Thursday, 25 April 2013

Week 32 (Thurs 18 Apr - Editing and Evaluation of Campaign Video)

Now, for the second half of the day, I went to work, editing my Campaign video on the 'Ninos Robados', with my producer Harry supervising. I imported the footage and other materials off one memory card, and then onto another before opening up and preparing the Final Cut project file. After, I began importing all the needed materials into this, and began cutting them together on the timeline, Harry and I discussing pacing, shot length and the use of sound, which was a vital element (originally, we were going to use a loud scream, but Harry felt that was too on the nose and obvious, and we went with crying instead, which plays over the remaining text, which details what happened with these actual children, as well as the 'call to action' for the viewers.

Once done, everything synched up perfectly and the volume mixed right, we exported it as a Quicktime film, to be uploaded later to Vimeo on the MDX Film account. Finished film is now available: https://vimeo.com/64426300

We shook hands and said our goodbyes, thanking each and briefly remarking about our hopes for the film. But enough of that, time to move on to the 'meat and potatoes' of this entry: my evaluation of the whole process making this short film.  I felt that, overall, it was a very positive experience, and probably the best one I've had thus far, and a huge component of that has to do with having a very strong producer in Harry: he was committed throughout, and was on hand when needed to ask for things or check on the process of acquiring the needed resources. He never argued or disputed unnecessarily, and it made my job as a director easier because then I could focus on making something of quality instead of fretting about the other details of the project.

Also, Eddie was very critical and honest with us on both occasions that we had meetings with him, and his advice, I felt, really put us into the correct mindset for a project like this and made us push this a lot harder than perhaps we would have otherwise done, and we both were already very interested and serious about this idea for our campaign. And furthermore, during the shoot, Alex was a great camera man, as I have said before in previous entries, and his assistance and talent made that aspect smoother and easier for me to focus on how to make it as professional and accurate to my vision as possible. Frankly, he's one of the best crew members I've worked with thus far in  my cinematic odyssey. In conclusion, I can't really say much more than that.

Week 32 (Tues 16 Apr - Commuinicating & Thurs 18 Apr - Storytelling)

Today was our last seminar (there was no lecture or screening after), and in honour of that fact, Oliver gave us, in groups, a sort of 'pub quiz' with 60 questions, all relating to films and subjects we had studied on the course (including questions about the different types of cinema, famous directors, tropes and conventions we had studied, and even certain types of grammar). Once completed, we then shared ours with another group, marking theirs. My team, it turns out, got the highest score, with 43/60.

Frankly, there isn't a tremendous amount to discuss here as it boils down to a simple fun activity, though I was irritated by the lack of 'answering' time between questions, as I felt it was too short and didn't give us enough time to discuss or write.

Moving on to the next day (or part of it, as I will cover in the next entry), I went in at 11 for my appointment with David Cottis to discuss my treatment for my film ( a historical biographical drama detailing the life of a young Spanish girl growing up in 50s Spain, and all the hardships she faced climbing out of poverty), and what needed to be done/improved: he felt that, though the core idea had potential, since it was based on real people of the time that I had known personally, he wondered about where the focus of the story was, and about how much time should this film cover of this girl's life (how late into her life can we start this girl's story, and how soon can we end it). Also, remove the prologue concerning the Spanish Civil War, as it is nothing more than glorified info-dumping.

Closing off on that note, I certainly understand and value his criticism of my work, and I admit that bot the prologue and parts of the story were a little bit on the undercooked side, and I will work on those. However, the challenge, for me, really is trying to keep the truthfulness and facts of what really happened to people like this girl, and then how to make it work as a motion picture.

Saturday, 20 April 2013

Campaign Production update (Wed 17 Apr) - Shooting

Today was time to finally shoot my 'Ninos Robados' campaign video, the filming only consisting of one long continuous take where we track into a baby's room and then peer into the cot, only to find it empty. To prepare, I bought a cheap, foldable cot from Argos, and rummaged through my attic and pulled out old toys and baby's clothing to use as dressing and props.

