Shot Ideas For Staff Awards 2013

 

Going Live! Part 1

Chat Show - The Graham Norton Show

Programme Outline & Target Audience:

The Graham Norton Show is a British chat show which infuses laughter to be classes as a duel
genre using comedy to the allurement of the viewer/audience. The chat show was originally broadcasted on BBC Two from February 2007 - May 2009, although it was then shifted to BBC One from October 2009-present due to it's growing popularity towards the end of the decade. The show is presented by Irish comedian: Graham Norton. Personally, I would consider The Graham Norton show as the type of chat show which would be targeted to an audience above 16+ seeing as though it's usually aired at 22:35, just passed the watershed. Primarily, it would be directed towards the ages of 23-50, which would accentuate it's escalating success through the sheer number of viewers the show has amassed from the last 4 years - This would also illustrate the reason it had converted from BBC Two to BBC One seeing as the latter is generally focused across entertainment and bigger audiences.

Descriptive Variations of Shots:

The Graham Norton Show offers a array of different variation of shot sizes, angles and different types of camera movement. In this wide shot, the audience, the cameras and the audience focus on Graham Norton (far left), Will Smith (middle left), Gary Barlow (middle right), and Sir Tom Jones (far right). It's the standard wide show associated with modern-day chat shows.

In this shot, the cameras depict a rather unique wide shot. As I had eluded to previously, the show offers different shot sizes, angles and camera movement. The cameras in this shot seem to be using two shots at once, using a wide shot and a POV shot, because the camera is accurately positioned so that it's as if the audience at home is in the studio during the live recording.

Here we have a medium close-up viewing Graham Norton (left), Will Smith (Middle), and his son Jaden Smith (Right). I particularly favour this type of medium close-up due the camera using it's focus on Will and Jaden listen whilst Graham Norton is out of focus whilst hosting the show, although there were 2 other guests, the camera focuses on Will and Jaden to show that Norton was talking to them at that point in time in the sequence. I personally think that it's a very clean, stylish and extremely professional shot which would be expected considering the calibre of the show.

Here we have an extreme wide shot, positioned stationary beside DJ Jazzy Jeff's (Far Right) mixing table. The extreme wide shot is angled so that it depicts the entire studio floor as well as the front row of the audience which would suggest to the viewer at watching on TV that the studio is smaller than at first anticipated. The 2nd shot (Above) would make the studio seem considerably larger due to the POV aspect of the shot in comparison to the last image of the extreme wide shot.

General Analysis:

Whilst reviewing several sequences of the Graham Norton show, I had realised that the overall shooting style is similar to other chat shows such as The Jonathan Ross Show because I had noticed that the Cameras had to deal with the challenge of adapting to different sequences such as when the guests perform on the main stage rather than the area where it's  privatised for singers and musicians. The 2nd shot (Above) justifies this because the cameras were positioned stationary whilst simultaneously using a wide shot and a POV to replicate what the audience in the studio is watching so that the audience at home watching on the TV could have a similar experience without the party-life atmosphere surrounding them. The 3rd shot (Above) of Will and Jaden Smith focused and Graham Norton unfocused epitomises the skill of the camera men on a show with the calibre of being recognised worldwide. As I had previously eluded to, I consider the shot to be very clean, stylish and extreme professional. The impressive factor of the shooting style was that the 4th shot which was a extreme wide shot made the studio appear considerably smaller in comparison to the 2nd shot which was the POV of the guest's entertainment which made the stage and the studio dramatically larger. It has an effect on the audiences expectations on the size of the stage and studio comparison to watching on TV. It could almost be expected that a show of this nature wouldn't be light-hearted, and family-friendly due to the occasional swearing and sexual remarks which would establish it's TV scheduling as a 'watershed' chat show usually airing on BBC One at 22:00 - 22:35 on Saturdays.

Debate Show - Match of the Day

Programme Outline & Target Audience:

Match of the Day (Abbreviated as 'MOTD') is a football television programme typically aired on BBC One and covers events throughout the English football season every weekend with Match of the Day on Saturday and Match of the Day 2 on Sunday. Due to the show’s success throughout the last 7 years, BBC One had decided to expand it so that it could be viewed through the BBC iPlayer as well as Match of the Day 3 being available on Monday’s on the official BBC website. The show is presented by former England captain Gary Lineker, who is usually, joined alongside former Newcastle striker Alan Shearer and former Liverpool and Scotland defender Alan Hansen and occasionally Mark Lawrenson, with Match of the Day 2 being hosted by Colin Murray and Mark Chapman. Match of the Day was originally broadcasted on BBC Two from 1964-1965 but was then shifted to BBC One in 1966, and from then on the programme has showing highlights of English football’s top division, the Premier League.

