A genre (noun) is a style or category of art, music or literature.
Blake Synder didn't think so, however. He broke down ten examples of alternative genres. After all, genre is a way of categorising movies.
He wrote that our standard way of looking at genre would suggest that Saving Private Ryan is a war/drama film, and that Dodgeball is a comedy. However, Blake Synder would believe that they are both the same genre. He calls this genre 'The Golden Fleece'.
So, how do you know if a movie is a Golden Fleece?
-Every Golden Fleece has a 'road' - spanning oceans, time or distance. It signifies growth of the characters.
-Every Golden Fleece has a team (or a buddy), who represent the things that the hero doesn't have.
-And every Golden Fleece has a 'prize' at the end.
Some examples of this would be 'Finding Nemo', 'The Hobbit' and 'The Road To El Dorado'.
'Out Of The Bottle' is another genre idea by Synder. In this, there needs to be:
-A 'wish' asked for by the hero or granted by another, and the need to be delivered from the ordinary.
-A 'spell' which has rules.
-A lesson to be learned.
Some examples of an 'out of the bottle' genre would be 'Freaky Friday', 'The Mask' and 'Eternal Sunshine of the Spotless Mind'.
A 'Fool Triumphant' would include:
-A'fool' whose innocence is their strength, and whose gentle manner means they are likely to be ignored.
-The fool encounters an 'establishment' in which they come up against and do not fit into.
-A 'transmutation' in which the fool becomes something new.
Examples would include 'Legally Blonde', 'Forrest Gump' and '40 Year-Old Virgin.'
And lastly, a 'Monster In The House' would have the following rules:
-A 'monster' with evil at its core.
-An enclosed space (A house, for example) which could include a family unit or a town.
-A 'sin'. Someone is guilty of something (like breaking rules/laws), which invites the monster in.
For example, the films 'Jaws', 'Alien' and 'We Need To Talk About Kevin' would fit into this genre.
Some other alternative genres with examples:
Dude With A Problem.
Die Hard, 127 Hours.
Rites of Passage.
Napoleon Dynamite, Stand By Me.
Buddy Love.
Lethal Weapon, Titanic.
Whydunit.
Blade Runner, Momento.
Institutionalised.
Police Academy, One Flew Over The Cuckoos Nest.
Superhero.
The Lion King, The Matrix.
Wednesday, 26 March 2014
Thursday, 20 March 2014
News Programme Recording (1).
In today's lesson it was Maddie, Dee and Joe's group's turn to record their news show, and so they had the entire three hours to set up, rehearse and record the news programme. I was a camera operator in this group, on camera one, and so I knew where to set up and what to do during the news show, although they decided to change a few things at last second.
The camera operators were given a script to follow with camera directions on it, so at the beginning, they asked me to zoom in on Steff as she was talking, stay a close up of Steff for a while before returning to a wide shot of both Steff and Chris. This then changed half way through because the other members of the production group in the vision mixing room decided that they didn't like the way it looked, and also thought that the camera had been moved because they could see part of the black curtain in the shot. The camera hadn't been adjusted, however, so I spoke to Dee and we both agreed to simply move the camera to the left slightly so that the camera wasn't quite so far to one side, and therefore the curtain wasn't in shot. This worked out better, because even though it wasn't at quite an angle, it still worked.
I was also told half way through the second rehearsal that they were adjusting what they wanted me to do during the run through, and that they also wanted close ups of Chris during it, and not just Steff. They gave me an updated script with the new camera shots on it, and I followed it up until the point when they wanted me to cut from a close up shot of Chris, to a close up shot of Steff which was impossible to do during the few seconds that they stopped talking for, and so I told this to Dee. She agreed with my suggestion to simply leave it at a wide shot of the both of them during that part of the show, and then go back to close ups afterward that.
The only real trouble I had was that if I wanted to adjust the camera up/down (like I had to when changing from a close up shot of one of them to a wide shot of the two) the camera squeaked really loudly, and so I had to wait until a VT clip was playing to do this, so that the microphones wouldn't pick the noise up.
The auto cues were also finally set up, so the group used them. This meant that the presenters could look at the camera more and read from the auto cues instead of having to keep looking down at the paper script in front of them.
During the final recording of the show, I think things ran very smoothly for the group from what I saw on the studio floor. I obviously haven't seen the full recording, but there was no huge issues from what I could see, and I think things went extremely well for them.
