Make own documentary film- By Karina

We should watch some good documentary movies. Learn what makes or breaks a documentary film. And than what documentary film you will produce. To focus and learn more film making styles and ways. As a good filmmaker you should familiar with technical equipments.



It is necessary to choose a subject that you find fascinating. Choose one related documentary film and watch and analysis. Considering which aspects you can learn from this sample. How can you innovate and make your own style. All media products should based on broad research. Who is your target market, What they need. Which way is more easier to them to accept...etc.



Based on hard research, create a structure or outline. The outline exists well be better for serving as a guideline for shooting. When finish conceptful developing, finds finances for film. Use Google or check with your local film office to find out what existing documentary funding programs are avaliable.

Don not just think. Action! Shooting. When finish film shooting. Do not be shy to show your products. Put into internet, let other people to comment it , and give you some valuable feedback.

The last next step

Finally, movie is done, and now i am preparing the editing section.

I am still want to use the caricature technic, and i will ask Toula to show me, but if its too difficult im not going to do that because of what i want, is make a very simple movie.

Well i hope i can edit my movie faster, and easy, also to put the sound in the background.

By karina

The importance of Digital Camera- by Karina

As the society walk into the most technical digital world, the people are implementing the good effects of such technologies into their every day lives. Camera is the most common and popular appliance in nowadays society.



Looking at the whole concept and its overview of working in digital camera. Apart from the advanced technical aspects, the digital camera has more to offer a user and the common man! The major ones are soring value for time and money involved in films and developing them subsequently, a certain benefit from a digital camera, which is relieved from all these tedious works.


Getting visual information into the computer and within the reach of fingers using the digital camera. The digital camera is however different from the scanner, as its working speed far more than scanner, and also it is far more economic.


people can get and gather important information about the digital camera.

Camera test and sound preperation

Camera testing:

Shooting tests with your camera may seem like a hassle and an unnecessary waste of time and money but it is neglible when you compare it to the cost of a reshoot (if a reshoot is possible.) Most camera rental houses post disclaimers which protect them from liabilty. It is always smart to check your camera at the rental house before your shoot.
Scratching
Load a dummy roll of undeveloped film into your camera and run it through. Inspect the roll with a magnifying glass for any scratches on the films surface.

Registration
Shoot 100ft of a grid of white lines against a black background, being careful not to move the camera or background during filming. Rewind your film and slightly offset the lined background and expose the film again. Develop the film and then project it. If there is a problem with the registration, then the white lines will shift against each other.

Sound preparation

Achieving Good Sound
One person sound crew
Very limited in capability. Video is physically tied to camera with cables (or audio to camcorder), so no freedom to move as needed. Mixer is sometimes expected to run video as well as record sound, so attention is divided. Types of sound from one person is limited to:

non-distinct background ambience; or
talking head with lavalier (close-up perspective on immobile interviewees).
Two person sound crew
More versatile and professional. More can be done. Better morale. Impressive to client. Theatrical quality soundtracks. Mixer can operate video and mix sound from near camera; Boom can move to strategic position closer to talent. Two person approach is necessary for dramatic sequences or complex staging.

Sound from aimed overhead mic is higher quality and more natural from boom records than from lavaliers. When on lavaliers, sound footsteps, doors, objects, props, etc. to add texture to track, saves on post-production, especially low-budget video.

Karina

Short film-produce and edit

Choose your equipment, something that can record video. There are many choices. Just make sure your video recorder works with your VCR or editing equipment.
Learn a few features, and review how your recording device works. Learn how to start and stop recording, fast forward, rewind, playback, and anything else you might need. Save the special effects for your second or third project.
Choose a subject -- what you want to make a film about. Remember, you'll need to complete the project. Think about who, what, and where you'll shoot. Form a basic idea for a story and if you're having trouble, read short stories for inspiration.
Type out a script. Make sure to develop your characters with different personalities; your movie won't be interesting if everyone acts and talks the same.
Draw out a storyboard, illustrating the shots you plan to use. Don't worry about following the storyboard perfectly. It's just a good idea to get your thoughts on paper and a great way to see if you can communicate an idea "visually" rather than needing the actors to verbally communicate the concept. The viewer is watching first and listening second.
Find people who aren't busy and are willing to work hard on your film. Provide food for your crew. They'll appreciate it and be able to hang around longer.
Shoot your footage. If you want to highlight your pet, you can shoot video of your pet eating, sleeping and playing and perhaps put it to music.
Edit your film. Many cameras edit in limited ways and some have special effects. Learn how to "cut" pieces of your footage together and put music or speech over your video. Check your camera's manual or use a software package like iMovie to make your final cuts.
One way is to use your VCR or DVD burner to make copies for friends and auditions. If your film is digital, you can also output your final edit to a readable format to send via email. Also if your film is in digital format you can upload to YouTube or another video sharing site. Check up with the website's video formats to see if you can upload your movie.

Karina

Camera man-by Karina

How can be a good camera man? There is no concrete answer. There are six steps I saw from some academic researches.


Firstly, joining the professional school about film and television production. You can join some courses, such as video and computer graphics. This course must be very helpful to become a good camera man. It is the basic knowledge to contribute this area.


Secondly, try practices, find more oppotunities to camera practices. For example, we can make videos family parties, and relatives meeting, weddings etc. All these practices just to improve camera skills. " Skills and contacts are essential if want to become a cameraman."


Write down your practice experiences, consider conclude what is the problem you shooting and what lessons you have learn from each hands-on opportunities.

Fourthly, no just focus on your interest on camera practice, you should pay attention about some academic and famous camera works. You should find some good from these works. And than your works will be add your interest and others essence together.


The fifth steps, you can look for some camera related jobs. The works with camera, lighting and editing and so on. In addition, assisting the cameraman's assistant can put you in contact with professional people who can help you.


Lastly, a good camera man should has good communication skills. How vital it is for a camera man to express what he needs and thinks.

We finished

Today is Sunday. We review all of thing that we have done in the project. The short film have finished on Tuesday with two nice actors : Fracnes and Kauy. We thank them a lot. they support us so much with big step on the project.
Today we try to finish the blog and some assignment about the treatment and research. This project is useful for us to learn how to work with others,how to get ideas about story for short script? how to write an interesting short script? how to use camera? how to edit the film...
We really enjoy the shooting day even the weather is terrible. Firstly it is rain, then stop and then rain. But we already finished the short film and feel free.
Thanks all of my teammate to support me to finish the project. Thank my classmate to give us a lot of discussing and advices. Thank our actors. And the most important thanks my tutor, Toula helps and guides us a lot.

