Non diegetic sound, a sort of jazz music, at the start of clip with opening of 20th century fox and voiceover telling the plot of the film.
Voiceover consistent throughout the trailer.
Diegetic sound where alarm clock goes off and Jesse (Ashton Cutcher) wakes up and when he runs out of the room and hits the opposite door. Non diegetic sound is in the background but still fading away, a sort of jazz music, same as the first part.
Diegetic sound as there is Dialogue between Jesse (Ashton Cutcher) and Chester (Seann William Scott) about where Jesse's car is also the sound of birds singing in the trees is heard. no Non diegetic sound at this point.
Non diegetic sound changes to a more rocky tune of electric guitars as the clip flashes from the Diegetic sound of Jesse and Chester talking to Christie Boner (Kristy Swanson) to a strip club as they are trying to revisit what they did the previous night as the Non Diegetic consistent voiceover inform us
Diegetic Sound,Emphasis on the sound of the policeman hitting the dummy human
i like this magazine for its powerful image on a plain white background, which is a low angle shot emphasizing the power of the picture. the bright colour scheme of black/ limegreen catches the eye of the readers and draws them in to read the article. i could incorporate the bright colours into my magazine to help catch the eye of the reader.
i like this double page spread, for the sepia colour effect making every picture more brown, i also like how more than one live image of the stars are used on this magazine. the colour scheme follows the generic conventions of the genre black/ white and red. i could use effects such as sepia or black and white to make pictures blend in nicely with the page, whilst having a strong eyecatching effect.
I like this double page spread for many reasons. Firstly it doesnt have too much writing, and the font colour matches the main image. also i like the font style on this magazine and also its simple, not too harsh colour pallette. it is very black and white with a splash of red to make the magazine exciting even with its plain main colour pallette. in my magazine i shall try incorporate the colour that my model is wearing into the text colour pallette or vise versa for a greater effect.
This magazine contents page is very simplistic but effective, it uses a black and red colour scheme for text to emphasize the magazine, also it uses dark pictures giving it a rocky feel, with page references to where they are in the magazine, which assumes that the readers of the magazine know who the stars are, and therefore there is no text to go with the pictures. i believe i can incorporate the darker elements from these pictures into my magazine, to give my magazine a more obvious and specific genre.
This magazine contents page is crammed full of writing, showing the headings of sections in the magazine and then the main topics underneath these headings, also this magazine uses pictures with text underneath to highlight the important articles in the magazine. this magazine also has a message from the editor at the top, with the front cover of the magazine posted in the corner. the contents page has a yellow/black/ white colour scheme which is seen in its writing. i believe i could use a few smaller images on my contents page to break it up and show its more rock/metal genre, also i could use a quote at the top much like the one from Kirk Hammett.
this 'Reviews' contents page has many elements that i would like to incorporate into my contents page, such as the simple main image on the front, which clashes with the green white colour scheme. i also like the simplicity of this page as it has one main image, with a smaller one over the top at the bottom, and a simple plain list of what it has to offer. the main image incorporates the genre of rock/metal with the style of hair and clothing the people are wearing, also the girls dress clashes with the green to draw the readers attention to the image. also with the Reviews in a large font at the bottom of the page, it attracts the readers eye and makes it a more interesting read being positioned differently from a generic music magazine, also it helps the image as the faces aren't blacked by the writing which is the most important feature of the picture for the reader.
This category includes the FULL SHOT showing the entire human body, with the head near the top of the frame and the feet near the bottom. While the focus is on characters, plenty of background detail still emerges: we can tell the coffins on the right are in a Western-style setting, for instance.
medium shot Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. Variations on this include the TWO SHOT (containing two figures from the waist up) and the THREE SHOT (contains 3 figures...). NB. Any more than three figures and the shot tends to become a long shot. Background detail is minimal, probably because location has been established earlier in the scene - the audience already know where they are and now want to focus on dialogue and character interation. Another variation in this category is the OVER-THE-SHOULDER-SHOT, which positions the camera behind one figure, revealing the other figure, and part of the first figure's back, head and shoulder.
close up This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background. This shot magnifies the object (think of how big it looks on a cinema screen) and shows the importance of things, be it words written on paper, or the expression on someone's face. The close-up takes us into the mind of a character. In reality, we only let people that we really trust get THAT close to our face - mothers, children and lovers, usually - so a close up of a face is a very intimate shot. A film-maker may use this to make us feel extra comfortable or extremely uncomfortable about a character, and usually uses a zoom lens in order to get the required framing.
shot reverse shot Shot reverse shot (or shot/countershot) is a film technique where one character is shown looking at another character (often off-screen), and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other.
high angle shots In film, a high angle shot is usually when the camera is located high. With this type of angle, the camera looks down on the subject and the point of focus often get "swallowed up" by the setting. High angle shots also make the figure or object seem vulnerable or powerless.
low angle shots In cinematography, a low-angle shot, is a shot from a camera positioned low on the vertical axis, often at knee height, looking up.
tracking shot a tracking shot (also known as a dolly shot or trucking shot) is a segment in which the camera is mounted on a wheeled platform that is pushed on rails while the picture is being taken. One may dolly in on a stationary subject for emphasis, or dolly out, or dolly beside a moving subject (an action known as "dollying with"). pan A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.
tilt A movement which scans a scene vertically, otherwise similar to a pan.
