of its parts, while Sumpter, although physically perfect, just isn't charismatic enough as Peter.
The last 30 minutes are wonderful, though, culminating in a cracking and imaginative aerial duel between Pan and Isaacs' excellent Hook. The genuinely emotional send-off soars to magical heights that the first two largely mundane acts fail to reach.
Verdict
It won't give Harry Potter a run for his money, but it beats the hell out of a Cannon & Ball panto in Skegness.
IDEAS FOR MY REVIEW
Aladdin (U)
Plot
Smitten by the Sultan's daughter, soft-hearted street thief Aladdin is tricked into retrieving the fabled magic lamp by a wicked vizier. But the lamp's resident genie has other ideas.
Review
At the beginning of the '90s, Disney's animation division was fully enjoying its time at the top, contentedly tanning itself in the glow of a new golden age. The Little Mermaid had dragged it back from the tedium of The Black Cauldron and Oliver & Company, while Beauty And The Beast had heralded Disney's most adoring reviews since a pasty princess shacked up with seven midgets - not to mention the only ever Best Picture Academy Award nomination for an animated film, a feat which will likely never be repeated due to the new Best Animated Film category.
Yes, the Mouse House was justifiably brimming with confidence. So something was bound to go wrong. Right? Enter Ron Clements and John Musker - the animation directors responsible for starting the Disney revolution with The Little Mermaid - who came in and screwed up Aladdin with astonishing panache. Suggested as a project by composers Alan Menken and Howard Ashman, the directors' take on the story about a street boy who finds a magic lamp was an undeniable mess. The title character's pubescent naivety sat uncomfortably with the determined sensuality of the princess, his exasperated mother sapped the film's energy and the villain was upstaged by his parrot. It was as clumsy and aimless as all the '80s trash the studio had been trying to sweep under the carpet...
Fortunately, Disney animation head Jeffrey Katzenberg was no longer prepared to accept such shoddy workmanship, and that particular version never limped past storyboard stage. Katzenberg had been brought to Disney in 1984 and told by Michael Eisner as they passed an unprepossessing building: "That's the animation department. It's your headache now." After the analgesia of recent success, he wasn't going to let it start thumping again. On what came to be known among the Aladdin animators as Black Friday, Katzenberg told the team to scrap virtually everything they'd been working on for months and start again. And to further add to their Arabian nightmare, he refused to move the movie's release date. Musker and Clements were faced with blank storyboards and the imminent arrival of the animation A-team from Beauty And The Beast, who'd have nothing to do but sharpen their pencils.
With the only other possible option to shut the production down, the directors bit the bullet and with the help of their crack team completely reinvented the feature in eight days. Writers Terry Rossio and Ted Elliott (who would go on to pen Shrek and Pirates Of The Caribbean) were brought in to work on the script and iron out the many plot flaws. Aladdin was aged a few years, in line with Katzenbergís request to make him "more Tom Cruise, less Michael J. Fox", his mother was bumped off and the assembled team were sharply reminded to "bring the funny".
One element, however, remained constant: Robin Williams. Celebrity voices were nothing new to animation - Phil Harris and George Sanders were stars of their day when they voiced The Jungle Book - but the trend had died off as the material declined in quality. The directors had the former stand-up in mind as the only person who could inhabit the Genie from the early stages of development, and lured Williams in by presenting a test animation of the Al Hirschfield-inspired blue spirit lip-synching part of his "Reality - What A Concept" album. Through tears of laughter, the actor happily signed up for what would become animation's single greatest vocal performance. Williams' inability to stick to a script carried his scenes off on tangents of vaudevillian bizarreness that inspired supervising animator Eric Goldberg and upturned the Disney ethos of some 55 years.
Up until Williams let rip with a dizzying repertoire of pop-culture gags and celebrity impressions, Disney's fairy tales had refused to acknowledge a world outside the land surveyed by Sleeping Beauty's castle. Each took place in a parallel universe where men wore tights, women had eyes that made Bambi look beady and animals chatted away like furry little housewives. That was all well and good for selling dreams and duvet covers to little girls, but in a film industry where superheroes were becoming the big draws and computer effects were starting to provide animated dazzle in live-action films, Disney needed
Plot
Smitten by the Sultan's daughter, soft-hearted street thief Aladdin is tricked into retrieving the fabled magic lamp by a wicked vizier. But the lamp's resident genie has other ideas.