Ripina Nguyen

Step 1: Cast & Crew/Industry Screenings
The first thing we will want to do when we have finished our film, is to organize a cast & crew screening of the finished film.
Step 2: Prepare a Press & Publicity Kit
Before we start sending our short out to the industry, festivals, distributors etc you'll need to prepare your press & publicity materials. Such as press kit, stills & postcards, tapes, website, DVD show reel & prints.
Step 3: Press and Industry Promotion
Send your film to the right people and publications for PR / talent spotting e.g. TV and Commissioners, Advertising Agencies, production company Producers and Directors' reps.
Once we've sent our film to these people, call them to make sure they actually watch it and ask for their feedback or ‘advice’ on it.

Specialist or smaller festivals can be a great way of reaching the audience our film was intended for but if we're desperate to get our film into A-list festivals be careful about submitting to specialist festivals too early on, as some bigger festivals still require premieres.
Step 5: Get a Distributor, Agent or Self-distribute
A distributor can help market and generate sales for our film and a talent agent can help represent you as a filmmaker. Alternatively we may feel we'd like to retain all the rights to our film, in which case we may wish to go it alone and self-distribute our short.



Step 6: Cinema, TV, DVD, and Screenings & Online
New platforms for exposing and exhibiting our short are arising all the time Online/free screenings can be great for exposure, but if it is commercial profit that we are seeking, it might be best to go for sales first. Although nothing is set in stone in this area.


Step 7: Plan your next project
Industry contacts that we meet at film festivals and industry events will want to know what we next project is, so it's a good idea to start working on our next project whilst our marketing short.

Ripina Nguyen

A Guide to Short Film-making in the Digital Age

Hailed as the first book on shorts for years in the UK, this ambitious guide is simultaneously a history, a report and a manual, and includes a 'short history of shorts' as well as a comprehensive resource guide. That the authors manage to pull this off in a slim, accessible and eloquent read is testament to their dedication to the form.
The guide's goal is to raise the profile of shorts in Britain so that they are considered both critically and in terms of distribution. Acknowledging the nagging suspicion that there are more people making shorts than people watching them, volume is identified as the greatest threat to satisfactory exposure. The focus here is thus on the making of better films rather than the unearthing of quick-fix structural solutions, a refreshing position which, though it may sound evident, is not commonly shared in the industry. To their credit the authors explore this notion from all possible angles, assessing the role of founders and distributors with the same degree of scrutiny as they bring to the filmmakers themselves.
In one particularly intelligent chapter the book addresses the key issue of the relationship between funding and creativity, a pivotal point in an era of risk aversion. How can innovative, experimental projects be sold to founders and commissioners whose evaluation is often based on traditional assessment criteria, such as a completed script? What role can the founders play in nurturing the creative partnerships between writer, director and producer?
On one side, the authors will encourage the founders to remember the vulnerability of ideas and the difficulty in mapping out the creative process in ticked-boxes and bullet points, while on the other, they will incite filmmakers to treat the process as a liberating rather than stifling framework. The interviews serve as brilliant illustrations of the complicated but not always difficult relationships that some accomplished filmmakers have with commissioners and funding bodies.
The particularities of the 'digital era' referred to in the book's title are studied throughout the guide, and their relevance is brought to light in the fields of production and post-production, but also – crucially – in distribution and exhibition. In keeping with the book's measured optimism and realistic approach, the authors are quite prepared to contradict one of their interviewees – in this case Damien O'Donnell – and express reservations about the digital revolution and its role as the cement of a sustainable British short film industry.
The authors' realistic, multi-faceted approach is infused with enough knowledge, experience and enthusiasm to make this a recommended read for all involved – practitioners and commissioners, founders and distributors – as well as any lover of the medium.

Ripina Nguyen

The equipment

As a camerawomen, i read the book, Filmmaking for teens, and in Chapter 8 its talking about the equipment.

This is good, and this is remind me of checking the equipment before making the movie.

First Camera, and through this book, its said that no matter what camera you have it doesn't make your movie look worst or better, but you need check all the necessary accessories, such as battery, is it full or not, and the tripod, the headphone, if its all of it already in there, then its mean you can take it all of your Kit.

Second: the videotape, Tape is cheaper by far, and the cameras are more forgiving in terms of lighting, sound and host of other things.

If all of these equipment complete, you can start make your movie in the simple way., well at least i can remember this before borrowing the Kit.

By: Karina

We are finish

Finally, the movie done, so we just need to edit our movie.

The last important things i can say for our movie that, how to promote it and look for feedback from our audience.

Also we are proud with our self, cause they are a lot of people out there try to make a film and fail. Some never past the script, other shoot only a few scenes, while others are to this day living in a permanent state of editing. But we did it, we deserve, good job guys.

By: Kathy

Mac vs PC

Well, our movie is already done,and i've been looking and reading in my book, about what you need to prepare when your movie done.

First of all of course editing and i found very interesting reading, its said: Mac Vs Pc.

I heard about this before, and i asked some of my friend about which one is the best to be used for editing the movie. He said Mac or Pc just the same doesnt make any different, cause we cant really said which one is the better of Mac or Pc, everything got bad and good thing.

As the same like in my book, its said that the answer to this false dilemma is to use what you've got.
At the same time, we are a little biased towards Apple for one reason: Apple develops both software that runs its computers as well as the computer themselves. In addition, Apple develops its own movie- making and dvd making software. As a result they are able to coordinate the whole system so that it works smoothly.

Through this, doen't need to worry anymore to edit our movie.

By: Kathy

Film sound-by fanli

It is obvious that film sound is one of the important aspects in film. We can not evaluate a good film which has no good sound track. A meaningful sound track is often as complicated as the image on the screen. The whole sound track is comprised of three essential ingredients:the human voice, sound effects and music.

These three ingredients are comprised of a film' soundtracks. Firstly, the human voice established though actors' dialouge. the roles of dialogue is to tell the story and expresses feelings and motivations of characters as well.


There are two parts in sound effect:synchronous and asynchronous sounds.

"Synchronous sounds are those sounds which are synchronized or matched with what is viewed." Synchronous sounds create the real environment of film and it is more real and vivid express the theme of film.


"Asynchronous sound effects are not matched with a visible source of the sound on screen."



Background Music

"Background music is used to add emotion and rhythm to a film." Like in some scenes of film using the background music, our audience will feel more contreated on the story. In addition, background music often foreshadows a change in mood. We can imagine that if one romantic film using no gentle music to delivery the emotion, how boring and failured it is.