We then had to choose who would be recording next week after packing away. It was our group that was chosen, so we have to work on the issues we had during our last run through and try to sort them before next week.
The camera operators were given a script to follow with camera directions on it, so at the beginning, they asked me to zoom in on Steff as she was talking, stay a close up of Steff for a while before returning to a wide shot of both Steff and Chris. This then changed half way through because the other members of the production group in the vision mixing room decided that they didn't like the way it looked, and also thought that the camera had been moved because they could see part of the black curtain in the shot. The camera hadn't been adjusted, however, so I spoke to Dee and we both agreed to simply move the camera to the left slightly so that the camera wasn't quite so far to one side, and therefore the curtain wasn't in shot. This worked out better, because even though it wasn't at quite an angle, it still worked.
I was also told half way through the second rehearsal that they were adjusting what they wanted me to do during the run through, and that they also wanted close ups of Chris during it, and not just Steff. They gave me an updated script with the new camera shots on it, and I followed it up until the point when they wanted me to cut from a close up shot of Chris, to a close up shot of Steff which was impossible to do during the few seconds that they stopped talking for, and so I told this to Dee. She agreed with my suggestion to simply leave it at a wide shot of the both of them during that part of the show, and then go back to close ups afterward that.
The only real trouble I had was that if I wanted to adjust the camera up/down (like I had to when changing from a close up shot of one of them to a wide shot of the two) the camera squeaked really loudly, and so I had to wait until a VT clip was playing to do this, so that the microphones wouldn't pick the noise up.
The auto cues were also finally set up, so the group used them. This meant that the presenters could look at the camera more and read from the auto cues instead of having to keep looking down at the paper script in front of them.
During the final recording of the show, I think things ran very smoothly for the group from what I saw on the studio floor. I obviously haven't seen the full recording, but there was no huge issues from what I could see, and I think things went extremely well for them.
We then had to choose who would be recording next week after packing away. It was our group that was chosen, so we have to work on the issues we had during our last run through and try to sort them before next week.
News Programme Rehearsals (5).
In today's rehearsals, we were able to get one run through of our news show, although there were many ups and downs, and also things that we need to sort out before our actual recording date. We only had two of the VT clips, one of which was mine, and another that was David's - but not the one he wants to use for the actual show. My VT clip was rather quiet, however, as I had an issue with the volume when uploading it for the deadline, and that needs to be altered before the day. An intro/outro for the news show also still needs to be made (Connor said that he is currently working on it at home), and the others still need to create their own VT clips for us to insert them. We also decided on using the blue screen for when Steff is sitting at the desk, however we need to work on what we're going to put in the background during these parts of the show, and make sure that's ready for our final recording.
The script also confused the presenters a little bit, as sometimes they couldn't quite work out what they should have been saying, where to look, or where to sit/stand. It also didn't seem like (along with the VT clips) that it would last for twenty minutes, and so it needs to be extended before the actual day of recording. The scripts should be printed out a number of times too - not just twice, so that the vision mixer, camera operators, sound and production team can all have copies to read from and know how the show should exactly run. I was also considering, on the day, to quickly look up some news headlines from the past week in the local area and insert them into the beginning of the script as some sort of 'news just in', as this would make the programme run for slightly longer, and it would be something different to add in, instead of just the four news stories that we originally had. On the day, however, we should be able to use the auto cues, so instead of the presenters needing to keep looking down at scripts on their desk, the majority of the time they can look at the camera and read it from there, which will make things look and flow better on the day.
It also seems that things have been altered without people informing or consulting me first, so as we did a run through, I was extremely confused as instead of the two presenters introducing the show side by side on the sofa, Jemma and David wanted the vision mixer to cut back and forth between Steff sitting at a desk in front of the blue screen, and Chris standing up in front of a black curtain, which in my opinion seriously looks odd, and doesn't match a news show at all. It's difficult for the vision mixer to cut back and forth between the two when they're introducing the show like that, and the change of background/standing and sitting looks extremely strange on screen. I mentioned this to the rest of the production team, although they argued that this is how things are apparently done in normal news programmes on television and refused to consider to change it, but I seriously disagree, and then went home to do some more research on news shows and could not see any introduced in this way whatsoever.
