Storyboard and Shot List

The storyboard and the shot list for our film trailer share the same shots as they are both documents used to plan what shots we will use when creating our trailer. For this reason, the shot list and storyboard share common consistencies with each other as the shot list provides a detailed explanation of each shot seen in the storyboard, whilst the storyboard is similarly able to provide a visual representation as to how the shots will look when completed.

Shot 1: Mid shot. In this opening shot we are introduced to the central protagonist Toby as he delivers his dialogue through the means of a direct, webcam address. We felt using this shot would be effective as it immediately sets up a rapport between the central protagonist and the audience, with the intended effect being that of immediately establishing an emotional connection and sympathy for the character's situation in these opening moments of the trailer.

Shot 2: Tracking close up shot. This shot will be a tracking shot that follows the protagonist as he is walking along, focussing on the characters lower waist and upper leg. During this shot, the camera focus should ideally remain smooth. The main reason for including this shot is to establish a sense of mystery about the figure as his face will deliberately not be shown in order to mask his identity so that the audience are kept guessing and become intrigued as to who the figure could be.

Shot 3: Tracking mid shot. This shot, like the one immediately preceding it, will be another tracking shot, however, this time the shots focus will maintain a particular bias towards the characters legs and feet, maintaining an air of mystery and suspense, hopefully continuing to build on anticipation for the audience.

Shot 4: Match on Action shot. This shot will aim to show the character's hand reaching for a previously unidentified door handle. Again the shot will be tracking the movements of the characters hand in close detail as he reaches for the door handle, proceeds to open the door and then closes it. The purpose for this shot being included in the build up of action is for the audience to question where the character could possibly be heading, and more importantly, for what purpose...

Shot 5: Mid Shot. In this shot the viewer is returns to face the central protagonist of Toby Scott as he faces his webcam once again explaining to the audience the reasons for his actions. This provides the viewer with a referencing point as they will recognise the character from earlier on in the trailer, and for this reason will hopefully become ever more drawn to the character and his dark past that is being slowly revealed.

Shots 6 &7: Montage- Close up Shots. Following on from the webcam sequence with our central protagonist Toby, thereafter follows a montage of imagery associated with the drug world. For this shot we plan to incorporate a vast multitude of mini, short and succinct  close up shots edited together in a quick, short and sharp way. It is anticipated that at this point the music will also change in tempo and pitch to accommodate the speed of the camera shots in the montage sequence. Drugs, and addictive substances we plan to incorporate at this early stage of planning include cigarettes and prop needles which characters can then pretend to inject themselves with. The reasoning for including the montage is we wished to showcase the harmful physical and psychological effects a wide variety of drug abuse can inflict upon one individual in a short space of time in the trailer.

Shot 8:  Mid shot. To maintain the trailer's cyclic structure and aiding us in consistency, Shot 8 will be a mid shot once again focussing on the central protagonist detailing to the audience his bitter regrets. By this point in the trailer we are hoping that the audience will have found a connecting spark within our central protagonist and will want to watch the full film to hear more of his tragic story and how he overcame his consuming addiction to drugs. We are also hoping that at this point in the trailer it is becoming increasingly apparent to the audience the harmful effects of indulging in substance and drug abuse can partake on an individual.

Shots 9 & 10: Mid/ Wide Shots of action sequences. Similar to the previous montage seen in our trailer these shots will incorporate physical violence between the film's central protagonist whilst simultaneously presenting the introduction of the film's angered and deceitful antagonist Vincent. We are hoping that through these action sequences of the trailer the two potent contrasts between the two men will become apparent with Vincent appearing power- hungry and blighted by anger and physically strong whilst Toby is seeking redemption, physically weaker due to the physical wasting he has endured caused by the drugs he has been coming into contact with and taking. Ultimately during this sequence we are hoping that audiences are offered the final piece of the jigsaw in being able to empathise with Toby and connect with him on an emotional level and will side with him, wanting to hear his full story and hopefully persuading them to see the full film production if it were to be cinematically produced.

