Johnny English Reborn

The the DVD case 

The blue ray DVD

http://www.youtube.com/watch?v=LOSZLgzgnBs

http://www.facebook.com/pages/Johnny-English-Reborn-Movie-Fan-Page/154156391327535

Special Effects

http://www.youtube.com/watch?v=LP_hAszQPgkEarly development

http://www.youtube.com/watch?v=uI735Co92ck

http://www.youtube.com/show?p=U0nTOa4DFrs&tracker=show_av

sky diving out my front door behind the scene:

http://www.youtube.com/watch?v=sAKDhjhl4YI

http://www.youtube.com/watch?v=_DypnQQDAaU

In 1856, Oscar Rejlander created the world's first "trick photograph" by combining different sections of 30 negatives into a single image. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clarke stopped the camera, had all of the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. "Such… techniques would remain at the heart of special effects production for the next century.

This was not only the first use of trickery in the cinema, it was the first type of photographic trickery only possible in a motion picture, i.e. the "stop trick".

During the 1920s and 30s, special effects techniques were improved and refined by the motion picture industry.

Colour era

The development of color photography required greater refinement of effects techniques. Colour enabled the development of such travelling matte techniques as bluescreen and the sodium vapor process. Many films became landmarks in special-effects accomplishments: Forbidden Planet used matte paintings, animation, and miniature work to create spectacular alien environments. In The Ten Commandments, Paramount's John P. Fulton, A.S.C., multiplied the crowds of extras in the Exodus scenes with careful compositing, depicted the massive constructions of Rameses with models, and split the Red Sea in a still-impressive combination of travelling mattes and water tanks. Ray Harryhausen extended the art of stop-motion animation with his special techniques of compositing to create spectacular fantasy adventures such as Jason and the Argonauts (whose climax, a sword battle with seven animated skeletons, is considered a landmark in special effects).

The science fiction boom

Through the 1950s and 60s numerous new special effects were developed which would dramatically increase the level of realism achievable in science fiction films. The pioneering work of directors such as Pavel Klushantsev would be used by major motion pictures for decades to come.

If one film could be said to have established a new high-bench mark for special effects, it would be 1968's 2001: A Space Odyssey, directed by Stanley Kubrick, who assembled his own effects team (Douglas Trumbull, Tom Howard, Con Pedersen and Wally Veevers) rather than use an in-house effects unit. In this film, the spaceship miniatures were highly detailed and carefully photographed for a realistic depth of field. The shots of spaceships were combined through hand-drawn rotoscopes and careful motion-control work, ensuring that the elements were precisely combined in the camera – a surprising throwback to the silent era, but with spectacular results. Backgrounds of the African vistas in the "Dawn of Man" sequence were combined with soundstage photography via the then-newfront projection technique. Scenes set in zero-gravity environments were staged with hidden wires, mirror shots, and large-scale rotating sets. The finale, a voyage through hallucinogenic scenery, was created by Douglas Trumbull using a new technique termed slit-scan.

The 1970s provided two profound changes in the special effects trade. The first was economic: during the industry's recession in the late 1960s and early 1970s, many studios closed down their in-house effects houses. Many technicians became freelancers or founded their own effects companies, sometimes specializing on particular techniques (opticals, animation, etc.).

The second was precipitated by the blockbuster success of two science fiction and fantasy films in 1977. George Lucas's Star Wars ushered in an era of fantasy films with expensive and impressive special-effects. Effects supervisor John Dykstra, A.S.C. and crew developed many improvements in existing effects technology. They developed a computer-controlled camera rig called the "Dykstraflex" that allowed precise repeatability of camera motion, greatly facilitating travelling-matte compositing. Degradation of film images during compositing was minimized by other innovations: the Dykstraflex used VistaVision cameras that photographed widescreen images horizontally along stock, using far more of the film per frame, and thinner-emulsion filmstocks were used in the compositing process. The effects crew assembled by Lucas and Dykstra was dubbed Industrial Light and Magic, and since 1977 has spearheaded most effects innovations.

That same year, Steven Spielberg's film Close Encounters of the Third Kind boasted a finale with impressive special effects by 2001 veteran Douglas Trumbull. In addition to developing his own motion-control system, Trumbull also developed techniques for creating intentional "lens flare" (the shapes created by light reflecting in camera lenses) to provide the film's undefinable shapes of flying saucers.