Film making is a huge and sciential work. All these elements stated are very small parts in film sound area. What we need to do in this subject is an effective and a good way to our future filming career.

Problem while making our movie

Okay, we were filming our movie on Tuesday, 21st April. Well i can say that i was bit scared and felt anxious, coz we were facing lots of problem.

Firstly, the weather was bit strange that day, at 10am, it's rained ,but it didn't rain for to long, so we felt relief, and when we finished class, our actor Kayu, didn't want to walk to the Alumni green, He told us that it was too far away, my goodness, that was so stupid, so we chose another place, which is more convenience for him, Moore Park at Central station.

Secondly,when we were already at the Moore park, the weather changed into drizzled, and it was just for couple of minutes, but still, we started to fix our staff to moved somewhere at the shade.

Thirdly, when we were started to record another scene, some strange grandfather passed us, and he asked our actor, Francis, ohh Do you want me to kiss you, you are my girlfriend. Also, he sit next to him and keep stayed in there. Man, all of us tried to get rid of him, we asked him politely to stayed away from the bench, because we made our movie, but he didnt want. I couldn't believe this, and after 20 minutes, i was successful to asked him get away from there, Fiuhhh, i couldn't believe it, it took 20 minutes.

The others problem were, the actor, Francis he felt pain in his toe, because he used Karina's shoes and it was to small for him, and he complained, also Kayu always complain to did the movie faster, but still we had a lot fun there, wasn't too bad

By: Kathy

Ho to write a script for short film?

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/article3336775.ece





In our project we have to produce a short film. Firstly we must draft the script for it a present at class on week 5. I prepare to research some skills to write it. This link is very helpful. The script must be close to our topic and fun, interesting as well. In this link, the first step in making a short script understands why we produce this film, the target audiences. The short film must be 1, 2 or 3 characters. Because it just 5, 10 minutes, and we can not create so much character that will be make audiences confusedly. The characters in short film is very important, we have to explore their problem. The problems will make the short film meaningful and valuable. And how the audience recognize the problem? The audience must be clear from the outset that the film is about. The main character is the one who has the problem and if there isn’t a character in the story with a problem then we don’t have a film, or at least not one that will work as a dramatic narrative. So the fact that making a short film so hard because the problem will be short but also sharp enough to audience enjoy. When we have character and problem, we just start to write an edit in the writing process. After that we discuss with teammate and classmate for finalizing.


Ripina Nguyen

Media Language connecting to Stop Swearing by fanli

In January 2009 BBC program called "panorama" invited frank Skinner to talk about the hottest issue of swearing or ‘strong' language on TV

Hosts are swearing in the TV or public place always letting a serious and intense of public attention and criticize. This years opinion polls and researches satured with audience sight line.


One of the most typical example is that Jamie Oliver swearing on TV." However, on Christmas Eve he presented Jamie Cooks Christmas without using a single expletive proving that swearing is not necessary and good programmes can be made without it!!"

Statics represent that 70% audience do not want to hear swearing words in Tv or other meida progranms. The leader of Vision BBC Jana Bennett who thinkthat swearing "risks alienating swathes of viewers". Although needless to say Channel 4 has defiantly asserted it will 'not rein in foul language'."

Not just United Kindom, other western-culture leading culture are going with wrong leading potential with TV regulation and development. The one obvious and serious problem come up public opinion continues to be ignored by broadcasters and media workers.

The Government and related departments try to do sonething to change abd admend this situation. Thst expends considerable resources on improving communication skills. But the media most powerful medium continues to undermine these policies.


As say above, media language is a way to influence people swearing. To stop swearing, one of the vital way is to change media language, regulate media language and to create a good tendency of media environment.

Synopsis, Outline, Treatment by fanli

Today I found one of important materils which Toula gave to us in the first lesson in this semster.I read it again and piont out some basic and vital information folowing. And this will help me to write in the second assignment.



It is a way of discovering and defining the fundamental essence of a project's story.

Synopses

The one sentenses synopsis should give the most concentrated version possible of the story, or at least its key event.

The one paragraph synopsis must state very briefly and simply WHO, WHAT and HOW.


The one page synopsis deals in WHo, WHAT, and HOW, but also established the other major characters and their lines of conflicts. The key event of any synopsis is a clear indication of the story's structure. That is, how the story begins, develops and ends. The reader of the one page synopsis will want to see that the story develops and builds with rising tension, even more loaded conflict and something of value riding on the outcome.


The drama outline

The outline is a document of three to eight pages. It expands the one page synopsis to acknowledge motive, demonstrate cause and effect and show the flow of the narrative as it will be told on screen.


The drama tratment

The treatment, as the term suggests, sets out the dramatic and cinematic way you intend to 'treat' the story in terms of style and unfolding narrative. It should convince a reader that there is a cinematic story and that the writer has a firm grasp of the story and its telling. The treatment will also include any subplots, indicating how they integrate, and reverberate, with the main plot.


In a treament version of story with multiple strands or subplots, it is perfectly legitimate to use such terms as "Meanwhile..." or "At the same time..." or "On the other side of ..." t indicate a transition to another strand or subplot.


There are standard definitions of what a treatment is, such as:"the telling of the story in the present tense, in a cinematic way-that is, confining the telling to only what can be seen and heard."


In a word, treatment is a statement of intent. It is a description of the film you want to make and think you can, given what you know and what you have access to when the filming begins.


These informtion display I think give me most knowledge pionts in the material. Fighting for the treatment due to next week!Hope it goes a right way.

Short Subject by fanli

When I wanted to research information about"short film", I found one word related is "short sunbect". At the first, I was suprised how can those two words related. Following, I talk about the information about "short subject".
Short Subject


"Short subject" word used firstly turned up in North American film culture. It is considered as a technical word.Nowadays short subject almost can interchange with short film. What is more, different cultures stipulate different time limited.



Short subjects are keen on some amateurs and filmaking students. Nowadays short films are more and more popular in visual culture to delivery models of information. "Prosumer or semi-professional cameras now cost under USD$3,000, and free or low-cost software is widely available that is capable of video editing, post-production work and DVD authoring." All these benefits focus on lowest and limited budget. So some people think it is a not goow way to commercial using. Audience can spend money watching film which are always big money invested or luxurious films etc.



Other Media

Internet

These small volume films are oftern submitted in Internet. The most typical platform is YouTube which have attracted large communities of artists and viewers.YouTube is become a part of people life.

Make Up for film- by Fanli

The most basic of make up is to match skin tone. Makeup should always be checked, in different kinds of situations. One of the most considered aspect is that lighting consideration. "Even when video cameras are properly color balanced, sunlight, incandescent, and fluorescent lighting will all affect subject matter in different ways."