They also seem to have differed from our original idea of the show being a casual one that's shown during the early afternoon on Saturdays, to one that's shown on primetime television like BBC News, or ITV News. I was also not made aware of this, and was left to find this out on my own devices, which is extremely bad communication as I am not aware why they could not simply inform me that they were making these decisions.
The set design has also not changed from day one, as we feel that this layout works for our news show, and that Ashley (our art director) and Josh (our lighting) knows how everything is positioned and can set it up without really needing to consult us at all. The camera operators (Rory, Lesley and Chloe) also all seem to know where their cameras should be, and what they need to do whilst we're filming.
So with the exception of the script needing to be longer, the VT clips needing to be finished and the odd looking camera cuts at the beginning of the show, the rehearsal ran somewhat smoothly, and we managed to get something of a rehearsal in, and it didn't go too badly.
For the second half of the lesson, it was Dee, Maddie and Joe's group's turn to rehearse. I was on camera one during this rehearsal, and I knew where they wanted the camera and how they wanted things to run. We managed to do a couple of run throughs that went a lot smoother than our one in the first half of the lesson, and they managed to sort out more or less what they needed to do.
After we packed up the equipment after rehearsals, we randomly chose who would be recording their final news show next week, and it ended up being Dee and Maddie's group, which gives us slightly longer to work on our own one.
The script also confused the presenters a little bit, as sometimes they couldn't quite work out what they should have been saying, where to look, or where to sit/stand. It also didn't seem like (along with the VT clips) that it would last for twenty minutes, and so it needs to be extended before the actual day of recording. The scripts should be printed out a number of times too - not just twice, so that the vision mixer, camera operators, sound and production team can all have copies to read from and know how the show should exactly run. I was also considering, on the day, to quickly look up some news headlines from the past week in the local area and insert them into the beginning of the script as some sort of 'news just in', as this would make the programme run for slightly longer, and it would be something different to add in, instead of just the four news stories that we originally had. On the day, however, we should be able to use the auto cues, so instead of the presenters needing to keep looking down at scripts on their desk, the majority of the time they can look at the camera and read it from there, which will make things look and flow better on the day.
It also seems that things have been altered without people informing or consulting me first, so as we did a run through, I was extremely confused as instead of the two presenters introducing the show side by side on the sofa, Jemma and David wanted the vision mixer to cut back and forth between Steff sitting at a desk in front of the blue screen, and Chris standing up in front of a black curtain, which in my opinion seriously looks odd, and doesn't match a news show at all. It's difficult for the vision mixer to cut back and forth between the two when they're introducing the show like that, and the change of background/standing and sitting looks extremely strange on screen. I mentioned this to the rest of the production team, although they argued that this is how things are apparently done in normal news programmes on television and refused to consider to change it, but I seriously disagree, and then went home to do some more research on news shows and could not see any introduced in this way whatsoever.
They also seem to have differed from our original idea of the show being a casual one that's shown during the early afternoon on Saturdays, to one that's shown on primetime television like BBC News, or ITV News. I was also not made aware of this, and was left to find this out on my own devices, which is extremely bad communication as I am not aware why they could not simply inform me that they were making these decisions.
The set design has also not changed from day one, as we feel that this layout works for our news show, and that Ashley (our art director) and Josh (our lighting) knows how everything is positioned and can set it up without really needing to consult us at all. The camera operators (Rory, Lesley and Chloe) also all seem to know where their cameras should be, and what they need to do whilst we're filming.
So with the exception of the script needing to be longer, the VT clips needing to be finished and the odd looking camera cuts at the beginning of the show, the rehearsal ran somewhat smoothly, and we managed to get something of a rehearsal in, and it didn't go too badly.
For the second half of the lesson, it was Dee, Maddie and Joe's group's turn to rehearse. I was on camera one during this rehearsal, and I knew where they wanted the camera and how they wanted things to run. We managed to do a couple of run throughs that went a lot smoother than our one in the first half of the lesson, and they managed to sort out more or less what they needed to do.
After we packed up the equipment after rehearsals, we randomly chose who would be recording their final news show next week, and it ended up being Dee and Maddie's group, which gives us slightly longer to work on our own one.
News Programme Rehearsals (4).
In today’s lesson, two groups rehearsed a full run-through of their show. This included VT clips and intros being played throughout the show at the right times.
In Steph, Chloe and Lesley’s group, I am usually a runner, but because Ellis was not in, I took over the role of vision mixing for the lesson because I had made notes on how to insert clips, and also use the green screen/virtual studio.
