Job Roles - Sound/Boom Operator

http://www.comingsoon.net/movies/news/629319-fantastic-beasts-and-where-to-find-them-photos-released#/slide/1

Boom Operators assist the Production Sound Mixer and operate the boom microphone. This is either hand-held on a long arm or dolly mounted (on a moving platform). If radio or clip microphones are required, Boom Operators position them correctly around the set or location, or on actors’ clothing. 

Boom Operators are responsible for positioning microphones so that Sound Mixers can capture the best quality dialogue and sound effects. If this is done well, a great deal of money can be saved by not having to re-record (post-sync) the dialogue at a later stage.

Boom Operators are also responsible for all the sound equipment, ensuring that it is in good working order, and carrying out minor repairs where necessary.

Boom Operators begin work on the first day of principal photography. They have to read the script and familiarise themselves with the characters and their lines of dialogue. Members of the Sound Department arrive half-an-hour before call time, in order to unload and set up all the sound equipment.

Boom Operators are given “sides” (small booklets of pages from the script that are to be shot each day. They have to memorise all lines of dialogue and anticipate when to move the boom during filming. During rehearsals Boom Operators carefully note all planned camera movements and lighting requirements. They have to make sure that the microphone does not accidentally fall into shot or cast shadows.

Boom Operators are on set virtually all day. They work very closely with the Camera Crew. They are often asked to move slightly because of lights or camera angles and Boom Operators may also make similar requests. They finish work when the film wraps (is completed).

Most film sets are challenging environments for Mixers because there are often unwanted noises to deal with, or the required camera shots hamper the placing of microphones.

Approximately two weeks before the first day of principal photography, Production Sound Mixers meet with the Producer and Director. They discuss their creative intentions, (is the sound naturalistic or stylised, etc.), technical requirements and budgetary issues. They also meet with the Costume Department and Visual Effects Supervisors to discuss the placement of microphones on or around the actors, and visit all locations to check for potential sound problems. 

When filming begins, Sound Crews arrive on set half-an-hour before call time to prepare their equipment. During rehearsals, the Production Sound Mixer and Boom Operator plan where they should place microphones to get the best possible sound quality. After each take, Production Sound Mixers (who are situated off set, but close by), check the quality of sound recording and, if necessary, ask for another take.

Production Sound Mixers work with the Boom Operator to select suitable types of microphone. They carefully reposition these microphones for each set-up, to ensure adequate sound coverage.

If music is required in a scene, Production Sound Mixers also set up playback equipment and speakers for the actors. At the end of each shooting day, Production Sound Mixers may send the day's sound recording files to post production. They also hand over originals to the Camera Assistant, who packages them up with the camera rushes. Production Sound Mixers finish work when the film wraps (is completed).

Production Sound Mixers work on a freelance basis on features and drama productions. The hours are long and the work often involves long periods working away from home.

http://creativeskillset.org/job_roles_and_stories/job_roles/3845_boom_operator_film

http://creativeskillset.org/job_roles_and_stories/job_roles/3836_production_sound_mixer

Job Roles - Camera Operator

http://www.snipview.com/q/WTHI-TV

Camera Operators carry out the Director of Photography’s (DoP) and Director’s instructions for shot composition and development. They are usually the first people to use the camera's eyepiece to assess how all the elements of performance, art direction, lighting, composition and camera movement come together to create the cinematic experience.

Camera Operators usually start at the end of pre-production and attend technical recces with other Heads of Department. They work closely with the Director of Photography, Director and Grip, and are responsible for the First Assistant Camera (1st AC), Second Assistant Camera (2nd AC) and the Camera Trainee.

After the Director and DoP have rehearsed and blocked the shots, the Camera Operator and DoP decide where to position the camera and what lenses and supporting equipment to use. Camera Operators liaise with the Grip and other Heads of Department, and keep them informed about how the position and movement of the camera might impact on their workload.

During shooting, Operators are responsible for all aspects of camera operation, enabling the DoP to concentrate intensively on lighting and overall visual style.

