Institutional Logos and Titles and Own Sketches

This is the first cut video of footage that i edit of my production logo. I placed both of the images together to impose the impression that they're part of the same image by faded the edges off which i was intending Adobe photoshop but its was possible of final cut pro. I wanted the image to be memorable like most of the production logos so i give the diegetic ambient sound effect of lighting striking from garageband. This captures the personality of the name macabre pictures, suits the distorted font and relates the red clouds. My major dilemma now is that the pictures look to evident, i want to create a torch like glow that runs across the image but the question is how?

This is an additional screenshot of me editing the soundtrack and the images together on the program final cut pro, in which using helpful transitions like fade in and fade out to create a easy flow and a sense of enigma.










This is picture to the left is taken from search engine google image, i have chosen this for my background of the logo because my plan now is to take the actual title and blend it in with the background to create the illusion that there of the same text and visuals. I discovered this image by exploring red cloud imagery, I'm satisfied with this purely because the clouds appear with a sense of realism and i can experiment about with lightness and darkness on the apple based program 'Final Cut Express'.

The rendered product; i enjoy how the redness fades to a darker shade as the text moves toward the right, this would have greater impact because it is the way we read and write in english. I chose the text mainly because it captures the personality of the company and the visual fragmentation of splattered blood. I have saved this image into my workspace and will begin practice on final cut express by creating lighting and sounds effects to give the image life and a mysterious background. With reading the 'Usage Terms' which says, 'You are welcome to use any of the generated graphics in any way, shape, or form without asking permission. If you'd like to thank us, please tell your friends about this service and consider linking to us.' I now feel confident with my product and look forward to giving a sense of reinvigoration and animation.

This is the process i went through to make the choices for the look and presentation of my final logo. I choose to call my production company macabre pictures but i then re-wrote in capital locks to illustrate it as if it were impacting the screen. I settled with the color red so it would fit with the color scheme and on a connotation level represent the visuals of the macabre. I was going to make the background black with different iconic shapes so people would remember the logo. But i went exploring through different backgrounds and found imagery of red clouds or an illusive red velvet material. As i previously said i wanted to create an illusionary vague logo that was down to interpretation, this would create a more subconscious effect on my audience and make the text more memorable. Whilst improving my technical skills i new to render the logo as a JPG folder opposed to s PDF or other formats, therefore it would fit into my blog and final cut express.

This is my choice of font for the 'Macabre Pictures' logo, i intended to create this originally in photoshop couldn't create something as accurate as this, it imposes a dirty, gritty but yet professional look i was going for.

This website was the one i used to design my own 'Macabre Pictures' logo, its companies policy says, 'Cool Text is a FREE graphics generator for web pages and anywhere else you need an impressive logo without a lot of design work. Simply choose what kind of image you would like. Then fill out a form and you'll have your own custom image created on the fly. Cool Text is the worlds most popular graphics generator. Online since 1998, our servers have rendered over 400 million FREE images.'

This picture here is the first initial sketch of Macabre Pictures logo that i created in Adobe Photoshop CS4 clouds are hand drawn within by using the brush tool then applying distortion with the blur tool, therefore audiences aren't entirely know what the imagery is and is left down to their interpretation so the logo can be recognized on repeated viewings through the techniques of enigma. I chose the name of "Macabre Pictures' purely because it has a provocative sound and look, also for the reason that me previous skills development projects deal with the themes of violence and macabre subject matter. This will be questioning and engaging when entitlement when this production company produces and social-realist feel because audiences will be interested to know what a horror based studio can do with post-kitchen sink realism.

The screen shot below (under the video) is of me exploring Adobe Photoshop CS4 for the first time, i experienced a range of useful different backgrounds, layers, tools and texts, I used photoshop tutorials from youtube to help me develop my skills, like in this video...

For the text, i wanted the title to stand out, therefore I stuck to the chosen color scheme so it would attract audiences attention. I used an efficient reminder of my color scheme by using the useful eyedropper tool which distinguishes one color from the next. My highest criticism of the logo, is how the clouds and text appear too basic and amateur looking, they lack professionalism. The clouds seem too hand drawn which effects the appeal and class of the logo, also the text and look isn't how i originally conceived it as. With not being happy with my logo, i've decided to uses a more professional website text based company and design my own more appealing logo in which the diegetic sound will play are more curtail role with in the viewing of clip.