In my opinion make-up using in film contain two aspects: facial make-up and costume. In luxurious film making, amounts of dollars invest,hundred or thousands of people as the crew. We can image how the amount of money spend as well. Cause make-up is the most direct and visual way present in front of mass audience. In these years about Chinese movie. one of films is Yimou Zhang , Curse of the Goldern Flower, which gave us strong visual effects depend by the luxurious make-up.


With the advent and development of high-definition visual media, the need of make-up is more and more increased and professional. It is one of the key pionts to evaluate a perfect film or not.


Contrast this big money invest, in our student filmaking which ways of make-up suit us? The question jump it out. I think Green Porno give our limited budget filmaking a good example. The make-up in the film is pretty simple and funny.How to design simple make-up to present actor characteristic and the theme of film is the most challenge on the way of short and simple fimaking.

Elements of Making Digital Short Films-by Fanli

Today we live in a society satured with information. Information is everything. Spreading these kinds of information through different kinds of media mediums. In a world full of audio visual information that may be produced easily using advanced multimedia technologies. People interested in the video creation craft will find a mixture of text, still images, sound and video by download different devices in Internet. People in the world create, edit,appreciate millions of fresh films online. It is call "Digtial World".

When I searched this area information, I found "There are roughly four stages to go through, from preliminary learning, to equipment and software gathering, to production and video editing, and to the creation of a video quality product."



In the preliminary stage, the film maker need to do amouts of research, such as what kind of movie made, and then botain and collect correct information.



When we finish information collected and evaluatesd. The things we need to do is to start getting setup with the equipment needed with the right specifications for compatibility between the components – digital camera, computer hardware and software, microphone, etc. Now in the making production of digital video, there are three stages.



Pre-Production

Pre-production need to represent some sense of artistic of creating. The use of software is a good and vital way to display kinds of stories. Firstly, filmake should get right ideas of stories, and then decide about what kind of type to produce, is it an animation video or an abstract film etc. Lastly, the crew should workout the setting.



Telling a good story in this stage, script writing is important. How to use correct words and grammar to express. One of the useful way using sofeware tools to check speeling and some grammar problems.


Storyboarding is employed for story development. It is an effective way to help filmaker getting ideas.We can use different types of frams to tell this story.




Production

In the second stage in making digital film, I think it is to make pratice in actual. In this stage you no just has the sense of artistic, you properly need technical skills.For example, using of sound effect, take advantage of make-up, seting equipments, acting.

One of the key piont is to produce a number video clips that are to be assembled later on. Filmaker should focus on correct labelling of the clips and making backups to ensure the precious work is saved during the busy production period.

Post-Production

The third stage in normal word is "edit" your work. The professional think this stage is the most technical. It needs to use differents forms of software editing Two types of video editing software are used:


"Linear editing. All editing is done in chronological order from start to finish.


Non-linear editing. Editing is done in any order. Use software such as such as the free Microsoft MovieMaker 2 or Adobe Premiere Pro. Transitions and visual effects can be added to video clips.
The final DVD product can be achieved using special software such as Adobe Encore, or the free DVD maker that comes bundled with Microsoft Vista. A DVD cover can be designed using any graphics software."


Conclusion

Nowadays, every people can be a filmaker. Using a digital camera and editing. Most people think making a kind of digital films is one of the way to represent and memory their life and share with other people. How amazing and awresome job it is!

Our shooting -by fanli

Today, when Kathy, Karina, Ripina and me finished our class about Mike Minehan "society and culture", we prepare to begining shooting our film, cheer up. We invite KaYo, and one of Kathy's friend to take part in the film shooting. kaYu and Kathy's friend work as the main actors.We took all the equipments to Moore Park Park.


When we got the Belmore Park, Kathy went to buy the tape. Karina and me tried to set up camera firstly. Ripina found make-up bag and then made up for kathy's friend who acted as the old lady. 25 minutes passed. We prepared everything. Beginning shooting, cheer up.Firstly, karina took camera, stood in the midle of park, shooting the whole environment of Moore. And then we began the old lady's part firstly. kathy's friend is really a good actor. In the course of shooting, many street passers-by took photo of the old lady. She clothes and make up is so funny. In addition, this effect is also what we pursuit to. By the way, Kathy's friend is man. k.k. He acted as the old lady, it add more humous elements. Although the filming process there had some problrms, such as camera angle, actors performance.


In the process of shooting, Karina as a camera man, Ripina, Kathy, me watched, give advices,opinions, and important thing to write down shooting list.Almost 2 hours later, we finish our filming. Raining,oh My God, we quickly checked and picked up all the things. Well Done!


Filming is a hard and long lesson, lucky all of us on the way. Fighting!

Some useful information about the treatment:


A treatment is a detailed outline of your film from start to finish - including all of your clever twists and turns. Some writers love them whilst others (usually the lazy ones) loathe them.
No matter what the view on treatments is, there is no mistaking that they are an immensely powerful tool for scriptwriters that force we into thinking about the path our story will take rather than focusing on the "cool scenes".
For the writers that prefer to skip this step and dive straight into the 1st draft of the screenplay, they tend to write really shit scripts which in turn make god-awful movies. It makes good sense to have a good, long think about our story before writing a script for story.
Treatments are a very popular way of attracting attention from studios or people in the industry when I haven't got a completed script ready. My treatment should be short and snappy so that it grabs peoples attention. The jury is still out on what is an ideal length for a treatment, but as a guide Iu should keep it down to 7-pages maximum (computer type) if you are writing a feature. If I are writing a short, I should be able to condense this down to one page/ but in my assignment I need 2 pages only. Lucky me!!!
However, my aim is to write a treatment for ourselves as I am going to be the ones making it.
LAYOUT
There are three distinct methods for presenting a treatment. As I am writing for myselff, I can pick whichever method works best for me as Iwon't be seeking anyone's approval.
1. HEADERS
A short-hand outline of the movie where key moments or scenes are put as a header. This allows a reader to skim through the treatment if need be e.g.
2. PROSE-STYLE
This method, I am basically writing the film down as a story minus the excessive detail that a novel would have.
As I can see, loads more detail but not too detailed. Certain scenes may be simply referred to in this type of treatment whereas key sequences may warrant fuller descriptions. When writing this form of treatment, try to offer a reading experience that tracks the emotions and feelings of the film-going experience. Tell the story directly and avoid like the plague using phrases like "I was thinking it'd be great if..." or "I'm not sure whether...” In other words, don't be indecisive. Stick to the story.
3. DIVIDE IT UP
In a way, this method is a mixture of the other two. I break the script down into five sub-categories: concept, characterization, theme, tone, and story. This method is a popular choice for some as it allows me to add into the treatment what is unique about my approach, what people will find interesting, as well as telling the story.