At about 12am, I made my way to King's Cross Underground station, and travelled on the Metropolitan line to Ruislip, where I met my producer Harry and our camera op, Alex. We then walked up to our location, the house of a relative of Harry's, and set ourselves up in the upstairs bedroom. After we had done that, I talked with Alex about the tracking shot, which we did handheld, since we didn't have the rails at our disposal, and doing a camera rehearsal with him to make sure we nailed the logistics of the shot down and he knew how to do it efficiently and precisely.

Once we went over it a few times, we then began shooting, doing at least seven or eight takes, the last three changing the tilt down into the cot into pulling the camera up and over the cot and then peering down, making it look more like a person's viewpoint (and complimenting the handheld shooting style better, like as if it was the child's mother). Once finished, we packed up our materials and left, thanking our host for letting us use her home.

To cap off, I really enjoyed today's work: both Harry and Alex were committed and got on with the task at hand, Alex being very attentive to my instructions and following them very closely, and our host was very kind and cheerful, which in turn lent a very positive atmosphere to the proceedings and enabled us to really pour all our energies into this shoot.

Friday, 12 April 2013

Easter Break (Tues 2 Apr - Crewing for Campaign short)

Today, after having spent the last few nights communicating back & forth with the producer, I went out to Middlesex to act in a campaign video about Capital Punishment for Gergo (producer) and Catharine (director), with Jack serving as camera op. My role was that of a criminal sentenced to death, and I was required to wear a white shirt, black trousers and black shoes, as well as bring along a jacket and tie (if needed for any reason).

Meeting up with the crew, we went out to Sunny Hill Park, not far from the university grounds, and set ourselves up. What's interesting, however, is as we did that, Jack advised Gergo concerning the premise, which was originally for me to be executed by stabbing: Jack felt this was not accurate to how an execution would really be performed (a concern I also brought up beforehand), as well as how tricky it would be to pull that off convincingly without resorting to lame tricks like shooting from my side to make it look like the blade had penetrated me. It was then decided to change the stabbing to a shooting, sound work being able to take care of that, and we began filming:

First, we did a close up of me, staring coldly into the distance (all of this would be explained later via narration), then pulled back and did a mid shot, before turning the camera around and filming from behind, me having swapped places with Gergo (the idea of this short being that the executioner is no better than the executed) and then 'shooting him' in the head, and then finally turning back around and shooting me from a distance, looming over the body with a cold, unforgiving glance. And with that, we wrapped.

To close off, today was certainly interesting and a bit of fun, since I seldom do on-screen work, and certainly the change in approach worked for the better, I feel, since the stabbing, aside from being difficult to pull off without looking fake and silly, would not fit as well with their idea and instead feel like something that would more belong in a story about hitmen or gang crime. And despite this change, the crew got on with their jobs and worked efficiently, though Jack to a certain extent did dominate for a short while before stepping back.

Sunday, 7 April 2013

Week 31 (Thurs 28 Mar - Production Theory 2)

Over the past week since our previous engagement, me and Harry have been working on tightening up and improving the treatment and other paperwork based on the criticism we received last time. Also, I prepared the storyboards, one hand drawn, the other done on a computer (sort of a very basic version of the 'Pre-Visualisation' technique a lot of films use these days). We went in at 11:30 (this time, Eddie was running early due to imposing strict time rules on himself) and we went over the idea again, and showed him the storyboards. This time, Eddie was significantly more impressed with, praising our professionalism, vision and the fact that we had a 'call to action' in our short that tied everything together. In fact, he even shook our hands!

Afterwards, Harry and I went off, agreeing to sort out the business of location and crew later on. All I can say is... I'm very happy, and getting a compliment from Eddie is not only a huge surprise, but also a very reassuring and confidence-boosting one, given how strict he is and how notoriously hard to please he has been before. All I can do now is try my hardest and make the best campaign film possible, with my producer just as committed.