Review
At the beginning of the '90s, Disney's animation division was fully enjoying its time at the top, contentedly tanning itself in the glow of a new golden age. The Little Mermaid had dragged it back from the tedium of The Black Cauldron and Oliver & Company, while Beauty And The Beast had heralded Disney's most adoring reviews since a pasty princess shacked up with seven midgets - not to mention the only ever Best Picture Academy Award nomination for an animated film, a feat which will likely never be repeated due to the new Best Animated Film category.
Yes, the Mouse House was justifiably brimming with confidence. So something was bound to go wrong. Right? Enter Ron Clements and John Musker - the animation directors responsible for starting the Disney revolution with The Little Mermaid - who came in and screwed up Aladdin with astonishing panache. Suggested as a project by composers Alan Menken and Howard Ashman, the directors' take on the story about a street boy who finds a magic lamp was an undeniable mess. The title character's pubescent naivety sat uncomfortably with the determined sensuality of the princess, his exasperated mother sapped the film's energy and the villain was upstaged by his parrot. It was as clumsy and aimless as all the '80s trash the studio had been trying to sweep under the carpet...
Fortunately, Disney animation head Jeffrey Katzenberg was no longer prepared to accept such shoddy workmanship, and that particular version never limped past storyboard stage. Katzenberg had been brought to Disney in 1984 and told by Michael Eisner as they passed an unprepossessing building: "That's the animation department. It's your headache now." After the analgesia of recent success, he wasn't going to let it start thumping again. On what came to be known among the Aladdin animators as Black Friday, Katzenberg told the team to scrap virtually everything they'd been working on for months and start again. And to further add to their Arabian nightmare, he refused to move the movie's release date. Musker and Clements were faced with blank storyboards and the imminent arrival of the animation A-team from Beauty And The Beast, who'd have nothing to do but sharpen their pencils.
With the only other possible option to shut the production down, the directors bit the bullet and with the help of their crack team completely reinvented the feature in eight days. Writers Terry Rossio and Ted Elliott (who would go on to pen Shrek and Pirates Of The Caribbean) were brought in to work on the script and iron out the many plot flaws. Aladdin was aged a few years, in line with Katzenbergís request to make him "more Tom Cruise, less Michael J. Fox", his mother was bumped off and the assembled team were sharply reminded to "bring the funny".
One element, however, remained constant: Robin Williams. Celebrity voices were nothing new to animation - Phil Harris and George Sanders were stars of their day when they voiced The Jungle Book - but the trend had died off as the material declined in quality. The directors had the former stand-up in mind as the only person who could inhabit the Genie from the early stages of development, and lured Williams in by presenting a test animation of the Al Hirschfield-inspired blue spirit lip-synching part of his "Reality - What A Concept" album. Through tears of laughter, the actor happily signed up for what would become animation's single greatest vocal performance. Williams' inability to stick to a script carried his scenes off on tangents of vaudevillian bizarreness that inspired supervising animator Eric Goldberg and upturned the Disney ethos of some 55 years.
Up until Williams let rip with a dizzying repertoire of pop-culture gags and celebrity impressions, Disney's fairy tales had refused to acknowledge a world outside the land surveyed by Sleeping Beauty's castle. Each took place in a parallel universe where men wore tights, women had eyes that made Bambi look beady and animals chatted away like furry little housewives. That was all well and good for selling dreams and duvet covers to little girls, but in a film industry where superheroes were becoming the big draws and computer effects were starting to provide animated dazzle in live-action films, Disney needed
CHARACTER PROFILE
LUKE
Quite lonely and withdrawn
- Spends a lot of time playing video games and watching fantasy films...he easily believes in things [i.e. the genie]
- Never had a girlfriend
- Goes to Barking Abbey school, in year 11 - 16 years old. Moved there recently and hasn't got to know anyone, keeps himself to himself.
- Nice person but he hasn't come out of his shell yet, gullable, shy, unconfident however he's quite laid back with people he gets on with, friendly when he's not being shy,
- Brought up by a single mum - they have a good relationship, his dad left when he was three (he never really had a father figure and was always affected by his fathers absence, feeling unwanted - reason for him being alone alot).