The success of these films, and others since, has prompted massive studio investment in effects-heavy fantasy films. This has fuelled the establishment of many independent effects houses, a tremendous degree of refinement of existing techniques, and the development of new techniques such as CGI. It has also encouraged within the industry a greater distinction between special effects and visual effects; the latter is used to characterize post-production and optical work, while special effects refers more often to on-set and mechanical effects.

Introduction of computer generated imagery (CGI)

A recent and profound innovation in special effects has been the development of computer generated imagery, or CGI which has changed nearly every aspect of motion picture special effects. Digital compositing allows far more control and creative freedom than optical compositing, and does not degrade the image like analogue (optical) processes. Digital imagery has enabled technicians to create detailed models, matte "paintings," and even fully realized characters with the malleability of computer software.

The most spectacular use of CGI has been the creation of photographically realistic images of fantasy creations. Images could be created in a computer using the techniques of animated cartoons or model animation. In 1993, stop-motion animators working on the realistic dinosaurs of Steven Spielberg's Jurassic Park were retrained in the use of computer input devices. By 1995, films such as Toy Story underscored that the distinction between live-action films and animated films was no longer clear. Other landmark examples include a character made up of broken pieces of a stained-glass window in Young Sherlock Holmes, a shapeshifting character in Willow, a tentacle of water in The Abyss, the T-1000 Terminator in Terminator 2: Judgment Day, hordes of armies of robots and fantastic creatures in the Star Wars prequel trilogy and The Lord of the Rings trilogy and the planet Pandora in Avatar.

Planning and use

Although most special effects work is completed during post-production, it must be carefully planned and choreographed in pre-production and production. A Visual effects supervisor is usually involved with the production from an early stage to work closely with the Director and all related personnel to achieve the desired effects.

Live special effects

Live special effects are effects that are used in front of a live audience, mostly during sporting events, concerts and corporate shows. Types of effects that are commonly used include: flying effects, laser lighting, Theatrical smoke and fog, CO2 effects, pyrotechnics,confetti and other atmospheric effects such as bubbles and snow.

Visual special effects techniques

• Bullet time
• Computer-generated imagery
• Digital compositing
• Dolly zoom
• In-camera effects
• Match moving
• Matte painting
• Miniature effects
• Morphing
• Motion control photography
• Optical effects
• Optical printing
• Practical effects
• Prosthetic makeup effects
• Rotoscoping
• Stop motion
• Go motion
• Schüfftan process
• Travelling matte
• Virtual cinematography
• Wire removal

Notable special effects companies

• Adobe Systems Incorporated (San Jose, CA)
• Animal Logic (Sydney, AU and Venice, CA)
• Bird Studios (London UK)
• ZFX Inc a flying effects company
• Strictly FX, live special effects company
• 
  

Production, Exhibition, Distribution

News corp assets

Below are 3 of the the companies that News Corp owns and that could be used for marketing and exhibiting new film released by 20th Century Fox in UK

• BSkyB (British sky broadcasting): they could use sky channel to distribute  trailers of the film and interviews with cast.

• The Sun newspaper: The sun newspaper is used daily by the UK population, and is very popular they could promote the film with adverts and posters. they could also write revies, interviews and storys about the cast and the film.

• My space: they could use the website as promotive tool showing trailers and interviews. they could also use it  for viral marketing compaigns.

Secret Diary of a Call Girl? Unfinished

How is the representation of disability created through the use of camera, editing sound and mise en scene in this clip from Secret Diary of a Call Girl? 


The very first shot of the clip is of tilted shot where the CG open the door and camera swags down showing Blake in the wheel chair this shows his disability and the adjustments CG has to make when addressing Blake. Also characterisation is key in the representation of disability this is done with medium long shot or view of point shot of the girl. this helps us to understand and identify her character and then it makes it easier to understand what she think about Blake. Her awkward and nervous facial expressions are delivered through her questioning Blake about everything almost offended him as if he doesn't  know anything. Also medium shots  of the surrounding including the upper and lower body however Blake is disabled this shows lack of body language is disadvantage in society 

Mise en scene

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opening shot is wide and reveals wheelchair of central character(wheelchair is icon symbol of disability)

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shot where he is partially undressed reveal his lack of ability todo simple tasks (shows that he must be treated as a child)

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apartment doesn’t have ramps - has stairs - not suitable forwheelchair user (are wheelchair users regular clients?)