This is the most influential logo i've seen mainly because it horror side and aspect of the production company therefore if i aspire to this I will hopefully be able to capture the personality of my 'Macabre Pictures' production logo.

Whislt studying previously existing production logos, i found they all have music in the background and have an iconic imagery that can easily be remebered. Like '20th Century Fox' has a memorable strong orchestral introduction with the gold impacting writing that allows viewers to associate these visuals with the programmes. I will try and recreate these techniques in my logo, including a strong memorable sound that fits the imagery.

I went through arrange of style to fit my production logo but i wanted it to fit the characteristics of the piece so i redesign the look of it but the decided what i always had was perfect because it immediately grabbed the audience’s attention with the diegetic sound and the red was so bold and threatening it made the audience remember its significance to the film.

These are the sketches for my film trailer production logo, i decided on a wide use of drawing and sketches but i want one that really suited the personality of the film. Having already used production logos, i decide to stick with the same name but i wanted to create a new background and sound, a fresh new visual that would give the production logo a more heightened sense of enigma and darker appeal.

Source the Copyright Free Soundtrack

My initial intention was to use a copyright sounds track by the band faithless called 'Liontamer', i was going to email 'Cheeky records' and 'BMG' and hopefully get a reply. This video below is a example of the song i was wanting to use from my film trailer...

But i heard news from the media teachers that we had to use a completely original soundtrack, this was my biggest dilemma of the whole production.

Proposal of Ideas

Initially i intended to create a film trailer around the theme of British neo-realist cinema because i knew it was one of which i would like to discover and explore deeper into, this is due to my taste as some of my favorite films lie within that genre like Mike Leigh's, Ken Loaches and Alan Clark's films. To begin I'm fond of independent british films because of there strong independence of ambition and evident cultural identity.

'Social Realist Cinema' was something i was interested in because of their strong ideological and political view, depth of characterization (perfectly phased character development) and the attention to hold such an original and ambitious concept. I wanted the film to mainly have good character development, like the character of Brain I want him to appear as if he had psychological issues so I kept with the recurring theme of him taking tablets so audience would question his stability of heath. I know that filming could be relatively confusing because the actors could accidentally call each other by the real name opposed to the character names that they should be calling each other. I’m thinking now to solve this pre-determined dilemma I should call the characters similar to their real names, i.e.

Ryan Burt- Brian Hurt

Tom Pugh- Don ‘Lou’ Carter

My main focus is creating a plot that is so fundamental and ambitious that the trailer just leaped off the screen. Like a lot of trailers I want it to be non-linear so it creates an enigma and audience have to use their imagination to piece the scenes together and form an interpretation of what the film is about. If I just make a trailer that describes the film in the fashion of saying a film about two characters who find a case full of money and a gun then start deceiving each other and the narrative carries the themes of betrayal, greed and paranoia its just telling the audience what the film is, its almost patronising. So my intention is to create mystery and leaves it down to interpretation because interpretation is personal and gives a sense of achievement and identity to the trailer from an audiences perspective.

My film is about the representation and deals with the themes of greed, jealousy and paranoia. I want to make a film that shows the basic exploitation of wealth, but in the most fundamentalist of terms but can be considered in a macro interpretation. The basic narrative is two school boys find a deceased body in a hall way of where they're delivering papers. They enter the house and its turns out to be an altered serendipity because they find a case full of money and a gun, they then decide to keep the money at Brain Hurt's house and as it progress they become distrust worthy of eachother and a fatal future lies for them both.

To begin with I always imagined the opening shot of a gun zooming out, the camera was placed as the perspecive of the gun and it was being burried by an anonymous character. My intention for the actual film was to begin and end with the opening shot of the gun to establish the eternal cycle of the films morals, including the ideological monolgue which is 'When you position a item in the focus of your life that doesn’t require the strength to nurture, in time it will destroy everything you’re and corrupt you. Something as significant as a ideology or your perception on life. The basis of your humanity is vital and no one can be the foundation of it, it holds inside, in the focus. '

Before writing the film I did a series of research and advice into writing...