- Not religious
- When he's at home he spends majority of his time in his room either watching tv or playing video games.
- Dream : to make something of himself and maybe one day show his dad what he become.
- Weakness - short tempered, been in fights in other schools because he lost his temper with bullies - bullied before as he's seen as a 'loser'.
- Dislikes : bullies, teachers, school, people speaking about his dad, things going wrong,
- Likes: computer games
GENIE
Doesn't have a family or background - just a genie
- Friendly, pretty, attractive, bubbly, generally happy, looks out for people she likes, loves meeting new people,
- Always wondered what life would be like as a human
- Dream : to fall in love
- Always wanted to meet genie from Aladdin!
- Likes : glitter, sparkly things, flowers, shiny and shimmery things, accessories,
- Favourite colour : gold
- Favourite animal : zebra
- Very girly, loves pink and grooming herself and sometimes others...
- She loves being a genie however she never felt complete as one, she has never been fully satisfied with her life but is still content with how it is...
- Weakness : doesnt always speak her mind, she doesn't always voice her opinion and sometimes gets walked over or misses opportunities she wanted.
Photo Storybroad
After producing a hand drawn storyboard the next step in creating a film is to make a photo storyboard. This involves taking cast out to locations and taking still images of the shots that will be filmed, just like the original story board but this time with a digital camera.
We used Zak in some shots as Liam Fitt (Luke) was absent from school the day we needed to do the storyboard. We also had 2 other students to play Genie & Luke as we again, weren't able to meet up with the real cast.
We used Zak in some shots as Liam Fitt (Luke) was absent from school the day we needed to do the storyboard. We also had 2 other students to play Genie & Luke as we again, weren't able to meet up with the real cast.
THE BEG. OF STORYBOARD STARTS FROM THE BOTTOM.
Shot 1: EXT. CU of Lukes feet walking, TRACKING
Shot 2: EXT. CU of Luke playing psp, TRACKING
Shot 3: EXT. MCU of behind Luke, TRACKING
Shot 4: EXT. LS of Luke walking around the corner
Shot 5: EXT. MLS of poster alone at first and then Luke walks into shot and through door
Shot 6: INT. LS of Luke walking down corridor
Shot 7: INT. MLS of Luke walking. He walks out the shot and does a double take
Shot 8: INT. MLS into a MCU - he walks towards camera a step
Shot 9; INT. LS of Luke looking through door
Shot 10: INT. POV. LS of Olivia
Shot 11: INT. LS of Luke at door (brushes himself off)
Shot 12: INT. MS of Luke sitting on stairs playing psp
Shot 13: CU of watch
Shot 14: INT. LS of Olivia coming out of class
Shot 15: INT. MLS of Luke looking and then standing up
Shot 16: INT. MS of Olivia looking at Luke - Oblivious
Shot 17: INT. MS Luke smiles and steps forward
Shot 18: INT. MLS of Olivia turning and walking off
Shot 19: INT. CU of lamp falling on floor
Shot 20: INT. CU of Luke noticing the lamp
Shot 21: INT. CU of Luke reaching out for lamp
Shot 22: INT. MLS of Luke looking at lamp. He then looks up
Shot 23: INT. OTS of Olivia walking far away. Luke hangs his head
Shot 24: INT. MCU "I wish i wasn't such a loser". Luke sits down.
Hear someone say - "Is that an official wish?" He turns his head
Shot 25: INT. TILT of Genie coming down stairs
Shot 26: INT. SIDE. MCU of Luke looking up confused
Shot 27: INT. LS of empty stairs
Shot 28: INT. MCU. 2 SHOT. of Genie saying "Hi im Genie"
Shot 29: INT. MCU of Genie saying "and that's my lamp"
Shot 30: INT. MCU of Luke looking down at lamp and then back up confused
Shot 31: INT. MCU of Genie saying "Im your genie now Luke"
Shot 32: INT. MCU of Luke - "How do you know my name"
Shot 33: INT. LS of Genie getting up [body language shot]
Shot 34: INT. CU of Luke raising his eyebrow
Shot 35: INT. LS/OTS of Genie saying "So why do you think you're such a loser"
Shot 36: INT. MLS. Luke turns around, rolls his eyes and walks off
Shot 37: EXT. LS of Luke walking out of the door
Shot 38: EXT. LS/OTS of Genie running out "Wait wait..."
