These are the active blog hubs for the current Year 12 students:
Brandy http://brandymakuendimediaas.weebly.com/
Luke http://lukeybizzle.weebly.com/
Afua http://afuamedia.weebly.com/
Sukru http://sukruasmedia.blogspot.co.uk/
Ugur Can http://ugurcanasmedia.blogspot.co.uk/
Awa http://awa-asmedia.weebly.com/
Rachel http://rachelcousinsmedia.weebly.com/
Moriam http://moriamasmedia.weebly.com/
Rhiannon http://rhiannonharris.weebly.com/
Danella http://josephasmedia.weebly.com/
Junior http://juniorsasmediablog.weebly.com/ or is it BlogSpot?? Don't have address.
Joel http://joelrileyasmedia.blogspot.co.uk/
Rochene http://rochenedacostamediaas.weebly.com/
Thursday, 23 October 2014
Tuesday, 9 September 2014
Creating a blog for your Media AS Coursework
One of the first things you will need to do at the start of the year is create a blog account. You can use this to keep an online record of all your research and planning linked to film openings, and eventually you will use it to demonstrate progress of your coursework from an initial idea to fully realised film opening.
There are a number of blog platforms you can use. Last year, students used WIX, Weebly or blogger (the same format I am using).
www.wix.com
www.weebly.com
www.blogger.com
It is important that you look at a range of blog hubs and see what students are capable of before deciding, but you will need to decide by the end of this week.
There are a number of blog platforms you can use. Last year, students used WIX, Weebly or blogger (the same format I am using).
www.wix.com
www.weebly.com
www.blogger.com
It is important that you look at a range of blog hubs and see what students are capable of before deciding, but you will need to decide by the end of this week.
Monday, 19 May 2014
AS Media Studies - June Entry Moderation Sample
Dear Moderator,
Please find the links to the following candidates below:
Ethan Steal
M Kamara 1083
A Ojubanire 1122
(those not in sample but in same group - Haynes 1069 & Watkins 1172)
Captured
A Ahmed 1004
Rivals
S Tan-Ming 1155
The Taken
G Mustafa 1145
(worked with L Murtezi 1113 not on sample)
Snitch
A Meter 0103
Family Feuds
D Gbadamosi 1192
W Nabwana-Tabingwa 1116
Fear
M Mushtaq 1114
B Karakurt 1085
(also with Katranci 1183 - not on sample)
Time to Go
O Joof 1078
(worked with Kouehourou 1092)
Alone
M Aliu 1014
Captive
C Kalan 1082
(also with S Elnek 1053 link on blog homepage)
The Chaser
U Altioglu 1017
High School Dropout
I Harrison 1066
If you have any problems, do not hesitate to contact using the details on the letter.
Regards,
R Mayers
Please find the links to the following candidates below:
Ethan Steal
M Kamara 1083
A Ojubanire 1122
(those not in sample but in same group - Haynes 1069 & Watkins 1172)
Captured
A Ahmed 1004
Rivals
S Tan-Ming 1155
The Taken
G Mustafa 1145
(worked with L Murtezi 1113 not on sample)
Snitch
A Meter 0103
Family Feuds
D Gbadamosi 1192
W Nabwana-Tabingwa 1116
Fear
M Mushtaq 1114
B Karakurt 1085
(also with Katranci 1183 - not on sample)
Time to Go
O Joof 1078
(worked with Kouehourou 1092)
Alone
M Aliu 1014
Captive
C Kalan 1082
(also with S Elnek 1053 link on blog homepage)
The Chaser
U Altioglu 1017
High School Dropout
I Harrison 1066
If you have any problems, do not hesitate to contact using the details on the letter.
Regards,
R Mayers
Monday, 31 March 2014
Deadline now closed
Thank you to all students who have completed their coursework.
I have looked at everyone's blogs and can now mark fairly and accurately across both groups. Some blogs looked unpublished and I was unable to find finished sequences and evaluations. I have had to mark them as incomplete.
If this is through no fault of your own, please contact me no later than 8.30am on Tuesday so that I can give mr Gourley accurate marks and data.