They had the intro for their news show made, as well as two VT clips. I inserted these by lending them my USB stick for them to put the clips on, and then inserted them into the tri-caster. They also wanted to use the green screen, and so I inserted a New York skyscraper into the background for them.
Stephanie did not manage to get a copy of the script because her phone battery ran out, and so was not able to tell me exactly when she wanted me to cut to each of the three cameras, and therefore I had to try and do the best job I could by listening to the presenters and when they spoke.
Also, they only had two VT clips so they had to work around that, and just do a run through without all of the clips being inserted. It went well apart from that though, and on the day when Ellis is the vision mixer, it should run smoothly in my opinion.
For the second half of the lesson, I was a runner in Josh’s group. However, one of their camera operators were off sick, and so I took over that job for the rest of the day. There wasn’t much to do except for set it up to be where they wanted it, but it all went well and there was no issues with the cameras at all.
Wednesday, 19 March 2014
Character Dialogue.
In lesson, we were given the following two characters:
We were then asked to write different lines for the two characters.
These were Debbie's lines:
Debbie asks someone to leave a party.
'Oit! We know how much people love you being here, but I think you should leave before they start enjoying your company too much.'
Debbie tells someone that she's in love with them.
'I can't be completely sure, but... I think I like you. I mean, really like you. Possibly even love you.'
Debbie is bored watching a film.
'Jeez, who was the genius that wrote this film? Was it too hard for them to make it interesting, or do they not know the meaning of the word?'
These were Gladys' lines:
Gladys asks someone to leave a party.
'I think you've had one too many drinks, it's probably best for you to leave.'
Gladys tells someone that she's in love with them.
'I really do love you.'
Gladys is bored watching a film.
'Surely this isn't the sort of thing that's classified as 'entertainment' these days?'
We were then asked to do this again with two more characters, and three more lines.
These were Barney's lines:
Barney thinks someone stole something.
'It was there this morning, why ain't it now? Someone must have taken it... Why would they do that?'
Barney is enjoying dinner an awful lot.
'This is really yummy, can we eat this tomorrow night too? And the night after? And the night after that?'
Barney doesn't understand.
'I don't get it, it don't make sense.'
These were Jack's lines:
Jack thinks someone stole something.
(Probably has someone pinned to a wall.)
'Oit you little shit, I know you took it, don't even bother trying to lie to me.'
Jack is enjoying dinner an awful lot.
'This is some great tasting food, we've gotta eat here more often.'
Jack doesn't understand.
'Hang on, hang on, repeat that. You're making no sense.'
Every character should have a unique voice. When re-writing a screenplay, go through and make sure that the character's background and personality is clear with every line of dialogue. Remember that no two characters speak alike!
Debbie Graves, 17, trendy, sarcastic.
Gladys, 52, bored, educated.
We were then asked to write different lines for the two characters.
These were Debbie's lines:
Debbie asks someone to leave a party.
'Oit! We know how much people love you being here, but I think you should leave before they start enjoying your company too much.'
Debbie tells someone that she's in love with them.
'I can't be completely sure, but... I think I like you. I mean, really like you. Possibly even love you.'
Debbie is bored watching a film.
'Jeez, who was the genius that wrote this film? Was it too hard for them to make it interesting, or do they not know the meaning of the word?'
These were Gladys' lines:
Gladys asks someone to leave a party.
'I think you've had one too many drinks, it's probably best for you to leave.'
Gladys tells someone that she's in love with them.
'I really do love you.'
Gladys is bored watching a film.
'Surely this isn't the sort of thing that's classified as 'entertainment' these days?'
We were then asked to do this again with two more characters, and three more lines.
Barney Hill, 5, cheerful, confused.
Jack Deth, 50, hard-boiled cop.
Barney thinks someone stole something.
'It was there this morning, why ain't it now? Someone must have taken it... Why would they do that?'
Barney is enjoying dinner an awful lot.
'This is really yummy, can we eat this tomorrow night too? And the night after? And the night after that?'
Barney doesn't understand.
'I don't get it, it don't make sense.'
These were Jack's lines:
Jack thinks someone stole something.
(Probably has someone pinned to a wall.)
'Oit you little shit, I know you took it, don't even bother trying to lie to me.'
Jack is enjoying dinner an awful lot.