Shot 39: EXT. MCU of Luke crossing his arms
Shot 40: EXT. MS of Genie clicking fingers and chocolate bar appears
Shot 41: EXT. CU of Luke "Wow..."
SCENE 2
Shot 42: EXT. TRACKING. LS. Luke and Genie talking
Shot 43: EXT. MS. Luke-"so after you..." TRACKING
Shot 44: EXT. MS. Genie-"Yeah enough about me..." TRACKING
Shot 45: EXT. MS. Luke-"Well there's this girl..." TRACKING
Shot 46: EXT. LS. Olivia coming out classroom
Shot 47: EXT. LS. Olivia and Luke bump into each other
Shot 48: EXT. CU of books on floor
Shot 49: EXT. MS. Olivia-"urgh!"
Shot 50: EXT. MS. Genie and Luke - Luke bends down to get books
Shot 51: EXT. MS. Luke gives Olivia the books and she walks away
Shot 52: EXT. MS. Genie points at Olivia confused. Luke-"That's her! Thats Olivia..."
Shot 53: EXT. CU. Genie-"That's the girl you like?! Okay well..."
Shot 54: EXT. CU of Luke confused
SCENE 3
Shot 55: INT. PAN OF BEDROOM.
Shot 56: INT. MS of Luke and Genie
Shot 57: INT. CU of Genie using scissors
Shot 58: INT. CU of Genie shaking bottle
Shot 59: INT. CU of Genie getting out gel
Shot 60: INT. LS. Luke coming out wearing outfit #1
Shot 61: INT. CU of Genie shaking her head
Shot 62: NT. LS. Luke coming out wearing outfit #2
Shot 63: INT. MCU of Genie not sure
Shot 64: INT. MS of Genie looking up and smiling
Shot 65: INT. LS of door opening
Shot 66: INT. TILT of Luke
Shot 67: INT. MLS of Genie and Luke playing psp
Shot 68: INT. CU of psp
Shot 69: INT. MLS of Luke and Genie laughing on bed
Shot 70: INT. CU. Genie-"wow you look great"
Shot 71: INT. SIDE. LS. Luke-"really you think..."
Shot 72: INT. CU. Genie-"She'd be mad not to..."
SCENE 4
Shot 73: INT. MS of Genie brushing Luke's shoulders
Shot 74: INT. SLIGHT PAN. LS. Olivia walking past
Shot 75: INT. LS. Luke starting to walk
Shot 76: INT. CU. Genie sad
Shot 77: INT. OTS. Luke approaching Olivia. Luke-"Olivia..."
Shot 78: INT. MCU. Olivia turns around
Shot 79: INT. CU. Luke-"I erm..."
Shot 80: INT. MS. Olivia looks down - "what's that?"
Shot 81: INT. CU of psp
Shot 82: INT. MS. Luke- "it's my psp, you wanna play?"
Shot 83: INT. MS. Olivia-"erm no..."
Shot 84: INT. LS of everyone
Shot 85: INT. MS. Luke-"You know what i gotta..."
Shot 86: INT. CU. Olivia-"erm whatever"
Shot 87: INT. LS. SIDE. Luke-"Genie i'm ready to..."
Shot 88: INT. LS. Genie stands. "Oh are you sure..."
Shot 89: INT. MS. Luke-"No No..."
Shot 90: INT. MCU of Genie ready to make wish- sad
Shot 100: INT. CU of Genie's ear and Luke's mouth. "I wish you weren't a genie..."
Shot 101: INT. CU of Genie looking up at him
Shot 102: INT. CU of Luke smiling
SCENE 5.