Thanks
Mr Mayers
I have looked at everyone's blogs and can now mark fairly and accurately across both groups. Some blogs looked unpublished and I was unable to find finished sequences and evaluations. I have had to mark them as incomplete.
If this is through no fault of your own, please contact me no later than 8.30am on Tuesday so that I can give mr Gourley accurate marks and data.
Thanks
Mr Mayers
Tuesday, 11 March 2014
G321 - The Evaluation
For those of you who didn't feel it necessary to concentrate whilst I talked through this evaluation, please find the embedded powerpoint here:
Please note, you have three weeks in which to complete this evaluation. It is worth 20 marks (20% - two grades) of your final coursework.
Do a bad job of your evaluation and it will make the rest of your coursework look bad. Moderators usually look at the evaluations first, or after watching your final product. If they are not convinced by either, then they will scrutinize your research and planning materials in more detail.
You will present your film openings and talk through your evaluation during the last week this term.
Please note, you have three weeks in which to complete this evaluation. It is worth 20 marks (20% - two grades) of your final coursework.
Do a bad job of your evaluation and it will make the rest of your coursework look bad. Moderators usually look at the evaluations first, or after watching your final product. If they are not convinced by either, then they will scrutinize your research and planning materials in more detail.
You will present your film openings and talk through your evaluation during the last week this term.
Wednesday, 5 March 2014
Construction and First Draft Completion
By the end of Friday 7th March I would like to see your first cut available to view online and published on your blog with some reflection.
You have been emailed ASSESSED PIECE 8 and ASSESSED PIECE 9 planning sheets and also given them in class to help you complete your coursework and get your blogs up to date.
There are a record number of Entries this June because there is no longer a January entry, therefore moderators will see a wide range of excellent practice. Make yours stand out. If you're too embarrassed to share your blog and video with friends and family, then you obviously haven't taken enough care and effort, so you need to fix this in the next three weeks.
Some useful links to keep you going:
http://examplesofwork13.weebly.com/as.html here you can see video work (bottom of page) from a U and every grade up to an A*.
There is some examiner commentary around on the website and you can see what they say about planning and research content and even look at some more blogs.
http://examplesofwork13.weebly.com/moderation-activities.html
You have been emailed ASSESSED PIECE 8 and ASSESSED PIECE 9 planning sheets and also given them in class to help you complete your coursework and get your blogs up to date.
There are a record number of Entries this June because there is no longer a January entry, therefore moderators will see a wide range of excellent practice. Make yours stand out. If you're too embarrassed to share your blog and video with friends and family, then you obviously haven't taken enough care and effort, so you need to fix this in the next three weeks.
Some useful links to keep you going:
http://examplesofwork13.weebly.com/as.html here you can see video work (bottom of page) from a U and every grade up to an A*.
There is some examiner commentary around on the website and you can see what they say about planning and research content and even look at some more blogs.
http://examplesofwork13.weebly.com/moderation-activities.html
I STRONGLY RECOMMEND THAT YOU ALL READ THIS!
Wednesday, 29 January 2014
Foley
Use this blog in combination with the lesson materials I will give you. There are a range of links, video clips and writing frames for you to use on this blogpost - use them sparingly, but do use them!
A definition and history of Foley can be found on this link http://www.marblehead.net/foley/
In your blog post, contextualize who this man is and how he contributed to the art.
Resources you can use for your task:
Depending on the software and equipment available to the teacher and students, this assignment can be done many ways.
http://soundbible.com/royalty-free-sounds-1.html
http://www.jamendo.com/en/creativecommons
http://www.sounddogs.com/catsearch.asp?Type=1
The students are to edit the audio files created for the Foley Assignment into the silent video and create their own story and soundtrack as a result.
WRITING YOUR BLOG POST - WRITING FRAME AND GUIDANCE:
"In today's lesson, we looked at the role of the Foley artist and were able to understand their process in the filmmaking process. Our key question from the lesson was 'How important is Foley to filmmakers?'
From my research, I have discovered the following..." You can paste this as the start.