'This is some great tasting food, we've gotta eat here more often.'
Jack doesn't understand.
'Hang on, hang on, repeat that. You're making no sense.'
Every character should have a unique voice. When re-writing a screenplay, go through and make sure that the character's background and personality is clear with every line of dialogue. Remember that no two characters speak alike!
Re-Writing A Scene.
Ernest Hemingway was an acclaimed author and journalist who gave the world the following quote:
Original, first draft of a conversation from 'Country Life':
This was the filmed version of this scene, using this script:
We were asked in today's lesson to re-write the same scene, although changing every word of dialogue whilst keeping the meaning the same. This is the second draft of the scene:
I have to agree that the first draft is better in my opinion, although some aspects of the dialogue are better in the second and so rather than settle with one of these two, I would rather write a third, with a mix from the better lines of dialogue from each of the drafts.
We were then asked to pick whichever version we preferred (or mix and match lines from the two different versions like I did), and then do a repetition edit. This is where you run through the text and take out any repetition. If a line isn't giving new information then prune it.
As Pat told us in lesson:
The third thing we had to do was to consider these three lines of dialogue:
They're all asking someone to leave a place, but the way they're written makes it seem like different locations, genres and characters and have a different impact in a film. For example, the first one seems like a security guard, or a police officer asking somebody to leave a property as it's a rather formal way to ask someone to leave. The second one seems like someone from a Western film, when a newcomer makes their way into a new town and they're not welcomed. The last one seems far more aggressive and violent, like something from Eastenders or a gang movie.
If a gangster would say the first line, they instantly change from a common street gangster to someone like a mafia boss who has lots of power and control, and the feel of the dialogue is completely different. If the third line was said by a posh waiter in a fancy restaurant, it sounds completely absurd and sounds like it belongs more in a comedy than a serious film.
Dismissing the very first ideas makes the screenplay more interesting and involving, and so using the second or third ideas that come into your head generally seem to work better for the film.
"The first draft of everything is shit."
Original, first draft of a conversation from 'Country Life':
This was the filmed version of this scene, using this script:
We were asked in today's lesson to re-write the same scene, although changing every word of dialogue whilst keeping the meaning the same. This is the second draft of the scene:
We were then asked to review other people's scripts and see which one they thought was the better version. This is what people had to say about mine:
The first one was better as there are some bits where more emphasis is given like his father died not he came here for his father's funeral
The first draft sounds more realistic, the dialogue between anne and jeremiah where they are interrupting each other sounds as if it could be real dialogue between them.
ace the pro top notch home dog ;)
bro, this is ace. they are both really good, and now i have read them both, they are both really good. well done peasant, - Jem :3
I have to agree that the first draft is better in my opinion, although some aspects of the dialogue are better in the second and so rather than settle with one of these two, I would rather write a third, with a mix from the better lines of dialogue from each of the drafts.
We were then asked to pick whichever version we preferred (or mix and match lines from the two different versions like I did), and then do a repetition edit. This is where you run through the text and take out any repetition. If a line isn't giving new information then prune it.
As Pat told us in lesson:
"Repetition is the enemy of good dialogue.
Repetition is bad for your dialogue.
Repetition isn't a benefit for your dialogue.
You see what I did there?"
This is the third version of this scene that I re-wrote, combining lines from the first and the second drafts, as well as adding/removing little snippets of dialogue too:
The third thing we had to do was to consider these three lines of dialogue:
'I'm asking you to vacate these premises.'
'You aren't wanted round here.'
'Oi! You got two seconds or I'll make you bleed. GET. OUT.'
They're all asking someone to leave a place, but the way they're written makes it seem like different locations, genres and characters and have a different impact in a film. For example, the first one seems like a security guard, or a police officer asking somebody to leave a property as it's a rather formal way to ask someone to leave. The second one seems like someone from a Western film, when a newcomer makes their way into a new town and they're not welcomed. The last one seems far more aggressive and violent, like something from Eastenders or a gang movie.
If a gangster would say the first line, they instantly change from a common street gangster to someone like a mafia boss who has lots of power and control, and the feel of the dialogue is completely different. If the third line was said by a posh waiter in a fancy restaurant, it sounds completely absurd and sounds like it belongs more in a comedy than a serious film.
Dismissing the very first ideas makes the screenplay more interesting and involving, and so using the second or third ideas that come into your head generally seem to work better for the film.