Shot 103: INT. MLS of Luke sitting at desk
Shot 104: INT. TILT of Genie
Shot 105: INT. MS of Genie and Luke sitting together
Shot 1: EXT. CU of Lukes feet walking, TRACKING
Shot 2: EXT. CU of Luke playing psp, TRACKING
Shot 3: EXT. MCU of behind Luke, TRACKING
Shot 4: EXT. LS of Luke walking around the corner
Shot 5: EXT. MLS of poster alone at first and then Luke walks into shot and through door
Shot 6: INT. LS of Luke walking down corridor
Shot 7: INT. MLS of Luke walking. He walks out the shot and does a double take
Shot 8: INT. MLS into a MCU - he walks towards camera a step
Shot 9; INT. LS of Luke looking through door
Shot 10: INT. POV. LS of Olivia
Shot 11: INT. LS of Luke at door (brushes himself off)
Shot 12: INT. MS of Luke sitting on stairs playing psp
Shot 13: CU of watch
Shot 14: INT. LS of Olivia coming out of class
Shot 15: INT. MLS of Luke looking and then standing up
Shot 16: INT. MS of Olivia looking at Luke - Oblivious
Shot 17: INT. MS Luke smiles and steps forward
Shot 18: INT. MLS of Olivia turning and walking off
Shot 19: INT. CU of lamp falling on floor
Shot 20: INT. CU of Luke noticing the lamp
Shot 21: INT. CU of Luke reaching out for lamp
Shot 22: INT. MLS of Luke looking at lamp. He then looks up
Shot 23: INT. OTS of Olivia walking far away. Luke hangs his head
Shot 24: INT. MCU "I wish i wasn't such a loser". Luke sits down.
Hear someone say - "Is that an official wish?" He turns his head
Shot 25: INT. TILT of Genie coming down stairs
Shot 26: INT. SIDE. MCU of Luke looking up confused
Shot 27: INT. LS of empty stairs
Shot 28: INT. MCU. 2 SHOT. of Genie saying "Hi im Genie"
Shot 29: INT. MCU of Genie saying "and that's my lamp"
Shot 30: INT. MCU of Luke looking down at lamp and then back up confused
Shot 31: INT. MCU of Genie saying "Im your genie now Luke"
Shot 32: INT. MCU of Luke - "How do you know my name"
Shot 33: INT. LS of Genie getting up [body language shot]
Shot 34: INT. CU of Luke raising his eyebrow
Shot 35: INT. LS/OTS of Genie saying "So why do you think you're such a loser"
Shot 36: INT. MLS. Luke turns around, rolls his eyes and walks off
Shot 37: EXT. LS of Luke walking out of the door
Shot 38: EXT. LS/OTS of Genie running out "Wait wait..."
Shot 39: EXT. MCU of Luke crossing his arms
Shot 40: EXT. MS of Genie clicking fingers and chocolate bar appears
Shot 41: EXT. CU of Luke "Wow..."
SCENE 2
Shot 42: EXT. TRACKING. LS. Luke and Genie talking
Shot 43: EXT. MS. Luke-"so after you..." TRACKING
Shot 44: EXT. MS. Genie-"Yeah enough about me..." TRACKING
Shot 45: EXT. MS. Luke-"Well there's this girl..." TRACKING
Shot 46: EXT. LS. Olivia coming out classroom
Shot 47: EXT. LS. Olivia and Luke bump into each other
Shot 48: EXT. CU of books on floor
Shot 49: EXT. MS. Olivia-"urgh!"
Shot 50: EXT. MS. Genie and Luke - Luke bends down to get books
Shot 51: EXT. MS. Luke gives Olivia the books and she walks away
Shot 52: EXT. MS. Genie points at Olivia confused. Luke-"That's her! Thats Olivia..."
Shot 53: EXT. CU. Genie-"That's the girl you like?! Okay well..."
Shot 54: EXT. CU of Luke confused
SCENE 3
Shot 55: INT. PAN OF BEDROOM.
Shot 56: INT. MS of Luke and Genie
Shot 57: INT. CU of Genie using scissors
Shot 58: INT. CU of Genie shaking bottle
Shot 59: INT. CU of Genie getting out gel
Shot 60: INT. LS. Luke coming out wearing outfit #1
Shot 61: INT. CU of Genie shaking her head
Shot 62: NT. LS. Luke coming out wearing outfit #2
Shot 63: INT. MCU of Genie not sure
Shot 64: INT. MS of Genie looking up and smiling
Shot 65: INT. LS of door opening
Shot 66: INT. TILT of Luke
Shot 67: INT. MLS of Genie and Luke playing psp
Shot 68: INT. CU of psp
Shot 69: INT. MLS of Luke and Genie laughing on bed
Shot 70: INT. CU. Genie-"wow you look great"
Shot 71: INT. SIDE. LS. Luke-"really you think..."