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father’s distracted behaviour in the van reveals his discomfortwith the situation

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-awkwardness of situation

Edit-shot transition from dad lifting blake to laying him on the bedreveals again his dependence on others.-jump cuts in van with father (shows what - anxiety of father whohas to let someone else help his son)-cuts between pov of flat and shots of father reveal his thoughtsand are confirmed by the actions in the van-time jumps through jump cuts also show us that he is waiting some time

Sound-call girl (CG) apologises when she has to move Blake (shows thatshe treats him like a child)-he says that he isn’t used to being touched, breaths heavily (allsuggests low self esteem, that his disability alienates him fromcommon experiences like being touched intimately)-non-diegetic sound at opening plays on reveal of character.-non-diegetic music begins towards end of scene when CG beginsto get intimate (starts with sound bridge from car scene)

-dialogue reveals father’s concern about what his some can do -CG and Blake both say email - indicates that Blake is notcompletely alienated from the world

-Blake has arranged this via email - shows that he wants and iscapable of having more freedom

How is ethnicity represented through camera, sound, mise en scene and editing in the clip from Hotel Babylon? UNFINISHED

There many ways you could find how the represention of ethnicity in clip of babylon. The clip starts with a medium shot of  a swimming bath where a old aged man is setting in a deck chair rapped in a white robe while a black young guy serving in a uniform, this represents the stereotypical represention of blacks as  always caterign whites, reminding of black slavery. the guy wearing a formal uniform which fits with the surrounding as his the staff thsi hotel, he gives the old man some sort of a booklet and then walks down the side of the swimming pool, his body language shown however isnt arepresentation you normally get shown of a black ethnicity, his stance and posture represents feminnity. as the man is walking, we see th ehotel background, being very grand and bold defining the sort customers it might recieve, just then another young black man climbs out of the pool wearing shorts with very bold, bright colours, sort of typical ghetto whom doesnt fit in with expectation of the sort of fitting customers expectation of this hotel. Seeing him gives shooks the man in the as it turns out to be one of his friends. the language of the his friend his unformal more of a slang unsuiting the hotel reputation. this makes the whole atmosphere unrealistic and changes as it they tryign to change the way of how we as audience expect to see black ethnicty in terms of how and where. beside th efriend being very cheary and relaxed the worker doesnt seemed to be interested in the information being passed to him by his friend the medium shot helps to indentify both characters personality. then we get a close shot the worker which helps to understand his character deeply by hsi facial expressions. the worker seems to be very disturbved but hidies his emotion by afake smiel to hsi friend, he certainly doesnt seem to want to share his true feelings to him, this represents the idea of what is expected in a black ethnical background and his situation is perhaps not acceptable in his background.

moving on with a quick transition we see two maids in medium shot carrying a chemical cleanary materials in it. they stop by a hotel room and as they speak we hear one the maid say "Monsieur" this helps us to identify their ethnicity being of a french maid. this also helps to understand and what to expect of the characters. they both enter the room where an old aged orental is shwon setting in the bed with a very eager gesture and expression of hisd face however he doesnt say anything just sort sighnals thigs through his facial expressions. He then plays the stereo with french music and th emaid start to takign of their clothings slowly, presonifying the stereotypical of french maids beign seen as sexy and attractive. th eorental man represents a more wealthy representation of the eastern ethnicity. his specs symbolises this very well, he a business man, he can afford his luxaries and manly desires.

we move on to two formal dressed pupil one a femal whom is dressed in short push dress, with blond hai9r while th eman is in a syuit they walking down and the man is talking the lady which gives a hint that she th emain leader and in charge of the this hotel, the enter th ekitchen where two chefs are shwo one short and bold with mustaches and a typical flirty personality, and th eother tall and fat but lookign rather british typical stereotyped. the short man seems very confident in hsi skill and audience with agree as he is identify that his a italian chef again this shows represent the idea that italians are always seen as good cheifs and quite flirticious in personality. the other man however seems very grumpy and very rude in terms of language, he seems to not have any patience and gets straight to point, outspoken and loud.

the use camera, sound and mise en scene and editing helps us to explore the how ethnicity is represented aandin what ways. the tuitle it self symbolises a place called 'the tower of Bable' this was a place where people of many different idealogies lived togwether with different thoughts and beliefs, suimilary audience by end will niotice the sense of mixed moprality beign represnted in this clip.