Week 31 (Tues 26 Mar - Communicating)

In the seminar, we returned to the subject of the 'Controlling Idea', and brought forward our chosen example: Mine was the 2009 film Watchmen, the controlling idea, I felt, was 'To achieve a better world, truth is not always the right path', given that in the film, World peace is achieve, but in the process, many people die after a major nuclear attack, orchestrated by the film's main villain, which leads to the nations of the world to 'detente', and in the end, the exposing journal is left in the hands of a small time journalist, and we don't know if he ends up telling the truth, which might lead to global chaos, or keeping it secret and letting this 'false' peace reign. To further cement, we looked at the controlling idea in a selection of films we've watched over the course:
  • Rear Window: Justice prevails as long as there is dedication.
  • Nine Queens: Society is corrupt so why not take advantage of it?
  • Platoon: War is hell because you end up fighting yourself.
  • Festen: The truth will arise, no matter what class you are from.
  • La Haine: Those who live by and idolise violence will be consumed by it.
  • Touch of Evil: Justice prevails, even if the law is corrupt.
And then, in specific genres:
  • Western: Justice prevails, even if the law is corrupt/ineffective.
  • Science Fiction: We shouldn't overly depend on technology, otherwise it will destroy us.
  • Romantic comedies: Love prevails, no matter the odds.
  • Gangster: Those who live by violence and greed will be destroyed by them.
Later, in the screening, we watched the Hong Kong drama Chungking Express, which tells the parallel stories of two policemen, each dealing with a broken relationship: one who falls in love with a mysterious 'criminal', the other who becomes the target of obsession of a local snack bar worker. The film is certainly very different, and presents a lot of bizarre ideas and circumstances, like the obsession and the first policeman's habit of buying tins of pineapples because it reminds him of his former love, in a sort of ironic, comical light at points, juxtaposing the loneliness of these people against the busy city of Hong Kong, despite not being a comedy, and the rapid, colorful visual style and editing of the film give it a very different feel, almost akin to a lot of the 60s/70s psychedelic films

Then in the seminar, we looked at Hong Kong Cinema, a type of film making noted for its very rapid, energetic quality, and the industry itself up until the 90s was the third largest in the world, and its history makes no secret of why: the explosion of martial arts films in the 70s, such as those starring the iconic Bruce Lee, himself born in the US but returned to his native land at a young age, and then the boom of action films, especially those of John Woo (Hard Boiled, The Killer and later, Face Off and Windtalkers) which both shared that rapidfire energy and violence in contrast to the then slower action films of the West (though Woo and Lee would make films for them too in later years).

In the 2000s, though, HK Cinema began to move away from that and become more transnational, constantly exploring new ideas and changing, very much a postmodern approach, the director of Chungking Express, Wong Kar-Wai, being a sort of figure head, infusing the sensibilities of art cinema with more traditional genres and stories, like the love stories of this film, and often exploring the ideas of relationships, especially between that of the past and present and their effects. Also, on another note, we briefly looked at Asia Extreme, which, as its title implies, is a very violent, over-the-top type of film, and very stylized (famous examples include Oldboy and The Eye).

In conclusion, I felt this was a day of two halves: the first half I felt was passable, and the ideas presented certainly were interesting, but there wasn't much new ground covered and it felt like going in circles for a while over the same concept. The second half, however, was a massive improvement, in part because of the film shown and its 'uniqueness', but also because we got to look a film industry that very often gets stereotyped by us in the West due to their icons (like Lee, Chan and Li) but has a lot more going on than we tend to give it credit for.

Week 31 (Mon 25 Mar - Storytelling)

Today, our last proper seminar for this subject, in fact, we got into a group and shared our film synopsis with each other, giving feedback afterwards. Mine was for a film called 'A Story Of Maria', based on true stories of Spanish immigrants:

Our tale centers on the titularly named young girl, growing up in Post Civil War Spain in the 1950s. We track her upbringing in a small mountain farming family, her childhood bullying at the hands of both classmates and her male siblings for her intelligence, and the close bond she develops with both her doting grandmother and her tough but kind hearted father.