Camera Operators make sure the camera and equipment are prepared for the required set-ups and ready for any last-minute changes. They must be able to multi-task and to watch, listen and think on their feet while carrying out complex technical tasks.

They liaise closely with the Director, fine-tuning the exact details of each shot, suggesting creative improvements or alternatives. They supervise the logistics of moving the camera, and oversee the Camera maintenance work carried out by the Focus Puller and the 2nd AC.

Camera Operators work closely with performers, guiding them on what can and cannot be seen by the camera. As DoPs now also operate the camera on smaller films, many Camera Operators specialise in the operation of other precision equipment, such as Remote Heads or Steadicam. Most also work on commercials, promos and television drama.

The DoP or Director often asks for a specific Camera Operator, who in turn makes recommendations about the rest of the camera and grip departments.

The work is physically demanding, and requires high levels of strength and stamina. Hours are long (12-14 hours a day) and some foreign travel may be required, involving long periods spent away from base.

http://creativeskillset.org/job_roles_and_stories/job_roles/3073_camera_operator

Job Roles - Producer

http://www.gettyimages.co.uk/detail/news-photo/academy-award-winning-producer-david-puttnam-with-producer-news-photo/180260019

Producers have overall control on every aspect of a film's production. They bring together and approve the whole production team. Their key responsibility is to create an environment where the talents of the cast and crew can flourish. Producers are accountable for the success of the finished film. They steer the film from beginning to completion and beyond.

The Producer is often the first person to get involved in a project. The many responsibilities of the Producer span all four phases of production. In the Development stage, Producers are often responsible for coming up with the idea for a production, or selecting a screenplay. Producers secure the rights, choose the screenwriter and story editing team. They raise the development financing and supervise the development process.

In pre-production, Producers bring together the key members of the creative team. This includes the Director, Cinematographer and Production Designer and key cast members. They help the Executive Producers to raise money for the production. Once the initial finance is in place, they select other key production office personnel and Heads of Departments. 

Producers also approve locations, studio hire, the final shooting script, production schedule and budget. More time and money spent in pre-production can reduce time and money wasting when the production gets under way.

Once the film is in production, Producers are responsible for the day-to-day smooth operation of the team. Producers are also in constant communication and consultation with the Director and other key creatives, on and off set. Producers approve all script changes and cost reports. They are the first point of contact for all production partners, investors and distributors. 

During post production, Producers are expected to liaise with the Director and post production department. The Producer will deal with the finance and distribution companies in planning the marketing and distribution of the finished film.

The Producer is usually supported by a hand-picked production office team. Many of the key people will have worked with the Producer on several film projects. Producers have a legal responsibility, under the Health and Safety at Work Act 1974, to prepare health and safety procedures for the workplace. The Producer's ultimate responsibility is to the production company and the Executive Producers.

http://creativeskillset.org/job_roles_and_stories/job_roles/757_producer

https://www.pinterest.com/pin/52776626858693302/

Case Study: Fright Night

Fright Night (Tom Holland, 1985)

Budget: $9 mill
Box office: $24.9 mill
Distributor: Columbia Pictures
Accolades: Saturn Award for Best Horror, Supporting Actor, Writing
Rotten Tomatoes score: 91%


Fright Night (Craig Gillespie, 2011)

Budget: $30 mill
Box office: $41 mill
Distributor: Walt Disney Studios
Accolades: Fangoria Chainsaw Awards- Best Wide Release Film. IGN Best Horror Movie 2011.
Rotten Tomatoes score: 72%