Blackpool analysis Essay!

There are many aspect of this soap which signifies the representation of; age, relationship and family.
For example sound is one important Technic which represented age, relationships and family, be it conversations between the characters or natural surrounding objects and even footsteps. I observed the sound by listing them from the beginning and then drawing link to each representations. the obvious sound in the clip was the conversation that took place between the four characters, it showed the age, family and relationships. The father being loud, bold and blunt confirmed his age, as he had little control which suggested that his on verge of old age and has sort of lost his maturity and control over his emotions, thoughts and feelings. However it also represented family and relationship because he was either protective of his daughter as a father or wanted to be showing, weak relationships. The mother however was calm and more soothing representing family and relationship as she tried her hard to understand the situation and then balance  the family and relationships, working as bridge between the father and daughter. the parent both worked as a team which again showed a stronger relationship between the  two both had equal say and understood each other. other surrounding object sounds such the foot steps, slam of the door and even the breathing, was signifying the emptiness and awkwardness of of this family and their relationship.

moving on to the camera and how each shot defined the representation of age, family and relationship. A shot medium shot showed body languages and the characters expressions which they did to emote their emotions and feeling and thoughts. The long shot of the four characters standing together that including the furniture of the house, gave a lot meaning, the perfectness, and the colours used where also signifying age, family and relationship, white symbolising pureness, innocent and the love which was perhaps strong form the parent. On the other hand the very first shot was crane or rising shot which showed the age as the furniture's of the house where expensive suggesting a well established couple or family, this would mean experience which represents age. The angles of these shot where quite interesting because at times the daughter and her boyfriend's medium shot included both the couple in the frame however it only showed one of the each of the parent, either mum or the dad. this suggests the relationship differed from one another. The costume is another thing that helped represent age, family and relationships, there was a contrast in representation of age between the parent and the daughter with boyfriend as the parent wore a more bright young colours that coordinated with each other unlike the daughter with boyfriend who dressed in darker, dull matured colours.

the editing connects the mise en scene as overall presentation  of the clip and it way of defining age, family and relationship. lighting would be something that is played with to reveal characters, their expressions and emotions, this helps audience to understand them and define the representation of age, family and relationships. The mise en scene again the character way of dressing up, their makeup and hairstyle all showed the representation of age contrasting between the two generation couples, the parents and the daughter with her partner.the colours contrasted but it also showed relationship appearing different, the relationship being strong within the couples but weak as a family.

Primeval Analysis Unfinished

While watching this clip straight away I could see that gender was representated by a number of things shown in the mise en scene. characters personality where shown by their costumes and the role they played. the form of the narrative was a basic usual structure, like any story or narrative in a film, but the genre could be guess by the action codes released. it was based on adventures theme, a sort detective team. however the director used both active and passive to create meaning throughly. camera shots made audience recognise who is the the main prespective leader or protagonist in by the end the clip, through verbal and non verbal languages. these made the film more interesting as story unfolded. gender representationw as quite manupilated and it seemed liek they played on how gender is precieved by the audience first they changed th ewhoel convention of or stereotypical view of gender roles, eg the women in the team far more sufisticated and mopre manly because the sort job she carried out her costume, her attitude, the sort of props she used, she seemed to use her mind rather than panic and helped the hero being saved, which normally, it shown that the protagonist or hero saving the girl form the trouble. the hero in the other hand semed more casual and calm, although the beginning outbreak of the danger or action code the film, it may have seemed that he didnt have the characteristic of a hero but as he brought attention fo the tiger towards him to save the girl it seemed obvious that he isn't coward but brave hero. in the second half the other women was repersented as the typical women with attractive dressing sense manipulative, blackmailing but at the end very weak physically. her short dress, high heels and and red lipstick gave audience a very steroitypical image of this women unlike how th efirst women with short hair, leather jacket almost army kind look with rough style gave revolutionary image of a women. now all this was given by th euse of lights, camera shots, visual aspect, aural aspects of the film. the use of shots made audience define the main protagonist, while lighting helped us to iunderstand the semiotic aspects. the visual aspect being shown both passively through the roles each characters protrayed. the Aural language was interesting