I agree with Quentin Tarantino's theory of taking cliched scenarios and creating a different and indivdualistic appraoch to them.

Institutional Context

Roles and Responsibilities of Cast and Crew of The Film Industry...

Process/Development of a Film: To begin the usual initial process of the idea would come from the writer, director or producer. This would then be fleshed out with a loose structural narrative and scenes would be thought up and given strength with ideas of dialogue sand instructions which gives most scripts human nature for relation of the reader/audience.

The Initial Concept: The concept of the film can come from either cast or crew but the idea will change throughout production because often more minds become involved and the story has more depth and becomes large in scale with more ideas and character development.

Developing Financial Support: When you have a script or an idea you need to get it financed or funded to afford to shoot the film or pay the writer a work wage. This would develop into the pitch were the person enrolled would present this to production companies, sales, distribution broadcast, public investment, or private finance.

Script Writing Expansion: The script writer would then plan out the film through a step outline, there would be then a few drafts of the script until the whole crew is satisified with the narrative and character development.

Packaging: The producer would then (process) package the film and enable it to be commercially and financially successful. Begin fiancing the budget.

Financing and Funding:The script would be on the market and would need distribution and investment from a production company. The producer would raise money in pre-sales, banks and cap funding. Then the insurance for production would be determined through competition bonds. Finally the green light where the whole process is a legitimate completion of the process.

Pre-Production: The casting would inaugurate and the storyboards or institutional logo plans would be illustrated. The locations scouting and other forms of preperation would begin. The word pre-production basically means plan-production.

The Filming/Shoot: This will actually be when the film is shot, the emphasis will be on the actors and mainly the director for filming each of his scenes in time and doing in precisely and conveying his vision onto a camera lense.

Post Production:Rough cut, post production sound, inter-titles, colour and the editing of the film would begin. Then the crew would make a final cut of the film and it would be the compressed into a package.

Sales:They would then have to produce trailers and sell the item. They then would try and get the film some test or example screenings for the public’s opinion and official screening in art house or multiplex cinemas, its basically selling the film on the market to try and get as much as attention as possible , the more attention the more money.

Marketing:This is where the film is promoted and advertised throught the industry and across the world depending on how successful the film is; where posters, magazine publishing and any form of advertising are funded to be screened and presented. Marketing like gorilla (different and shocking pieces) and viral (online). The film would be then sold to exhibitioners.

Exhibition:The premier would be hosted by a variety of cast and crew along with close family mebers and friends to celebrate the films release, so it would be shown in cinemas and made into multiple prints. The box office performance and revenues would be rewarded and reviewed by critics ; marketers and distributors will recieve their fianance.

Other Forms of Exhibition:It then would be sold and shown on DVD, TV, and hospitality locations. Often more promoted through the films reputation.

Secondary Audience Research

Primary Audience Research

Fish Tank Trailer

Four Lions Trailer

ART HOUSE AUDIENCE:

As seen by my reasearch of pearlanddean my target audience is hard to define because its not the age or price of the consumers, its there love for differentiating cinema, the cinema that challenges convetions and doesn't conform to the mainstream post-hollywood approach. Art film's as they're often know as are mainly independent and serious pictures that conisist to be targeted at niche audiences and the themes tend to focuss on social realism, thoughts, dreams, character depth and unclear goal driven narrative.

Most of my intrests for my product come from films that don't adopt the normality of convetional mainstream films like the trailers I have focused on like, Mike Leighs 'Naked' a small tale about an intelectual character on the run in London but that covers such a grand scale of ideological depth. I want my film trailer and print product to stand-out from others because of rewarding difference and intresting challenge convetional turns.

But to begin I most try and understand art house audiences and how they interpret film as art opposed to entertainment, they view it on such analytical and critical levels in such a way of substance of overstyle. Alot of art films are excellent and creating atmosphere through cinematgraphy and distroted sound, but often with the lack of sound can be twice as effective because of its unorthodox occurence that gives a sudden stillness, this often works well with juxtapositioning visuals. Also the use of ambient sound being reinforced can hold th repition of threat for example in the recenntly deceased Dennis Hopper's 'Easy Rider' ...