Upon turning 13, she decides to leave her mountain home and look for work. She travels to Belgium, where her aunt lives, in a dilapidated train no better than one for cattle, who obtains her employment as a nanny and servant for some wealthy Belgians. However, she is regularly humiliated and mistreated by both the spoiled children and the indifferent parents, who force her to sleep in a miniscule room no larger than a closet and feed her little. Because of the family's wealth and status, she is afraid to tell her aunt, until eventually, she reaches breaking point and leaves, seeking employment elsewhere. Six years pass by, and she is in better spirits, earning money and being active socially, and upon returning to Spain, meets her future husband at a local festival. Spending time together, and finding some degree of happiness, his own life troubled by childhood trauma, they decide to marry and emigrate on more, to England, starting a new life for themselves and their future children.

The Feedback from my peers was that, though it had potential to fairly endearing and heartwarming, they questioned the challenges and obstacles the main character faces, feeling that perhaps they had to be a little harder and give us more to root for. Also, maybe work on the 'Happy' ending a bit, and really play with the relationships, since they form a major part of the plot and dynamics. Over the Easter break, we had to work on a treatment for a film, and evaluate our working methods and ideas.

At the end, we said our goodbyes to one another, though I imagine we will see each other around the Uni and probably work again next year. To close off, it was a very lean, simple session and a fairly relaxing way of ending what has been an intriguing and engaging module, thanks to both David's energetic and informed teaching, and the good nature and collaborative nature of the people in the class, always bouncing around ideas and having good fun and laughs many times. I can't say I'm not satisfied, and sort of a tad sad at the end of what has been a good experience and perhaps some of the most fun I've had at any time during my education.

Week 30 (Thurs 22 Mar - Production Theory 2)

Over the week, me and Harry compiled together the requisite paperwork for today's appointment with Eddie, including a Treatment, Synopsis, Production Schedule, Distribution and research, communicating backforth via email and Facebook. Today, we went in at about 12am (our appointment was for 11:40, but it overran) and went over our idea with Eddie: our campaign was about 'Ninos Robados'/Stolen Children, occurring in Spain between the late 30-mid 70s, where newborn children were taken from their real families by the doctors/nurses/nuns, and sold to wealthier families for adoption, the real parents being told their child had died. Our short would represent this as we track into a child's room, hearing the familiar noises of a parent and her child, playing and being happy, but as we get closer to the cot, the sound becomes harsher, less pleasant as we start to hear crying and screaming, until we reveal that the cot is empty: the child was stolen. AT the end, we put up a link to a petition that the viewers can sign to force the Spanish government to investigate.

Though Eddie felt our premise had potential, he criticized our paperwork and presentation as sloppy, lacking a title page, questioning why the synopsis was part of the treatment rather than its own entity, and questioning how we were going to distribute the picture, given that campaign films don't get on television often and that, even putting it online, would not get it much attention. We had to go back and rethink how we conducted ourselves and this project. Also next week, we have to bring in storyboards and, if relevant/necessary, shot lists and crew/cast listing. To cap off, I am disappointed that things did not go as me and Harry would've liked, but we understand Eddie's criticisms' and we will work to improve it for next week and show we are committed and serious about our idea.

Week 30 (Tues 20 Mar - Communicating)

Today, we returned to the subject of Quality Television, and breifly went over what we felt made 'Quality TV' (Subject Matter, Style, Visuals, Artistic Merit, Innovation/Subsequent influence, writing/depth of the show) and then discuss an example of what we felt qualified as such: Mine was the acclaimed 1993 animated show Batman: The Animated Series.