Shot 11: Wide shot. In the final, closing segment of our trailer we will make use of a wide shot that showcases a flickering street lamp with the intended effect being that of the release date flickering onto the screen and informing the audience of the film's all important release date. It is hoped that this shot will provide a slightly dark and unnerving end to the trailer leaving viewers with a final impression of the film's dark, mysterious nature left in their minds.

      

   

Codes and Conventions of a Film Poster

The intended purpose of a film poster, similar to a trailer, is to create excitement and anticipation for a film's subsequent forthcoming release. However, similar to a film trailer, film posters generally are too held to account on conforming to, or for particular effect subverting, Codes and Conventions of their specific medium. In my own work I will attempt to stick closely, but not rigidly as I would like creative experimentation and free reign of my work, to the listed Codes and Conventions so that my work is able to be closely identified to that of a film poster. Film posters, from my personal experience, as a consumer of the media, should offer a small appetiser of the finished film production, acting as a "starter" inviting the audience to go and view the "main course" of the finished film and whetting the appetite of the avid film fanatic.


The expected Codes and Conventions of a film poster are listed below:
 
Tagline- Through this Code and Convention a Tagline sums up the story in a memorable catchphrase, so the person looking at the film poster is further inclined to go and see the film which the poster is promoting. Conventionally, this is seen above the title of the film and acts as an "introduction" to the world of the film before the viewer becomes totally immersed into the film's full poster, offering a small hint of the "world of the film."
Main Image- This, being the main focus of the poster and the primary attraction for consumers, has to be big and bold  in order to stand out in marriage with the title of the film. Like a marriage the title and the main image of a film poster have to work collaboratively in order to successfully promote the film shown on the poster.
Title- This is an aspect of  a film poster similar to the main image in that both elements must stand out effectively and work together. The main image of a film and the title must work together and will understandably share a consistent theme with one another, promoting the main ethos and values of the film.
Director, Producer and Actor accreditation- This is a Code and Convention of film posters that is of rather secondary importance in promoting a film but for some film fans is a deciding factor on whether to go and see a film and can be largely made on whether a particular actor or director have featured in the film's production. Furthermore, a particular actor/ director combination may work particularly effectively and as such subsequent releases by the pairing may entice film fans, whatever the genre or content of a film, to go and see the new film.  
Quotes/ Ratings and Awards- This is a Code and Convention that I would say can be a deciding factor for those that are sitting on the fence as to whether to go and see a film and on occasion, this positive seal of approval such as a positive review is sometimes required so as to entice extra viewers to go and see the film, and providing a positive nod of approval in the form of a review or a star rating that an investment in a trip to the cinema is one that is worthwhile due to the reaped rewards in pleasure and entertainment value.  
Release Date- Just as a tagline is found at the top of a poster, similarly, a release date is normally found towards the bottom of a film poster and informs the person looking at the poster of the crucial information that they want to know, having made up their mind about whether to go and see a film or not. A release date informs the consumer of when  a film will be publicly exhibited at a cinema and aids consumers into making their plans to go and see  the film upon it's release and how this activity can be effectively incorporated into their social schedules.


The film poster has the important but equally extremely challenging role of grabbing the attention of potential viewers and informing them of the genre of the film and the key themes likely to be explored within that film and it all must be completed through the use of one image and some supportive text. Therefore, the image needs to be striking and memorable to communicate these aspects about the film to an audience in a timely manner.

Having conducted research on the Codes and Conventions of film posters, and been better informed of their expected conventions, I am now aware of the aspects that I need to include in my own poster for it to be effective in it's role of providing a snapshot of our film and promoting it in a very short space of time.

Codes and Conventions of Magazine Covers

Magazine Covers are the selling device for any magazine. Unsurprisingly, film magazines are no exception to this rule. A cover, in much the same way as a film poster is for a film, is the selling point for a magazine as books tend to be judged by their covers, such is human nature. Therefore, it is crucial that the magazine cover is striking, dynamic and dramatic in order to reel in the consumer with bright, sharp appealing colours that attract the eye. However, like film posters, film magazines must also stick to codes and conventions to appease the consumer and appear aesthetically pleasing to the consumer. The typical Codes and Conventions of a film magazine cover are listed below and are features that I will be seeking to replicate within my own work for my Ancillary Task.

