FINAL PRODUCTS

WHAT HAVE YOU LEARNED FROM YOUR AUDIENCE FEEDBACK?

HOW EFFECTIVE IS THE COMBINATION OF YOUR MAIN PRODUCT AND ANCILLARY TASKS?

IN WHAT WAYS DOES YOUR MEDIA PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVENTIONS OF REAL MEDIA PRODUCTS?

HOW DID WE USE MEDIA TECHNOLOGIES IN THE CONSTRUCTION, RESEARCH AND PLANNING, AND EVALUATION STAGES?

Here is a link to the website I created answering this evaluation question:

http://theodorabeck.wix.com/paperweight

TB

PROMOTIONAL FACEBOOK PAGE

https://www.facebook.com/paperweightofficial?fref=ts

POSTER RESPONSE

I filmed some people's initial reactions to the poster and asked them if they would go to see the film because of it.

All the reactions to the poster were extremely positive and showed us that people understand the poster and very much like the style of it too.

TB

POSTER MOTIF

We have created three film posters, each varying greatly in style, however there are a few coherent motifs and symbols that we have used to directly link them.

1. The title, each poster has the same 'cut-out' title font that Theo designed

 

 

 

2. Each poster has the Rubik's cube on it

3. The billing block is the same font on each poster and in the same order

4. The collage theme, each poster somewhat resembles a collage made by a child

5. The font, the same font is used (Avenir Next) for the names of each actor on all posters

We have then added awards to the landscape poster which has the most space and clear definition for them, whereas other posters such as the plain red one give more intrigue toward the film and tell us less about it but after seeing the film you can see the clear resemblance.

We are going to check the final posters with some potential audience members and the pair that we used for audience research before making the film and then add finish them based on the feedback we get.

POSTER CONSTRUCTION

To create a coherent marketing scheme, we have used the same motif/logo of the Rubik's cube in all of our posters, we also use the same fonts for the billing block, actor names and title font which was hand cut then scanned by Theo. This poster is our second that I've designed and it's based on the Marcel du Champ original 'nude descending a staircase' which here we've changed to 'child descending the staircase.' As this is an art house film we feel it's important to create innovative and creative posters that could be viewed as artworks as well as film posters. The blurred nature of the poster shows the slightly sinister nature of the story and hints at the autistic condition of the child. There is a collage theme to every poster we're creating. 

HH

FINAL SHORT FILM

This is our final short film called Paperweight:

RECORDING THE SOUNDTRACK

Cameron has now finished recording the four pieces we require for the film, a piece for the opening sequence at  the breakfast table, another for the meltdown sequence, the third for the section where the mother leaves the house and the last for the outdoor scene.

These are some of the influences we gave him and how we went about explaining to him. 

• We recorded on a microtrack - using a Grand Piano in the theatre of our school to get a resonant sound and use a high quality instrument.

1. For the breakfast scene we were inspired by the childlike music used in Disney Pixar films such as Finding Nemo and Monsters Inc

2. Then for the meltdown scene we wanted Camerons classical background to be at the forefront, we wanted that complex classical sound switching keys, melodies and crossing between major and minor to contrast with the simple family film style used in the first scene where order and simplicity is the key

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3. For the transitional section where the child calms again and the mother decides to leave the house there should be a return to that first simple melodic tune that we used in the opening scene which will ironically contrast with the mother's choice to leave, the music should also feel like the sound coming from the TV, it cuts in just after the mother turns on the Tv

4. Then finally for the end scene with the mother outside we wanted to return to the classical music that had accompanied the meltdown, however we wanted it to have a more legato feel, we wanted the sound to feel more controlled and inevitable

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MAGAZINE LOGO

This is the logo I have made for our magazine branding, the magazine is called United Film. The 'M' with the film reels makes up two people who are uniting - the film reels are their heads, also the top half  of their bodies is made to look like a clapperboard. These things all fit in with the title of United Film. I drew the logo on Adobe illustrator from a sketch that I did.

IDENT FONT

I have created the tree for our ident in Adobe Illustrator. The top of the tree is in two halves which are a reflection of each other, I did this because I really liked the symmetrical look that it gave and it allowed me to make the tree more intricate within the time that I had.