Differences/Similarities 

• Remake- Peter Vincent more sexualised
• Original- more a romance
• Remake- action straight away. We know it's a vampire/horror straight away. Gory-er?
• Remake- brighter lighting. More Americanised? Establishing shots of LA.
• Remake- find out people are missing with school absences. Original- news stories. Remake more school central- more a teen movie.
• Remake- more music. Original more quiet and dramatic.
• Remake- Ed not as annoying.
• Remake- Jerry more muscular. Changing masculinity.
• Remake- Ed jumps to the conclusion Jerry's a vampire. Original- Charley does. 
• REMAKE- WHY DID ED STALK JERRY? HE COULDN'T HAVE ALWAYS KNOWN HE WAS A VAMPIRE. 
• Original- Amy more sexualised. Remake- Amy more feminine in context. Changing femininity. Remake more sexually open (ish). Original raped by Jerry on camera. Original more darker?
• Remake- new technology. Peter Vincent advert, phone app, LA skyscrapers. More SFX/green screen.
• Remake- Jerry keeps victims alive. Darker?
• Remake- Peter Vincent stage show. Original- TV show.
• Remake- Peter Vincent alcohol and sex problem. Normal in original.
• Remake- more action and fast cuts. 
• Remake- club more sexualised and busy.

Job Roles - Director

http://topyaps.com/top-10-hollywood-movie-directors

Directors are responsible for creatively translating the film's written script into actual images and sounds on the screen. They are ultimately responsible for a film's artistic and commercial success or failure.

Directors may write the film's script or commission it to be written, or they may be hired after an early draft of the script is complete. They must then develop a vision for the finished film and work out how to achieve it.

During pre-production, Directors make crucial decisions, such as selecting the right cast, crew and locations for the film. They then direct rehearsals and the performances of the actors once the film is in production. 

They also manage the technical aspects of filming including the camera, sound, lighting, design and special effects departments. 

During post production, Directors work closely with Editors through the many technical processes of editing, to reach the final cut or version of the film. 

At all stages, Directors are responsible for motivating the team to produce the best possible results. Directors must also always be aware of the constraints of the film's budget and schedule and manage the expectations of the film's financiers.

http://creativeskillset.org/job_roles_and_stories/job_roles/758_director

Job Roles - Editor

http://nofilmschool.com/2014/02/video-the-history-of-editing-eisenstein-the-soviet-montage-explained

Editors are one of the key Heads of Department on feature films, responsible for First Assistant Editors, and on bigger productions, Second Assistants and Trainees.

The Editor works closely with the Director, crafting the daily rushes into a coherent whole and a story. To ensure that the story flows effortlessly from beginning to end, each shot is carefully chosen and edited into a series of scenes, which are in turn assembled to create the finished film, giving the film a 'vision'.

Editors work long, unsociable hours, often under pressure, in an edit suite. They are employed on a freelance basis by the Producer (sometimes with the approval of the film's financiers), based on their reputation and experience. 

The Editor works closely with the Director before shooting begins, deciding how to maximise the potential of the screenplay. Editors check the technical standards, as well as the emerging sense of story, and the actors' performances.

Because scenes are shot and edited out of sequence, Editors may work on scenes from the end of the film before those at the beginning, and must therefore be able to maintain a good sense of how the story is unfolding.

Editors select the best takes and edit them together to create scenes. In some cases, an improvised line or an actor's interpretation of their role may create some on-screen magic that can be developed into a new and exciting scene.

http://creativeskillset.org/job_roles_and_stories/job_roles/2940_editor 
http://www.bectu.org.uk/

Job Roles - DoP

http://www.btlnews.com/awards/contender-director-of-photography-rodrigo-prieto-argo/

The Director of Photography is responsible for the visual identity or 'look' of the film. They work very close with the director, lighting department and camera crew to achieve this. They manage all aspects of filming, from ordering and hiring equipment to recce checks to reviewing footage. 

DoPs must discover the photographic heart of a screenplay, using a variety of source material including stills photography, painting, other films, etc. They create the desired look using lighting, framing, camera movement, etc. 

After reading the screenplay, DoPs meet with the Director to discuss the visual style of the film. They conduct research and preparation including carrying out technical recces of locations. They prepare a list of all required camera equipment and test special lenses, filters or film stocks, checking that the results fit with the Director's vision for the film. 

