The majority of the items on the two lists are covered in the timetable. Copy this to your blog and cross them off as you complete them.
Video
1. Juno opening titles swede
2. Analysis of film opening from Youtube
3. Analysis of student opening
4. Prelim task and evaluation
5. 25 word pitch
6. Make a company logo and Ident
7. Nine frames moodboard sheet
8. Titles timeline from art of the Title
9. Storyboard and animatic
10. Recce shots and photos on the shoot
11. Screengrabs throughout editing
12. Rough cut for feedback
Print
1. re-make a cover with your own pictures
2. analyse the relevant four pages from different magazines
3. analyse some student magazines
4. prelim task and evaluation
5. pitch your new magazine within the market
6. make your banner
7. magazine moodboard
8. breakdown of institutional features
9. flatplan and photo-flatplan
10. recce shots and rehearsal shots; photos of group in action
11. Screengrabs throughout of photoshop and DTP
12. Draft version for feedback
Wednesday, 16 December 2009
Tuesday, 15 December 2009
Film title sequences
A selection of film title sequences that i've compiled on YouTube to help with inspiration. They are not choices you would necessarily gravitate towards, however they should provide an enlightening alternative to the many sequences you may have already viewed. Click on image above to access the playlist(you will need to sign in to youtube - you can use your google account login details - then click on playlists and the icon on the top right)
Magazine covers-flatplans
Examples of a flatplan and other very interesting ideas to help you with the creation of a magazine cover, contents page and indeed, a double page spread. It is worth attempting to find similar sites yourselves to gain insight from the pov of other media creative types.
Brainstorming app.
Courtesy of Hannah Skidmore. A pretty decent looking app. to add some interest to those brainstorming sessions you are no doubt contemplating. Click on image above.
Magazine terms glossary
Click on the picture of Zac Efron to find a rather useful magazine terms glossary. For those of you attempting to create your own magazine covers this is essential reading.
Monday, 14 December 2009
Thursday, 10 December 2009
Year 12 coursework
Unit 1 G321: Foundation Portfolio in Media (worth 50% of the marks available at AS)
The Foundation Portfolio is a Coursework Unit, consisting of either 2 video productions or 2 Photoshop constructions and an online blog. The first video piece will be a short sequence produced to demonstrate basic technical ability and understanding of continuity technique. The second is a fully developed production produced to demonstrate skill development, consisting of the first 2 minutes of a fiction film, based on an original idea developed by the students. The first Photoshop element will be a cover and contents page for a school magazine. The second is a front cover, contents page and double page spread for a music magazine. All images and text must be original. The students will work in groups but will be assessed individually on their work in the following stages:
*Pre-production: research, planning, development of ideas, scripting, storyboarding, magazine mock-ups, layouts,colour schemes
*Production: shooting, lighting, working with sets, actors and scripts,photography,working with models
*Post-production: editing, special and sound effects, music,photoshop effects,applying text
Evidence for the different stages will be presented via an online blog. Students will be expected to evaluate the finished film production according to specific theoretical criteria and this will also be presented through the blog.
Assessment: Marking is out of 100 (20 marks for research + planning, 60 marks for practical work, 20 marks for the evaluation).
The Foundation Portfolio is a Coursework Unit, consisting of either 2 video productions or 2 Photoshop constructions and an online blog. The first video piece will be a short sequence produced to demonstrate basic technical ability and understanding of continuity technique. The second is a fully developed production produced to demonstrate skill development, consisting of the first 2 minutes of a fiction film, based on an original idea developed by the students. The first Photoshop element will be a cover and contents page for a school magazine. The second is a front cover, contents page and double page spread for a music magazine. All images and text must be original. The students will work in groups but will be assessed individually on their work in the following stages:
*Pre-production: research, planning, development of ideas, scripting, storyboarding, magazine mock-ups, layouts,colour schemes
*Production: shooting, lighting, working with sets, actors and scripts,photography,working with models
*Post-production: editing, special and sound effects, music,photoshop effects,applying text
Evidence for the different stages will be presented via an online blog. Students will be expected to evaluate the finished film production according to specific theoretical criteria and this will also be presented through the blog.
Assessment: Marking is out of 100 (20 marks for research + planning, 60 marks for practical work, 20 marks for the evaluation).
Wednesday, 9 December 2009
Wednesday, 2 December 2009
Example AS Blog
THIS is an example of an excellent AS blog. If you look at the range of technology employed you'll notice that we are encouraging you to do more than these students have. What technology can't do however is hide any lack of effort or knowledge. Planning (aka preproduction) is essential, you cannot take short cuts or assume it will all turn out fine in the end. Nothing has been left to chance, they check weather forecasts, create animatics, analyse other film openings, recreate other film openings, describe their target audience by creating profiles, produce rough cuts of their film and get feedback from their peers which informs future decisions, spend 12 HOURS filming in one day, work in their spare time over half term. I could go on.