Shot 72: INT. CU. Genie-"She'd be mad not to..."
SCENE 4
Shot 73: INT. MS of Genie brushing Luke's shoulders
Shot 74: INT. SLIGHT PAN. LS. Olivia walking past
Shot 75: INT. LS. Luke starting to walk
Shot 76: INT. CU. Genie sad
Shot 77: INT. OTS. Luke approaching Olivia. Luke-"Olivia..."
Shot 78: INT. MCU. Olivia turns around
Shot 79: INT. CU. Luke-"I erm..."
Shot 80: INT. MS. Olivia looks down - "what's that?"
Shot 81: INT. CU of psp
Shot 82: INT. MS. Luke- "it's my psp, you wanna play?"
Shot 83: INT. MS. Olivia-"erm no..."
Shot 84: INT. LS of everyone
Shot 85: INT. MS. Luke-"You know what i gotta..."
Shot 86: INT. CU. Olivia-"erm whatever"
Shot 87: INT. LS. SIDE. Luke-"Genie i'm ready to..."
Shot 88: INT. LS. Genie stands. "Oh are you sure..."
Shot 89: INT. MS. Luke-"No No..."
Shot 90: INT. MCU of Genie ready to make wish- sad
Shot 100: INT. CU of Genie's ear and Luke's mouth. "I wish you weren't a genie..."
Shot 101: INT. CU of Genie looking up at him
Shot 102: INT. CU of Luke smiling
SCENE 5.
Shot 103: INT. MLS of Luke sitting at desk
Shot 104: INT. TILT of Genie
Shot 105: INT. MS of Genie and Luke sitting together
Costume:
They will all need a slight change of costume to show passing of time... perhaps just the top half as there shouldn't be too many long shots
- Genie costume - belly chain, trousers, shoes, top, headband,
- Quite 'uncool' clothes for Luke at the beginning
- Very smart, unqiue clothes for Olivia
- 'Cool' costume for after Luke's makeover
- Smarter clothes for Genie when she becomes a student
props:
- Gold lamp
- Glasses
- PSP
- Hair gel
- Scissors
-School bags
- chocolate bar
- books
We've got our cast's timetable so we are aware of where they'll be if we need to contact them about rehearsals or filming details and also so we can inform all of their subject teachers of their absence
They will all need a slight change of costume to show passing of time... perhaps just the top half as there shouldn't be too many long shots
- Genie costume - belly chain, trousers, shoes, top, headband,
- Quite 'uncool' clothes for Luke at the beginning
- Very smart, unqiue clothes for Olivia
- 'Cool' costume for after Luke's makeover
- Smarter clothes for Genie when she becomes a student
props:
- Gold lamp
- Glasses
- PSP
- Hair gel
- Scissors
-School bags
- chocolate bar
- books
We've got our cast's timetable so we are aware of where they'll be if we need to contact them about rehearsals or filming details and also so we can inform all of their subject teachers of their absence
cinematography
Cinematography
What is cinematography?
1 The art of lighting and camera choices/positioning when recording photographic images for the cinema. It’s closely linked to still photography. A cinematographer is the person who sets up the camera and lighting for each shot. They have a big influence on how the tone or look of a shot is to be shown –they are sometimes known as the director.
Kieslowski – three colours
2 As you can see in the above, Kielslowski, a Polish director and screenwriter, talks about the use of Cinematography in his film “Three Colours”. We acknowledge the reason why he uses the colours of the French flag as themes. He goes on to talk about the close-up of Juliet, dipping the sugar cube into her tea and the significance of it, was to show a heroines world from her point of view – her feelings on her wanting to be in a smaller world. He also goes on to say , that to get the perfect shot and to create that feeling the pace and timing have to be spot on, therefore taking a lot of preparation. Cinematography in this shot creates and shows the audience that this shot is somehow important.
Christopher – master class on cin.
Doyle talks about the use of camera and lighting working together in a form of space. His says in his world, space can be formed by lighting order to create cinematography. He also states that mise-en-scene also helps to create a story. He gives an example of a sense of a loss on a wall - saying it's just a wall without lighting but if we were to add lighting to this wall - it goes up a level of creating that loss, additional to the camera. It all works together. He goes on to say Camera movements are a dance between actors and the camera shots basically meaning that actions of the actors and camera movements have to flow and link together. The dance is what really engages people and how it works. He talks about the colours of lighting and how they suggest certain emotions- it's like an under painting - like art. We have to think about issues with your audience, themes, and setting e.g. asain women's issues with having lighter skin. All theses issues and methods have made us think about how we need to portray our film through cinematography.