"Joe Queenan's guide to arthouse cliches
“The ideal arthouse film is set in a part of the world few of us know and even fewer intend to visit. The steppes of Central Asia or a forlorn village in Central America are fine, but rural Slovakia will do in an emergency. The arthouse film should make us feel that we understand the world better than we do, even though we don't. It should give us a sense of moral and intellectual superiority over people who go to see Tom Cruise movies. It should star Tilda Swinton, or seem like a film in which she would be likely to appear. It should be a bit grainy. Gypsies, often in distress, may be in the mix, but generally not the Amish. Ideally, a proper arthouse film should have mangled subtitles. Children should be abandoned, or on a long trip over the mountains, or trying to recover lost shoes, or sneaking scraps from the dinner table to a man they believe to be Frankenstein. Anything about Balzac is great. Ideally, the cast should include Parker Posey, Daniel Auteuil, Lili Taylor, Hope Davis, Steve Buscemi, the 2004 winner of Argentina's Cesar for best supporting actor, and Joan Plowright.
The principals in an arthouse movie should include a creepy loner who collects weird things: gynaecological instruments, a stool rescued from a bathroom once used by Abba, that sort of thing. The protagonist may be an opera buff or a train engineer fast approaching retirement or a buttoned-down Swedish time-management expert assigned to monitor the comings and goings of single, self-sufficient Norwegian males. They may have trouble breathing and need a respirator. They may be a taxidermist or a watchmaker or an Italian language student. They will not be a recent Harvard graduate seeking a job at Vanity Fair or a starting point guard for the Los Angeles Lakers. Sexually unfulfilled musicians are a fixture in arthouse films, particularly pianists. So are congenitally miserable Scandinavians and emotionally repressed Japanese. A proper arthouse film will often have an exotic animal, such as a dromedary or a yak, and it will sometimes feature a chatty dwarf who is wise beyond his years. Quite often the dwarf will be a bit cheeky. The Legend of the Cheeky Dwarf would actually make a very fine title for an arthouse film. It's surprising no one has yet tried it.
Arthouse films rarely have a feelgood quality. They may make us feel smarter or more wise in the ways of the world, but they rarely make us feel happy. If a little Jewish boy befriends a vicious anti-semite in the waning days of the second world war, the film will not end happily. If a little Afghan girl pretends to be a boy to avoid the Taliban, it will not end happily. If the movie is set in equatorial Africa or Northern Ireland, it will not end happily. If a Danish handyman reluctantly agrees to marry the daughter of the Chinese restaurateur who lives directly across the street in exchange for free meals, it will not end happily. The only arthouse movies that end happily are the ones with the yaks. No one knows why.
The arthouse film is not interchangeable with the foreign film. Many excellent foreign films are merely commercial films that happen to be in a foreign language. A basic rule of thumb: if Jean Reno stars in a film, it is not an arthouse film. If Penelope Cruz is speaking English on screen, it is not an arthouse film. If she is speaking Spanish, it almost certainly is. There are a few examples of arthouse films that include martial arts – Crouching Tiger, Hidden Dragon – but not many. In fact, that may be the only one.
Typically, an arthouse film has an intrusive, overbearing soundtrack that won't give the audience a chance to relax for one second. Often these films are scored by the remorseless minimalist Philip Glass, whose music is at least as annoying as anything that takes place on screen. Integral components of a good arthouse film are a song or two by Leonard Cohen, Björk, tango master Astor Piazzolla and perhaps something introspective by Bach, though Albinoni will do in a pinch. You will rarely hear Slade or the Four Seasons or Wham! in an arthouse film. You are unlikely to hear Mariah Carey. And if you do, the director is being malevolently ironic.
Not all arthouse films contain the same components, but certain elements almost never occur outside of the genre. If there is a yurt in the motion picture, it is probably an arthouse film. If the director acted as his own editor, it is an arthouse movie. If an old man sets out on a long trip atop a reconditioned lawn mower to visit the brother he has not seen in 20 years, it is probably an arthouse film. If Tom Waits is involved in a film in any way, it is an arthouse film. That is equally true of David Byrne.
There are several things that must occur in an arthouse film in order for it to work. There should be a long train ride. There should be an anonymous letter or a diary no one was supposed to read. At some point the main character must visit his mother in a nursing home. The mother may smile, but she must not speak. That would ruin everything.
Arthouse movies are often set in the waning days of the Raj. They frequently star accomplished English actresses of a certain age who look a bit shopworn. These women are checking into a hotel to die or consorting with quirky expats in some florid fascist country or maintaining a stiff upper lip in Lahore.
Arthouse movies frequently have twee names like Io Sono l'Amore and Mrs Palfrey at the Claremont and Tea With Mussolini and Miss Pettigrew Lives for a Day. That's how moviegoers can tell in advance that Bruce Willis isn't in them.”
http://www.guardian.co.uk/film/2010/oct/20/arthouse-cinema-cliche-breathless
"

