Monday, 7 May 2012
Sunday, 6 May 2012
Tuesday, 27 March 2012
TASK 1 In what ways do your media products use, develop or challenge forms and conventions of real media products?
Overall I would say that our music video generally conforms to the forms and conventions of music videos that come out of similar genres as ‘Let You Go’. In terms of shot choices, we really went for what seemed appropriate and it just so happened that we felt little need to challenge the general forms and conventions of real media products.
Our choice of Mise en Scene went to identify particular groups of people (i.e. the youths and the ‘suits’) in relation to what typically identifies that particular group to an audience and was therefore conventional due to the fact that the forms and conventions are exactly what makes these groups identifiable in this instance.
Editing primarily focussed on fast pace straight cuts in order to create a sense of energy and excitement throughout both the performance and the narrative elements. Therefore it is fair to say that we used the forms and conventions of editing found in most media products in this area.
This shot is an example of how we have chosen to stick to the typical music video conventions in terms of our representations of youth culture. The drum and bass genre as a whole generally depicts youth culture as rebellious, fun loving and powerful in that they won’t be stopped by what society says is appropriate. The bottle of wine (in context with the powerful stance of the youthful character) is just one classic representation of the ways in which most modern youths enjoy themselves. This appeals to our target audience due to the fact that they are the same fun loving, rebellious youths that we represent in a good light (at least to this target audience).
Shots such as this aim to be accurate in terms of how our target audience would like to view themselves and conventional props, combined with conventional camerawork and editing support the image that we wish to get across and that they want to see.
This is an example of a typical continuity shot. These shots are used in most music videos that involve any kind of extensive narrative, such as ours. We used these because by having them we were able to give a fast pace, yet clearly understandable sense of movement and progress within the narrative element of the video. Without the presence of continuity shots, it would have been difficult for us to present movement of both people and objects in a way that didn’t confuse the viewer. The main reason that continuity shots are conventional in almost all videos is because any action that changes the position of characters or props or even changes in set can move together with fluidity, making the video more enjoyable, as well as appearing more professional to watch.
Therefore in this instance, we not only heavily conformed to the conventions of our particular genre of music video, or even of music videos in general, but to the editing conventions of film as a whole.
This shot is just one example of the many conventional shot choices that we felt gave the most overall aesthetically pleasing appearance to our music video. This particular shot is known as a ‘two shot’ and allows us to focus on the action of the drummer, while still keeping the sense that the whole band are playing as one with the presence of the DJ in the background. This was particularly important to our video as our target audience (rebellious and music loving youth culture) arguably place great significance on the creation of good music and the intensity of live performance with real bands playing together.
It could perhaps be argued that we have ‘adapted’ typical media conventions with shots such as this due to the fact that the action, i.e. the focus of the shot is taking place within a cage and the camera is filming the action from the outside with the wire not in focus in order to give the shot a more full and aesthetically pleasing appearance for our target audience who will largely appreciate the urban and ‘hardcore’ feel that this gives to the video, paralleling the star image of our band.
This shot can be interpreted as an example of the way in which ‘the tables have turned’ during the course of the videos narrative, in that the youths who were symbolically ‘caged’ by the oppressive older generation have now physically caged them. This turn of events, with particular regard to the visual impact that it has, appeals conventionally to our target audience because it is essentially a representational empowerment of their position and potential ability to make what they want of ‘their’ society. So to that end it can be seen that this shot conforms to the generic conventions of the ‘drum and bass’ genre.
Also, the use of brighter colours as well as more smoke is used in order to visually show the intensity of the events rising until the climax at the very end. I would say that this is a conventional use of lighting for a music video of any genre.
This handheld overhead shot is conventional in the sense that it allowed us to show almost the entirety of the DJs equipment, which for this genre of music is of great significance to our target audience. The overhead shot is reasonably widely used in drum and bass videos; however this is often in order to show an audience within a live situation, it is therefore arguable that we have adapted this common convention in order to suit our video to both our storyboard and what our target audience would find entertaining to see.
Much emphasis is placed on the role of the DJ throughout the music video due to the fact that the decks can be seen as the key instrument/ tool for creating music of this genre. Also, it can be argued that this is the most relatable piece of equipment to the widest area of our target audience.