Ripina Nguyen

Using music in the film

Today when we shoot the scene old lady stand and begin dance look like a young guy. I said to Karina about how to edit and add the music to the film. I think that it is good for the movie when we add the noise and fashion song / even hiphop for this scene. It will help to support the effect of movie and characters in the film.
We think we will research for the music.




There is no question about that music is an extremely important component in film. As a filmmaker we must figure out what kind of music we want to use and when we want to use it (and when you don’t want to use it).

The music helps us to establish the tempo of a specific scene, but can also create a certain feeling to the film and give it a unique character.

Take for example the films The Graduate (Mike Nichols, 1967), Harold & Maude (Hal Ashby, 1971) and The Virgin Suicides (Sofia Coppola, 1999). These films would not have been the same without the music by Simon & Garfunkel, Cat Stevens or Air. And try thinking about Psycho (Alfred Hitchcock, 1960) without the music by Bernard Hermann or Star Wars (George Lucas, 1977) without the music by John Williams. Is it even possible?

As an independent filmmaker we may find it attractive to use that great song from our CD-collection, but if we want to show the film to a broader audience that could get us into serious trouble. This is a problem all filmmakers sooner or later are facing: I can’t use the music I want to use because of copyright laws.

I can handle this issue in two ways: by getting original music to our film or by getting permission to use existing music.

We asked one dvoted composer and one dvoted filmmaker about their thoughts’ about film music. What’s the good thing about composing our own original music? How do Iget a specific song in the film? Read their answers in the two articles below.


Ripina Nguyen

Shooting review

Today we shoot our movie. The Location is part where is near Central station. Beginning the weather is not good, rain. But after it is better and we enjoy the shooting so much. We also thanks our two actors. They act very well and also enthusiasm.
Kathy is producer and she done well. She prepare the outfit for our actors.
Karina is our camera. She try so hard for this job.
I am a director. I am very happy when work with nice team.
Fanli is research.

Firstly I and Kathy went to security for get the camera kit. We check, double check everything:
- Kit complete/ match/ working
-Batteries charged-and changing.
-Menu-settings camera.
-DVcam: We buy the own tape.
-Aspect ratio.
-Focus
-Exposure
-Depth of field
-White balance
After that we prepare for shoot : Setting DV cam, color, try the voice, and make up for our actors.
It is very interesting when we chose Fances for Old Lady in our film. After make up he become very sexy and stylist old lady.
When we shoot the weather is better and sunny. We have a lot of nice , clear shots.
Before the shooting day, I discussed with Karina about how to bring the ideas of script to movie, and make it interesting. I think that we must have some opposite sences. We begin with the beautiful Sydney sences after that we chose some dirty and noisy Sydney...These ideas link to " beautiful English" and " Swearing".
And after that old lady appears. She enjoy the weather, park, reading. Suddenly one guy come and makes noise, and swear. She is angrry and supprised...and try to give him a lesson.
When we finish the shooting. It is rain. It is cold to but thanks everything is done today. Hope it will be good.



Kauy- our actor. Thanks for today Kauy.



The camera kit. We check in security.




Our nice camera "lovely" girl. Today she works so hard.




The weather before shooting : Rainy
And after that it is better. Thanks God.





Our Actor. He is so nice and act very well.




I and Karina make up for him and he becomes very stylist lady.



But...look at "her" leg...still...





Today we enjoy the shooting so much




We finish at 4 p.m and thanks all of my team and two actors.





Ripina Nguyen

My thinking about Green Porno-Fanli

"I was always fascinated by the infinite, strange and 'scandalous' ways that insects copulate."

----Isabella Rossellini



Tonight when I arranged my subject resource, I saw one material "Green Porno" which arroused my memory in class. Toula gave us visual materials about series of Green Porno which is fresh, funny and special. Now I introduce some information about this series and talk about my thinking about film from this innovitive video material.



Green Porno is a series of very short films conceived, written, directed by and featuring Isabella Rossellini about the sex life of bugs, insects and various creatures. The film are a comical, but insightful syudy of the curious ways certain bugs "make love".


Short films are more and more popular in society. Nowadays people are busy with life, work, study. They want to enjoy some funny short film in lesiure time. It is a effective way to relax. Another reason the advent and development of the mobile phone, the iPhone and other small devices could provide new venues and new popularity for short films.


Green Porno is a series of shot film. What is more, there are three elements for this short film: it had to be green, it had to have sex and it had to be a minute.
I memory in class how we appreciated.From that, we can see although the content is easy, the make up is easy, every aspects in the film is easy, it is a creative product.This is a good example for our film's idea forming. Simple, funny those most vital elements in creating a short film.

Idea from the flight

I’m very happy because of my idea and the interview is already done, and for Easter Holiday I went to Vanuatu. Because of this, our shooting schedule was delay, I’m so sorry, but yeah I still thinking about how our movie going to be looks like, is it going to be enough 5 minutes, or less or probably more. These are a few questions in my mind, I can say that I’m bit exhausted of everything, but I believe it’s going to be okay.
When I arrive back from Vanuatu to Sydney, I was sitting next to the wings of the aeroplane, it is very funny, because i was just bored and I’m just started to record the view from outside, even it was just a cloud.
Suddenly from that I realised that the wind I recorded could be useful in my movie, so I’m going to put that at the very beginning of movie, so it’s kind of introduction picture. This is will come up with words “Passio Communication” proudly present “Our Movie Title (we haven’t think about that), so yeah that will be great

By: Kathy

I found some useful information about our project. Some people also did this topic. And it is easy to get thier experiences and basic research. And I just think more target audience? Why only young people? We can enlarge the movie to media producers and parents for them to get knowledge about " stop swearing". Moreover, I think more about how to promotion and marketing our product.




There’s an interesting anti-swearing initiative which is being undertaken by a professional soccer team in the UK – Barnsley FC, from League One (the second highest level of English professional soccer).Barnsley is in Yorkshire, in the north of England, and is a traditional old mining town. Not much mining there these days ... but I’m sure the rough and ready traditions of swearing continues unaltered! Michael Parkinson – he’s a legendary English journalist and broadcaster. He was born and brought up there.There’s brief mention of Barnsley’s anti-swearing initiative on the BBC News Online web site. It says:“Barnsley will pioneer a Football League initiative whereby their players and managers will wear microphones wired up to the Oakwell (that’s the name of the ground where Barnsley play) PA system as part of an anti-swearing campaign. (Barnsley official website)”.Might be worth looking at the web sites of Barnsley FC and the Football League to find out more - and see whether I could work something similar into our campaign.





