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

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...

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.

Using ShowMe for Micro Analysis

You need to be analyzing a range of films and title conventions constantly.  This means investigating ways that you can highlight this to me and the moderator - that you understand your genre and what to look out for.

The video below was made using ShowMe on the iPad.  I've selected a few screenshots from the internet, although I could have done this watching an opening on Youtube and using the screenshot function.  I can pause, change photos, and continue my recording to create a nice sequence of analysis.  Below I am focusing on how the protagonist is shown in each frame, but I also noted other details.



ShowMe what you can do!

Blog on . . .

Using Voice Thread and similar tools for textual analysis

Here is a voicethread I created for a sample analysis about The Ring. 

Watch the clip first then listen to my commentary at the end - once you get the hang of video doodling it really is a  great way to show creativity, innovation and save typing detailed analysis.

 

 

SCRIPTING - BRINGING THE STORY TO LIFE

You should have a firm idea of what happens in your film.  Now is the time to develop this into a working script, your opening two minutes.

Students who go out and film without storyboards and scripts rarely succeed in producing a successful opening.  Good planning will lead to a good production.

http://www.wikihow.com/Write-Movie-Scripts

I am not expecting a full script, but I DO EXPECT to see a script of some sort outlining description and dialogue of what happens in the first two minutes. 

1. Once you have a script you can start to storyboard.
2. Once your storyboard is complete, then you can create an animatic. 
3. Once you have the animatic, you can start to think about where your titles and credits will appear. 
4. Once you have done this, you will create your shooting plan and shot list.
5. Once this is done, and assuming all your other planning materials are complete, THEN you are ready to go out and film.

You should be ready to film on the first day back after Christmas.

Health and Safety Considerations for Filming

Being prepared and well planned is an essential skill for practical productions within the media industry.  Film companies and TV production crew never just turn up at a location unannounced and start filming, they have already a clear idea of what lies on the horizon.

By completing a recce (a pre-visit) of your preferred location, you should be able to identify any potential difficulties when filming.  This can include moving objects like cars and trains, to structures like buildings, steps, etc.  It's also a great way of finding out what the light is like, noise levels, and for collecting ideas together.

Below is a professional template used by film companies when assessing suitability, and below that is a AS Media Studies student exemplar.  READ through it, most of it is common sense.

You must complete one of these before filming, you cannot film without one!

Film production risk assessment form from Graveney School

 

And here's the student exemplar http://anne-mariegmedia.blogspot.co.uk/2013/02/risk-assessment.html 

 

A walkthrough is a very good way of covering yourself, this is where you arrive at location, film and discuss what you can see (hazards, possible shooting locations).  

Given the advent of phones that can do anything, you need to research where you are going to film your masterpiece.  You will know where you want to film, but you should give as much evidence as possible (photographic) showing where you will shoot.  Is it a public place or private home?  If shooting in the public, you should really consider the danger posed to you and by you - ask your teacher for a letter confirming your role as a media student and by no means should you go wandering around town at night with a mask and real knife...you'd be surprised by how many students have done this.