how the marketing relies on technological convergence.
list the platforms on which it can be watched.
discuss the advantages of digital distribution.
Monday, 14 November 2011
Monday, 7 November 2011
Universal studios
Universal
Universal studios was founded in 1912. It was founded by pioneer in American film making Carl Laemmle. The studios themself are based in Universal City California , A 415 acre empire. Carl Laemmle himself was involved in over 400 films with universal still making but more distributing o this day. Located in Universal City are 10 Universal City Plaza, a 36-floor office building for Universal and NBC, the Sheraton Universal, the Universal Hilton, the Universal Studios Hollywood theme park, the Universal CityWalk shopping and entertainment center, the Gibson Amphitheatre, and Universal's studios, sets. The Metro Red Line underground station of the same name is located across the street from 10 Universal Plaza. A Los Angeles County Sheriff's Department station is located at Universal CityWalk. It is also the home to the only paid government operated fire station on private property, Los Angeles County Fire Department Station 51
Fast Five
Directed by Justin Lin
Budget $125 million[2]
Box office $626.1 million[3]
Bridesmaids
Directed by Paul Feig
Budget $32.5 million[3][4]
Box office $287,431,924
Cowboys and aliens
Directed by Jon Favreau
Budget $163 million[2]
Box office $171,240,551
Johnny english reborn.
Directed by Oliver Parker
Budget $45 million[3]
Box office $146,408,565
Sanctum
Directed by Alister Grierson
Budget US$30 million[2]
Box office $102,413,415
Universal studios was founded in 1912. It was founded by pioneer in American film making Carl Laemmle. The studios themself are based in Universal City California , A 415 acre empire. Carl Laemmle himself was involved in over 400 films with universal still making but more distributing o this day. Located in Universal City are 10 Universal City Plaza, a 36-floor office building for Universal and NBC, the Sheraton Universal, the Universal Hilton, the Universal Studios Hollywood theme park, the Universal CityWalk shopping and entertainment center, the Gibson Amphitheatre, and Universal's studios, sets. The Metro Red Line underground station of the same name is located across the street from 10 Universal Plaza. A Los Angeles County Sheriff's Department station is located at Universal CityWalk. It is also the home to the only paid government operated fire station on private property, Los Angeles County Fire Department Station 51
Fast Five
Directed by Justin Lin
Budget $125 million[2]
Box office $626.1 million[3]
Bridesmaids
Directed by Paul Feig
Budget $32.5 million[3][4]
Box office $287,431,924
Cowboys and aliens
Directed by Jon Favreau
Budget $163 million[2]
Box office $171,240,551
Johnny english reborn.
Directed by Oliver Parker
Budget $45 million[3]
Box office $146,408,565
Sanctum
Directed by Alister Grierson
Budget US$30 million[2]
Box office $102,413,415
Big Talk Productions.
Big Talk Productions.
Big Talk Productions was founded in 1995. It was founded by television and film producer Nira park. The television production compant is based in north london. The company’s first television series was the highly acclaimed ‘Spaced’. In 2007 Nira Park expanded Big Talk Productions ,to create Big Talk Pictures. They feature the ‘three flavour cornetto trilogy’ including ‘Hot Fuzz’ and ‘Shaun of the dead’ and the unreleased ‘At worlds end’.
Shaun of the dead
Directed by Edgar Wright
Budget $5,000,000
Box office $30,039,392
Paul
Directed by Greg Mottola
Budget $40 million[1][2]
Box office $97,591,665
Attack the block
Directed by Joe Cornish
Budget £9 million
($13 million)[2]
Box office £3,442,302
Hot Fuzz
Directed by Edgar Wright
Budget £8 million[1][2]
Box office $80,573,774
Scott Pilgrim vs The World
Directed by Edgar Wright
Budget $85–90 million[2][3][4]
$60 million after tax rebates[5]
Box office $47,664,559
Big Talk Productions was founded in 1995. It was founded by television and film producer Nira park. The television production compant is based in north london. The company’s first television series was the highly acclaimed ‘Spaced’. In 2007 Nira Park expanded Big Talk Productions ,to create Big Talk Pictures. They feature the ‘three flavour cornetto trilogy’ including ‘Hot Fuzz’ and ‘Shaun of the dead’ and the unreleased ‘At worlds end’.