Why? First off, the writing and stories the show told could be enjoyed by both children, who would enjoy the action, gadgets and villains, and adults, who could appreciate a lot of the themes and deeper ideas the stories would present. Examples include 'See No Evil', which deals with divorce and the lengths a father will go to to see his child, 'Perchance To Dream' questions the fundamentals of Batman, and examines what his life would've been like had he not lost his parents, and 'Heart of Ice' reinvented Mr Freeze and made him a tragic villain, a man who tried to save his wife, but the self-interests of his company and the wants of 'big business' turned him into a monster, the businessman who did this being no better than he. Then there's the art style, which owes a huge debt to the 1930 and 40s with its Art Deco design work, an obvious nod to the classic Fleischer Superman cartoons of that time, and gave the series a cinematic and dark quality not commonly found in animated shows, and finally, it's influence/innovation: BTAS was of the symbols of the '90s New Wave' of television animation, where studios were investing more money and time into their animated shows, a trend started by DuckTales, Mighty Mouse and The Simpsons at the tail end of the 80s, and carried on by X Men, Animaniacs, Tiny Toon Adventures, Beavis and Butthead, King of The Hill, Talespin,  South Park, Spiderman TAS, Darkwing Duck and Goff Troop among countless others. Plus, BTAS paved the way for other DC Animated shows, such as Superman, Batman Beyond and Justice League, knwon as the DC Animated Universe.

After this, we quickly touched on the ideas of 'Do people enjoy something irrespective of quality' (a lot of summer blockbusters sacrifice character and story for visual spectacle, and such film makers as Michael Bay, Paul W.S. Anderson, Roland Emmerich and Renny Harlin have made their fortunes through that. Plus, many comedies use lowbrow humour/cheap jokes to get a laugh out of the audience) and the concept of 'demographics' (target audiences, who is it for/aimed at?).

Later, in the screening, we watched the classic 1952 western High Noon, starring Gary Cooper, which deals with a small town sheriff who has to battle a group of bandits he once put away after the town refuses/does not want to help for various reasons. While the villains are fairly one-note, textbook Western thugs, complete with black hats and scowls, they are not the focus but rather the dilemma and desperation of Cooper's character as many of his friends and people he has helped desert him in his hour of need, and it definitely is heart wrenching to see this kind of betrayal, and the performances from its capable cast really sell it.

Then, in the seminar, we looked at the Western as Myth and Ideology, which can be broken down into three periods (usually between 1849-1900, and set west of the Mississippi): The Exploring of the West (films usually dealing with the frontier, wagon trains and pioneers), The Taming of The West (Living out there, the introduction of railways, cattle trains etc.) and The Settling of The West (Towns and cities are established and the formation of the societies within them). Usually, the films in this genre deal with themes and ideas of 'All to Play For', Man against the vast Country (the contrast of the big space vs small people), defining what a person is to themselves and what they mean, and questions about duty and responsibility, especially questions of law, justice and vengeance, which run throughout Westerns. And from a political standpoint, it has been argued that Westerns are very Right Wing, accused of racism (especially toward Native Americans/'Indians') and the frequent casting of white men as heroes (though High Noon seems to be on the opposite end, the townspeople being an allegory for the fear and paranoia of McCarthyism).

As for the actual chronology of Western cinema, it can be broken down like this:
  • 1903: Great Train Robbery - First major Western film. Western stories have already existed in mediums such literature before this (notably in 'Dime/Pulp' Novels, the precursors to comic books).
  • Pre WW2: Very black and white stories and characters, usually a morality play.
  • Post WW2-Mid 50s: Reflection on the times, with questions of 'redundant heroes' and ethnicity, Indians now getting a more sympathetic portrayal as opposed to just being murderous savages.
  • Late 50s: 'Delinquent' Westerns, usually dealing with younger protagonists ('Messed-Up Kids).
  • 60-70s: The Anti-Western, stripping away a lot of the glamour and good vs bad, and presenting a darker, morally ambivalent, violent West. The Oppression of minorities by the 'White' settlers comes more into prominence. Also heyday of the Spaghetti Western, which birthed the careers of Clint Eastwood and Sergio Leone among others.
  • Late 80s-90s: Revival, both commercially with the likes of Young Guns, Silverado & Tombstone, featuring a lot of big stars and icons, and critically, with the likes of Unforgiven and Dances with Wolves.
Then, we examined the concept of the 'Controlling Idea', a single sentence that can describe a piece (value+cause, put simply) i.e. High Noon: Justice prevails, even when it has been abandoned, Groundhog Day: Happiness comes from Unconditional Love, Eternal Sunshine of The Spotless Mind: Love triumphs, even if you don't want it to. And on that note, we were asked to go away, think of a film and figure out what its controlling idea was.

