Handwritten Title Sequence

I’ve completed a task that is involving After Effects Application.

We can choose the colour of background we want first, then start to write a text on the screen. I chose white background in order to emphasise my text. My text says ‘GHOST LOVER’ and COMEDY’ with the colour of pink conforms to the conventions of rom-com genre.

For the handwritten title sequence, I need to choose the font that looks like a handwriting or else the editing will not work. As you can see the font for ‘Ghost Lover’ is more towards typewriting effect and  ‘Comedy’ is more to handwriting effect.

I chose pen tool and click on each characters in the right sequence. Then I go to ‘effect’, click ‘generate’ then choose ‘stroke’. I changed the brush size and opacity to make the handwriting go perfectly. I adjusted the stroke that is a bit off or doesn’t really follow the writing sequence by positioning the placement of pen tool point again.

 

 

 

 

Example of Postmodernism

This is an example of a film that I have analysed which meet most of the requirements needed to conform the postmodernist theory.

MPAA

MPAA stands for Motion Picture Association America. Film ratings provide parents with advance information about the content of movies to help them determine what movies are appropriate for their children at any age.  Ratings are assigned by a board of parents who consider factors such as violence, sex, language and drug use, then assign a rating they believe the majority of American parents would give a movie.

Motion Picture Association America (MPAA)

 

• General Audiences – All ages admitted – Nothing that would offend parents for viewing by children. This contain nothing in theme, language, nudity, sex, violence or other matters that would offend parents who has younger children watching the film together with them.

• Parental Guidance Suggested – Some material may not be suitable for children  – Parents urged to give ‘parental guidance’. May contain some materials parents might not like for their young children. There may be some profanity and some depictions of violence or brief nudity. These element are not going to be so intense that would urge the parents to stop their children from watching the film.

• Parents Strongly Cautioned – Some material may be inappropriate for children under 13 – Parents are urged to be cautious . Some material may be inappropriate for pre-teenagers. This rating may go beyond the PG rating in theme, violence, nudity, sensuality, language, adult activities or other elements but not as mush as restricted category.

• Restricted – Under 17 requires accompanying parent or adult guardian – Contains some adult material. Parents are urged to learn more about the film before taking their young children with them. This category may include adult themes, adult activity, hard language, intense or persistent violence, sexually-oriented nudity, drug abused or other elements.

• Adults Only – No one 17 and under admitted – Clearly adult. Children are not admitted. This category can be based on violence, sex, aberrational behaviour, drug abuse or any other element that most parents would consider too strong and therefore off-limits for viewing by the children.

BBFC

BBFC stands for British Board of Film Classification. Guidelines are regularly updated as a base to refer on before they classify the type of the film.

British Board Film Classification (BBFC)

• Universal – Suitable For All – There is almost nothing inappropriate  for children aged 4 years and over.

• Parental Guidance – All ages admitted but certain scenes might not be suitable for children, should not unsettle a child aged around eight or older – This may contain mild language references.

• 12 – Suitable for 12 years and above – No one younger than 12 may see a 12A film in a cinema unless accompanied by an adult. Adults planning to take a child under 12 to view a 12A film should consider whether the film is suitable for that child. Strong language may be passed on at 12 depending on the manner in which it is used, who is using the language, its frequency and any special contextual justification.

• 15 – Suitable for 15 years and over –  No one under 15 is allowed to see a 15 film at the cinema or buy/rent a 15 rated video. There will be frequent strong language, strong violence, portrayals  of sexual activity, strong verbal references to sex, sexual nudity and so on mostly related to sex and/or drug.

• 18 – Suitable only for adults – Contains very strong language and violence. No one under 18 is allowed to see an 18 film at the cinema or buy / rent an 18 rated video. No 18 rated works are suitable for children.

• Restricted 18 – To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults only. Contains special and legally-restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults.

Script

This is the script for my trailer production titled ‘Ghost Lover’.

 

Storyboard

This is the storyboard of my trailer production titled ‘Ghost Lover’. All the images that have been used are from Getty Images, iStockphoto and shutterstock

 

 

 

Consent Forms

Consent form is a document that is sign by someone to show that they will allow something to happen.

Consent form for actors:

Consent form for owner of the settings:

 

 

Depth of Field

Version 1

Version 2

Depth of field refers to the range of distance between nearest and farthest objects that appear in acceptably sharp focus in a photograph. This filming technique can be determined with:

Distance from the length: This involving the distance of the subject from the lens. The closer an object the lens, when the focus is on the object, the shallower the depth of field and vice versa. The farther away an object is and the focused is on, the deeper the depth of field. The focal length is also adjustable even if I don’t move the object around. This can be adjusted by zooming in or out. In this case, during the filming I zoomed in to focus on the front object.

Reflection: 

During the filming, I need to remind myself to keep the Iris open spin the focus ring either to the right or left. I changed the focus continuously making the front object in focus at first then the book is in focus making the front object blurred. I zoomed in order to focus on the significant object and blurred out the other object that I don’t need for the time being.

I filmed two different versions of depth of field. The only thing that distinguish the video is that, the first version is a handheld version and the second one I filmed using the tripod. I don’t want the footage to be shaky because it would bring out disorientation if audience is watching it and they won’t be able to focus on the filming technique that I was trying to show. By using tripod making the video condition is more stable and smoothly done.

Will you consider using this technique in your coursework?

Yes. I am most likely going to use this technique especially when the main female character is having a conversation with her dating partner. Also using it when the couple is having fun together blurring out the background as if they are in their own world.

 

 

Codes & Conventions of Romantic Comedy

Click on the image below to bring you to my presentation focusing on Codes & Conventions of Romantic Comedy on Prezi.

This is an extra research on my typography:

Roland Barthes

NARRATIVE

Narrative is the way that events are put together to be represented to an audience.

ROLAND BARTHES NARRATIVE THEORY

Biography: Roland Barthes is French essayist and social and literary critic whose writings on semiotics, the formal study of symbols and signs helped establish Structuralism  and the New Criticism as leading intellectual movements.

Roland Barthes argues that every narrative is interwoven with five codes that drive one to maintain interest in a story.

• The hermeneutic Code – A narrative device that teases the audience by presenting a puzzle or riddle to be solved. The plot elements are not explained in order to draw in the attention of the audience.
• The Proairetic Code – Refers to plot events that imply further narrative action
• The Semic Code – The accumulation of connotations. These signs allow the author to describe  characters, settings and events.
• The Symbolic Code – Refers to a structural structure that organises meanings by way of antitheses, binary oppositions or sexual and psychological conflicts.
• The Cultural Code – Designates any element in a narrative that refers to common body of knowledge such as historical, mythological or scientific.

Other narrative theories: Tzvetan Todorov, Vladimir Propp & Claude Levi-Strauss