"As you go through an average day, how many sounds around you do you actually hear? Every time you close a door, do you listen for the click of the lock? Do you hear the clink of a glass as you set it down? Although you may not actively hear these sounds, if they weren't there you'd wonder what was missing. Foley, the process of creating incidental sounds, is the art that completes a film--all by adding sounds for which you never really listen. Whether they're tearing heads of cabbage for a paper shredder in The Temp or The Temp "smooshing" gelatin in T-shirts for E.T.'s wobble, Foley artists add sounds that make the experience more real for the audience. The process is named for radio and movie sound pioneer Jack Foley, a technician at Universal Studios in the 1950s who became famous for synchronized sound effects. Foley artists begin their work by watching the film to determine which sounds need to be replaced, which need to be enhanced, and which just simply need to be added. At this time, the sound on the film includes all of the dialogue and sound effects created during the actual production of the film. These sounds are recorded on a production track or guide track. Later, technicians may add crowd noises (also called walla ), the musical score, rerecorded dialogue or ADR (automated dialogue replacement), sound effects, and sound-designed effects. It's not unusual to have 80% of a movie's sound track added and altered in some way after the movie is shot. Some sound effects are common and can be pulled from prerecorded audio libraries. But many are unique to each movie--footsteps, for instance. As they watch the film, the artists identify which sounds they need to create and start thinking of ways to make them. In addition to the noises themselves, the foley artists must consider other factors, such as who makes the sound and in what environment. Some sounds are too complex for one take, so the foley artists carefully combine different noises to fully represent a single sound. In some cases, foley editors can digitally alter recorded sounds to fit a scene exactly. In a foley studio, you'll find different surfaces for walking on, a splash tank , echo chambers, and a mixing booth where the sound engineers record and mix everything. Foley artists spend hours huddled around a microphone, readingcue sheets and watching a huge screen as they meticulously synchronize their noises to the action. So the next time you see a movie, listen very carefully. If you don't notice a thing, you've got a foley artist to thank"
Taken from http://www.newtonsapple.tv/TeacherGuide.php?id=1300
most importantly - you must ask yourself (and tell us) WHY HAVE I DONE THIS? (How is it going to help you think about your project?).
There will be instances in your film where you need to enhance it with good sound effects.
Blog on Kitty!
Resources from the lesson:
http://www.pbs.org/newshour/art/blog/2011/02/the-sound-of-cinema.html video interview with Foley artists
A definition and history of Foley can be found on this link http://www.marblehead.net/foley/
In your blog post, contextualize who this man is and how he contributed to the art.
Below is an example of a foley artist at work, the same man from the clip we watched in class.
Resources you can use for your task:
Depending on the software and equipment available to the teacher and students, this assignment can be done many ways.
- One way is to have the students go out and physically record real sounds with audio recording equipment or video cameras, and then edit those sounds into the video clip.
- Another possibility, is to use a software like GarageBand, or Soundbooth, or Soundtrack Pro to search, and save Foley sounds, and other various sound effects.
- There are several Internet sites with free audio files as well:
http://soundbible.com/royalty-free-sounds-1.html
http://www.jamendo.com/en/creativecommons
http://www.sounddogs.com/catsearch.asp?Type=1
The students are to edit the audio files created for the Foley Assignment into the silent video and create their own story and soundtrack as a result.
Taken from http://www.cteonline.org/portal/default/Curriculum/Viewer/Curriculum?action=2&cmobjid=270499&view=viewer&refcmobjid=260683
WRITING YOUR BLOG POST - WRITING FRAME AND GUIDANCE:
"In today's lesson, we looked at the role of the Foley artist and were able to understand their process in the filmmaking process. Our key question from the lesson was 'How important is Foley to filmmakers?'
From my research, I have discovered the following..." You can paste this as the start.
- You can either write a summative paragraph based on the sheet you completed in class, or...