- Gordon Willis talks about godfather.
Willis kind of goes against traditional views of cinematography. He sees it in a different way. He does things that have never been done or seen before. For example, he form of lighting – he talks about making the person work with the film. Deliberately making the light dim so that characters are hardly seen, creating a sense of unknowing. He made an art of under exposure. He made a trend of using yellow/ reddy lighting look in his films giving a brassy feeling. He claims it’s not one thing that you do from a visual point of view that makes things work- everything has to be right. Lighting has to communicate with mise-en-scene, camera and the action happening. This is exactly what we have to take on broad with our film to get the best outcome.
What is cinematography?
1 The art of lighting and camera choices/positioning when recording photographic images for the cinema. It’s closely linked to still photography. A cinematographer is the person who sets up the camera and lighting for each shot. They have a big influence on how the tone or look of a shot is to be shown –they are sometimes known as the director.
Kieslowski – three colours
2 As you can see in the above, Kielslowski, a Polish director and screenwriter, talks about the use of Cinematography in his film “Three Colours”. We acknowledge the reason why he uses the colours of the French flag as themes. He goes on to talk about the close-up of Juliet, dipping the sugar cube into her tea and the significance of it, was to show a heroines world from her point of view – her feelings on her wanting to be in a smaller world. He also goes on to say , that to get the perfect shot and to create that feeling the pace and timing have to be spot on, therefore taking a lot of preparation. Cinematography in this shot creates and shows the audience that this shot is somehow important.
Christopher – master class on cin.
Doyle talks about the use of camera and lighting working together in a form of space. His says in his world, space can be formed by lighting order to create cinematography. He also states that mise-en-scene also helps to create a story. He gives an example of a sense of a loss on a wall - saying it's just a wall without lighting but if we were to add lighting to this wall - it goes up a level of creating that loss, additional to the camera. It all works together. He goes on to say Camera movements are a dance between actors and the camera shots basically meaning that actions of the actors and camera movements have to flow and link together. The dance is what really engages people and how it works. He talks about the colours of lighting and how they suggest certain emotions- it's like an under painting - like art. We have to think about issues with your audience, themes, and setting e.g. asain women's issues with having lighter skin. All theses issues and methods have made us think about how we need to portray our film through cinematography.
- Gordon Willis talks about godfather.
Willis kind of goes against traditional views of cinematography. He sees it in a different way. He does things that have never been done or seen before. For example, he form of lighting – he talks about making the person work with the film. Deliberately making the light dim so that characters are hardly seen, creating a sense of unknowing. He made an art of under exposure. He made a trend of using yellow/ reddy lighting look in his films giving a brassy feeling. He claims it’s not one thing that you do from a visual point of view that makes things work- everything has to be right. Lighting has to communicate with mise-en-scene, camera and the action happening. This is exactly what we have to take on broad with our film to get the best outcome.
POSTER 3 STAGE 1
FEEDBACK:
- The lamp might need to be slightly bigger - it's not very noticeable
- The credit block works well on this poster
- The glitter and effects look really good and reflect the 'genie' theme
- It looks a bit like Bride and Prejudice
- It's "cute"
- Like the background - even though it's not used on every poster it still works with the background of the film
- The picture of Luke and Genie looks cute and automatically shows they have a relationship
- The blue and yellow background looks really nice and the blue compliments the colour of her top and emphasises the colour
- The 3 posters have a clear housestyle!
POSTER 2
Usually film's use more than one poster to advertise and promote their film. The different posters are meant to target various audiences to the film, for example from my Rush Hour 3 task you can see the film used more than one poster to attract different people.
FEEDBACK FOR FINAL POSTER
FEEDBACK:
- The initial reaction from the audience was "That looks really good!"
- People said the polaroid pictures work really well and they suit the context of the film
- Keeping the pink and yellow background creates a housestyle
- The glitter works well to advertise the magical aspect of the film
- He looks like a "proper loser" - his character is defined well through the image
- You can clearly see it's a poster for the same film [as the first poster]
There were no suggestions for improvement - people immediately took a good reaction to this poster
- The initial reaction from the audience was "That looks really good!"