Much of the video is set in urban themed locations. Firstly, this is because the star image of SMAK is supposed to be ‘real’, urban and ‘grimy’, and subsequently this is the kind of image that our target audience would be attracted to. This kind of stylistic choice and image is typical of and therefore conforms to the majority of music and many of the music videos within this genre, however we felt that there was little need to adapt too far or challenge this convention as a result of the fact that the image fits so well with the music and the target audience for this is easily marketable.
Shots such as this contrast with the rather ordinary shots of the older generation following them to show how the youths are far better suited and equipped to deal with the streets, a concept that has been conventional for a very long time.
Our digipak cover is perhaps the most conventional element of this project.
The album cover is very stylistically similar to (but by no means identical) to that of ‘chase and status’, (the real artists of ‘let you go’). In order to conform to the traditional urban and ‘underground’ image of both the artist and the track, we decided to present a cage fighter, with particular emphasis on the wraps due to the fact that this is a sport that is widely controversial and relates to our target audiences sense of danger and rebellion.
The album cover is very stylistically similar to (but by no means identical) to that of ‘chase and status’, (the real artists of ‘let you go’). In order to conform to the traditional urban and ‘underground’ image of both the artist and the track, we decided to present a cage fighter, with particular emphasis on the wraps due to the fact that this is a sport that is widely controversial and relates to our target audiences sense of danger and rebellion.
SMAK is hypothetically signed to ‘badsketa records’ who are a record label specialising in both underground and drum and bass music. As well as this, the album cover conforms to traditional media conventions for this genre, this can be seen by researching other drum and bass music.
Thursday, 15 March 2012
Task 2 - Richard Dyer's theory of stardom - SCRIPT - How effective is the combination of your main video and ancillary products
Image is something which is very important to everyone today, seeing as it is reflected so greatly through music videos and promotional posters. Music fans follow the fashion and values of their favourite stars, whether it be someone like Lady Gaga who's extreme style got her so well known, or an artist such as 50 cent who has a rebellious, violent and self indulgent image and lifestyle which many teenage boys wish to follow. This makes artists marketable and appealling, as fans wish to copy and follow the way their favourite artists dress and behave. As we are shown in Richard Dyers theory of stardom. The term ‘star’ refers to the semi-mythological set of meanings constructed around music performers in order to sell the performer to a large and loyal audience. Dyer teaches us that ...
•A star is an image, not a real person, that is constructed out of a range of materials, usually through video or promotional posters etc.
•Stars are commodities produced and consumed on the strength of their meanings.
Fundamentally, the star image is incoherent, that is incomplete and ‘open’. Dyer says that this is because it is based upon two key paradoxesthe first paradox is that the star must be simultaneously ordinary and extraordinary for the consumer. This means that the star maust have the same emotions and all round being as the audience however, are some what 'god like' forcing us to believe that there is something special or extraodrinary about them. The second paradox is that the star must be simultaneously present and absent for the consumer. Therefore the audience should feel as if the person is around them for example, through posters or through the television. However it is a pereson who we will never have a physical connection with, because they are of course, god like and we will never cross paths.
The incoherence of the star image ensures that audiences continually strive to ‘complete’ or to ‘make sense of’ of the image. This means that the audience will buys merchandise and memorabilia for this artist making them feel as if they are closer to the star and getting to know everything about them.
Stars depend upon a range of subsidiary media marketing, such as, magazines, TV, radio, the internet – in order to construct an image for themselves which can be marketed to the appropriate target audiences. For example, Adele uses simplistic and ordinary pictures as she is very much so focused on her talent, not her sexuality or physique, whereas another artist such as Britney Spears uses semi naked pictures of herself on her posters as she wishes to gain sex appeal from a male audience usually because her music is about female feelings. Thereforee this type of marketing allows records companies and artists to broaden their target audiences and gain a larger following all by the way in which they portray themselves.