- You can condense this paragraph into six lines using key information, I have highlighted the first line for you:
"As you go through an average day, how many sounds around you do you actually hear? Every time you close a door, do you listen for the click of the lock? Do you hear the clink of a glass as you set it down? Although you may not actively hear these sounds, if they weren't there you'd wonder what was missing. Foley, the process of creating incidental sounds, is the art that completes a film--all by adding sounds for which you never really listen. Whether they're tearing heads of cabbage for a paper shredder in The Temp or The Temp "smooshing" gelatin in T-shirts for E.T.'s wobble, Foley artists add sounds that make the experience more real for the audience. The process is named for radio and movie sound pioneer Jack Foley, a technician at Universal Studios in the 1950s who became famous for synchronized sound effects. Foley artists begin their work by watching the film to determine which sounds need to be replaced, which need to be enhanced, and which just simply need to be added. At this time, the sound on the film includes all of the dialogue and sound effects created during the actual production of the film. These sounds are recorded on a production track or guide track. Later, technicians may add crowd noises (also called walla ), the musical score, rerecorded dialogue or ADR (automated dialogue replacement), sound effects, and sound-designed effects. It's not unusual to have 80% of a movie's sound track added and altered in some way after the movie is shot. Some sound effects are common and can be pulled from prerecorded audio libraries. But many are unique to each movie--footsteps, for instance. As they watch the film, the artists identify which sounds they need to create and start thinking of ways to make them. In addition to the noises themselves, the foley artists must consider other factors, such as who makes the sound and in what environment. Some sounds are too complex for one take, so the foley artists carefully combine different noises to fully represent a single sound. In some cases, foley editors can digitally alter recorded sounds to fit a scene exactly. In a foley studio, you'll find different surfaces for walking on, a splash tank , echo chambers, and a mixing booth where the sound engineers record and mix everything. Foley artists spend hours huddled around a microphone, readingcue sheets and watching a huge screen as they meticulously synchronize their noises to the action. So the next time you see a movie, listen very carefully. If you don't notice a thing, you've got a foley artist to thank"
Taken from http://www.newtonsapple.tv/TeacherGuide.php?id=1300
- Write about the experience of creating your own sound effects for the clips you were given and discuss how you found the process.
- Remember, the blog is about process and journey, not just presenting your findings.
- Take pictures of you making Foley sounds and perhaps even publish your outcomes.
most importantly - you must ask yourself (and tell us) WHY HAVE I DONE THIS? (How is it going to help you think about your project?).
There will be instances in your film where you need to enhance it with good sound effects.
Blog on Kitty!
Resources from the lesson:
http://www.pbs.org/newshour/art/blog/2011/02/the-sound-of-cinema.html video interview with Foley artists
Wednesday, 15 January 2014
Film Title Font Analysis
This video explains very clearly why you need to give thought to Title design in your opening scenes
So, choosing the right font for your credits and titles will determine whether the audience accept your production values and your film lives up to their expectations. (codes and conventions - genre - Neale).
Below are some screen shots from different genres.
Horror
I would expect you to examine a few examples like I have done above. Remember, the title is often different to the credits.
Thriller
Action
So, choosing the right font for your credits and titles will determine whether the audience accept your production values and your film lives up to their expectations. (codes and conventions - genre - Neale).
Below are some screen shots from different genres.
Horror
I would expect you to examine a few examples like I have done above. Remember, the title is often different to the credits.Thriller
Action
Monday, 6 January 2014
Storyboards, Animatics and the End Product
Before Scorcese became a Hollywood A-lister, he used to do his own storyboards and pencil down his ideas to show his film crew. Watch the video below - you are all capable of doing similar, if not better.
Not bad, there is hope for us all...
Not bad, there is hope for us all...
Film Openings and their respective Scripts
1 - The Usual Suspects (Singer, 1994)
One of the most intriguing openings you can see. Use of enigma code is heavy throughout and gets the audience asking questions. Lets look at the sequence and then how you script something like this.
1 -BLACK
The lonely sound of a buoy bell in the distance. Water
slapping against a smooth, flat surface in rhythm. The
creaking of wood.
Off in the very far distance, one can make out the sound of
sirens.