Thursday, 13 March 2014
Definitions Of Markets And Ownerships.
Ownership.
The conglomerate is the company at the top, that owns a number of different companies. It's at the top of the hierarchy. News Corp would be a conglomerate.
A subsidiary is the smaller companies underneath the large conglomerate, such as 20th Century Fox being owned by News Corp.
A monopoly is when one company owns the majority of the market. Microsoft were once accused of having a monopoly because they were the only company you could really buy a computer from during the 00s. There is no open market and competition, and therefore the company can charge whatever they'd like for their products.
An oligopoly is where just a few companies own the majority of the market - such as the large big six film studios owning 95% of the television and film market in America.
An open market is where there is a more competitive and fairer market with lots and lots of different companies available for consumers to choose from.
Vertical ownership is where all stages of production are kept within the company. Sony, for example, come up with the idea, plan, create, edit and distribute the films they make, and they manage the entire process of the film without other companies getting involved. They can also use Sony software and Sony equipment to film and edit the films, and so everything was made by Sony themselves. Most media conglomerates are set up this way. Benefits of this would be that the idea would be held within the company and maintain control and copyrights of the film. They also wouldn't have to wait for another company to complete parts of the film making, and communication may be easier within the company. The company would receive all the profits for the film too, however, if the film is received badly, they also have to take all of the losses. They also end up producing a lot of similar films so there could be less diversity within the film company.
A horizontal ownership is where production is split between several companies. This is how most independent film studios are set up. One person may come up with the idea and sell the script to a company, who will film it and then give it to an editing house to edit it, and then pass it onto a distribution company to get it out in the cinemas/on DVDs. These films could possibly be more diverse and creative as its not the same people creating the films every time like vertically owned companies do.
Some companies can also be a hybrid of these two models of ownership.
Funding.
Public television stations - such as the BBC - are funded by the public by them paying for their television licences which is not optional.
Private stations are funded by either the government or by people choosing to have a subscription to the station, and therefore paying optionally to receive the service. Executive producers could also fund films and television shows. Adverts on television channels also help to fund the television station. Product placement is allowed in America, and this is where companies pay for their product to feature heavily in the show.
Sponsorship is where a company pays to have their product(s) displayed before and after the show/film and during the breaks and intervals.
Independent film companies could earn money by taking part in film festivals that give cash prizes to winners.
A statute is something set out by the government. For example, the BBC needs to broadcast a certain amount of news, education and entertainment shows because the public are legally required to pay to contribute towards the channel and so it needs to contain a large variety of programmes to make up for it.
The conglomerate is the company at the top, that owns a number of different companies. It's at the top of the hierarchy. News Corp would be a conglomerate.
A subsidiary is the smaller companies underneath the large conglomerate, such as 20th Century Fox being owned by News Corp.
A monopoly is when one company owns the majority of the market. Microsoft were once accused of having a monopoly because they were the only company you could really buy a computer from during the 00s. There is no open market and competition, and therefore the company can charge whatever they'd like for their products.
An oligopoly is where just a few companies own the majority of the market - such as the large big six film studios owning 95% of the television and film market in America.
An open market is where there is a more competitive and fairer market with lots and lots of different companies available for consumers to choose from.
Vertical ownership is where all stages of production are kept within the company. Sony, for example, come up with the idea, plan, create, edit and distribute the films they make, and they manage the entire process of the film without other companies getting involved. They can also use Sony software and Sony equipment to film and edit the films, and so everything was made by Sony themselves. Most media conglomerates are set up this way. Benefits of this would be that the idea would be held within the company and maintain control and copyrights of the film. They also wouldn't have to wait for another company to complete parts of the film making, and communication may be easier within the company. The company would receive all the profits for the film too, however, if the film is received badly, they also have to take all of the losses. They also end up producing a lot of similar films so there could be less diversity within the film company.
A horizontal ownership is where production is split between several companies. This is how most independent film studios are set up. One person may come up with the idea and sell the script to a company, who will film it and then give it to an editing house to edit it, and then pass it onto a distribution company to get it out in the cinemas/on DVDs. These films could possibly be more diverse and creative as its not the same people creating the films every time like vertically owned companies do.
Some companies can also be a hybrid of these two models of ownership.
Funding.
Public television stations - such as the BBC - are funded by the public by them paying for their television licences which is not optional.
