Beruflich Dokumente
Kultur Dokumente
You need to provide an aims and context for your 'Creative Project' at A2 (FM3) which outlines the techniques and approaches that will be employed in your production. For assessment purposes a series of bullet points on a coversheet highlighting the following is sufficient: genre of film (or equivalent - type/form/movement) film/script/step outline whether its a short film or extract (and if so, whether its opening, climactic sequences etc.) target audience - arthouse/film festival/mainstream key stylistic elements of sequence (cinematography, editing etc.) Candidates may refer to film issues raised during their studies at AS. if working in a group (moving image only) state role in the production: Director/Camera Operator/Editor etc. The example below gives a hypothetical example and includes reference to film issues raised during AS & A2 studies. Example: 1. 'Farewell my Maltese Lady from Shanghai' - film/video production 2. Crime/Thriller short. 3. Target audience of 15-year-old, middle-class males, knowledgeable about film. 4. Suitable for Art House and Film Festival audiences 5. Apply cinematography techniques developed for thrillers. a. Explore codes and conventions of genre b. Develop the stylistic features explored in films such as 6. As director, try out directing techniques (from directors such as ) Guidance notes from WJEC: http://www.wjec.co.uk/index.php?subject=54&level=21&list=docs&docCatI D=24
have used a more effective structure or varied techniques? Did your audience find it difficult to follow or understand. Discussion of the appropriateness of the characters used and whether your choices could have been better. How would an audience respond to them? Discussion of the plot and how well your own initial ideas turned out. What improvements could you have made? What was your role in the team and what do you consider the strengths and weaknesses are of the aspect of work you produced. Remember to consider the target audience for the genre of film you have worked within. How would they respond to your ideas?
Q. What is the breakdown of marks for the Creative Project? Creative Work documentary step outline, screenwriting or video making (45 marks) Reflective Analysis a continuous piece of writing or a blog or other similar web based format or a dvd commentary (15 marks) Q. A statement of Aims and Context is compulsory but not assessed can you explain? For whichever Creative Project option that is chosen, it is vital that the student has a clear sense of their aims and the context(s) out of which the work emerged. Form FM3a (page 51 of the 2009 Specification) has space for the
very brief outline of this information. As the Specification makes clear: the aims and context must be completed on the appropriate cover sheet, other wise the Creative project and accompanying Reflective Analysis cannot be adequately assessed. (page 19, 2009 Specification). Without knowing what the work set out to achieve, it is impossible to reach an understanding of whether it was successful in meeting its aims.
Terminology
Editing Terminology Transition (how a shot goes from one-to-another) Continuity editing (one of the most common forms of editing, continuity devices are used to make the edit appear smooth so as not to distract the viewer from the narrative) Axis match (the angle of the camera remains the same from shot to shot) Cross cut/Parallel cut (editing that alternates between two or more scenes happening at the same time) Direction match (the direction of a person or object is consistent across the cut) Dissolve (shot A gradually fades and is replaced with shot B with a momentary superimposition of both shots) Duration and pacing (the length and rhythm of shots) Long take (shot that continues for a long time - could be a tracking shot that follows characters or could just be a shot that doesn't end for over 40 seconds) Eye-line match (a cut where characters appear to look at each other because of the direction of their glances). Fade-in (a gradual lightening of the image from black to light) Fade-out (gradual darkening of image to black) Movement match (action begun in one shot is continued/completed in the next) Wipe (one image replaced with another - usually vertically but can take other shapes) CGI (computer generated images) Slow motion/fast motion (images slowed down or speed up)
Sound Terminology DIEGETIC- any sound, voice or piece of music that comes from within the world of the narrative. NON DIEGETIC- sounds that are not in the film but are added later e.g. sound effects DIALOGUE- the words that are spoken on screen. SOUND BRIDGES Often the sound from one scene will continue into or over the next scene PARALLEL SOUND as, as the name suggests, the music tone and mood matches (hence parallel) the action on screen. CONTRAPUNTAL SOUND- where the music tone and mood do not match the action seen on screen e.g. Jaws happy images of children on the beach but a dark, sinister sound being played dur dur A LEITMOTIF is a musical term referring to a 'short, constantly recurring musical phrase associated with a particular person, place, or idea for example: the recurring music when Indiana Jones comes to the rescue. INSTRUMENTAL- the sounds played by an orchestra without lyrics. SOUNDTRACK- A recording of the musical accompaniment to a movie.
Cinematography (Camera work terminology): Camera movement DOLLY - The camera is mounted on a cart which travels along tracks for a very smooth movement. DOLLY ZOOM - A technique in which the camera moves closer or further from the subject while simultaneously adjusting the zoom angle to keep the subject the same size in the frame. PAN - Horizontal movement, left and right. TILT - Vertical movement of the camera angle, i.e. pointing the camera up and down. TRACKING - Roughly synonymous with the dolly shot, but often defined more specifically as movement which stays a constant distance from the action, especially side-to-side movement. ZOOM - Technically this isn't a camera move, but a change in the lens focal length with gives the illusion of moving the camera closer or further away. ARC - Camera moves around a 180 or 360 degree point. Camera shots EWS (Extreme Wide Shot)-The view is so far from the subject that he isn't even visible. Often used as an establishing shot. WS (Wide Shot)-The subject takes up the full frame, or at least as much as comfortably possible.AKA: long shot, full shot. MS (Mid Shot)-Shows some part of the subject in more detail while still giving an impression of the whole subject. MCU (Medium Close Up) -Half way between a MS and a CU CU (Close Up)-A certain feature or part of the subject takes up the whole frame. ECU (Extreme Close Up)-The ECU gets right in and shows extreme detail. Cut-In -Shows some (other) part of the subject in detail Over-the-Shoulder (OSS) Shot Looking from behind a person at the subject. Point-of-View Shot (POV)-Shows a view from the subject's perspective Two-Shot-A shot of two people, framed similarly to a mid shot
Camera Angles EYE LEVEL - This is the most common view, being the real-world angle that we are all used to. It shows subjects as we would expect to see them in real life. It is a fairly neutral shot. HIGH ANGLE - A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive. LOW ANGLE - This shows the subject from below, giving them the impression of being more powerful or dominant. BIRDS EYE - The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which can be used for
dramatic effect or for showing a different spatial perspective. CANTED ANGLE - Also known as a dutch tilt, this is where the camera is purposely tilted to one side so the horizon is on an angle. This creates an interesting and dramatic effect and makes the audience feel disorientated.