Thursday, 15 September 2016

Preliminary task and practice exercises

ABOVE: An example of a prelim video from 2016

The UK syllabus specifies a particular mandatory exercise (the 'prelim' as I refer to it on this blog), the CIE does not ... but does insist on practice exercises prior to the main production.

Your reflection following each of these is just as important as the productions themselves. Note that several of the posts linked below will make reference to the UK markscheme.

You will work on some of the following:

PRELIM (purpose: initial camera, tripod practice + learning continuity shooting/editing techniques)
Preliminary exercise: Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.
When blogging on PRELIM remember to:

Friday, 9 September 2016

BLOGGING DESIGN box office example

Through my British Cinema blog you can find a links list on box office, a key topic for coursework and exam research alike. There are many great resources on this, including American sources like Variety and the site boxofficemojo.

For this example I'll use Charles Gant's fantastic weekly UK box office analysis. If you routinely read this you'll build up a much wider knowledge than your teacher can hope to provide directly, and will over time take on industry terms and concepts.

Below is how I'd blog on this, then a breakdown of what design decisions/blogger tools I've applied.

Charles Gant's latest UK box office review.
Clarke's surprise 2008 hit
British producers struggle in the face of the 'big six' dominance, unable to approach the tentpole $100-300m budget level of the Hollywood conglomerates when only two films have ever made £100m+ at the UK box office. When you add the social realist genre to the mix, typically lacking any major stars and providing the opposite of the feelgood narrative that dominates US cinema (still the biggest cinema market, though China will soon top it, so vital for film producers to aim for), box office success is unlikely.

Even getting a limited theatrical release is beyond most UK social realist films. There are always exceptions, and Noel Clarke, like Shane Meadows, has become an auteur brand that will attract an audience:
Eight years ago, Noel Clarke’s Adulthood stunned the UK film industry when it debuted in the UK with £1.20m from 157 cinemas, on its way to a total of £3.35m. This represented a big jump up from the success of Kidulthood from 2006, and set a high commercial bar for the British urban drama. [Gant]