Descriptive Variations of Shots:

In this shot we see host, Gary Lineker introducing the audience at home to the show just after the title sequence has passed. There is no audience in the studio and the show is recorded entirely live. The image is a extreme wide-shot of the studio floor. After the introduction seen above, brief highlights are shown to give the audience a flavour of what’s coming up on the show.

Once the brief highlights are over, the cameras in the Match of the Day studio focus on the guest speakers, in this instance Alan Hansern (Left) and Alan Shearer (Right) as Gary Lineker is introducing the guests to the show. The image above presents a medium-shot from the waist up to focus on the speakers.

For the majority of the show when debating
occurs, the cameras remain stationary and usually quickly switch to whichever speaker, although in this instance the camera swings from left to right as the debating recommences. This is exhibited as a wide shot displaying the majority of the studio floor and is seen as the main shot throughout the programme once the swinging has come to a halt. 

When a something controversial occurs in the highlights, the camera remains stationary in this position seen above and reveals the speakers head-on from a front view, as if you were sitting in the studio audience of which MOTD doesn’t have. This shot could be described as a medium-wide shot which makes the viewer’s /audience’s attention drawn as the incident is shown in the background and the incident can ONLY be seen from this camera position.

General Analysis:

In regards to Match of the Day’s competitors Game of the Day/Football First on Sky Sports, it relates to the same format in terms of content and is considerably more successful as MOTD is free and Sky Sports is a must-pay option to view Game of the Day/Football First. The shooting styles on Game of the Day/Football First are a little too narrow-minded and one dimensional whereas Match of the Day implicates a variety of different shot to engage with the viewer although they evolve around wide shots for the majority of the time. In regards to its TV scheduling, Match of the Day is aired on 22:25. The reason for this is primarily because if there is a football match on at 20:00, it will finish at 21:30, so the crew and the presenters will have exactly 55 minutes to prepare for being recorded live on air. The audience’s expectations will be kept in high regard seeing as though it’s the most popular football show in the country with over 5 million viewers across the country, although there have been criticisms of being bland and boring, questioning of the quality of the pundits analysis and enthusiasm in comparison to Sky’s coverage. 

(All 3 completed and handed to James)

Soundtrack Analysis (JOE CLANCY)

Terminator Salvation - Harvester Scene


I have chosen this particular scene from Terminator Salvation, primarily due to the various aspects of intertwining CGI editing (Computer-Generated Imagery) and sound incorporated using a Synthesizer Korg to form the sounds the Harvester makes to establish an environment of realism.

Music, Dialogue & SFX:
The music illustrated in this particular scene adds dramatic substance but also accentuates subtle suspense to keep the dialogue and music levels compatible and comfortable. The music in this scene from 0:50 - 1:20 conveys the tenuous input of the role the music plays, because it seems the Director had intended on using the music in this manner so that the soundtrack doesn't dominate the sound of the scene, so that the dialogue can be recognised without being overshadowed. After the big explosion, from 0:40 - 0:46, there is a brief aura of relief and safety because the sound levels have dropped due to the lack of action occurring in the scene, until the Harvester emerges from the flames with the soundtrack cueing in at 0-57 which could be seen as the climax of the scene, inevitably due to the dip and sudden rise of sound levels. The SFX such as the truck's engine, the Harvester's dialogue, heavy machinery and explosions also evoke an industrial type environment. Other SFX such as The Doppler Effect are incorporated when the truck is escaping and the bikes are chasing them, to add further realism to the chase scene and to coincide with the added dramatic music. The dialogue from 0:20 onwards aren't necessarily integral, primarily due to the visual intake we perceive as the action ensues. Initially, I thought that the timing of the music cueing in when the Harvester emerges from the flames was the perfect impression of the escalated action and suspense.