On each day of principal photography, DoPs and their camera crews arrive early on set to prepare the equipment. During rehearsals, the Director and DoP block (decide the exact movements of both actors and camera) the shots as the actors walk through their actions, discussing any special camera moves or lighting requirements with the Camera Operator, Gaffer and Grip.

On smaller films, DoPs often also operate the camera during the shoot. At the end of each shooting day, DoPs prepare for the following day's work and check that all special requirements (cranes, Steadicams, remote heads, long or wide lenses, etc.) have been ordered. They also usually view the rushes (raw footage) with the Director. 

During post production, DoPs attend the digital grading of the film, which may involve up to three weeks of intensive work.

http://creativeskillset.org/creative_industries/film/job_roles/759_director_of_photography

Case Study - YouTube

Founded: 14th Feburary 2005

Available content: video clips, TV clips, music videos, video blogging, short original videos, and educational videos.

Founders: Steve Chen, Chad Hurley, Jawed Karim

Bought by Google for: $1.65 billion

Platforms

Most smartphones can access YouTube either through the app or via the web, but not all of YouTube's videos are available on the mobile version of the site. 

A TiVo service in July 2008 made it possible to watch YouTube videos on TV. In 2009, YouTube launched 'YouTube for TV', a version of the site tailored for set top boxes and other TV based media devices, such as PlayStation 3 and Wii.

YouTube Red

YouTube Red is YouTube's premium subscription service. It offers advertising-free streaming, access to exclusive content, background and offline video playback on mobile devices, and access to the Google Play Music "All Access" service. *only available in the US at this current time*

Technology

How we will use this in our work

For our advert, we want to hyperlink the main advert using them boxes you get on YouTube. 

We want to put videos online of the interviews and the different pathways like this so it will be like a 'choose your own adventure' book and people can click on what they want to see more of. 

Digital Production - The Interviews

This afternoon, we recorded some of the student's to talk about their experience with CCAD. We got Janice (Film, Level 4), Jemma (Production Design, Level 5), Jamie (Film, Level 5), Connor (Film, Level 4) and Me (Film, Level 4). We wanted to film some level 6's and a graduate but level 6's are like a rare species and our graduate wasn't free. But we have enough material to edit with. We interviewed Jemma to show the other courses and CCAD in general, not just Film.

Jamie Seed's Shoot

This morning, I helped out Jamie S with his MM&I. I was an actor, lighting operator and production still taker. Filming went well and looked really good! Can't wait to see it all in full!

MM&I - The Final Version

My final version and evaluation of my Me, Myself and I IS HANDED IN!!!

http://gifs-to-wear-pants-to.tumblr.com/post/24782402943

I decided to not put in the Supernatural-esque gag reel at the end as it detracted from the whole serious surreal film motif I have. So I put some extra credits, super 8 and an old film countdown at the beginning to add to the cinematic feel of my film. I still need to upload my EDL but that's easily done.

The full film can be seen here: 

Professional Studies - Pecha Kucha

Today I pitched my Professional Studies Report idea using a Pecha Kucha layout (10 slides x 20 seconds each (a traditional one is 20x20 but Mike simplified it as it's just an idea)). 

http://dorkery.tumblr.com/post/21408613316/horrible-histories-gifs-song-dance-part-1

Turns out you were supposed to put statistics and facts on the presentation (I thought it was just a pitch of your basic idea) but I can easily find some in my actual report. 

I will also upload my basic notes/prompts I used for the presentation below.

Professional Studies Report - Remakes from LokiDoki9

Slide 1- Why remake classic films? Revenue? What is their appeal?
Slide 2- Upcoming remakes. Do they need a remake?
Slide 3- Why remake movies? Changing norms? Technology? Keep up with times.
Slide 4- 'original was better than the remake'. Classics for a reason. Should not be remade.
Slide 5- Not always the case. Some remakes are better. Why?
Slide 6- Could link to TV shows becoming films. Why? Mostly kids. Why?
Slide 7- Briefly link to books becoming films. Why? Books better than the film?
Slide 8- Questionnaires. Easy to complete. Something people are enthusiastic about. Status on Facebook with over 30 comments. 
Slide 9- Personal feelings. Should not remake AWIN!!
Slide 10- Conclusion. Why remake classics? Should it be done? Consensus= no. Good for the industry? Good box office. Will see remake if enjoyed original. Lack of imagination? Will we run out of ideas?

