CCR Q3 skills development

THE CIAE BLURB:

Make sure the FULL question appears at the top of each Eval post!!! Its not a bad idea to do as I do below + include all 4, to help you remember the range of Qs you'll need to address.

Creative critical reflection
On completion of the product, candidates must creatively reflect upon their work. Candidates may use any digital format, such as director commentaries, a presentation with voiceover, podcasts or screencasts. Candidates may use a different digital format to explore each of the compulsory questions. The creative critical reflection should be produced and presented individually.
Candidates must explore the following compulsory questions:

1. How does your product use or challenge conventions and how does it represent social groups or issues?
2. How does your product engage with audiences and how would it be distributed as a real media text?
3. How did your production skills develop throughout this project?
4. How did you integrate technologies – software, hardware and online – in this project?

...

DB GUIDE POSTS

I've covered this Q in this post.

I've also provided an Eval overview, including an extensive list of creative suggestions. Whatever format/s you use, provide link/embed to whatever source/s inspired your presentation style so examiners can see its not random (assume they won't be familiar with whatever show etc you're reflecting).

Rough cuts

You need to provide clear detail on each rough cut - look at the Eval Qs again ---- which of these will require specific detail like this?

>>>>>>

Give a general intro, then cover each rough cut separately, starting with the earliest.

I/We produced a range of rough cuts before settling on a final cut - testing out ideas and checking for elements that needed tighter/different media language to enable audiences to follow our encoded preferred reading. Each rough cut is detailed below, including information on:

• any focus of that rough cut
• key section/s
• any FX used (differently than before)
• any added media (sound, fonts, images etc)
• evidence of audience feedback
• main points from audience feedback
• our conclusion on what to change for the next cut (including any planned new/reshoots + narrative tweaks)

ROUGH CUT 1: MISSING SHOTS, NO MUSIC YET; TESTING THE NARRATIVE 

For this one I/we was/were particularly focused on building on the previous sample scenes and providing a near-complete narrative cut to see if sample viewers could follow the basic preferred reading ... and if not, which particular element/s were attracting contested/oppositional readings (ie, lacked enough exposition to be anchored).

At this stage we were missing a few shots (noted with titles in the cut) and music (we used some placeholder copyrighted music in places).

......

THEORIES and KEY TERMS I've learnt

...
Take care to PARAPHRASE any of my blogged work or lessons notes; don't use my quite distinctive linguistic style!! Use yours!!

You'll learn terms and theories/ists linked to all 4 of the Key Concepts (previously MANGeR, changed for 2021 exams onwards...): LAIR... Your coursework learning is tightly linked to your exam learning, in which you're also specifically assessed on both your use of terminology and of media concepts and theory.

...

GETTING STARTED: BASIC SHOTS, ANGLES

[don't copy/paste my text, paraphrase; put into your own words] 

We were shown these ... then challenged to create each! I've put our shots into a Ppt with some brief explanations of why certain shots might be selected.

VODCAST: SHOT VARIETY IN FILM OPENINGS

[don't copy/paste my text, paraphrase; put into your own words] 

I examined the opening 2 minutes of 3 film openings, focusing on the number + variety of shots. I counted the # of cuts and logged each basic shot type (from ELS to ECU) + any notable uses of high/low/dutch angles. The short video presents my findings over sample short clips from each: 

• Film 1 (genre/s + main production company, budget, year)
• Film 2
• Film 3

eg: Yesterday (musician rom-com from Working Title, $26m, 2019)

You have to keep copyrighted clips short or risk a video being blocked. 'Fair usage' copyright law allows use of short clips. If you find film openings on YouTube you may want to make an offline copy in case its taken down. You can use a mix of screenshots + clips (sound on/off; use slo-mo + repeat clips where its helpful). To be clear, the task is:

Take 3 film openings from a list I'll provide

Note how many idents + how long these are in total.

Starting after the end of the last ident, count the number of cuts in the 1st 2mins (regardless of how abruptly that ends). 

Note how long the opening actually is

Now watch again + using ECU/BCU/CU/MCU etc denote each take (the shot before a cut) in a simple list, written or typed. Screenshot or photograph the list, + count the number of each basic shot type used.