To conclude, I felt that today's session were pretty interesting, the former because we really got to discuss a lot of different concepts and approaches on the same subject, and see what it means to different people, and even the question of 'do people like something even if it is bad' is an interesting one and I hope, maybe someday, we can examine that further because it's really fascinating, and as for the latter, I was surprised at how much there was to dissect and examine when it comes to Westerns. I was familiar with Anti-Westerns and certain icons like Eastwood and Wayne before, but I never thought it was so broad and diverse (many I think, view the Western in the stereotype of the showdown and the saloons and the cowboys, never really going beyond that really looking into them).

Week 30 (Mon 19 Mar - Storytelling)

Today, we got into pairs and gave feedback to each other on our story ideas, and whether or not we would think them worthy of being greenlit. Halfway through, we changed partners, and carried on thus. Here are my concepts and what they received (Note: though we did have 12 ideas, we ran out of time, so I can only put the ones that got feedback):

1. 'Viva': Chronicles the entirety of the Second Spanish Republic, from the death of the dictator Primo DeRivera, to the 1931 election, to the Spanish Civil War and the Republic's eventual fall in 1939 to a new dictatorship, that of General Franco and the 'Falangist' Party.

Feedback: It has a very interesting and not often-discussed premise, but what is the hook/investment that the audience is supposed to have. Also, risk of it feeling like a glorified, overproduced History Lesson instead of a story.

2.  'Mindland': A group of scientific investigators are transported into the mind of an insane man and trying to figure out the cause of his insanity.

Feedback: Has potential to be a lot of fun, but the reason for entering the mind of this person needs to be more grounded/defined if we are to care about their journey and these characters.

3. 'Sandford': A 'British-Western', this story tells of an Iraq veteran who decides to settle in a quiet English town, away from violence, only to have to take up the gun, along with a few others, to protect it from a local gang of hoods.

Feedback: Feels generic, and has been done quite a bit before (in fact, the title itself is similar to the setting of Hot Fuzz, which was a British take on American film making tropes and conventions).

4. 'A Story Of Maria': The life story of a young, poor Spanish woman in the 50s (the Franco Regime) who emigrates, first to Belgium, then to England, to find a better life for herself and all the hardships she faces. Based on true stories of real immigrants of the time.

Feedback: Has potential to be very moving and emotional, but what is the investment? Why should we care about this one girl out of the many others who suffered this type of existence?

5. 'Merry Devil': A biopic about the life of infamoous Scottish Magician and con man Dr. Walford Bodie, from his upbringing in Aberdeen, to his success on the stage as 'The Electrical Wizard' and final decline after scandals and trials.

Feedback: Better defined side characters. Who are the people in his life, and how do they influence him and his actions?

6. 'Some Kind Of Wonderful': A musical/teen drama about a young Aspergic's struggle through Higher Eduction, musical numbers being used to show his reactions to the events/his inner thoughts i.e. a very happy, Technicolor Cole Porter/Irving Berlin number when he finds love or when he's achieved something great.

Feedback: Has potential to be very fun and unique, but needs a sense of structure and point.

7. 'Biggest Question': Looking at both sides of the abortion argument in a story that deals with an impregnated teenage girl and her struggles.

Feedback: Can be very profound and powerful, but it's in danger of becoming very black and white if not handled correctly or with grace/intelligence.

Afterwards, we were asked to go away and, choosing one of our ideas, extrapolate and expand them into a full 1 page synopsis. In closing, today was a very enlightening session, as it gave me a chance to reflect on my ideas and how, as a writer, I would approach them when developing them into full stories. Also, it was interesting to hear other peoples' ideas and how they approached them (and there was quite a selection of genres and ideas, including a surreal dark comedy set on a desert island, a small town band who try to make it big and their various antics and failed attempts to live the 'famous' lifestyle, and a story about an Autistic boy who is in fact an Alien sent to Earth). I look forward to see how these are expanded, and best of luck to everyone else.