There are many elements in our video, digipak and promo poster, which highlight other elements of our band star image. Due to star image being of such high importance in the industry, we thought that we could represent this through the costume. Firstly, in terms of physical image, our band and actors are all wearing the stereotypical track suits worn usually by 'chavs', in dark colours with the iconic Adidas strip down the leg. Our lead singer was wearing a black hoody with dark track suit pants. This is a typical urban and grime image, which we were striving for whilst organising in our per production. We wanted to create an urban, violent and gritty video, therefore we had to be sure the costume fitted, with both our actors and band to make it seem more realistic for audiences so they could possibly relate to it. This vviolentos boisterous theme was also represented through the narrative as towards the end a group of youths are shaking the cage which the suits are captive in. We wanted this to denote animalistic behaviour, to highlight a lack of class and education, therefore tapping into the psychological where we are able to recognise these people as barbaric. This was an image we wanted to portray as we want our audience to be of the same type stereotype. We also wanted the audience to feel challenged, as if they are not tough enough to listen to this.
Another element which we use our promotional poster was the boxer. Despite the boxer model, who has no relevance to the band or the video, we thought that is image could help denote some key values of our chosen band to make it more marketable. For example, the boxer has his fist clenched tight as if he is punching into the camera. He is wearing hand wraps, and a ring. The rest of his face and body is out of focus, which helps the audience to emphasise his fist and the ring. The fist denotes the strength and power of the band, also relating to my earlier comment on the barbaric violent image which we were going for as well. It also denotes that the band may have come from a tough background and up bringing, and the fist is as if they are fighting back at anyone who told the they would not be able to be successful or that they are making their way through the music industry with determination and strength with their fists literally clenched. This gives the band a very threatening and negative image, yet it makes them very marketable as people enjoy watching rebellion and following it. Therefore it will appeal to their target audience as they are real people from the same backgrounds who are relatable.
Both of these key elements make this bands image very marketable as audiences everywhere will have some recognition for this image and will follow it. Due to audiences being able to relate to this image and lifestyle as well, the will allow them to want to know more about the band and why they behave this way, following Dyer's stardom theory where the incoherence of the star image leaves audiences striving to finding out more information and trying to be the bands biggest fan, constantly competiting to be the best. This will benefit the record companies as the audience will buy merchandise of this artist to make other feel closer to their idols.
It is very clear there is quite a specific target audience. Despite being specific it is certainly not of a small spectrum. Specifically we were aiming our video and band image toward 16 to 24 year old males. However the audience becomes much narrower, more so toward 16 - 24 year old males with a criminal record, who are rebellious, from a poor, working class background, violent and who enjoy heavy drum and bass. Even the lyrics and beat of the song reflect the type of individual who would listen to it, due to its threatening and epic nature. However despite that being a very stereotypical and narrow audience, there are others which this could appeal too as well. Due to the image that our band is portraying throughout the narrative of the video where the youths are rebelling against the suits (authority) this could have some reference to students rebelling against teachers, children against parents, employees against their boss. This is all a situation we can relate too where we wish to over throw authority. Hence why this video portrays this image so greatly as despite the youths being naughty and rebellious, they are actually the protagonists, leaving the audience to believe it is 'cool' to behave like this, therefore portraying an image which is against typical positive values, this makes the audience feel as if they are breaking free and releasing any other emotions which they are holding back
•A star is an image, not a real person, that is constructed out of a range of materials, usually through video or promotional posters etc.
•Stars are commodities produced and consumed on the strength of their meanings.
Fundamentally, the star image is incoherent, that is incomplete and ‘open’. Dyer says that this is because it is based upon two key paradoxesthe first paradox is that the star must be simultaneously ordinary and extraordinary for the consumer. This means that the star maust have the same emotions and all round being as the audience however, are some what 'god like' forcing us to believe that there is something special or extraodrinary about them. The second paradox is that the star must be simultaneously present and absent for the consumer. Therefore the audience should feel as if the person is around them for example, through posters or through the television. However it is a pereson who we will never have a physical connection with, because they are of course, god like and we will never cross paths.
The incoherence of the star image ensures that audiences continually strive to ‘complete’ or to ‘make sense of’ of the image. This means that the audience will buys merchandise and memorabilia for this artist making them feel as if they are closer to the star and getting to know everything about them.
Stars depend upon a range of subsidiary media marketing, such as, magazines, TV, radio, the internet – in order to construct an image for themselves which can be marketed to the appropriate target audiences. For example, Adele uses simplistic and ordinary pictures as she is very much so focused on her talent, not her sexuality or physique, whereas another artist such as Britney Spears uses semi naked pictures of herself on her posters as she wishes to gain sex appeal from a male audience usually because her music is about female feelings. Thereforee this type of marketing allows records companies and artists to broaden their target audiences and gain a larger following all by the way in which they portray themselves.