There is no excuse for not having an exemplary blog, this is one area where all students can achieve top grades and where time is not an issue. EVERY member of TEAM FORD is expected to have a C grade blog at worst.
Finally this blog also demonstrates how all areas of the course are intertwined, their practical is clearly based on representation issues (specifically youth) as well as some of the theory you have covered (narrative).
This post originally appeared in Mr Smith's blog.
There is no excuse for not having an exemplary blog, this is one area where all students can achieve top grades and where time is not an issue. EVERY member of TEAM FORD is expected to have a C grade blog at worst.
Finally this blog also demonstrates how all areas of the course are intertwined, their practical is clearly based on representation issues (specifically youth) as well as some of the theory you have covered (narrative).
This post originally appeared in Mr Smith's blog.
Inspiration-Colour and Visuals
Colour Lovers is a very interesting site that will help you with colour ideas. Have a look at the palettes on display and post some in your blog as inspiration for your own colour choices. It is really important that you make informed decisions about colour, don't just leave it to chance.
Creative Review is a brilliant website that will help you with your visual ideas. It is worth taking the time to explore it fully. As i showed you with the Guinness Surfer presentation, inspiration can come from unlikely sources.
Click on logos to go to websites (also see link list).
The Flaming Lips-Do You Realize??
This song stands as one of my favourites because of the contrast between the upbeat, optimistic nature of the music and the startling lyrics that highlight how insignificant we are. To be reminded that everyone we know will one day die (which is obvious, but not something we would like to spend too much time contemplating) in such a way makes me realize how short and precious life is and reminds me to focus on the good things.
Do You Realize - that you have the most beautiful face
Do You Realize - we're floating in space -
Do You Realize - that happiness makes you cry
Do You Realize - that everyone you know someday will die
And instead of saying all of your goodbyes - let them know
You realize that life goes fast
It's hard to make the good things last
You realize the sun doesn't go down
It's just an illusion caused by the world spinning round
Do You Realize - Oh - Oh - Oh
Do You Realize - that everyone you know
Someday will die -
And instead of saying all of your goodbyes - let them know
You realize that life goes fast
It's hard to make the good things last
You realize the sun doesn't go down
It's just an illusion caused by the world spinning round
Do You Realize - that you have the most beautiful face
Do You Realize
Do You Realize - that you have the most beautiful face
Do You Realize - we're floating in space -
Do You Realize - that happiness makes you cry
Do You Realize - that everyone you know someday will die
And instead of saying all of your goodbyes - let them know
You realize that life goes fast
It's hard to make the good things last
You realize the sun doesn't go down
It's just an illusion caused by the world spinning round
Do You Realize - Oh - Oh - Oh
Do You Realize - that everyone you know
Someday will die -
And instead of saying all of your goodbyes - let them know
You realize that life goes fast
It's hard to make the good things last
You realize the sun doesn't go down
It's just an illusion caused by the world spinning round
Do You Realize - that you have the most beautiful face
Do You Realize
Tuesday, 1 December 2009
The End of Music
By GLENN BRANCA
We seem to be on the edge of a paradigm shift. Orchestras are struggling to stay alive, rock has been relegated to the underground, jazz has stopped evolving and become a dead art, the music industry itself has been subsumed by corporate culture and composers are at their wit’s end trying to find something that’s hip but still appeals to an audience mired in a 19th-century sensibility.
For more than half a century we’ve seen incredible advances in sound technology but very little if any advance in the quality of music. In this case the paradigm shift may not be a shift but a dead stop. Is it that people just don’t want to hear anything new? Or is it that composers and musicians have simply swallowed the pomo line that nothing else new can be done, which ironically is really just the “old, old story.”
Certainly music itself is not dead. We’ll continue to hear something approximating it blaring in shopping malls, fast food stops, clothing stores and wherever else it will mesmerize the consumer into excitedly pulling out their credit card or debit card or whatever might be coming.
There’s no question that in music, like politics, the bigger the audience gets the more the “message” has to be watered down. Muzak’s been around for a long time now but maybe people just can’t tell the difference anymore. Maybe even the composers and songwriters can’t tell the difference either. Especially when it’s paying for a beach house in Malibu and a condo in New York.
Of course, we could all just listen to all of our old albums, CD’s and mp3’s. In fact, nowadays that’s where the industry makes most of its money. We could also just watch old movies and old TV shows. There are a lot of them now. Why bother making any new ones? Why bother doing anything new at all? Why bother having any change or progress at all as long as we’ve got “growth”? I’m just wondering if this is in fact the new paradigm. I’m just wondering if in fact the new music is just the old music again. And, if that in fact it would actually just be the end of music.