Shaun of the dead
Directed by Edgar Wright
Budget $5,000,000
Box office $30,039,392
Paul
Directed by Greg Mottola
Budget $40 million[1][2]
Box office $97,591,665
Attack the block
Directed by Joe Cornish
Budget £9 million
($13 million)[2]
Box office £3,442,302
Hot Fuzz
Directed by Edgar Wright
Budget £8 million[1][2]
Box office $80,573,774
Scott Pilgrim vs The World
Directed by Edgar Wright
Budget $85–90 million[2][3][4]
$60 million after tax rebates[5]
Box office $47,664,559
Monday, 31 October 2011
1. An idea
a writer/director comes up with the initial idea for the film.
2. The pitch
A studio has to be convinced that the film is worth making. Normally the director/writer or their assosicates will make a summary of the plot and maybe show a made up clip of the proceedings.
3. The studio
once the funding has been granted by the studio, the team of directors and editors are brought together. Here the actors will then be casted to draw in bigger audiences.
4. Production
the film then goes into production.The location/s must be found to film the movie, the scenes are filmed in a specific order and normally put together at the post production stage
5. Post-production
The raw filming (called rushes) is edited in this stage. Here the scenes are stuck together, the music is added.
Editing is mostly done on computers. In the past, film was actually cut into bits and stuck back together “movie people still say an edited film has been 'cut'”
6. Release
the film is then marketed. The advertising process begins and the film is sent out to cinemas ready for box office.
a writer/director comes up with the initial idea for the film.
2. The pitch
A studio has to be convinced that the film is worth making. Normally the director/writer or their assosicates will make a summary of the plot and maybe show a made up clip of the proceedings.
3. The studio
once the funding has been granted by the studio, the team of directors and editors are brought together. Here the actors will then be casted to draw in bigger audiences.
4. Production
the film then goes into production.The location/s must be found to film the movie, the scenes are filmed in a specific order and normally put together at the post production stage
5. Post-production
The raw filming (called rushes) is edited in this stage. Here the scenes are stuck together, the music is added.
Editing is mostly done on computers. In the past, film was actually cut into bits and stuck back together “movie people still say an edited film has been 'cut'”
6. Release
the film is then marketed. The advertising process begins and the film is sent out to cinemas ready for box office.
Thursday, 29 September 2011
sound
In the diary of a call girl, the scene looked at was one of Belle (the call girl) and one of her customers (Blake) as they meet and greet. This isn’t just a normally customer as the scene shows the difficulties/challenges of Blake’s disabilities as he is wheelchair bound.
The first scene which starts in Belle’s apartment starts off with the meet and greet between the two as they encounter for the first time. This part of the scene there is no non- diegetic soundtrack throughout; only dialogue is used at this early stage. Smaller/quieter everyday sounds (ambient sound) within the clip are enhanced frequently, the first of which is the envelope being taken out of Blake’s bag. The rustles are heard quite loudly as to emphases the awkwardness of the event, plus remind us that this is a business proposition taking place.
The dialogue by all characters involved is normally very stuttered which develops the point that the scenario is of delicate matters and brings about awkward tension from all characters involved. When Belle goes to lock the door she hesitates and later decides not to lock it as she looks backs she sees the vulnerability of Blake, the reassurance that his father can come in at any time if needed appealing more to him than the thought of him not. Here again the sound of the door latch is escalated to emphases on the actions occurring. The scene is also punctuated with awkward silences. Throughout the scene the boys disability is constantly a factor of the episode, but this said it is has not been represented in a negative way, the character doesn’t ask for sympathy.
The soundtrack played from the radio is an upbeat classical tune, which is conflicting to the father’s mood as is shown by the fact he turns it off immediately. The father then fidgets whilst sitting in the car; small sound effects occur like the seat going back and the horn accidently being pressed shows the fathers anxiety.
Then the sound bridge brings back to the scene of Belle and Blake. The slow melodic music, opposite to the sensual music you would expect in the circumstance draws out all the excitement as you feel sorry for Blake.
