This is a job discription for a film director for a new comedy production for the 20th centuray fox,
Do you have outsanding communication, managment and creative skills and also evidence to prove your ability in a high proffesional directing role. do you have a portfolio you can show us of previous work you directed or assisted any other director. we need a role model a leader and also someone who will take charge of this production team, you will have also have reeasponsibilites, for your production team ou will have to give out heath ans saftey regulations to your production group this is just a part time role just to the end of the production, if you want to work with our team please email your cv to the company. closing date feb 28th 2013
Friday, 26 April 2013
Spider diagram for our directors role
this is a spider diagram for our directors role that we did with lauren in our understanding of the creative media sector. runners in film
runners in film.
most runners start off in the production office, the must prove them selfs to the production managers before they get promated and start going up the production chain. floor runner can open doors to a directing carrer route and establish connections to other departments.
starting off as a runner in smaller companies means theres fewer openings for runners as they are low budget productions, so with bigger companies theres more chance landing a place.
shorter productions means runners get a better oppertunity to work at every stage of production.
we had to do a job description of what we wanted to do in our pairs, me and matt both decided to choose director role, so we had to talk about key skills and other routes to becoming a director.
directing, - key skills
most runners start off in the production office, the must prove them selfs to the production managers before they get promated and start going up the production chain. floor runner can open doors to a directing carrer route and establish connections to other departments.
starting off as a runner in smaller companies means theres fewer openings for runners as they are low budget productions, so with bigger companies theres more chance landing a place.
shorter productions means runners get a better oppertunity to work at every stage of production.
we had to do a job description of what we wanted to do in our pairs, me and matt both decided to choose director role, so we had to talk about key skills and other routes to becoming a director.
directing, - key skills
- decision making
- good communication skills
- creative skills
- organisation skills
- managment skills
- assistant directors, under the director
- planning skills
confession editing review
we got put into distinctive groups were we had to collaborate in our three's to edit our confessions and make a final piece for the production which will be viewed in a confessional booth in the next week or so by others. our work was similar to Gillian wearings as we had used Gillian wearing for our research and watched her confession videos for example, Gillian Wearing has extracted terrible confessions and sexual secrets from her subjects. So why does the artist keep hiding behind masks, the reason of to why that is is because what they confessed was all lies thats why here video was called secret and lies, so people didn't no if they were telling the truth or not, that was the main reason behind the mask's.
i personally thought it would be a good idea if we edit our videos to a high spec so you could not recognise who the people confession were as we never knew if they were being honest or lieing so we incorporated the work used by Gillian wearing into our production such as she gave the poeple who were doing the conffessions a mask we edited ours after and basically made them unidentifiable with the use of effect.
i think i worked well and also collaborated with my group members and finished our edit to a high standard. i personally think that i could of done better and been more enthusiastic about my edit and made it better, but i also recognised what i did to a high standard and i will elaborate more on my work in the future.
we made two edits but the first one was better so we just elaborated on that one, and made it o a higher standard before completion.
i personally thought it would be a good idea if we edit our videos to a high spec so you could not recognise who the people confession were as we never knew if they were being honest or lieing so we incorporated the work used by Gillian wearing into our production such as she gave the poeple who were doing the conffessions a mask we edited ours after and basically made them unidentifiable with the use of effect.
i think i worked well and also collaborated with my group members and finished our edit to a high standard. i personally think that i could of done better and been more enthusiastic about my edit and made it better, but i also recognised what i did to a high standard and i will elaborate more on my work in the future.
we made two edits but the first one was better so we just elaborated on that one, and made it o a higher standard before completion.
confessional booth
friday 25th january 2013
personal confession,
in our class we split our selfs into 2 distinct groups, but we had to collaborate together as in one big group. our confessions had to be true. one group said there confessions whilst the other group filmed then we rotard around. my confession was real, "my confession is at school in an english lesson i made a paper ball and threw it at my english teacher, and he turned around at the guy next to me and went mad "i seen you danny i seen you with my own eyes" you cant of done i never even threw it. "danny i seen you get to the office" i was laughing my head off for about a week. my roles consisted of camera 3 were id had great experience previously as i had used camera 3 in band work. i also directed and vision mixed in a few of the confessions I'm a great team leader when i take charge and inform my group formally of what we have to achieve and complete and take the lead the work gets done. I've had great experience at directing and vision mixing previously with use on the bands and also own production that we had done in the studio similar to the confessional work.
next friday this work has to be edited and put into a video to be viewed in a gallery.
for our editing we use adobe premier,
Adobe Premiere Pro is a timeline-based video editing software application. It is part of the Adobe Creative Suite, a suite of graphic design, video editing and web development programs.Premiere Pro is used by broadcasters such as the BBC and The Tonight Show. It has been used in feature films, such as The Social Network, Captain Abu Raed, and Monsters, and other venues such as Madonna'sConfessions Tour.