Private stations are funded by either the government or by people choosing to have a subscription to the station, and therefore paying optionally to receive the service. Executive producers could also fund films and television shows. Adverts on television channels also help to fund the television station. Product placement is allowed in America, and this is where companies pay for their product to feature heavily in the show.
Sponsorship is where a company pays to have their product(s) displayed before and after the show/film and during the breaks and intervals.
Independent film companies could earn money by taking part in film festivals that give cash prizes to winners.
A statute is something set out by the government. For example, the BBC needs to broadcast a certain amount of news, education and entertainment shows because the public are legally required to pay to contribute towards the channel and so it needs to contain a large variety of programmes to make up for it.
Six Questions To Ask A Main Character.
Who is your main character and what do they want?
What are the obstacles they must overcome to get what they want?
In the end, do they get it? Was getting it (or not getting it) good or bad for them?
Why do we care? What's so damn compelling about this story that I should spend 110 minutes of my life watching it?
What does my main character need? How is this different from what they want?
Why now? Why is this story happening to my character now?
What are the obstacles they must overcome to get what they want?
In the end, do they get it? Was getting it (or not getting it) good or bad for them?
Why do we care? What's so damn compelling about this story that I should spend 110 minutes of my life watching it?
What does my main character need? How is this different from what they want?
Why now? Why is this story happening to my character now?
Television Broadcasting/Large Film Companies.
We were looking at television channels and discussing whether they are run by the government, owned privately or are a hybrid. Depending on what sort of channel it is affects what they show/display on the television, as certain shows - such as news programmes - could be extremely biased or selective on what they show, especially if it is government run like China's television is.
Some examples of stations sorted into these three categories are:
We also considered the fact that creative media such as films and fictional television shows are mainly run by three large companies. There may seem like there's hundreds and hundreds of companies out there, but they are generally sub-studios of the main five. These are listed below:
Some examples of stations sorted into these three categories are:
| Government | Private | Hybrid |
| Xinhuanet News. | Sky. | BBC. |
| AGN (Agencia Guatemalteca de Noticias). | Virgin. | Channel 4. |
| RT (Russia Today). | ITV. | |
| RIA Novosti. | Disney Channel. | |
| Russia 1. | Dave. | |
| GOLD. |
We also considered the fact that creative media such as films and fictional television shows are mainly run by three large companies. There may seem like there's hundreds and hundreds of companies out there, but they are generally sub-studios of the main five. These are listed below:
News Show Breakdown.
NEWS SHOW BREAKDOWN
Group Name
| ||
Group Members
|
Nicola Sinclair, Jemma Land, David Neale and Connor Sadler.
| |
Job Roles
|
Crew Member
| |
Producer
|
Nicola Sinclair
| |
Director
|
Jemma Land
| |
Floor Manager
|
David Neale
| |
Script Writer
|
Connor Sadler
| |
Art Director
|
Ashley Hodges
| |
Vision Mixer
|
Ellis Bishop
| |
Sound 1
|
Frankie
| |
Sound 2
|
Deanna Ricketts
| |
Lighting 1
|
Joshua Bates
| |
Lighting 2
|
Joe
| |
Camera 1
|
Chloe Pearce
| |
Camera 2
|
Rory
| |
Camera 3
|
Lesley Cross
| |
Presenter 1
|
Chris
| |
Presenter 2
|
Stephanie Preston
| |
Runner
|
Maddie
| |
Runner
|
Corey
| |
Time
|
Action
|
Notes
|
1:45pm
|
Lesson start.
|
5 minutes to make sure latecomers arrive.
|
1:50pm
|
Setup studio floor.
|
Following floor plan, table, sofa and chair put in position.
|
2:00pm
|
Set up cameras.
|
Runners need to tape wires down.
|
2:20pm
|
Set up lighting.
| |
2:30pm
|
Set up microphones/audio.
|
Silence in studio whilst audio is tested.
|
2:40pm
|
Test audio/microphones.
| |
2:45pm
|
Test VT clips/introduction/outros.
| |
2:55pm
|
First run through.
|
Makes notes on what needs changing.
|
3:15pm
|
Break.
|
15 mins.
|
3:30pm
|
Make any changes that are needed.
| |
3:40pm
|
Second run through.
| |
4:00pm
|
Make any additional changes.
| |
4:10pm
|
Live recording.
| |
4:40pm
|
Pack equipment away.
| |
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