Listed Foley & SFX:

• Gunshot From a Mossberg Pump-Action Shotgun - 0:00
• Bullet-On-Metal Contact - 0:00
• Synthesizer Korg (Used To Create Harvester Sound) - 0:01
• Reloading of Mossberg Pump-Action Shotgun - 0:01
• Oil Leakage Splashing On The Ground - 0:04
• Truck's Engine and Gearbox Shifting - 0:07
• Tire Skid - 0:08
• Harvester Footsteps - 0:13
• Lighting of Flare - 0:18
• Igniting of Gas/Petrol Trail - 0:20
• Lorry Tipped Over - 0:23
• Harvester's Lock-On (Laser Sound) - 0:28
• Big Explosion (Echoed) - 0:29
• The Doppler Effect - 0:34
• Beam Fired by Harvester to Blow Up Car Ahead - 0:46
• Motorbike Revving and Gear-Shifting - 0:58
• Bullet Ricochet - 1:14
• Truck Crashing Car Out of the Way - 1:17
• Motorbike's Analysing System - 1:19

I, Robot - U.S.R Car Chase Scene


I have chosen this scene from the film 'I, Robot' predominantly due to the vast array of various different sounds that are present in this scene which collaborate to form an impression of a quiet mysterious scenario escalating into a full-throttle high-way car chase, which the soundtrack is accountable for.

Music, Dialogue & SFX:
In this particularly interesting scene from the film 'I, Robot', our first impressions coincide with the mysterious music being played from the beginning of scene. From my perspective, I think that the music being played in the background replicates the sound of a human heartbeat, which then gathers pace when the CEO of U.S.R (U.S. Robotics Corporation) begins to learn that Detective Spooner is accessing confidential files regarding the death of Dr. Alfred Lanning. Although prior to that, the Siri-like voice system in the Audi RSQ asks: "Would you like to listen to some music while you wait?", then immediately, the heartbeat-like background music recommences which would illustrate the use of non-diegetic sound. Another aspect of this scene I found intriguing were the SFX used to create the formidable sounds the U.S.R carrier vehicles exhibit when approaching Detective Spooner's car. When the first large futuristic vehicle approaches, it conveys an impression that something enormous is coming especially when watched with your eyes closed. When the second vehicle approaches, it seems as though the aerodynamically streamlined chassis of the vehicle is allowing it to pierce through the air, combined with the sounds of the motion of the wheels and the thrust of the engine. The dialogue from the robot which is first to attack and jumps on the bonnet seems as though it has had it's voice modified to sound futuristically advanced and robotic yet fit with human characteristics.

Listed Foley & SFX:

•  Audi RSQ (Concept) Engine Revving - 0:02
• Closing of Document - 0:02
• Wind at High Altitude - 0:23
• Voice Programming System Echoing - 0:28
• U.S.R Carrier Vehicles Approaching - 0:53
• U.S.R Carrier Vehicle's Engine - 0:57
• U.S.R Carrier Vehicle Cutting Through The Air Due To Aerodynamically Streamlined Chassis - 1:07
• The Doppler Effect - 1:08
• U.S.R Carrier Vehicle's Wheel Motion - 1:09
• Computerised Mechanical Motion Whilst Carrier Vehicles Turn 90 Degrees - 1:17
• Steering Wheel Initialising 'Manuel Override' - 1:28
• Mechanical Opening of Carrier Door - 1:35
• Metal-On-Metal Contact - 1:48
• Robot Landing on the Audi RSQ Bonnet - 1:48
• Shattering of Glass - 1:49
• Audi RSQ Wheel Skidding - 1:51
• Bullet From Gunshot Penetrating Robotic Skeleton - 1:53
• Ricochet From Gunshot - 1:54
• Screeches From Metal Experiencing High Speed Friction (Sparks Flying) - 1:56
• Mechanical Robotic Jump - 1:57
• Jolt of Electricity - 2:17
• Audi RSQ Boosted Acceleration - 2:36
• Exploded Tire Caused By Robot Trapped Onto Carrier's Wheels - 2:44
• Knocking Over Several Traffic Cones - 3:24
• U.S.R Carrier Vehicle Crashing Into Tunnel Wall - 3:25
• Huge Explosion Resulting in Destruction of U.S.R Carrier Vehicle - 3:26
• Roar From Engulfing Flames - 3:27
• Small Shards of Glass Falling - 3:34
• Whip-Like Sounds as Audi Tangles With Wires - 3:44
• Inflating of Airbags - 3:46
• Wrecked Audi RSQ Crashed Into Concrete Wall - 3:48
• Small Pieces of Concrete Falling onto the Ground - 3:49