confessional booth
personal confession,
in our class we split our selfs into 2 distinct groups, but we had to collaborate together as in one big group. our confessions had to be true. one group said there confessions whilst the other group filmed then we rotard around. my confession was real, "my confession is at school in an english lesson i made a paper ball and threw it at my english teacher, and he turned around at the guy next to me and went mad "i seen you danny i seen you with my own eyes" you cant of done i never even threw it. "danny i seen you get to the office" i was laughing my head off for about a week. my roles consisted of camera 3 were id had great experience previously as i had used camera 3 in band work. i also directed and vision mixed in a few of the confessions I'm a great team leader when i take charge and inform my group formally of what we have to achieve and complete and take the lead the work gets done. I've had great experience at directing and vision mixing previously with use on the bands and also own production that we had done in the studio similar to the confessional work.
next friday this work has to be edited and put into a video to be viewed in a gallery.
for our editing we use adobe premier,
Adobe Premiere Pro is a timeline-based video editing software application. It is part of the Adobe Creative Suite, a suite of graphic design, video editing and web development programs.Premiere Pro is used by broadcasters such as the BBC and The Tonight Show. It has been used in feature films, such as The Social Network, Captain Abu Raed, and Monsters, and other venues such as Madonna'sConfessions Tour.
confessional booth
gillian wearing lecture review
Gillian Wearing born 1963 is an English conceptual artist, and winner of the annual British fine arts award, The Turner Prize, in 1997. On 11 December 2007, Wearing was elected as lifetime member of the Royal Academy of Arts in London.
Gillian wearing was well known for, sign pictures, she got certain members of the public and asked them to wrtie on a card what they wanted, she asked a police officer, a business man in a suit who was belived to have got out of a prsche and his sign said "im desperate".
confesional art
a video from inside the gillian wearing exhibition.
Gillian wearing was well known for, sign pictures, she got certain members of the public and asked them to wrtie on a card what they wanted, she asked a police officer, a business man in a suit who was belived to have got out of a prsche and his sign said "im desperate".
Her first New York solo exhibition since 2003, Gillian Wearing presented a wide range of tremendously engaging recent photo-based portraiture. Most conceptually concise are big black-and-white photographs (2008-10) of the artist lurking nearly invisibly behind hyperrealist masks of famous artists in landmark photos: Andy Warhol showing off his scars; Robert Mapplethorpe clutching a skull-headed cane; Diane Arbus with a camera around her neck. The impersonations are revealed around the eyes, which are cut out so Wearing can stare through, a profoundly eerie effect she has worked with for several years.
It also appears in a nearly hour-long video, Secrets and Lies (2009), which features men and women who answered Wearing's ad asking for subjects willing to confide to her camera. Screened in a small booth, their monologues, ranging from a few minutes to more than 20, are rich with lurid drama, including murder, incest and voluntary (but truly weird) sexual transgression. All wear lifelike but identity-concealing masks, cut out around mouths as well as eyes, so we see their darting glances and, hypnotically, their moving lips, never quite synced with the recorded narratives. The truth of their stories is of course impossible to judge; in any case, the point, as always with Wearing, is to determine whether the interposing layer of art-the masks, the costumes (a red hoodie for an abused child turned reformed homicidal thug; a flowered housecoat for a middle-aged mother turned sex-club swinger)-makes the stories more or less sympathetic, or disturbing, or credible.
Other work dispenses with masks but retains, in various ways, the displacements they offer. A group of seven video loops shown on flat screens, framed like photographs and called Snapshots (2005), presents the seven stages of life, female version. It starts with a young girl with an enormous bow in her hair playing the violin (speakers project her ostensible performance) and proceeds to an awkward adolescent, a sultry young woman, a beatific new mother with an infant in her lap and finally an older woman half-dozing in an upholstered armchair. (An audio recording provides, via headphones, the melancholy monologue of a self-described pensioner, whom we presume-erroneously, as it happens-to be this last video's subject.) The actresses move only enough to heighten the sense of constraint imposed by the frames-and by the conventions in which they're so tightly trapped.
The enormously powerful Bully (2010) is a compact 8-minute video. Nine gifted actors engage in an improvisational exercise about bullying, with one playing the director, who tells the others that they're reenacting an incident from his own life in which he was the victim. At the end, in tears but also terrifyingly enraged, he accuses the actors of letting him down. Sheepishly, they apologize. It is nearly impossible to keep straight the roles of actor and director, victim and perpetrators.