I just been looking on the Sydney Morning Herald web site ... and I see there’s a recording of a debate held in Sydney this evening which was titled: ‘Freedom of expression or license to offend?’








Most people believe in freedom of expression – up to a point. Few would support the yob who maliciously yells ‘fire’ in a crowded theater? But what of the artist who offends our ideas of innocence? Or the politician who stokes the flames of racial hatred? Or the cleric who preaches that all other faiths are false? Under what circumstances, if any, might we silence those who offend – one, some, many?


Ripina Nguyen

Entry after break, warm up.

Today we come back class after break. Some of group have done the movie. They show us and get experiences. They are really good. I like the their ideals. However the ways the bring script to audience are not clear and impressive. It is general and very similar with others. I know that they try so much in their job. We have some experience about the sound when we shooting. It is important, because sometime we cannot open the sound or it is not loud enough. And the camera men must keep camera stable and avoid moving so much. It annoyed audiences.





I found an interesting article about the sound and What should sound sound like?
When you stand in the stereo showroom, or when you move your speakers around the family room, how do you know when the sound sounds right? When THX creator Tomlinson Holman designs crossover circuitry or specifies speaker type and placement, how does he know when he has it right? Discussing the home THX system, Holman stresses the importance of making films sound in the home just as they do on the dubbing stage or in the theater.[1] But that only begs the question--How do the people who design theater acoustics know when the sound sounds right? In fact, how do any of us decide whether a sound reproducing system represents the original sounds properly?

Clearly, it's not simply a question of fidelity to the original sound source. How many of us have actually heard Toscanini at La Scala or the final mix of Star Wars on the dubbing stage? Yet even though we' ve never heard the original, we have very clear ideas of how the copy should sound. In fact, depending on our hearing experience, we harbor quite divergent ideas about how Toscanini--and everything else--should sound. When Aesop's Country Mouse paid a visit to his city-dwelling cousin, he found the urban soundscape not to his liking at all. Indeed, if the City Mouse were to drop in on his country cousin, he would probably conclude that there is something 'unnatural' about a nocturnal soundtrack featuring no more than the sound of crickets. For we learn to hear by hearing, and in doing so we form quite specific notions about how sound should sound.

To an extent as yet unrecognized, cinema sound depends heavily on the very same process. Though it is typically studied as an independent phenomenon, the history of film sound cannot be properly understood unless it is correlated with the major sound practices of each era. By listening to available sound, each generation learns just what constitutes acceptable sound. But since the sound available to each generation changes with transformations of taste and technology, it stands to reason that the standards by which cinema sound is judged must vary from decade to decade.





These changes are reflected throughout the history of cinema through such developments as increased frequency and dynamicrange, modifications in the role accorded to music, shifts in the relationship between sound scale and image scale, and innovations like stereo or surround sound. Changing notions of how sound should sound are thus readable through the history of variouscinema sound practices. In particular, a fascinating record of varying spectator expectations regarding sound is encapsulated in decisions as simple as the placement of speakers in the theater.

Unless they happen to be sitting next to a misbehaved surround speaker or watching a stereo film with a dead channel, most people pay little attention to the location of speakers. Indeed, theater designers have systematically followed Hollywood's tendency to dissimulate technology inside the theater (even though it is often touted on the marquee outside), so much so that most spectators have literally never even seen a cinema speaker (other than the surrounds). Yet the location of speakers is remarkably indicative of contemporary presuppositions about sound. Indeed, the history of cinema sound may conveniently be divided into five periods, each featuring a different speaker configuration designed to match cinema sound to current standards of how sound should sound.

During the latter half of the 1900s, the cinema industry entered into a profound crisis. With the rise of the nickelodeon, the number of theaters exhibiting films had grown so rapidly that producers were unable to meet demand. Forced to show the same film as the competitor down the block, theater owners looked to sound practices to differentiate their products.

Where previous films had been only intermittently accompanied by a vaudeville orchestra, a lone untrained pianist, or not at all, exhibitors now sought to raise the tone of their establishments through sound. Eschewing popular music and ragtime, theaters instead increasingly featured light classical accompaniment performed by competent musicians.

Before continuous musical accompaniment became the rule, however, enterprising exhibitors labored mightily to make films sound like live theater. From 1908 to the early Teens, the human voice commonly accompanied film projections. During the late Aughts, films were often supplemented by carefully rehearsed actors speaking lines in sync with the image. Indeed, there were enough "talking picture" troupes (calling themselves Humanovo, Actologue, Ta-Mo-Pic, and the like) to support a New York academy dedicated to training behind-the-screen actors. For theaters unable to afford the full troupe, a live narrator was often used to secure the narrative coherence of films longer on spectacle than clarity.

The real attention-getters, however, were the dozens of experiments with sound-on-disc synchronization. The first of these systems to achieve a modicum of success was Cameraphone, an avowed attempt to can vaudeville performances--image and sound --for inexpensive distribution to the hinterlands. With one hundred locations by the end of 1908, and continued expansion in 1909, Cameraphone was soon joined by a bevy of imitators: Vivaphone, Electrograph, Phoneidograph, Picturephone, Phonoscope, Gaumont's Chronophone, the British Cine-phone, and many others, culminating in 1913 with Edison's ill-fated Kinetophone. Every one of these systems, it should be noted, aims not at providing synchronized musical accompaniment, but at reproducing the human voice (in keeping with the current generic term for the phonograph: "talking machine" ). It is thus hardly surprising that, after many experiments locating the loud speaker near the projector (the simplest solution) or to the side of the screen (the traditional arrangement for combined slide and phonograph presentations), virtually every early synchronized sound system settled on a speaker location behind the screen (fig. 1), where the resultant sound could most easily be assimilated to the body of the characters observed on the screen.

Primarily the province of undercapitalized, independent enterprises, sound-on-disc fell prey by the early Teens to a systematic producer campaign to feature continuous musical accompaniment and narrative sound effects in preference to the human voice. By the mid-Twenties, light classical orchestral or organ accompaniment had become so pervasive as to relegate speech entirely to the written form of inter-titles.