These 4 screenshots are font tests using the fonts:

Chalet Comprime Milan 1960

Moon Flower Bold

Caviar Dreams

CF Alone On The Earth

Harry and I collectively decided that we preferred the font CF Alone On The Earth. We thought that the two more modern fonts didn't fit the style of the tree, and out of the other two agreed that Moon Flower was slightly too light-hearted and friendly whereas CF Alone On The Earth was more jagged and harsh which fitted the style of the tree perfectly.

I will now move each of the letters in the text so that they look as if they are sitting on the top of the roots. There is no full stop for this font since it is a demo font so I will also have to draw a full stop that fits the font's style.

IDENT PLANNING

We have come up with the production company called:

TREETOP INC.

For an animated ident using this name I sketched a short storyboard. The ident could be made using an image or illustrator drawing of the tree with its roots, the camera would then move up the tree from the roots to the treetop and then pull back to show the whole image. The text saying the company name would then pop up next to the tree. We will have to use motion to create the look of the camera movement, and could also possibly use it to make the image/drawing look slightly 3D at the start until the text has appeared, then the image turns to a silhouette.

ARTHOUSE FILM IDENTS

Film Idents vary in style and length, very often to suit the film they're working with, several of the idents below for example, use a timeless effect either by using scale and themes such as the earth or the brain, others including a variety of characters and locations to show the proportion of the company. Other companies use a very simple technique and logo, often when they're starting off. 

The most important thing in a film ident is the logo, to have company success, you want your audience to recognise your logo, each of the ident's below has a very clear logo that always comes at the end of the clip. Length's vary from 5-17 seconds depending mostly on the wealth and popularity of the company. Often ident's change with wealth & popularity, effects such as 3D animation are used to do this. 

Unless and ident only deals with a certain genre such as Film Noir or Thriller, it's important that they can apply to any film, this most often comes through simplicity, which all of the ident's have, we may not know precisely where we are or what's happening but we get an excellent sense of the type of company.

CURZON FILM WORLD

This ident gives a feeling of knowledge and being central to events, the abstract computerized object looks rather like a brain or some kind of control centre, in it's background is a large spherical object, resembling earth. This makes us think of scale and innovation, the sparks of the maze suggest a hint of new things to come from this company.

BLUE HEAD FILMS

This ident is very short and simple, it goes from a very modern, technical looking pixel screen that transforms into a tribal design face and bold, simple lettering. Giving the effect of old and new combined to create one another.

SNASK FILM


 

This longer ident, gives a sense of money, it's very high definition and set-up very cleverly with smoke and lights timed precisely so we almost can't make out what the company is called. The black and white palette makes the film feel very timeless and gives a sinister edge when combined with the sound effects and background noise. 

ENTER FILM


 

This ident immediately says comical from it's soundtrack, there is a business and liveliness to it, especially using the bright yellow and film noir silhouette look. The transition between so many locations and characters suggests a longevity and variety within the company that may be attractive to any viewer.

A1 FILMS


 

This ident is the shortest of the one's I've viewed, it very simply animates the company logo with a bright sun like light in centre. The fade of the light and very simplicity of the logo gives it an innovative feel, like the birth of a new era or company, there is something not yet formed in the simplicity. The colour palette is also quite egyptian, it feels like a hot sunrise and the lettering is timeless. 

SEVEER FILMS


 

The several version of the one ident shown in this video allow a look at how some more well established companies have changed their ident's over the years but stick with the same logo, often to suit the film it's used in, or to give a different impression to the audience. The last ident for example, shown on the preview screen above is in full 3D with a red-hot iron stamp as the f, suggesting that the company is making its mark, or possibly already has. This version is far glossier and more hollywood than the 2D versions shown in the first edition which includes it's website at the end of the ident. This progression is a sign of wealth and popularity within the company, they no longer need to put anything other than the logo in their ident. Large conglomerates such as Universal and Disney are able to do the same with their idents. 

ENTRACTE FILMS

This very simple ident is replayed several times here using slightly different colour schemes, this company made films mainly in the initial use of colour cinema, it's a retro feel today and you can imagine it being used with an 'old film' effect on the computer. There is a sense of that 70's/80's new generation technology. The music especially is one of the first computer generated soundtracks used in film idents.

After having looked at several idents and analysed their success it's becoming clear that for a first film with our company the ident should be short and succinct, focusing most importantly on our logo and film company name.

HH