Main Image- This is the dominating image on the cover that proliferates the view of the consumer as they approach the magazine in a shop for example. This is an aspect of the magazine that grabs the consumers attention directly and stands out most upon the consumer noticing the magazine. Indeed, it is an attractive cover that draws most consumers to look at a magazine in the first place. Anything else on the cover is secondary. The image is, without question, the primary focus for the consumer.

Title (Masthead)- This reveals to the consumer, the title of the magazine and like the main image needs to be eye catching and appealing. The title nearly fills up the entire width of the page and is usually comprised of a singular word, or at the very most two words. The title, in order to dominate the cover of the magazine, is normally presented in a large, imposing font so as to stand out and not come into conflict with other text featured on the front cover of the magazine.

Buzz Words-  These are words used on the front cover that attract particular attention from the consumer such as "Free" and "Exclusive" , used to reel in the consumer further after initially grabbing their attention with the front cover and title.

Barcode- A barcode is used to transmit information about a product to a retail store. Typically, this will be presented in the bottom right hand corner of a magazine cover and consumers will sometimes find with it pricing information for the publication and the issue number.

Coverlines/ Main Coverline-  These refer to the sections of text that appear on the front cover of the magazine aside from the title of the publication and offer up further information as to what will be contained within a certain issue of a publication. They conventionally appear down the side of the magazine cover and are edited over the cover image.

Strip- Across the top and sometimes the bottom of the magazine cover, sometimes both, in a horizontal form are the strips which offer up slightly less important notices, articles and stories which can be found within the magazine and offer further reassurances to the consumer that the magazine purchase is money well spent.

Colour- As the name suggests really this attribute simply and broadly, refers to the use of the colour scheme that has been implemented into the magazine cover.

Having identified the relevant Codes and Conventions of Magazine covers, I now know what is required of me when creating my own magazine cover for my Ancillary Task and aim to conform to and closely replicate the Codes and Conventions of the genre in my own work so my work conforms stylistically to what the consumer would be expecting to see.

Film Magazine Cover Analysis

 




 Magazines are a crucial part in connecting people with a particular and similar interest. The area of film is no different. Prominently two main magazines for the area of film dominate the magazine sector with these being: "Total Film" and "Empire Magazine."

As the 2 main competitors in this niche target demographic of film fanatics, the two publications must think carefully as to how best go about  attracting the similar target demographic as creatively and originally as possible so as to gain an upper hand over their competitor.

The 2 magazines differ largely in the formatting and presentation of their respective covers although it should be noted that chiefly they are both aiming to attract a similar target demographic. Therefore, it can be expected that both publications to some degree will feature consistent elements to their magazine covers and in contrast vary with one another in other areas as well. I have included my own analysis  of the two magazine covers in this post, hopefully highlighting the differences in each publication to great effect with the differences between the 2 publications and their variations becoming apparent. I have included 2 editions of each publication to further reinforce the publications' varying styles.
http://www.slideshare.net/SuperLuke1996/film-poster-analysis-42518839

A common feature that can be expected of film magazines is that they will have a masthead or a title banner proclaiming the name of the publication to a respective demographic or target audience. This is very important so  members of the respective demographic know which publication they are reading. Conventionally, film magazine publications tend to stick rigorously to the cover art declaring the main story and focus of the particular edition or issue. Furthermore, this can cause the cover of the magazine to alter dramatically from issue to issue, as such some readers see it as a pride to personally collect every issue of a publication, so as to prove their dedication.

Film Magazines are primarily targeted at a young audience- 17 to 24 years of age- due to the disposable income available to young people of this particular age demographic and being priced at between £3- £4 per weekly or monthly issue, it is a disposable income that is greatly required to successfully attain the consistency of a not so inexpensive hobby. As the target demographic of the magazines are of an age where living costs have not greatly impacted their levels of disposable income, the publishers can afford to greatly inflate the price of the publications owing to their specialist niche target demographic. Due to reduced numbers in their demographic the publishers must make up for this by systematically increasing the price of each individual copy, not only to cover printing costs but also to see any kind of financial return from their publishing venture.