Alot of people view the art house film audiences as a bunch of interlect but they're open minding people who agree with difference and change but mainly daring and risk taking films that the multi-plex or mainstream avoids with jeopardy.

Textual Analysis

I've chose this poster of Paul Thomas Anderson's 'Magnolia' because not only his he my favorite director but because this poster attracts something similar that i intend my final product to look like. I like how self designed Paul Thomas Anderson has included just a single picture of a magnolia flower in a magnolia color it stands outand attracts the audience because of its flamboyance and boldness. I also like how the film has a hyper link narratives, a concept around different self contained episodes that has the same feel. On a polysemic level this mutuality is represented through the same blend of magnolia color and how each character appeals as interested on each side of each leaf, so this is illustrating that they're all part of the same story, all part of the same leaf.

Another aspect I enjoy is how the font is so fundamental with the capit

al letters or three dimensional text but attracts the audiences attention purely because of the carefully chosen colors picked. This idea of using a flower holds the iconography of the eternal cycle of life, which on a connational level represents the ideologies of life and death represented in the films. Moreover I find it interesting how something so basic can achieve such attention, i always agree with the saying 'less is more' because a lot of film posters become over complicated for example the following posters below....

I like the picture below of Stanley Kubricks 'Full Metal Jacket' also because it includes a completely original object and how basic of an idea it is but achieves such attention. It represents the vietnam war including political iconography of war including the bullets and juxtaposing images like the peace badge when the soldiers are fighting a pointless war. This contraction of "Born to kill" and the peace symbol is a paradox that represents the confusion of American society during the vietnam war.

Here is the link to my 'Textual Analysis' prezi...

Trainspotting Trailer on Prezi

Prezi of my textual analysis, how i deconstructed Danny Boyles 'Trainspotting' trailer of the protagonist Renton tied to a railway track and telling the audience what not to do and the consequences to mistakes. Also includes deconstructing film poster and magazine of the same film and how color scheme, presentation and other connotation codes construct an understanding and interpretation.

This niche targeted audience trailer begins with an introduction of characters, showing them from in a range of locations with the protagonist narrating with ideological questions that instantly gets the audiences attention. Like most art film trailers this trailer indicates little into the narrative but offers character depth, conversely it doesn’t offer much resolution like most mainstream or mass audience targeted trailers. Another curtail point is that is doesn’t display any binary oppositions it just demonstrates an angry character isolated from society portraying psychological loneliness and capturing the personality of the film. It’s a bizarre representation of English urban industry and social culture and its primal fears and thoughts that question philosophy and interaction. It is extremely science orientated thus demonstrates the characters intellect with the diegetic quotation of ‘The future doesn’t exist’. This film reflects British civilization of the 1990’s and doesn’t have universal appeal because it’s an aesthetically poetic self indulgent and contained character study that conveys the test of ones philosophy.

The influence this trailer has had on my intended audience remains because its also an art film the depicts British society and themes of paranoia and temptation of lust hence the title ‘Naked’ but on a polysemic level it represents the exploitation of the characters uncertainty and their desperation. The technical decisions I will be making is how I will use non-diegetic sound to create suspense and unease like in this trailer it illustrates a ghostly haze of enigma. This trailer has aspired me to include a diegetic monologue and voice over that determines the plot direction (along with inter-titles) and questions that challenge audiences ideological views. I will begin my trailer at the end of the film to reinforce the mystery aspect and use the codes of non-linear narrative to display the variety of emotions the film has to offer. I will dress my characters in school uniform that will represent the naiveties of youth and young manhood. I will shoot mainly throughout the day to establish realism as this is a social-realist melodrama.