I was told by Mike not to include my personal feelings in a report so I will miss that bit out in the actual report. My timings were also a bit out with the slides (even though I rehearsed it) but it went well and got the thumbs up with the idea.

Visual Culture #12

In Malcolm and Diane's lectures, we looked at eroticism. Exciting stuff. To quote Malcolm; "some nice porn before the Holidays".

We looked particularly at Art Nouveau, focusing on graphics and architecture. Reaching a 'fin-de-siecle' (end of cycle), there was a feeling of change in the air with a new millennium (1900) approaching. People started re-evaluating their identity (particularly their national identity and political and social reactions). 

Mass production and industrialisation was also a worry with a clear boundary and binary opposition between rich and poor, and with the introduction of high rises. And yes, I am going to put another gif of Tom Hiddleston in High Rise again, because it is relevant. 

http://www.newpoptab.com/watch?key=0cdb16b7667982280fbb05007a35eb39

Again, High Rise portrays the differences in social classes separating the rich from the poor on separate floors. The higher up, the richer.

I digress.

The whiplash motif was major in architecture and paintings and just everywhere really. 

http://thetextileblog.blogspot.co.uk/2009/05/art-nouveau-whiplash.html

Not to be confused with...

http://rebloggy.com/post/film-jk-simmons-whiplash-miles-teller-2014-films-filmgif-damien-chazelle-whipla/115074595005

The Female Form was also focused on, which helped sell products (with the rise of consumerism). 

The language of flowers were also symbolised in different graphics and paintings. The most common one was open flowers, suggesting women being open sexually. Closed ones, obviously meaning pure and chaste. Specific flowers also had symbolic meanings; the orchid meaning a vagina and the iris being a penis.

https://www.pinterest.com/pin/408842472395096370/

The Language of Flowers

Just to clarify why I posted this

The Will to Flight was also important in art nouveau as people believed with the turn of the millennium, society will improve and fly. This movement is shown in the art, such as the whiplash motif. 

Japanese art also had a big influence over European art nouveau, with their simple and small eyes, noses, lips and eyebrows. Ukiyo-aye was also used to show images of everyday life (sex in this case).

In Diane's session, we looked at what exactly is erotic and apply it to films.

For this topic, I decided to look at vampire films and how vampires have changed from monsters to an object of desire. Vampire films is a topic I am very enthusiastic about and relates well to the topic. I was in my comfort zone.

Let’s start with Nosferatu (1922, F.W. Murnau).

Here, vampires are creatures to be feared, no eroticism here. Fairly straightforward. This clip is just to establish that vampires should be feared.

Skip forward a few decades (a big jump I know) and we have The Lost Boys (1987, Joel Schumacher) (my favourite film ayeeee). Here, vampires started to become more human like and more like objects of desire. In this clip especially, there are religious connotations of drinking blood but also sexuality and desire with the overlaps and fades to add some glamour to the vampires. However, the vampires still have an element of horror with plenty of gore in the film (critics have called it an ‘orgy of death’).

Last clip I want you to look at is Twilight (2008, Catherine Hardwicke). Here, the vampire has peaked in sex appeal but have no elements of horror. Edward is even seen as a victim and we are made to sympathise with the vampire.

I have a theory that the motif of the vampire changes with society. Nosferatu, people wanted their fears to be projected on screen and vanquished with wars and moral low. The Lost Boys, youth culture and yuppies were forming and becoming more powerful shown in the film with David and his gang. Twilight, people in context were obsessed with the idea of love. 

Digital Production #12 / Good Grief

Today instead of Digital Production (or does this technically count as Digital Production?) me, Andrew and Richard helped out with the Level 5's live production Good Grief. We were all cable basher's (I was cable basher for episode 3) and it was also an experience to see how a live show is broadcast, all the different job roles and what we would be doing next year.