It is thus not so much the technology that changes with the Vitaphone system that precipitated Hollywood's conversion to sound in the late Twenties. After all, even though it benefits from Bell Laboratories' advances in electric recording and amplification, Vitaphone is still nothing more than an improved version of the dozens of sound-on-disc systems popular around 1910. Important changes had come not in technology alone, but also in audience expectations regarding sound. No longer was speech the film accompaniment of choice. Instead, discs were called upon to provide the expected musical support for films that continued to carry speech on intertitles.

When the Vitaphone system was first exploited commercially in 1926, we thus find an entirely new speaker configuration, again reflecting current assumptions about what kind of sound merits reproducing. While one speaker is maintained behind the screen--in order to reproduce infrequent speeches, like Will Hays's introduction to the initial Vitaphone shorts program--the other is located in the orchestra pit, pointing upwards, simulating the sound of the orchestra it has displaced (fig. 2). Pity the poor projectionist, frantically switching back and forth from one speaker to the other, according to the type of sound reproduced.

From the films produced for the Vita-phone system during its first year of operation, it is clear that Warners thought of synchronized sound as serving alternately one of two purposes: either to replicate music or to serve as a public address system (hardly surprising, since the Bell Labs research leading to Vitaphone had included the development of a new public address system and a new phonograph, the Orthophonic Victrola). The first Vitaphone shorts systematically stress musical uses, while the first year's features range from Don Juan's ninety- nine percent musical accompaniment (August 1926) to tentative experiments with what we might call "megaphone speech" in The First Auto (June 1927). While the latter film uses intertitles for all normal conversation, the Vitaphone system is pressed into service each time a character shouts or calls out to another character, thus taking advantage of the public address-like amplification provided by the behind-the-screen speaker quite properly identified as loud.

Designed primarily for sounds made to be amplified, sounds that their makers seek to project to a larger public, the Vitaphone system nevertheless proved unable to determine its own fate, for technologies depend as much on their use as vice versa. Starting with The Jazz Singer in October 1927, audiences were increasingly exposed to a new kind of sound--not the theatrical kind meant to be projected to a larger public, but a new more intimate sound that is presented as private, and thus can only be overheard. When Jolson sings to the crowd in Coffee Dan' s, like generations of vaudeville and theatrical performers before him he is purposely projecting his voice to a large audience; but when he sings and talks privately to his mother, an entirely new kind of relationship is established between the performer and the amplification system. At Coffee Dan's, performer and technology are aligned, the amplifying potential of the one overtly serving the other's amplificatory purpose; in the privacy of the family living room, however, the amplifying technology operates in spite of and against Jolson's quiet demeanor, thus changing us spectators from the destined audience of a self- conscious performer to a group of auditory voyeurs intent on hearing sounds that are not meant for us.

The new function of the antiquated sound-on-disc technology spawned by this important change in filmmaking style is reflected as of 1929 by a revised loudspeaker configuration. No longer present to replace the orchestra, the sound now abandons the pit to settle fully behind the screen. Whereas 1926 sound practice recognized the pit orchestra as the source of all music (typically thought of as accompaniment), the many musical films of the 1927-29 period increasingly locate the source of music on the screen. As revealed in a 1929 Western Electric ad (fig. 3), this new standard is recognized in theaters by henceforth placing both speakers behind the screen, so that all sound can once again be identified with the activity presented on that screen.

Note that there is nothing particularly logical about this change. Why should the voice of Fox's Movietone News announcer come from behind the screen? It would make more sense to identify him with the projection of the film by locating his speaker near the projector, or to recognize his off-screen status by placing his speaker next to the screen. Locating his voice behind the screen creates a spurious identification between the announcer and the images he presents. And of course it is precisely this identification that the new arrangement seeks to establish. Increasingly, during Hollywood's heyday, the screen displaces all other aspects of the film experience, to the point where generations of film theorists have assumed that the whole of the cinema may be reduced to the screen alone, thus missing the point that the speakers of Hollywood's classical period are dissimulated behind the screen on purpose, in order to hide the real source of the sound by attributing it to the image.

Ironically, the turn away from the classical tendency to dissimulate sound sources occurs as a side effect of a movement designed to increase identification between sound and image. Not content with a generalized correspondence between screen image and behind-the-screen sound, technicians caught up in the high-fidelity movement sought to enhance the spatial correspondences between cinema sound and image. Following up on the 1933 Bell Labs experiments with broadcast stereo, in 1940 Western Electric demonstrated a four-track stereo system (left-center-right- control) aimed instead at the recording industry. Before stereo records began to flood American markets in the late Fifties, however, stereo had been adopted by the cinema industry under the most confused of circumstances. First introduced in Cinerama's early Fifties travelogue extravaganzas, cinema stereo was given the double task of meeting the needs both of fidelity (accurate spatialization) and of spectacle (rapid, energetic movement). Only the familiar ping-pong sound of early stereo records and films could simultaneously capture these two standards, yet the panning of dialog across a wide screen and back ran directly counter to the expectations of both cinema spectators (who had been trained to expect single-source sound by classical Hollywood films and speaker placement) and home high-fidelity listeners (who had been trained to regard monaural reproduction as the norm).

When Fox tried to impose magnetic stereo on all CinemaScope users, four-track for 35mm (left-center-right-surround) and six-track for 70mm (adding half-left and half-right channels), they thus found themselves bucking both economic and representational objections. While the fully panned dialog championed in the mid-Fifties by Fox and Todd-AO offered gains in a certain sort of fidelity, it failed to match current (monaural) notions of high fidelity. The surround speakers created the inverse problem. Used only intermittently, usually to reinforce spectacular visual effects, surround sound worked directly against the ideal of spatial fidelity applied to the three direction-al front speakers. So contradictory did this system appear that most studios simply refused to follow Fox's lead. As John Belton reports, M-G-M, Warners, Columbia, and Universal refused to ping-pong dialog, reproducing it instead in mono, while most studios shied away from the surrounds, with Columbia never using the fourth channel at all.[2]

The parallel development of stereo sound for music and cinema over the past forty years offers a fascinating view of the way in which technological systems may be retrofitted to existing standards. To make a longstory short, the difficulty of matching Fifties cinema stereo to current monaural standards led to virtual abandonment of stereo as a narrative tool during the Sixties and early Seventies, with only music regularly receiving stereo treatment (in keeping with stereo's conquest of the home music market during this period). Surround channels were so seldom used that surround speakers fell into disrepair, offering more static than anything else.