- People said the polaroid pictures work really well and they suit the context of the film
- Keeping the pink and yellow background creates a housestyle
- The glitter works well to advertise the magical aspect of the film
- He looks like a "proper loser" - his character is defined well through the image
- You can clearly see it's a poster for the same film [as the first poster]
There were no suggestions for improvement - people immediately took a good reaction to this poster
POSTER 1 STAGE 3
FEEDBACK:
we got feedback from our class and they suggested these following points:
· the YGZ Productions was in the wrong place (didn't suit where it was positioned). they sugesssted that we put it at the bottom. we came to a conclusion to take it out as it wasn't really needed and it looked much better.
· they liked the sparkles, glitter and the way the smoke comes out the lamp, on the poster and found it really went well with the genre of the film.
· they suggested that we look at other posters from our genre to see what other ideas we could get for our two other posters.
· We need to think about the layout of the "U" and the names at the bottom with the credit block - play around with the postioning or just take out the names of the characters as people felt it wasn't needed and too much was going on on the page.
· to make the dull hair band stand out, why not make it glitery.
· the tagline is a bit too big why not play around with the size.
DEVELOPMENTAL STAGE OF POSTER 1 STAGE 1
FEEDBACK FOR THIS POSTER
- The writing coming out of the lamp looks good and works well but it needs glitter or smoke coming out to connect it and make it look better
- There were debates on whether the genie should be as big as she is but after discussing it I was told that she should be the size she is
- There were suggestions about changing the colour of her headband and eyes...
- I was also told that Olivia shouldn't be on this poster and use this poster for just Luke and Genie
- There needs to be more glitter and stars to reflect the magical element of the film
- Maybe Luke should be in his 'geek' state otherwise it 'gives away the film' - however this was debated and it didn't give away the film exactly but some people thought it might be better to use him with glasses etc...
- Put a filter on the genie to show she is the genie (use glitter perhaps etc). She needs to be 'sparkly'.
- The font is effective and it's the right font for the poster
FILM POSTER DISCUSSION
Within our groups we were asked to discuss what we plan to do for our film poster...
However we weren't asked to think about who we wanted on the poster or what objects or colours we wanted to include, we were told to consider what themes our film had, feelings we wanted to express and the messages behind it all. So we brainstormed our ideas...
Themes
- love
- friendship
- magic
- fantasy
Feelings and emotions we wanted our poster express
- Uplifting
- Easy on the mind
- A young love story
- 'Brightens up the day'
- "Awww"
- Happy film
- Simplistic to an extent - target audience of youngsters
Messages
- You don't always get what you think you want
- Be careful what you wish for
- Make your choices wisely
- You can be whoever you want to be
Thursday 5th November - Class discussions
Today we presented our ideas to our class who then gave us feedback on how they pictured our poster and what we could include. Considering they are our audience it was essential that we got their opinions because we need to give them what THEY want. So as each group explained what they wanted their poster to show or express everyone else closed their eyes and imagined the poster in their own way, then afterwards they fed back to the group.
So for our poster we told them what we were trying to achieve and these are the ideas they imagined....
However we weren't asked to think about who we wanted on the poster or what objects or colours we wanted to include, we were told to consider what themes our film had, feelings we wanted to express and the messages behind it all. So we brainstormed our ideas...
Themes
- love
- friendship
- magic
- fantasy
Feelings and emotions we wanted our poster express
- Uplifting
- Easy on the mind
- A young love story
- 'Brightens up the day'
- "Awww"
- Happy film
- Simplistic to an extent - target audience of youngsters
Messages
- You don't always get what you think you want
- Be careful what you wish for
- Make your choices wisely
- You can be whoever you want to be
Thursday 5th November - Class discussions
Today we presented our ideas to our class who then gave us feedback on how they pictured our poster and what we could include. Considering they are our audience it was essential that we got their opinions because we need to give them what THEY want. So as each group explained what they wanted their poster to show or express everyone else closed their eyes and imagined the poster in their own way, then afterwards they fed back to the group.
So for our poster we told them what we were trying to achieve and these are the ideas they imagined....
Sunday 13 December 2009
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