Freelance Poster (LUCY REESE)

Working Patterns (LUCY REESE)

Working Pattern	What Does This Mean?	Who Works Like This?	Pros	Cons
Shifts	Assigned work hours.	Actors, Camera Operator.	Specific times are set therefore you have a lot of free time.	Shift work involves working when most needed such as working for 2-4 hours, therefore there isn't time for any mistakes which is why experience is vital.
Fixed Term	Employees are under a contract of employment that will terminate when expired or a set task is completed.	Sound and Video Editor, Researcher.	You've got no specific time requirements when the work needs to be finished. You just need to finish the work. You can also work on other projects during that time.	Being under contract to finish a set task leavs no room for error, and leaving the task to the last minute can reek havoc and create unnecessary stress.
Office Hours	Popular 9am-5pm work hour shifts.	Secretary, Marketing Manager, Administrator.	All the work is done in offices and where socialising is a possibility with fellow employees.	Can be a stressful without having good management skills in order to get the work done in limited time.
Freelance	Freelance workers are independent workers; they work for themselves.	Scriptwriter, Assistants.	Freelance workers can work on multiple projects, with more time to complete them. They are not strained to a particular time	No health coverage unless you are assigned to a specific company. Freelance workers do not get a frequent income like full time workers do.
Hourly Rates	An hourly employee is paid an hourly wage for each hour they have worked.	Technician, Catering, Crew On Set.	The payment is based around the quantity of hours put in rather than the quality of the work, but that doesn't mean the standards should drop.	Lower pay, strict lunch/break times, no bonuses, attendance and punctuality are VITAL - being one minute late can cost you 15 minutes of payment.
Piece Work	Paid for each piece of work that is created.	Costume Designer, Prop Maker.	Pay is determined on the type of piece you are making and the effort which may be required to make it work. Their hours are functioned in any way they desire to achieve maximum satisfaction for the worker - meaning no deadlines (which limits stress levels) and freedom of choice.

Audience Consumption

Within the Film Industry, the primary objective is to amass vast profits, which is why directors try to attract the interest of people from across the planet who are fond of a specific genre. The objective is to amass more money than money spent on pre-production, production and post-production, which exemplifies the saying: "you've got to spend money to make money."

Why Do People Watch Films?
The majority of film-lovers tend to use films from genre's such as sci-fi and action, to escape the harsh reality in which they live in; a new experience. Some people like to think of them as 'real dreams'. 5 minutes after waking up from a dream that you were fond of, 80% of it was already forgotten. From my perspective, I think that directors like to envisage their target audience walking out of the cinema and realising how dull their life was in contrasting comparison to the film they've watched; an experience they won't forget, unlike the dream.

The vast majority of films which are released are initially subject to a 'test screening' in which they preview the film before the views and opinions of the audience are taken on-board, and to improve the quality of the film they are intending on publishing to millions around the world. This is an indication of the director connecting with the audience in order to give the target audience what they want and what they want to see for their money. They're usually given questionnaire's in order to provide feedback and to improve the content of the film in every way possible. In brief, the audience are paying for what they want to see to make themselves happy and all the people associated with the film, who reek the financial rewards.

Where Do People Watch Film?
The majority of film-lovers tend to go to the local cinemas and movie theatres which are mainly situated in local shopping centres to attract mass crowds, but now in the 21st Century, technological advances have seduced the audience to utilise and take advantage of the technological age, with smart phones and androids on the market. Film-lovers have a variety of different methods and applications of which to enjoy movies on. A prime example of this would be to utilise the video-sharing website 'YouTube' who charge to view films whilst simultaneously being able to view it on an iPhone, iPad, Samsung Galaxy's or any other smart phone or Android. Another media platform which can be engaged with are gaming consoles such as the PlayStation 3 and the Xbox 360 which implement applications such as the renowned Netflix and Love Film services. The audience can also view films on television with channels such as Film4 - Channels such as Sky Movies, ITV1, ITV2, BBC Three, VIVA, and E4 also display films. There is also the option to purchase cheaper, bad quality versions of DVD's from people on the street who sell films which are subjected to the violation of piracy laws.

Individual Presentation - Single Camera Production