There are many elements in our video, digipak and promo poster, which highlight other elements of our band star image. Due to star image being of such high importance in the industry, we thought that we could represent this through the costume. Firstly, in terms of physical image, our band and actors are all wearing the stereotypical track suits worn usually by 'chavs', in dark colours with the iconic Adidas strip down the leg. Our lead singer was wearing a black hoody with dark track suit pants. This is a typical urban and grime image, which we were striving for whilst organising in our per production. We wanted to create an urban, violent and gritty video, therefore we had to be sure the costume fitted, with both our actors and band to make it seem more realistic for audiences so they could possibly relate to it. This vviolentos boisterous theme was also represented through the narrative as towards the end a group of youths are shaking the cage which the suits are captive in. We wanted this to denote animalistic behaviour, to highlight a lack of class and education, therefore tapping into the psychological where we are able to recognise these people as barbaric. This was an image we wanted to portray as we want our audience to be of the same type stereotype. We also wanted the audience to feel challenged, as if they are not tough enough to listen to this.
Another element which we use our promotional poster was the boxer. Despite the boxer model, who has no relevance to the band or the video, we thought that is image could help denote some key values of our chosen band to make it more marketable. For example, the boxer has his fist clenched tight as if he is punching into the camera. He is wearing hand wraps, and a ring. The rest of his face and body is out of focus, which helps the audience to emphasise his fist and the ring. The fist denotes the strength and power of the band, also relating to my earlier comment on the barbaric violent image which we were going for as well. It also denotes that the band may have come from a tough background and up bringing, and the fist is as if they are fighting back at anyone who told the they would not be able to be successful or that they are making their way through the music industry with determination and strength with their fists literally clenched. This gives the band a very threatening and negative image, yet it makes them very marketable as people enjoy watching rebellion and following it. Therefore it will appeal to their target audience as they are real people from the same backgrounds who are relatable.
Both of these key elements make this bands image very marketable as audiences everywhere will have some recognition for this image and will follow it. Due to audiences being able to relate to this image and lifestyle as well, the will allow them to want to know more about the band and why they behave this way, following Dyer's stardom theory where the incoherence of the star image leaves audiences striving to finding out more information and trying to be the bands biggest fan, constantly competiting to be the best. This will benefit the record companies as the audience will buy merchandise of this artist to make other feel closer to their idols.
It is very clear there is quite a specific target audience. Despite being specific it is certainly not of a small spectrum. Specifically we were aiming our video and band image toward 16 to 24 year old males. However the audience becomes much narrower, more so toward 16 - 24 year old males with a criminal record, who are rebellious, from a poor, working class background, violent and who enjoy heavy drum and bass. Even the lyrics and beat of the song reflect the type of individual who would listen to it, due to its threatening and epic nature. However despite that being a very stereotypical and narrow audience, there are others which this could appeal too as well. Due to the image that our band is portraying throughout the narrative of the video where the youths are rebelling against the suits (authority) this could have some reference to students rebelling against teachers, children against parents, employees against their boss. This is all a situation we can relate too where we wish to over throw authority. Hence why this video portrays this image so greatly as despite the youths being naughty and rebellious, they are actually the protagonists, leaving the audience to believe it is 'cool' to behave like this, therefore portraying an image which is against typical positive values, this makes the audience feel as if they are breaking free and releasing any other emotions which they are holding back
Saturday, 25 February 2012
Friday, 24 February 2012
Tuesday, 24 January 2012
Account of post production
The post production phase of my music video proved to be perhaps the most fundamental, challenging and rewarding part of creating this piece. On completing production, i.e. the actual film shoot, I had to check in all of my footage to a backed up hard drive from which I could 'check out' my files each time I wanted to edit the video. Overall we took around three hours of footage and it proved to be a lengthy process marking up all of the relevant and useful shots that could be used in the edit before I could even begin to put them together.
I found that my knowledge of Final Cut Pro had become greatly comprehensive when i came to using the programme to edit "Let You Go" due to the fact that over the course of my time as an A level media student i have been able to gain much experience in the programme from my AS Thriller, my A2 preliminary task which included editing, as well as putting together the storyboard for this years music video as part of pre production and preparation. Creating the animatic storyboard not only refreshed my memory in terms of the procedures and tools used when editing footage, but i also found that it was extremely useful for me to have some idea of how to cut shots to the beat of a song, as opposed to the more free approach to editing when creating my thriller which did not have a beat to cut to.
