Thursday 30 October 2014

Script Breakdown



Juno is a 2007 Canadian-American comedy-drama film directed by Jason Reitman and written by Diablo Cody. Ellen Page stars as the title character, an independent-minded teenager confronting an unplanned pregnancy and the subsequent events that put pressures of adult life onto her.




Script Breakdown




Highway on my plate!!

We’re baaaack!!! We’re hungryyyy!!!!! This is how host duo Rocky and Mayur commence their  food travelogue “Highway on my plate”. It is a weekly travel and food show that airs on the channel NDTV Good Times since 2007.



Mayur (L) and Rocky (R) at their job
 Food enthusiasts and childhood friends Rocky Singh and Mayur Sharma have together traveled more than 120,000 kilometers across the length and breadth of India over the course of 7 years in search of memorable eating experiences. The hosts are the USP of this show.  Over the years the show has garnered quite a fan following due to the natural chemistry and camaraderie between the two hosts as well as their 'will-eat-anything' attitude and genuine love for different sorts of food and their over the top and quirky sense of humor.

Fair report




The show follows a regular format where the hosts travel to different food joints and eateries across the different states of India, mainly through the National Highways of India. It has majorly been shot outdoors on the highway or on the various streets of the different cities they travel to. It has a consistent fast pace to the camera movement and peppy music throughout the shots. There is sometimes a bit of a lighting glitch when there are indoor shots from a not so well lit restaurant. 


Wednesday 29 October 2014

Fashion films will soon take over the runway!

Not only does film have the power to make actors/actresses household names, make millions at the box office and influence a generation, it recently has become an important and relevant way to sell clothes. Through the influx of the internet, the fashion landscape has had to keep up with frequency of technology. In doing so, over the last few years we have seen live-streamed fashion shows, online shopping and now fashion film.
Dior's ad campaign film


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Fashion photography will continue to evolve but the time has come for a new generation of trailblazers, rule-makers and breakers. The fashion film movement is recruiting a new army of creatives, responsible for communicating the sartorial world in ways never imagined by the legends of times past. Fashion photographers all over the world are being asked to pick up a video camera and bring movement to their creations.
Films allow a designer to collaborate with someone on something that will complement their collection and give it another layer. You can show an audience moving footage of clothing in an interesting way other than on a catwalk, and via the internet where it will be seen by a lot of people on an international level.
With a still image you cannot see the life in a garment, the way it moves, but with a runway presentation, there’s always room for disaster. Film is as controlled as a photograph, but you can still see the motion that naturally exists in clothes.
The Internet and the fashion film are entwining to create cheaper means of reaching access-hungry audiences on a larger scale. With networking company Cisco predicting video-watchers to surpass 57% of all online usage by 2014, its clear the way forward for designers is to use film and the web to make a connection with consumers.
Brands will soon showcase only via  short films
The digital revolution has literally managed to redesigned the marketing landscape into a whole new branding-ball-game.




http://tempenakiska.com/articles/theRiseOfFashionFilm/article.shtml

The Shining: Title design

Movie- The Shinning
This stands out as one of the best title sequences ever ,not to say in particular for the horror/thriller genre. It is a hand-lettered title.

It's a deceptively simple and economic approach (like a lot of Kubrick title sequences) that, in a few minutes, proves to be the perfect setup for the film.
There is a high contrast between the complimenting elements of cinematography and sound. This was done to perhaps create the suspense.

"The flyover sequence, combined with Wendy Carlos’ haunting synth score, hammers home the isolation of the characters within the vastness of the landscape. Whilst you're following the tiny car in an almost sublime landscape, the hints of Indian chanting add to the overall dreadful eeriness of the titles, enhanced by the cold credit sequence which rolls in reverse over the screen. You're almost relieved when you finally arrive at the Overlook Hotel - but then you still have to discover room 237."


Sound that silently built tension

Movie- The Hurt Locker
The Hurt Locker is an Iraqi war thriller that revolves around a bomb defusal squad. Its main key factor is the tension that builds around and accelerates throughout the movie. Without its virtuoso sound editing, the shots of the desert, the exchanges between the U.S. soldiers, their British allies, and their Iraqi enemies would lack tension and belief.