Week 29 (Thurs 14 Mar - Production Theory 2)

Today, we had our first workshop with Eddie, and we began preparing for our new assignment: making a campaign video. First, we discussed what is a campaign (it is used to convey a message, idea or create awareness, and can be political (such as the massive election campaign in America) or for charity (like for Red Cross, Save The Children, Oxfam, CAFOD etc.) among many other things) and then thought about what the difference is between its aim and its message (what it wants to be, and what it actually conveys. To demonstrate, he pulled up one of our female classmates and asked us to decide what her clothes conveyed about, and then she would tell us what she actually liked).

Next, to really hammer the point home, we watched a bunch of different campaign videos, and made notes on the piece's aims, messages, the intended audience and what it is about:

5 Extra Years
  • About - Childhood obesity, and the ability to give the children of tomorrow five years of their lives back.
  • Aims - To get parents to go to the website to learn more about what they can do.
  • Messages - Deserted playgrounds and sports areas (lack of exercise and misuse of resources), children ask what they would do if they had more time (lost potential), the variety of different children (it's a global problem), the website name at the end (call to action, as its called in the business).
  • Audience - Parents/adults
Sexism on the streets of Belgium
  • About - Sexual harassment on Belgium's streets
  • Aims - To raise awareness and start change with the law
  • Messages - Woman walks down ordinary street and is molested by seemingly normal looking men (can happen anywhere and to any woman).
  • Audience -Lawmakers, local government
Girl Effect
  • About - Empowering girls in developing countries to improve their lives
  • Aims - To get people with power/money to go to the website to learn more about what they can do.
  • Messages - Bold letters and animation (different, eye catching), showing the chain of effect (how everything has a knock on-effect i.e. cow=milk=money=better life)
  • Audience -Local government, people with financial abilities, businesses.
Click
  • About - Make poverty history.
  • Aims - To get people to go to the website to learn more about what they can do.
  • Messages - click every three seconds (show deaths and the 'cheapness' of human life), the white shirts, backgrounds and black hair/skin (the situation is clean cut good/bad, no inbetween)
  • Audience -Teenagers, next generation (using popular celebrities like Liam Neeson, Cameron Diaz, Jamie Foxx, Hugh Grant)
Iseng (reusing bottles as lightbulbs)
  • About - Showing how something as simple as a bottle can be reused to create free light and save money on electricity.
  • Aims - To get people to go to the website to learn more about what they can do.
  • Messages - Poor villagers using their brains to turn old junk into useful items (reuse, don't just throw)
  • Audience -Average consumers
London Cycling Deaths
  • About - Cyclists diein lorry0related accidents, despite lorries being a small part of traffic.
  • Aims - To get people to go to the website to learn more about what they can do.
  • Messages - The flying groceries hitting the road (represents the splatting and crushing of different body parts, shows any ordinary person could have this accident)
  • Audience -People in authority, local government
Iranian Juvenile Executions
  • About - The story of a lawyer in Iran who defended youths from the death sentence
  • Aims - To raise awareness about this horrible event
  • Messages - Lawyer imagines big burly types, but then sees young men being executed (challenging stereotypes of criminals), use of animation (eye catching, stands out)
  • Audience - Foreigners who might not be aware of the story, Humans Rights groups who can fight this.
Our assignment was to go off in pairs and prepare a number of pre-production items for next week (treatment, synopsis, schedule, crew list, research etc.) I ended up with Harry Moon. To conclude, this seems like a very promising but challenging assignment, mainly because I think it'll be easy for us to look at this as a commercial, rather than the grand scheme of things and what longevity this video will have. And having Eddie as our tutor, though not necessarily being the most pleasant, will be brutally honest with us andI feel that'll be of huge benefit in the long term so we can fix things immediately should something in our paperwork and/or final piece not go right.