I found that one great upside of editing this music video for me was the fact that i did not have to worry about continuity of sound as i did with my Thriller because of the fact that the sound for the entire video was provided by the track itself. Because of this, I did have to take on the extra task of listening through each clip of footage to find what point in the song it was from, place it accordingly on the timeline and then delete the sound from that particular clip, however this did not prove difficult.
The most challenging, yet ultimately rewarding aspect of the post production process for me was my use of After Effects to create the illusion that peoples heads were exploding. Overall this process alone took us roughly six hours to complete as a group due to the fact that it involved so many different processes, some of which had to be repeated four times because there were four 'exploding heads'. We had footage of exploding watermelons which was then cut around and placed on top of the 'background layer' and the 'actors layer' in after effects. It took us a long time to position the watermelon layer and mask it to our actors so that the effect looked realistic even with the movement of our actors. Once the layering and masking was complete, we used a blood spatter effect that had to be perfectly timed with the explosion of the heads. Overall the entire process was a success and left us with a realistic and rewarding end to our video.
Once all of the editing and after effects had taken place, we coloured and graded the entire video using 'Color' to create an in depth and continuous flow in the aesthetic appearance of shots from various different locations across our video. The final step before we had a finished version of our music video was to upgrade all of the footage into HD in order to make the production look as visually impressive and professional as possible. We then distributed the video on DVD and on various video sharing websites such as YouTube and Vimeo alongside all of our promotional materials such as the album artwork, poster and a behind the scenes 'The making of Let You Go' video.
I found that my knowledge of Final Cut Pro had become greatly comprehensive when i came to using the programme to edit "Let You Go" due to the fact that over the course of my time as an A level media student i have been able to gain much experience in the programme from my AS Thriller, my A2 preliminary task which included editing, as well as putting together the storyboard for this years music video as part of pre production and preparation. Creating the animatic storyboard not only refreshed my memory in terms of the procedures and tools used when editing footage, but i also found that it was extremely useful for me to have some idea of how to cut shots to the beat of a song, as opposed to the more free approach to editing when creating my thriller which did not have a beat to cut to.
I found that one great upside of editing this music video for me was the fact that i did not have to worry about continuity of sound as i did with my Thriller because of the fact that the sound for the entire video was provided by the track itself. Because of this, I did have to take on the extra task of listening through each clip of footage to find what point in the song it was from, place it accordingly on the timeline and then delete the sound from that particular clip, however this did not prove difficult.
The most challenging, yet ultimately rewarding aspect of the post production process for me was my use of After Effects to create the illusion that peoples heads were exploding. Overall this process alone took us roughly six hours to complete as a group due to the fact that it involved so many different processes, some of which had to be repeated four times because there were four 'exploding heads'. We had footage of exploding watermelons which was then cut around and placed on top of the 'background layer' and the 'actors layer' in after effects. It took us a long time to position the watermelon layer and mask it to our actors so that the effect looked realistic even with the movement of our actors. Once the layering and masking was complete, we used a blood spatter effect that had to be perfectly timed with the explosion of the heads. Overall the entire process was a success and left us with a realistic and rewarding end to our video.
Once all of the editing and after effects had taken place, we coloured and graded the entire video using 'Color' to create an in depth and continuous flow in the aesthetic appearance of shots from various different locations across our video. The final step before we had a finished version of our music video was to upgrade all of the footage into HD in order to make the production look as visually impressive and professional as possible. We then distributed the video on DVD and on various video sharing websites such as YouTube and Vimeo alongside all of our promotional materials such as the album artwork, poster and a behind the scenes 'The making of Let You Go' video.
Tuesday, 6 December 2011
Monday, 17 October 2011
Essential information and planning for actors on our cast list
Hey Everyone, (YOUTHS)
Heres some of the things you need to know, to be ready for our shoot.
Firstly - Track attached is the the song 'Let You Go' by Chase & Status.
Secondly - File attatched is the lyrics. Learn them please.
Thirdly - Below is the costume list. If you do not have any of the things you are supposed to be wearing, email/text/bbm/Facebook (all at the bottom of the page) me back quickly so I can get them, along with your size.