The composition of during the night scene where you can hardly see anything on the screen: It’s the darting sound effects, the background sounds, and the occasional human utterances that make the drama and the movie.
Sound Designer, Paul Ottosson’ s inclination towards organic sounds made him record most the sounds in the middle east itself. "I also recorded guns out in the deserts here in California. Then we went to foley stages, and we recorded a lot of the gear of the movie, and I also got the bomb suit that they used in the movie. There's an air conditioner in the bomb suit that the techs use. I got that down and all the sounds that it makes. And we also recorded a lot of stuff between takes. There were animals in the area and the winds and vehicles. So we tried to capture as much as we could -- city life, these calls to prayer that they have very often in the Middle East and the Muslim part of the world. There's not a whole lot of stuff we tried to fake and get by the audience." Says Ottosson.
Paul Ottosson, Sound Designer
Ottosson spent a year and a half as a ranking officer in the Swedish military, and he drew on his personal experience when creating and recording sounds for "The Hurt Locker," about a U.S. Army bomb squad disposal unit.

To always keep the viewers on their toes they played the foley louder than usual. These intelligently mixed sounds for “The Hurt Locker” definitely had scarring effects.










High on montage!

Movie- Hugo

Hugo gets off to a marvelous start with a shape match cut from the gears of a clock to the hubTrip to the Moon poster of Paris centered around the Arc de Triomphe (which it does in reverse order later in the film). In another poem to editing, the movie employs an automaton as a subtle Kuleshov (montage) device. (The automaton seems asleep, sad, and determined, depending on the shots Schoomaker surrounds it with.

The movies recounts how early moviegoers reacted to movies, such as the famous incident where Parisians thought a train was really coming into the station in on of the early Lumiere brothers’ shorts and reacted by trying to leave the theatre. Hugo also shows many scenes from Melies most famous film A Trip to the Moon, a pioneer fantasy film of special effects.

"The film is a distillation of all the work Scorsese has done over the years, to bring other artists the world has forgotten back to the world," Schoonmaker said. "And that’s what we’d like to get across. How important the history of film is to see and enjoy." The editor added.


Gravity: A critique on production design


Movie poster
For production designer Andy Nicholson, creating the detailed exterior and interior sets of the space vehicles in Gravity required an unmatched integration of traditional art direction techniques with state-of-the art computerized special effects. "I approached designing this movie the same way I would a period piece," says Andy Nicholson of "Gravity," a film that looks not at all like an old costume drama set amidst ornate sets. But he believes the analogy is apt due to the space flick's extraordinary attention to detail.
Andy Nicholson, Production designer
A movie with absolutely non-virtual sets, the kind you can touch, such as the interior of abandoned Russian Soyuz capsule which Bullock’s astronaut manages to reach and includes a fantasy dream sequence with another astronaut, portrayed by George Clooney, Gravity has been successful in creating a literal and genuine experience for its viewers. The Soyuz capsule set was built in segments to accommodate long continuous shots. There are five sections of the set on individual tracks so as the scene progressed, each piece would be moved out of the way to let the camera travel past.  Then, on cue, each section would be quietly slid back for when the camera looked back at where it had just come from. For some shots up to 16 people were needed to push pieces of the capsule in and out, choreographed to the camera shots.
One of the most complicated sequences takes place earlier in the film when Bullock manages to make it back to the ISS, grabs handholds along the exterior in order to reach the airlock. This required designing things for Bullock to grab onto and pull on to show her physical exertions.

Team working on a set
Since the public is very familiar with live broadcasts and photos of space stations and space walks, a challenge was to make the vehicles as accurate as possible down to the smallest details. That required extensive research, with the trove at NASA serving as a key repository. “Without the huge amount of NASA photography and technical data in the public domain, nothing could have been as detailed,” Nicholson noted. Several astronauts also served as consultants.