SUDDENLY, a single match ignites and invades the darkness. It
quivers for a moment. A dimly lit hand brings the rest of the
pack to the match. A plume of yellow-white flame flares and
illuminates the battered face of DEAN KEATON, age forty. His
salty-gray hair is wet and matted. His face drips with water
or sweat. A large cut runs the length of his face from the
corner of his eye to his chin. It bleeds freely. An un-lit
cigarette hangs in the corner of his mouth.
In the half-light we can make out that he is on the deck of a
large boat. A yacht, perhaps, or a small freighter. He sits
with his back against the front bulkhead of the wheel house.
His legs are twisted at odd, almost impossible angles. He
looks down.
A thin trail of liquid runs past his feet and off into the
darkness. Keaton lights the cigarette on the burning pack of
matches before throwing them into the liquid.
The liquid IGNITES with a poof.
The flame runs up the stream, gaining in speed and intensity.
It begins to ripple and rumble as it runs down the deck
towards the stern.
2 EXT. BOAT - NIGHT - STERN 2'
A stack of oil drums rests on the stern. They are stacked on
a palette with ropes at each corner that attach it to a huge
crane on the dock. One of the barrels has been punctured at
it's base. Gasoline trickles freely from the hole.
The flame is racing now towards the barrels. Keaton smiles
weakly to himself.
The flame is within a few yards of the barrels when another
stream of liquid splashes onto the gas. The flame fizzles out
pitifully with a hiss.
Two feet straddle the flame. A stream of urine flows onto the
deck from between them. The sound of a fly zipping. Follow the feet as they move over
to where Keaton rests at the wheel house.
CRANE UP to the waist of the unknown man. He pulls a pack of
cigarettes out of one pocket and a strange antique lighter
from the other. It is gold, with a clasp that folds down over
the flint. The man flicks up the clasp with his thumb and
strikes it with his index finger. It is a fluid motion,
somewhat showy.
Keaton looks up at the man. A look of realization crosses his
face. It is followed by frustration, anger, and finally
resignation.
VOICE (O.S.) How are you, Keaton?
KEATON I'd have to say my spine was broken,
Keyser.
He spits the name out like it was poison.
The man puts the lighter back in his pocket and reaches under
his jacket. He produces a stainless .38 revolver.
VOICE (O.S.) Ready?
KEATON What time is it?
The hand with the gun turns over, turning the gold watch on
its wrist upward.
The sound of sirens is closer now. Headed this way.
VOICE (O.S.) Twelve thirty.
Keaton grimaces bitterly and nods. He turns his head away and
takes another drag.
The hand with the gun waits long enough for Keaton to enjoy
his last drag before pulling the trigger.
GUNSHOT
The sound of Keaton's body slumping onto the deck.
MOVE OUT ACROSS THE DECK. Below is the stream of gasoline
still flowing freely.
The sound of the gasoline igniting. The flame runs in front
of us towards the barrels, finally leaping up in a circle
around the drums, burning the wood of the pallet and licking
the spouting stream as it pours from the hole.
MOVE OUT ACROSS THE DOCK, away from the boat.
The pier to which the boat is moored is littered with DEAD
BODIES. Twenty or more men have been shot to pieces and lie
scattered everywhere in what can only be the aftermath of a
fierce fire-fight.
A BARGE COMES INTO VIEW.
On the deck of the barge is a tangle of cables and girders.
The mesh of steel and rubber leaves a dark and open cocoon
beneath its base.
MOVE INTO THE DARKNESS.
Sirens are close now. Almost here. The sound of fire raging
out of control.
SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET POUNDING THE PAVEMENT.
MOVE FURTHER, SLOWER, INTO THE DARKNESS
Voices yelling. New light flickering in the surrounding
darkness.
SUDDENLY, AN EXPLOSION.
Then silence. TOTAL BLACKNESS.
Locations used are shown in the script. There would have been a lot of health and safety concerns. Interestingly, we didn't need to see the boat getting blown up, just a ball of flames. That saved some money.
One of the most intriguing openings you can see. Use of enigma code is heavy throughout and gets the audience asking questions. Lets look at the sequence and then how you script something like this.
1 -BLACK
The lonely sound of a buoy bell in the distance. Water
slapping against a smooth, flat surface in rhythm. The
creaking of wood.