Fourthly - A2 Students (Will and Megs) I will be handing you Blue Cards today or tomorrow.
COSTUME - BOYS
Top/Bottom - Dark/ Black, Zip up hoody, full hoody, with plain t - shirt underneath.
Shoes - Nike Air/Reebok
Hats/ Caps - Burberry/ Nike
Shoes - Nike Air/Reebok
Hats/ Caps - Burberry/ Nike
Please just bring whatever you have which is like this, and we can decide.
Think Chav / Pikey.
COSTUME - GIRLS
Any coloured full tracksuits,
Hooped earrings
Bright trainers.Again, think Pikey/ Chav.
Feel Free to look on my blog to get an idea of the costume for both girls and boys. Also by looking on the blog, you will be able to understand the image we are going for and to watch our animatic video as inspiration.
https://bac.hurtwood.net/owa/redir.aspx?C=eab9f655ba6545579458db6a4b2318a0&URL=http%3a%2f%2fhurtwoodmediahollyfinlay.blogspot.com%2f
Here is my number 07940078769 and BBM 27C78563 or try my Facebook HollyJade Finlay.
Please feel free to contact me over the holiday.
Thank You
Holly, Patch, Oscar and Charlie.
Hello James, Stephen, Ted and Jason, (SUITS)
This is just a quick email regarding the costume for the music video you are involved in for the track 'Let You Go' by Chase & Status.
Please come dressed in a suit wearing a tie and shirt and smart shoes/trousers.
Attached are the lyrics and a copy of the song, so you are able to get an idea of what you will be working on.
Please feel free to look at my blog for inspiration or costume ideas.
If you have any problems please email me or speak to James Baker (my media teacher).
Thank You
Holly, Patch, Oscar and Charlie.
Sunday, 16 October 2011
Animatic storyboard
Personally i feel as if the making and editing of the animatic storyboard was highly productive and useful in terms of preparation for both what we are looking to achieve in terms of shots on the day of our shoot and also in the editing process. We filmed each still from our storyboard for 10 seconds and then cut them together using Final Cut Pro which seems distinctively easier to use now than it did when i was cutting my preliminary task this time last year. Each member of the group took it in turns (as well as offering help and constructive contributions where possible) to edit sections of the animatic storyboard and i feel as if we all worked very well together in the process.
Initially, half way through cutting the storyboard together it became clear that we had misjudged some timings and so had to go back and piece together what we had got wrong. although this proved irritating, it was a useful process to have to undergo in order to see the way in which things can potentially go wrong with our real editing in the future so that we can avoid them.
In conclusion, creating the animatic storyboard was not too challenging a process as a whole, yet it has left me feeling confident that i will be able to effectively work with my group to cut together the real video in a professional and constructive way.
Props list:
- White Board on wheels
- Wanted Posters
- Large Speakers
- Micro Korg Synth
- Decks + Mixer
- Bass Guitar
- Drumset (Oscar)
• Antique/old pistol
• Axe
• Rifle
• Sword
• Crossbow
• Red wine
• Glasses for wine
• Candles on table
- BMX Bike
- Wax Fruit in Bowel
]Cans of Drink
Hooped Earrings
Letter to Guildford town council requesting permission to shoot the video
Millmead House
Millmead
Guildford
Surrey
GU2 4BB
United Kingdom
Telephone: +44 01483 505050
Email: customerservices@guildford.gov.uk
To whom It may concern,
We are a group of A level media students from Hurtwood House School.
We are writing to you for permission to film in Guildford town center and other surrounding areas for our coursework. The video would consist of people wandering the streets. There are two different groups within our video, this is made up youths and a group of the older generation. The youths will be leading the older generation by a guitar lead as bait to capture them. All of the capturing will be filmed in our studios at school.
The video will not be defamating the image of your town what so ever, there will also be no reference to the name of the town or any street names. Any mess will be automatically cleared up. We will be supervised by our teachers under strict instructions. We also are writing to possibly get permission to shoot a wide shot of Guildfords Skatepark? again any mess will be cleared. The video has currently been set in date for Wednesday the 9th of November. We are planning to film at around about 4:00pm In Guildford after spending the morning filming at school.
We would appreciate a response and hope to hear from you soon.