Despite a few technical difficulties, it went well! Thanks again to the Level 5's for putting up with us. All the episodes can be found here:


We then recorded our Super 8 footage from a projector onto a Blackmagic. It was the first time I've seen a Blackmagic camera and they are so purtyyyy. Would love to use one in the future. 

The super 8 is negative so Lee put it on DaVinci (editing software that has more control than Avid (can we use this next year please)). And it was like magic (is that why they call it a blackmagic?) It turned the negative picture into something more colourful!

Before...

After...

My last editing day is tomorrow so hopefully the Super 8 will be exported and ready to use so I can fill my 20 seconds! 

MM&I - The Almost Final Version

This video is my almost final version; I completely forgot to put my narrator in the credits (sorry Jamie) and I need to put the Super 8 in. 


I am also under the timings I need for it: I can be 10 seconds under but no more. I am currently at 2 minutes 25 seconds, so I need to find something to fill it with. The super 8 and the narrator credit might cover some of it. Someone suggested I extend the poem but I like the pace like it is at the moment: any slower and viewers may get bored. Plus I still have no footage to fill it with (plus I have used my 30 seconds of found footage). But I had an idea of putting bloopers at the end of the credits.



I was thinking I could do something like the end of the Supernatural gag reels (skip to 7:50), with all the production stills of the crew and cast. It would also be fab if I could get copyright clearance for the song used (or the other song used would also be great, just as an Easter Egg for the Supernatural fans (the show has also inspired a bit of the film and is my favourite TV show so it would be nice to have a homage)). 

Production Skills #11

Today, Gavin (one of the Level 6's) was kind enough to develop our 8mm footage for us and we got to see the how he does it on a student budget, saving £40 rather than getting it sent off to develop.

After dismantling the casing in a 'dark box' and wrapping it around another contraption, leaving gaps so the chemicals could get into every frame, Gavin then bathed the film in various chemicals as photographers would, but also using borax (exclusive to moving image).

Gavin then bathed the film in normal detergent to clean it...

...And then hung it out to dry. It will take at least 24 hours to dry thoroughly. 

It is a very time consuming process but I'm sure the wait will be worth it! Can't wait to see how it turns out!

MM&I - First Draft

Yayyy!! First draft!! Quite proud of it so far. The big gaps are to be filled with super 8 and found footage Lee is to convert for me from VHS to digital. It has been a week since I have given him it, so I'm losing hope that it will be done in time. So I'm going to have to put something else in instead for now. Would be fab if he did do it in time though!



I asked for feedback on Facebook and other social networks. One person said that they would have liked more variety of paper shaking noises in the credits, which I have put in today. I also made a change to the blue found footage clip of the gig used during the drum sequence as the low quality of it detracts from the film. Apart from that, I have received nothing but good feedback for it! :-) 

CCAD - The Advert #2

Today we filmed the exterior shots of the Uni and also the site of the new build. We were lucky enough to go inside of the building on the site that wasn't demolished yet. We got some lovely visuals! We then shot some of the office scenes being ahead of schedule. Overall a good day's filming and we got lots done. 

Visual Culture #11

In Malcolm's lecture, we looked at 'Creativity as a symptom of Change' (which in my opinion makes creativity sound like a disease), with a focus on Mid-Victorian creativity (1837-1901). 

This era was a huge arts and crafts movement as well as architecture, with a particular focus on the working class. We looked briefly at Morris, a socialist for the equality and freedom of the worker, but he was also a multi-millionaire. Bias much? He then said;

"Have nothing in your houses that you do not know to be useful or beautiful"

Which I found was a really nice quote, but I am a shameless hoarder, and so were many Victorians.

http://itstartsatmidnight.com/2015/05/a-guide-to-epic-book-hoarding/

Old relationships between artists and their art and society were preserved, which is why the Kelmscott Press became popular. They used printing presses and created wonderful pieces of art in books with different fonts. Some examples also look very much like Lord of the Rings (it is likely Tolkien was inspired by them).