The first scene which starts in Belle’s apartment starts off with the meet and greet between the two as they encounter for the first time. This part of the scene there is no non- diegetic soundtrack throughout; only dialogue is used at this early stage. Smaller/quieter everyday sounds (ambient sound) within the clip are enhanced frequently, the first of which is the envelope being taken out of Blake’s bag. The rustles are heard quite loudly as to emphases the awkwardness of the event, plus remind us that this is a business proposition taking place.
The dialogue by all characters involved is normally very stuttered which develops the point that the scenario is of delicate matters and brings about awkward tension from all characters involved. When Belle goes to lock the door she hesitates and later decides not to lock it as she looks backs she sees the vulnerability of Blake, the reassurance that his father can come in at any time if needed appealing more to him than the thought of him not. Here again the sound of the door latch is escalated to emphases on the actions occurring. The scene is also punctuated with awkward silences. Throughout the scene the boys disability is constantly a factor of the episode, but this said it is has not been represented in a negative way, the character doesn’t ask for sympathy.
The soundtrack played from the radio is an upbeat classical tune, which is conflicting to the father’s mood as is shown by the fact he turns it off immediately. The father then fidgets whilst sitting in the car; small sound effects occur like the seat going back and the horn accidently being pressed shows the fathers anxiety.
Then the sound bridge brings back to the scene of Belle and Blake. The slow melodic music, opposite to the sensual music you would expect in the circumstance draws out all the excitement as you feel sorry for Blake.
editing
In the diary of a call girl, the scene looked at was one of Belle (the call girl) and one of her customers (Blake) as they meet and greet. This isn’t just a normally customer as the scene shows the difficulties/challenges of Blake’s disabilities as he is wheelchair bound.
Throughout the first few seconds of the clip lots of transition shots take place also immediately one after another. This continuity editing may not be as noticeably to the untrained eye. These transition shots have a tendency to show all three characters back and fourth with emphasis on the father and son. This might be show the fact that Belle has to look up and down at both in an awkward manner. After belle has left the room to let the pair become comfortable two match-on-action shots occur, as Blake is taken out of his wheelchair and secondly as he is placed on the bed. The match-on-action shot is used to neutralise the effect that there has been a cut.
Whilst Blake’s father leaves there is a transition shot which leads to a medium close up of Blake on the bed. Here his vulnerability is shown at full force as he seems anxious as his dad moves closer to the door. As Belle locks the door an eyeline match shot is shown. This shot shows fragility of Blake’s confidence. Shot reverse-shot is then used during the conversation between Belle and Blake, after she offers him a drink to cut the tension from the situation.
A cross cutting shot then emerges as the scene of Blake’s father returning to the van is shown. Here is where the fathers anxiety comes into play and he tries passing time. Before he actually steps in the van there is an eye line match shot showing the room the father has just left his son in.
The last scene and part of the clip is back to the awkward pair in the apartment. As the clip ends lots of transition shots are shown, here also as Blake’s top is taken off the emphasis is on his fidgeting and once more his anxiety.
Throughout the first few seconds of the clip lots of transition shots take place also immediately one after another. This continuity editing may not be as noticeably to the untrained eye. These transition shots have a tendency to show all three characters back and fourth with emphasis on the father and son. This might be show the fact that Belle has to look up and down at both in an awkward manner. After belle has left the room to let the pair become comfortable two match-on-action shots occur, as Blake is taken out of his wheelchair and secondly as he is placed on the bed. The match-on-action shot is used to neutralise the effect that there has been a cut.
Whilst Blake’s father leaves there is a transition shot which leads to a medium close up of Blake on the bed. Here his vulnerability is shown at full force as he seems anxious as his dad moves closer to the door. As Belle locks the door an eyeline match shot is shown. This shot shows fragility of Blake’s confidence. Shot reverse-shot is then used during the conversation between Belle and Blake, after she offers him a drink to cut the tension from the situation.
A cross cutting shot then emerges as the scene of Blake’s father returning to the van is shown. Here is where the fathers anxiety comes into play and he tries passing time. Before he actually steps in the van there is an eye line match shot showing the room the father has just left his son in.
The last scene and part of the clip is back to the awkward pair in the apartment. As the clip ends lots of transition shots are shown, here also as Blake’s top is taken off the emphasis is on his fidgeting and once more his anxiety.
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