Many thanks
Patch Wadsworth, Holly Finlay, Oscar Jackson, Charlie Lindsay
Hurtwood House School
Holmbury St Mary
Dorking
Surrey
RH5 6NU
Millmead
Guildford
Surrey
GU2 4BB
United Kingdom
Telephone: +44 01483 505050
Email: customerservices@guildford.gov.uk
To whom It may concern,
We are a group of A level media students from Hurtwood House School.
We are writing to you for permission to film in Guildford town center and other surrounding areas for our coursework. The video would consist of people wandering the streets. There are two different groups within our video, this is made up youths and a group of the older generation. The youths will be leading the older generation by a guitar lead as bait to capture them. All of the capturing will be filmed in our studios at school.
The video will not be defamating the image of your town what so ever, there will also be no reference to the name of the town or any street names. Any mess will be automatically cleared up. We will be supervised by our teachers under strict instructions. We also are writing to possibly get permission to shoot a wide shot of Guildfords Skatepark? again any mess will be cleared. The video has currently been set in date for Wednesday the 9th of November. We are planning to film at around about 4:00pm In Guildford after spending the morning filming at school.
We would appreciate a response and hope to hear from you soon.
Many thanks
Patch Wadsworth, Holly Finlay, Oscar Jackson, Charlie Lindsay
Hurtwood House School
Holmbury St Mary
Dorking
Surrey
RH5 6NU
Costuming ideas
Costume Ideas
YOUTHS
Main Inspiration for our male youths. Chav, pikey and threatening image.
Top/Bottom - Dark/ Black, Zip up hoody, full hoody, with plain t - shirt underneath.
Shoes - Nike Air
Hats/ Caps -
FEMALE YOUTHS
Inspiration -
Costume - Any coloured full tracksuits, hooped earrings and bright trainers.
SUITS COSTUME INSPIRATION
Costume smart suits, with leather shoes.
Main Inspiration for our male youths. Chav, pikey and threatening image.
Top/Bottom - Dark/ Black, Zip up hoody, full hoody, with plain t - shirt underneath.
Shoes - Nike Air
Hats/ Caps -
FEMALE YOUTHS
Inspiration -
Costume - Any coloured full tracksuits, hooped earrings and bright trainers.
SUITS COSTUME INSPIRATION
Costume smart suits, with leather shoes.
Request to record label for copywright permission to use "let you go"
To (name of record label/contact at record label)
UNIVERSAL PUBLISHING AND RAM RECORDS
We are a group of A Level students working on an A Level project for a qualification in Media Studies. We are writing to request permission to use the following track as part of this project:
Name of track and artist
Name of track and artist
"LET YOU GO" - CHASE & STATUS
With your permission the track would be used as the accompaniment to a short form video that is made purely for assessment purposes and will have no commercial usage. The video will be viewed only by members of the school community and the assessor of the examination board.
The artist and the copyright holder will of course be fully recognised in the pre-production and evaluation material that accompanies the project. We can also include a full copyright notice if required both in the planning material and on the video itself.
Yours sincerely
HOLLY JADE FINLAY, PATCH WADSWORTH, CHARLIE LINDSAY AND OSCAR JACKSON
Student names
Hurtwood House School
Thursday, 13 October 2011
Shooting Schedule
Shooting Schedule
Date:- Unknown
9am - Start
9.15am – Set up commences.
10.45am – Filming in the Studio starts.
1pm – Lunch Break.
1.30pm – Start to pack.
1.50pm – Leave for Bwebb House.
2pm – Arrive at Bwebb House, set up to film.
(Shots 1 – 32)
5pm – Pack up Set.
5.30pm – Leave Bwebb House for Guildford Station.
6.15pm – Arrive at Guildford, set up to film.
(Running/ Hiding Shots 36 – 80)
9pm – Leave location, drive to skate park.
9.15pm – Arrive at Skate Park. Set up to film.
9.35pm – Take several Wide Shots of Skate Park.
10pm – Finish Filming. Drive back to House
Sunday, 25 September 2011
Feedback
Good work, Oscar, the blog is up to date and contains plenty of relevant research into the key areas of audience and institution, It would be worth adding some of the feedback you received on your timeline to contextualise the changes that will be made to this for the storyboarding exercise. Otherwise, keep going with regular updates.
James
James
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