We then looked at the Pre-Raphaelite Brotherhood. I was already aware of the basics, not because of art or history, but because of the TV series Desperate Romantics (fab series. Plus it has Aidan Turner in it.) I couldn't find a specific clip, so here's a trailer.

The Brotherhood wanted a artistic renewal, with serious, sincerity and a truth to nature in their paintings, with various symbolism.

We focused on the paintings of Christ in the house of His Parents and Isabella and the pot of Basil for symbolism. Christ in the house of His Parents having various religious connotations like the stigmata and John the Baptist carrying a bowl of water, and Isabella and the pot of Basil with a foreshadowing of death from Keats's poem the painting is based off. 

https://en.wikipedia.org/wiki/Christ_in_the_House_of_His_Parents

https://en.wikipedia.org/wiki/Isabella_and_the_Pot_of_Basil

In Di's session, we looked at Cinema vs. TV and the technological trail. On the discussion on Moodle, we were told to identify and offer an analysis of examples of media production that has evolved out of existing codes and conventions to create new forms and platforms for entertainment. And to also include any thoughts you have on how it may develop or evolve to meet future needs and expectations. 

I decided to look at a film and a TV example (hence 'examples') and my TV example is the Netflix series Jessica Jones.

Marvel has undergone a huge technological trail of development from being a comic, to films to TV series to VOD. VOD is also a huge technology development with the success of Netflix and now having their original series'.

Jessica Jones also has various references to the comics (this maybe going off topic, but I'd say it's all under the same umbrella with development).

Trish/Jewel holds up a costume similar to Jessica Jones' superhero costume in the comics.

http://comment.blog.hu/2015/11/27/10_csodas_easter_egg_a_jessica_jonesbol

A scene exactly the same in the comics as the TV series. 

http://www.adorocinema.com/slideshows/series/slideshow-117477/

Going with the Marvel theme, the film I decided to look at is Avengers Assemble (Joss Whedon, 2012). 

Avengers is a huge movie and box office success, being a summer blockbuster and the hugeness of the film adding to the multiplex experience. However, I'm particularly looking at the motion capture of the Hulk in the film for technological development.

http://www.giantfreakinrobot.com/scifi/sidebyside-motion-capture-photos-show.html

Fair enough, Lord of the Rings also did this with Gollum. However, this newest version of the suit and technological development managed to capture Mark Ruffalo's facial features, making it look more realistic and proportionate, making audiences believe and more immersed in the film environment.

The future could mean that VOD or films could become legally free. However, this could loose the quality of the TV series, going back to the old studio system where films were mass produced. Technology could also advance to something similar to the Oculus Rift (Virtual Reality) to actually put you in the movie? Cool idea, but I can't see into the future.

CCAD The Advert - Digital Production

Today we had to do loads of juggling around but we actually managed to get a lot done. Sadly, I didn't get any production stills as we were just to busy (and I may have forgot :S ) We quickly got all the paperwork done so we could book out equipment and start filming. We filmed most of the interior shots today (stalls, seminar room, editing suite) apart from the studio and gallery which we will be filming on Thursday as that's when the level 5's will be rehearsing their live stream (we want to observe them). 

Meeting minutes, risk assessments, etc. are all on the Moodle.

On Wednesday we are also looking to film some of the building site of where the new build will be and also some of the exterior of the Uni. Forecast looks good for this time of year too which is a plus. 

Richard also wanted to film for his Me, Myself and I today. But things got really confusing when he wanted Andrew to film me and Andy filming Richard doing his Me, Myself and I. I (strongly) suggested to not do this as it would complicate booking forms and just us in general, plus we will be filming the level 5's doing their project so it's a bit redundant. After a while arguing, he realised and agreed with me. 

Overall, today was a successful day's filming. Got quite a lot done. AND OUR FILM CREW HOODIES CAME!!! We could have really done with them earlier for my Me, Myself and I with a few curious caravan people looking at us on the beach, but at least we have them now!