Editing
continuity is the predominant style of editing in narrative cinema and television. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots.
montage In motion picture terminology, a montage (from the French for "putting together" or "assembly") is a film editing technique. There are at least three senses of the term: 1. In French film practice, "montage" has its literal French meaning and simply identifies editing. 2. In Soviet filmmaking of the 1920s, "montage" was a method of juxtaposing shots to derive new meaning that did not exist in either shot alone. 3. In classical Hollywood cinema, a "montage sequence" is a short segment in a film in which narrative information is presented in a condensed fashion. This is the most common meaning among laymen.
montage Hollywood a short segment in a film in which narrative information is presented in a condensed fashion.
transitions Transitions are authoring tools a video editor can insert between two video clips or still images to create an artistic, professional effect. There are a multitude of transitional effects available, the two most common being the crossfade and dissolve.
cross cutting/parallel editing The most common transition — an instant change from one shot to the next. The raw footage from your camera contains cuts between shots where you stop and start recording (unless of course you use built-in camera transitions). In film and television production, the vast majority of transitions are cuts.
dissolve In film editing, a dissolve is a gradual transition from one image to another. In film, this effect is created by controlled double exposure from frame to frame; transiting from the end of one clip to the beginning of another.
wipes In film editing, a wipe is a gradual spatial transition from one image to another. One image is replaced by another with a distinct edge that forms a shape. A simple edge, an expanding circle, or the turning of a page are all examples.
Film Clip ' Saving Private Ryan'
the use of camera shots in the clip I have chosen to analyse (Saving Private Ryan) are extremely effective, for starters, the clip uses a tilt technique to take in the full effect of the skies and sea to set the scene, which then cross cuts into a tracking shot of the boats with soldiers on them heading for the shore, which is setting the time and place as this is meant to be an old war film, this emphasises the equipment and vehicles the soldiers use in war also the camera moves very freehand, to give the audience the feel that they are on a boat in the vicious sea much like the soldiers, drawing the audience in to connect with the film so they believe they are part of the storyline, the camera then cross cuts to a close up of a hand shaking making the audience feel the fear and tension that is among these soldiers, and as the camera again uses the tilt technique to follow the soldiers hand up to show him take a drink, this connects the audience to one of the main characters introducing him to the scene, with a close up of the face to emphasize who the character is and to show the look of fear in his face, slowly panning out to show the boats full inhabitance of soldiers, waiting nervously for the battle much like the calm before the storm this is shown by the stern faces of soldiers and how some vomit out of pure fear. The camera changes to a low angled mid shot of the soldier driving the oat, emphasizing his position of power as he commands the other soldiers what to do, with a close up of the main character giving orders to the other soldiers, which also emphasizes the position of power to the audience, then cross cuts to another soldier giving commands, with a freehand camera with a low angle shot to show he is a position of power, whilst also keeping the realism aspect to the film to connect the audience. The camera then moves freehand along the boat looking all of the soldiers in the face connecting the audience to the whole unit, and also cross cutting to the most important characters in the film. The silence used is to portray the ‘calm before the storm’ effect that Steven Spielberg has used to emphasise the following battle scene. A close up of the man lowering the bridge is used to show that the wait is over and the battle is going to begin, cross cutting to the first soldier in a low angle shot getting shot dead, then cross cutting to a high angle shot showing the loss of power as the soldiers are mown down by gunfire, the freehand camera emphasises the tragedy as it puts the audience again in the shoes of the soldiers. This cross cuts to another low angle shot which is freehand showing the soldiers getting shot dead, cross cutting again to an over the shoulder freehand shot of an enemy soldier firing the machine gun at the soldiers on the boat, and as the clip is ending, we see a high angle shot to the main character giving commands again, and then a tracking shot that is free hand showing the cameraman who the audience are now connected to as a soldier, jumps in the sea with the rest of the soldiers.
Directed by Wes Anderson, “The Royal Tenenbaums” follows the lives of three extremely smart children, Chas, Margot and Richie who are the main characters of this film that introduces them as a ‘family of geniuses’. The character I shall be analysing is Chas The character I shall be analysing is Chas, a very successful and serious child as, being much like a little business man, who takes most of his meals in his room on the second floor of the house at his desk to ‘save time’, this shows the business like essence that Chas has as he is not prepared to waste time while in the middle of some very business related projects, such as in the sixth grade, he went into business breeding Dalmatian, mice which he ‘sold to a pet shop in little Tokyo’ showing again his ingenuity as a child genius, who was also a successful business man making money from a very young age. For a child, Chas shows his mature nature as he started buying real estate in his early teens, and also negotiated the purchase of his fathers summer house on eagles island, which shows again how intellectual this young boy really is, understanding when to buy and sell real estate and negotiating the summer houses purchase, where whilst shooting, his father shot a bb between two knuckles in his left hand which was stuck for the rest of his life. Unlike his brother and sister, he was not as close to them as they were together as he seems to be a rather loner of a character that was only interested in the money, although he participated in Margo’s first play, on her tenth birthday party, which their father (Royal Tenenbaum) drenched their spirits by saying that the play was unrealistic. However, Chas seemed very distant from his father, who seemed to favour his other son Richie, possibly because of his incredible sporting skills. One last point I would like to get across is the fact of how Chas has been a financial success from an incredibly young age, being a business man of sorts, even drinking coffee which is something that not many ordinary children would do.
i like this magazine for its powerful image on a plain white background, which is a low angle shot emphasizing the power of the picture. the bright colour scheme of black/ limegreen catches the eye of the readers and draws them in to read the article. i could incorporate the bright colours into my magazine to help catch the eye of the reader.