Note at least 1 striking use of LA/HA/DA from the 3 openings overall (ie, from all 3 pick one low angled shot).

Feed this detail, + your reflection on the importance of shot variety, into the vodcast with screenshots/clips/titles and voiceover. Upload to your Media YouTube account, setting it to unlisted or public but NOT private, and embed it.

SHOT TYPES CROSSWORD!

[don't copy/paste my text, paraphrase; put into your own words] 

I tested my grasp by doing this online crossword!!! (embed a screenshot of it completed)

FILM INDUSTRY TERMS

[don't copy/paste my text, paraphrase; put into your own words] 

I'll keep updating a simple non-alphabetical list here, clustering terms on a single line after any single lesson where I've learned it, but as I do I'll also be adding it to a Word doc with my own definition/explanation, which I'll post here when its finished!! We started learning these way back in week 2...

...

JOURNEY: EVOLUTION OF AN IDEA

Every time you have an idea, right from the very start, or tweak and evolve a more detailed idea, record the key details here, using dates within a subheading

When you're finishing up, provide a link to the screenplay but outline (in post or Ppt/Word) your final narrative using the hopefully familiar theories...

An eg of an update:

MY EARLIEST ROUGH IDEAS (Sept 8th)

Nothing specific just yet, but I think I'd like to work within the horror - specifically slasher - (sub-)genre, possibly a chase scene. I really liked Evie's AS production, which features a chase scene, obvious intertextuality with classic horrors, and even a postmodern twist!

...

This ties in with the CCR Q3 (and the AO2 assessment criteria). This post will make answering that question much easier...

CONVENTIONS RESEARCH: KEY INFLUENCES

This is one of the most important posts on your blog!!!
Its close to being a draft of Eval Q1!
Its basically your chance to very unsubtly scream at the examiner - oi, mate - look over here at all this APPLYING of research!!!
Overall, its a summary of your key findings - you needn't repeat all the detail (but highlight the specific bits that you might mimic/simulacra/be influenced by with direct/specific illustration). Key word here is MIGHT - you're not stating you WILL be influenced by aspects you include here.
Its definitely helpful to include egs you've seen that you consciously reject/want to avoid - explain why. You could do that as a separate vodcast or section, or just as you go along theme by theme.

Try to be as specific as you can about how you might apply these aspects of media language (included titles, idents etc) BUT remember that this is FUTURE TENSE ... this is how I might/will use this influence. It doesn't need to be a true reflection of what you eventually did.
...

1. IDENTS, COMPANIES, PRODUCTION CONTEXT
2. TITLES
3. SOUND; GENRE SIGNIFICATION
4. 1ST SHOT
5. CENTRAL PROTAGONIST + NARRATIVE
6. MISE-EN-SCENE FOR EXPOSITION
7. TRANSITIONING TO MAIN FILM
8. AUDIENCE/REPRESENTATIONS + OTHER POINTS

...

CONVENTIONS – media language including genre, narrative, representations

...

1. IDENTS, COMPANIES, PRODUCTION CONTEXT
2. TITLES
3. SOUND; GENRE SIGNIFICATION
4. 1ST SHOT
5. CENTRAL PROTAGONIST + NARRATIVE
6. MISE-EN-SCENE FOR EXPOSITION
7. TRANSITIONING TO MAIN FILM
8. AUDIENCE/REPRESENTATIONS + OTHER POINTS

...

Your hub for demonstrating how your knowledge + understanding of media language develops, starting with the basic shot type exercises. In most cases you are applying this to analysis of film opening (sometimes past coursework) examples.

Note that this broad field includes material crucial for at least 2 of your Evaluation/CCR Qs (Q1 + Q2). Its important to consistently provide specific illustration (eg screenshot/clip/audio) and clearly identify the film being referenced. We'll frequently use WT/Warp examples to help you with your exam preparation - any and all such textual analysis is also designed to help you with the TV Drama exam Q.

You need to provide analysis of a mix of general (any genre) examples to begin with, but focusing on the genre you've chosen as you get further in.