Off in the very far distance, one can make out the sound of
sirens.
SUDDENLY, a single match ignites and invades the darkness. It
quivers for a moment. A dimly lit hand brings the rest of the
pack to the match. A plume of yellow-white flame flares and
illuminates the battered face of DEAN KEATON, age forty. His
salty-gray hair is wet and matted. His face drips with water
or sweat. A large cut runs the length of his face from the
corner of his eye to his chin. It bleeds freely. An un-lit
cigarette hangs in the corner of his mouth.
In the half-light we can make out that he is on the deck of a
large boat. A yacht, perhaps, or a small freighter. He sits
with his back against the front bulkhead of the wheel house.
His legs are twisted at odd, almost impossible angles. He
looks down.
A thin trail of liquid runs past his feet and off into the
darkness. Keaton lights the cigarette on the burning pack of
matches before throwing them into the liquid.
The liquid IGNITES with a poof.
The flame runs up the stream, gaining in speed and intensity.
It begins to ripple and rumble as it runs down the deck
towards the stern.
2 EXT. BOAT - NIGHT - STERN 2'
A stack of oil drums rests on the stern. They are stacked on
a palette with ropes at each corner that attach it to a huge
crane on the dock. One of the barrels has been punctured at
it's base. Gasoline trickles freely from the hole.
The flame is racing now towards the barrels. Keaton smiles
weakly to himself.
The flame is within a few yards of the barrels when another
stream of liquid splashes onto the gas. The flame fizzles out
pitifully with a hiss.
Two feet straddle the flame. A stream of urine flows onto the
deck from between them. The sound of a fly zipping. Follow the feet as they move over
to where Keaton rests at the wheel house.
CRANE UP to the waist of the unknown man. He pulls a pack of
cigarettes out of one pocket and a strange antique lighter
from the other. It is gold, with a clasp that folds down over
the flint. The man flicks up the clasp with his thumb and
strikes it with his index finger. It is a fluid motion,
somewhat showy.
Keaton looks up at the man. A look of realization crosses his
face. It is followed by frustration, anger, and finally
resignation.
VOICE (O.S.) How are you, Keaton?
KEATON I'd have to say my spine was broken,
Keyser.
He spits the name out like it was poison.
The man puts the lighter back in his pocket and reaches under
his jacket. He produces a stainless .38 revolver.
VOICE (O.S.) Ready?
KEATON What time is it?
The hand with the gun turns over, turning the gold watch on
its wrist upward.
The sound of sirens is closer now. Headed this way.
VOICE (O.S.) Twelve thirty.
Keaton grimaces bitterly and nods. He turns his head away and
takes another drag.
The hand with the gun waits long enough for Keaton to enjoy
his last drag before pulling the trigger.
GUNSHOT
The sound of Keaton's body slumping onto the deck.
MOVE OUT ACROSS THE DECK. Below is the stream of gasoline
still flowing freely.
The sound of the gasoline igniting. The flame runs in front
of us towards the barrels, finally leaping up in a circle
around the drums, burning the wood of the pallet and licking
the spouting stream as it pours from the hole.
MOVE OUT ACROSS THE DOCK, away from the boat.
The pier to which the boat is moored is littered with DEAD
BODIES. Twenty or more men have been shot to pieces and lie
scattered everywhere in what can only be the aftermath of a
fierce fire-fight.
A BARGE COMES INTO VIEW.
On the deck of the barge is a tangle of cables and girders.
The mesh of steel and rubber leaves a dark and open cocoon
beneath its base.
MOVE INTO THE DARKNESS.
Sirens are close now. Almost here. The sound of fire raging
out of control.
SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET POUNDING THE PAVEMENT.
MOVE FURTHER, SLOWER, INTO THE DARKNESS
Voices yelling. New light flickering in the surrounding
darkness.
SUDDENLY, AN EXPLOSION.
Then silence. TOTAL BLACKNESS.
Locations used are shown in the script. There would have been a lot of health and safety concerns. Interestingly, we didn't need to see the boat getting blown up, just a ball of flames. That saved some money.
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