New York Times
We seem to be on the edge of a paradigm shift. Orchestras are struggling to stay alive, rock has been relegated to the underground, jazz has stopped evolving and become a dead art, the music industry itself has been subsumed by corporate culture and composers are at their wit’s end trying to find something that’s hip but still appeals to an audience mired in a 19th-century sensibility.
For more than half a century we’ve seen incredible advances in sound technology but very little if any advance in the quality of music. In this case the paradigm shift may not be a shift but a dead stop. Is it that people just don’t want to hear anything new? Or is it that composers and musicians have simply swallowed the pomo line that nothing else new can be done, which ironically is really just the “old, old story.”
Certainly music itself is not dead. We’ll continue to hear something approximating it blaring in shopping malls, fast food stops, clothing stores and wherever else it will mesmerize the consumer into excitedly pulling out their credit card or debit card or whatever might be coming.
There’s no question that in music, like politics, the bigger the audience gets the more the “message” has to be watered down. Muzak’s been around for a long time now but maybe people just can’t tell the difference anymore. Maybe even the composers and songwriters can’t tell the difference either. Especially when it’s paying for a beach house in Malibu and a condo in New York.
Of course, we could all just listen to all of our old albums, CD’s and mp3’s. In fact, nowadays that’s where the industry makes most of its money. We could also just watch old movies and old TV shows. There are a lot of them now. Why bother making any new ones? Why bother doing anything new at all? Why bother having any change or progress at all as long as we’ve got “growth”? I’m just wondering if this is in fact the new paradigm. I’m just wondering if in fact the new music is just the old music again. And, if that in fact it would actually just be the end of music.
New York Times
The death of uncool
Brian Eno — 25th November 2009
It’s odd to think back on the time—not so long ago—when there were distinct stylistic trends, such as “this season’s colour” or “abstract expressionism” or “psychedelic music.” It seems we don’t think like that any more. There are just too many styles around, and they keep mutating too fast to assume that kind of dominance.
As an example, go into a record shop and look at the dividers used to separate music into different categories. There used to be about a dozen: rock, jazz, ethnic, and so on. Now there are almost as many dividers as there are records, and they keep proliferating. The category I had a hand in starting—ambient music—has split into a host of subcategories called things like “black ambient,” “ambient dub,” “ambient industrial,” “organic ambient” and 20 others last time I looked. A similar bifurcation has been happening in every other living musical genre (except for “classical” which remains, so far, simply “classical”), and it’s going on in painting, sculpture, cinema and dance.
We’re living in a stylistic tropics. There’s a whole generation of people able to access almost anything from almost anywhere, and they don’t have the same localised stylistic sense that my generation grew up with. It’s all alive, all “now,” in an ever-expanding present, be it Hildegard of Bingen or a Bollywood soundtrack. The idea that something is uncool because it’s old or foreign has left the collective consciousness.
I think this is good news. As people become increasingly comfortable with drawing their culture from a rich range of sources—cherry-picking whatever makes sense to them—it becomes more natural to do the same thing with their social, political and other cultural ideas. The sharing of art is a precursor to the sharing of other human experiences, for what is pleasurable in art becomes thinkable in life.
This article first appeared in the December edition of Prospect magazine
It’s odd to think back on the time—not so long ago—when there were distinct stylistic trends, such as “this season’s colour” or “abstract expressionism” or “psychedelic music.” It seems we don’t think like that any more. There are just too many styles around, and they keep mutating too fast to assume that kind of dominance.
As an example, go into a record shop and look at the dividers used to separate music into different categories. There used to be about a dozen: rock, jazz, ethnic, and so on. Now there are almost as many dividers as there are records, and they keep proliferating. The category I had a hand in starting—ambient music—has split into a host of subcategories called things like “black ambient,” “ambient dub,” “ambient industrial,” “organic ambient” and 20 others last time I looked. A similar bifurcation has been happening in every other living musical genre (except for “classical” which remains, so far, simply “classical”), and it’s going on in painting, sculpture, cinema and dance.
We’re living in a stylistic tropics. There’s a whole generation of people able to access almost anything from almost anywhere, and they don’t have the same localised stylistic sense that my generation grew up with. It’s all alive, all “now,” in an ever-expanding present, be it Hildegard of Bingen or a Bollywood soundtrack. The idea that something is uncool because it’s old or foreign has left the collective consciousness.
I think this is good news. As people become increasingly comfortable with drawing their culture from a rich range of sources—cherry-picking whatever makes sense to them—it becomes more natural to do the same thing with their social, political and other cultural ideas. The sharing of art is a precursor to the sharing of other human experiences, for what is pleasurable in art becomes thinkable in life.
This article first appeared in the December edition of Prospect magazine
Dangermouse-Encore
The Black Album and The White Album mixed equals The Grey Album (mixed by Dangermouse of Gnarls Barkley fame). The video is an unofficial mash up of The Beatles and Jay-Z.
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