CONVENTIONS – titles, idents, production context

... USE THE GUIDE POST

1. IDENTS, COMPANIES, PRODUCTION CONTEXT
2. TITLES
3. SOUND; GENRE SIGNIFICATION
4. 1ST SHOT
5. CENTRAL PROTAGONIST + NARRATIVE
6. MISE-EN-SCENE FOR EXPOSITION
7. TRANSITIONING TO MAIN FILM
8. AUDIENCE/REPRESENTATIONS + OTHER POINTS

...

THEME 1: IDENTS, COMPANIES, PRODUCTION CONTEXT

How many idents do we expect, how long are they, are they simple/complex, is there a specific order, do they use music...

This is a simple task, requiring limited use of terms/theory, but clear + specific research is key: look at a good range of openings, calculate the total running time of idents, and use this as a basis for estimating a typical number + duration.

NOTE: You will see some with none or only one; note those, but make clear they aren't typical

How many idents do you expect to see? (3-4, but sometimes 1 or none!)
How long is a typical ident? (varies! typically 6/7 secs?)
Are idents typically complex or simple? (mostly simple?)
Do most have sound (jingle/music)? (yes, but look at audio bridge point)
Do we see any difference between studio/subsidiary + Indie movies on this? (studio idents often longer)
Is there any particular order (reflecting company role or size)?
Are they all for production co's, or also for distributor/s?
Is this the same order as in titles?
Is an audio bridge, starting the film audio, common over 1 or more ident? (you'll often see WT or Warp's ident with the film sound starting over it)

THEME 2: TITLES

Careful consideration of the number, duration, sequencing, design and selection of titles.

Number of people/company names in titles:
Start/end time of main titles: 0:02-1:01
Running time of main titles: 1min
Titles in order using exact text (including case) [see this eg]

4 THEMES TO STRUCTURE TITLES RESEARCH + ANALYSIS

See below for some further pointers.

THE RAW NUMBERS:

• how many titles do you expect to see?
• provide counter-examples with very few or no opening titles
• what total running time is typical?
• again, note exceptions

THE SPECIFIC WORDING + ORDER:
Look carefully at the precise wording for each of these:

• companies (presents, a ... film/production, in association with...)
• director (auteur theory reflected in TWO credits - a ... film, directed by; where do these come in the order?)
• actors (introducing, starring, featuring, co-starring ...)
• technical roles (you need to be clear on which you will include; look for specifics eg director of photography or cinematography by?)

THE DESIGN
Look at use of these aspects and how they are used to distinguish/denote relative importance:

• (sans-)serif (consider to what degree titles connote genre here)
• size (names usually bigger than role, by etc; bigger stars bigger title?)
• colour
• case (UPPER, lower, Sentence case, maybe mixed)

FX, ANIMATION
Some titles are simply static, but often there's some form of movement...

• animation/movement/FX?
• transitions or straight cuts? fade to/-in from black?
• intertitles? (over black screen)

THE COMPANIES
State how many companies were credited, and use your earlier research to discuss why/what different terms were used for different companies. This is very important detail for creating convincing titles.
Look out for companies/institutions like Film4/BBC (often commission a film to be made), or BFI, National Lottery, UK Film Council, Screen Yorkshire, EM Media (etc) - who more often finance productions.
Try to use terms such as Indie, subsidiary, conglomerate, big six to denote the types of company.

ROLES
How many specific roles were given a title? How were actors roles split up? Are you surprised at how many/few there are? You could have a look at IMDB's full credits listing to get a sense of how selective these opening titles are!!!
Which ONE person gets TWO credits for the same role? Detail precisely the order/wording of this.

You must provide a complete list, in appropriate order + with appropriate wording, of titles you intend to use as a result of the research on roles + companies.

GENRE/NARRATIVE CONNOTATIONS
Denote (describe in detail, illustrating with screenshots) the design of the titles: font (Georgia is a serif font; Helvetica is a sans-serif font), colour, case (UPPER, lower, Sentence), size, positioning, any movement/animation, any additional graphical elements.
Discuss the probable preferred reading: what the filmmakers are trying to symbolically communicate to the audience. Do the titles/their design connote/signify the genre and/or anything about the narrative?

PRACTICE PRODUCTIONS including PRELIM

HOW TO PRESENT THIS POST

Use the Largest for each sub-heading (practice film) in turn. This post is closely linked to Eval Q3.
...