Rounding out the show were a large black-and-white still photograph of a monstrously abundant floral bouquet (People, 2011) and two pint-size, naturalistic bronze monuments, with text plaques, dedicated to unsung heroes, one a 9/11 survivor (Terri, 2011) and the other an undercover police cadet (Gervais, 2010). Their disguise, Wearing seems to say, is their ordinariness.
It also appears in a nearly hour-long video, Secrets and Lies (2009), which features men and women who answered Wearing's ad asking for subjects willing to confide to her camera. Screened in a small booth, their monologues, ranging from a few minutes to more than 20, are rich with lurid drama, including murder, incest and voluntary (but truly weird) sexual transgression. All wear lifelike but identity-concealing masks, cut out around mouths as well as eyes, so we see their darting glances and, hypnotically, their moving lips, never quite synced with the recorded narratives. The truth of their stories is of course impossible to judge; in any case, the point, as always with Wearing, is to determine whether the interposing layer of art-the masks, the costumes (a red hoodie for an abused child turned reformed homicidal thug; a flowered housecoat for a middle-aged mother turned sex-club swinger)-makes the stories more or less sympathetic, or disturbing, or credible.
Other work dispenses with masks but retains, in various ways, the displacements they offer. A group of seven video loops shown on flat screens, framed like photographs and called Snapshots (2005), presents the seven stages of life, female version. It starts with a young girl with an enormous bow in her hair playing the violin (speakers project her ostensible performance) and proceeds to an awkward adolescent, a sultry young woman, a beatific new mother with an infant in her lap and finally an older woman half-dozing in an upholstered armchair. (An audio recording provides, via headphones, the melancholy monologue of a self-described pensioner, whom we presume-erroneously, as it happens-to be this last video's subject.) The actresses move only enough to heighten the sense of constraint imposed by the frames-and by the conventions in which they're so tightly trapped.
The enormously powerful Bully (2010) is a compact 8-minute video. Nine gifted actors engage in an improvisational exercise about bullying, with one playing the director, who tells the others that they're reenacting an incident from his own life in which he was the victim. At the end, in tears but also terrifyingly enraged, he accuses the actors of letting him down. Sheepishly, they apologize. It is nearly impossible to keep straight the roles of actor and director, victim and perpetrators.
Rounding out the show were a large black-and-white still photograph of a monstrously abundant floral bouquet (People, 2011) and two pint-size, naturalistic bronze monuments, with text plaques, dedicated to unsung heroes, one a 9/11 survivor (Terri, 2011) and the other an undercover police cadet (Gervais, 2010). Their disguise, Wearing seems to say, is their ordinariness.
confesional art
Confessional Art
Confessional art is a form of contemporary art that focuses on an intentional revelation of the private self. Confessional art encourages an intimate analysis of the artist's, artist's subjects’, or spectator's confidential, and often controversial, experiences and emotions. Confessional art emerged in the late 20th century, especially in Great Britain, and is closely associated with autobiographical visual arts and literature. The term confessional art was first defined by Outi Remes in The Role of Confession in Late Twentieth Century British Art , which discusses confessional art as a serious, consistent mode for producing art that mimics, reconsiders, and departs from the traditional modes of confession used in the Roman Catholic tradition, autobiographical literature, and psychoanalysis. In defining confessional art, autobiographical literature provides a helpful comparison. Sidonie Smith and Julia Watson, in Reading Autobiography: A Guide for Interpreting Life Narratives , distinguish between life writing, life narrative, and autobiography.
a video from inside the gillian wearing exhibition.
anusol advertisment recce
we have taken images of the place were we are going to film, we have taken the pictures and visted the area so we have a planned visit when we actully come and film in the area and we know were we have to set up. we also went through were we would set the office scene.
andy piper gave us premision to use his office which was a good advanatges as there was a big corridor and also toilets near by which worked perfectly in our sequence.
andy piper gave us premision to use his office which was a good advanatges as there was a big corridor and also toilets near by which worked perfectly in our sequence.
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| The beacon center corridor we are going to use in the advert as Kyle's work area. |
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| The toilets in college will be used as the toilets at Kyle's work, where he will walk out confident that the cream has worked. |
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| Creative Art's management office is what we will use for Kyle's managers office, where he will get disciplinary action |
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| This is another angle of the office we will be using to film in |
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| Kyle's hallway, which will be used for the same in effect in the filming, where he will walk the bike out the front door |
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| Kyle's kitchen will be used for making his morning brew and toast, and is also where he will drop them to emphasise the rush he is in |
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| This is kyle's toilet, where we will have multiple shots of him struggling to use the toilet with the hemorrhoids |
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| This is kyle's landing, where he will run out from his bedroom and then into the bathroom in a rush |
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| Kyle's bedroom will be used for when he wakes up and also where he is getting ready for work |
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