Check: you've used LARGEST for main sub-heads like PRELIM.
Use distinctive (eg colouring, highlight) options to make those stand out
Add a clear IN THIS POST intro, LISTING whats in the post with a short sentence or 2 on what this shows
Use this as a clearer guide for the Eval Q3; for each practice prod add a sub-heading of COMPARISON TO PREVIOUS PRACTICE + just bullet list key points. You've then get a nice easy list for that eval Q.
SUMMARY Again, this is as much to help with the eval Q3. Reflect on how you've developed; a short overview.

WHAT TO INCLUDE WITH EACH PRACTICE FILM

With clear sub-headings:

PLANNING

Any + all evidence of planning: this helps showed how you DEVELOPED your skills from start to completing the final coursework. So, any shotlists, storyboards, organising/scheduling shoots/cast, equipment used, degree of shot variety, props/costume/make-up/set-dressing, soundtracking/titles + research on these (clearly indicate what conventions you have reflected - refer to specific film/s that influenced your work).

THE SHOOT: WHAT I DID

You can combine to create a single post to copy/edit. Make sure its CLEAR what YOU, INDIVIDUALLY did: camera work, acting, producing (ie organising! call sheets, set dressing, cast + travel, sorting equipment etc), directing. The only way to evidence that is some simple (probably phone) video footage! Basically, a brief look behind-the-scenes showing each of you carrying out the various roles.

THE EDITED FILM

Embed the final result. BRIEFLY outline what each INDIVIDUAL contributed to POST-PRODUCTION: sound, titles (fonts), FX, organising clips/Library

REFLECTION: WHAT WE'VE LEARNED

It would be smart (and quick) to do this as a group vodcast - a simple 3-shot where you sum up what you've learned from this process (planning, the shoot, editing, media language/theory) AND how SPECIFICALLY you think you might take a more sophisticated approach next time, and what you might experiment with (eg dolly, gimbal, drone, downloading fonts, specific FX, plug-in FX).

THE PRELIM TECHNICAL TERMS

That's covered nice + briefly here. The idea of this is to carry out some continuity editing techniques, made possible by observing the 180 degree rule for example...

PAST PRACTICE FILMS

Here's an example with added on-screen commentary from here from Simon etc - as we've discussed, its intentionally very silly and exaggerated! 

NARRATIVE THEORY PRACTICE FILM

Using the above as a reference point for how intentionally silly it can be, create a film opening that incorporates the concepts of Todorov + Campbell; Propp; Barthes; Levi-Strauss. Use costume/props to distinguish the archetypes even if its the same actors repeatedly - using a tripod would help you to fake two-shots: film person A as character A; change costume, with camera not moved person A plays character B, being careful not to step into the same space on the frame. Stack the two layers in FCPX + use the crop tool to remove half of the top layer! ... or use a greenscreen!

Include titles that you think reflect the specific number and wording expected from your research, and some use of music. As you're aiming for full Todorov, you won't really be replicating a film opening, but do think about how you might start it still.

Length: likely to be somewhere over 2mins.

Shot variety: aim for 2+ takes of important (especially action) scenes - the rule is for shot variety where you can cut between shots of the same thing: at least 2 steps up or down the shot scale eg ELS to MLS.

GREETINGS – getting started!

Include: My hopes...and fears!; My favourite film; The Brief; The Evaluation (CCR); The assessment criteria; thoughts on past AS coursework; … 

Basically, the basics!

Start your post with MY HOPES...AND FEARS!

Type that as a sub-heading, and press return.

Now highlight the heading; make these formatting changes:

• FONT: Arial
• FONT SIZE: medium
• FONT: bold
• FONT COLOUR: red

Now type Greetings! into the blank line. Press return. 

CMD+A, then CMD+C

Make sure you're on the bottom, blank, line.

CMD+V (5 times)

Now highlight each sub-heading and type in the sub-heading from the list at the top (My hopes...and fears!; My fave film; The Brief; The Evaluation (CCR); The assessment criteria; thoughts on past AS student vids).

That's TIP1 - do this to save time with formatting! You can have tabs open and copy formatting across posts too. TIP 2 is to always apply clear headings to make posts, some of which will get long, easy to navigate (including for YOU!).

notes on all the sections are included under the read more link if you didn't access the post by the direct hyperlink