However, the late Seventies application of the new Dolby optical stereo variable area matrixing with improved noise reduction to Star Wars, Close Encounters of the Third Kind, and other fantasy blockbusters initiated a new era in speaker usage (fig. 4). At first, a new generation of sound specialists labored mightily to employ the surround speakers to enhance spatial fidelity. Having failed to learn a lesson from the mistakes of Fifties stereo technicians, the sound designers of the post-Star Wars era regularly placed spatially faithful narrative information in the surround channel. Recalling the 3-D craze in the mid-Fifties, for a few years every menace, every attack, every emotional scene seemed to begin or end behind the spectators. Finally, it seemed, the surround channel had become an integral part of the film's fundamental narrative fiber.

But not for long. Listening to theatrical reproduction of the sound he had designed for Star Wars and its sequel, The Empire Strikes Back, Ben Burtt discovered that due to poor equipment and managerial disinter- est the narrative sound events he had carefully placed on the surround channel were simply not being properly played in the theaters.[3] Starting in 1983 with the third film in the series, The Return of the Jedi, Burtt initiated a new strategy, soon emulated by other sound designers. All narrative information would henceforth emanate from the front speakers, with the surrounds used for spectacular (but nonessential) enhancements. Thus freed from any responsibility to present narrative events or even spatial fidelity, the surrounds began a new career (especially in fantasy or horror films) as purveyors of spectacular effects. Not since the antics of the vaudeville-trained drummer accompanying silent comedy had cinema accorded such a place of independence and honor to sound effects.

While the surrounds were being liberated from the demands of spatial fidelity or narrative relevance, a similar transformation was taking place with the front speakers. Since channels two and four of all six-channel 70mm prints (feeding the half-left and half-right speakers) had long since been simply extrapolated from a four-track master, they offered no new information. Beginning with Star Wars, a new function was assigned to these speakers: to provide a boost for available low frequency sound. Corresponding with Hollywood's renewed attempt to attract the youth market through concentration on sci-fi, adventure, horror, and musical superproductions, the creation of two "baby boom" channels realigned cinema sound with a new and unexpected model, the rock concert with its characteristic overamplification and earth- shaking bass.

Whereas Thirties film practice fostered unconscious visual and psychological spectator identification with characters who appear as a perfect amalgam of image and sound, the Eighties ushered in a new kind of visceral identification, dependent on the sound system's overt ability, through bone-rattling bass and unexpected surround effects, to cause spectators to vibrate-- quite literally--with the entire narrative space. It is thus no longer the eyes, the ears, and the brain that alone initiate identification and maintain contact with a sonic source; instead, it is the whole body that establishes a relationship, marching to the beat of a different woofer. Where sound was once hidden behind the image in order to allow more complete identification with that image, now the sound source is flaunted, fostering a separate sonic identification contesting the limited, rational draw of the image and its visible characters.

By the time the "baby boom" speakers and the surrounds had been liberated from narrative responsibilities, the center channel had already become specialized in dialog reproduction. So deep-rooted is Hollywood's dedication to dialog intelligibility (we mustn't forget that the conversion to sound was initiated by the ultimate purveyors of dialog: the telephone company and its subsidiaries), that nothing but perfectly understandable dialog could possibly satisfy spectator expectations. Given Hollywood' s establishment during the Thirties of a clear preference for clarity of dialog over careful matching of sound and image scales, it is hardly surprising that stereo imaging would eventually be reserved primarily for music, with dialog being routed uniquely through the center speaker.

What we see taking place over the past forty years is thus a systematic dismantling of the unified classical Hollywood system whereby all sounds would be fused into a single, unified soundtrack and funneled through a single cluster of speakers behind the screen. Creating the fiction that all sound derives from and serves the image (the familiar myth that has led to such a high level of disregard for cinema sound in general), this classical flamework has been done away with by broad dissemination, over the past decade, of a new system of discrete parts. Whereas the soundtracks of the Thirties and Forties were marked by their ability to share a single invisible loudspeaker (or a cluster of speakers all reproducing the same sound at the same time), the new approach offers four virtually independent sound outlets, each separately engineered and visibly located to serve a specific need and to correspond to a different set of sound standards.

The new configuration and its purposes are most obvious in the many proprietary home audio/video systems (including the home version of THX) that use Dolby Pro Logic encoding to emulate the cinema theater situation. Receivers featuring Yamaha's Digital Sound Field Processing, for example, offer six speaker outputs (digitally processed from the four tracks on Dolby-encoded laserdiscs): left-center-right-left surround-right surround-subwoofer (fig. 5). In 1929, these six channels would have made no sense whatever, but when considered in terms of the multiple and varying requirements enforced by our soundscape and our listening experience, they openly reveal their source and function.

The left and right speakers offer standard stereo. Over the last quarter- century, stereo has become increasingly specialized in the reproduction of music (records, tapes, CDs, FM multiplexes, most uses of TV stereo), while narrative uses of the very same media (particularly radio and television) have remained in the monaural mode. The left and right channels of homevideo systems are thus primarily dedicated to the reproduction of music. In fact, all Pro Logic receivers offer the option of returning the system to a traditional home stereo mode, routing music from nonvideo sources solely through the left and right channels, while dosing down all other channels.

The center speaker offers a separate monaural channel, to which all dialog is shunted. Listening to the center channel is like listening to a telephone during a music concert, simultaneously satisfying our expectations for music reproduction (large room with high levels of long, slow reverberation and a wide frequency range) along with the standards that we have learned to apply to dialog transmission (spacelessness and no reverb, with a relatively narrow frequency range).

By virtue of its physical separation from the screen and because it carries no sound events of crucial narrative importance, the surround channel (or two channels in the case of THX, Yamaha, and certain other processors) is released from the standards we apply to the front channels (directional fidelity for the stereo left/right combination; equal intelligibility throughout the theater for the center). Seeking "effects that are out of this world" (as a recent Adcom ad suggests), contemporary films commonly create domains in which any sound effect, however farfetched, will be deemed acceptable. Not just the fantasy worlds of outer space and Transylvania, but also the apparently realistic realms of heavy military machinery and undersea exploration create atmospheres in which synthesized or digitally massaged sounds coming through the surround speakers can add to our pleasure, in spite of--or rather because of-our inability to judge whether the sounds we are hearing have any correspondence to reality.

Note how different this logic is from the standards applied to the limited number of effects fed through the left and right frontspeakers, which are judged by altogether different notions of spatial fidelity.

Derived from the baby boom speakers in 70mm theaters, the subwoofer reproduces all low frequency sounds. In addition to extending the bass response of speakers with insufficient bass extension, the subwoofer' s floor-shaking capacity offers the possibility of representing cinema as a more participatory event. Yamaha's ad says that "Cinema DSP blurs the line between watching a movie and actually being in one." It might well have said that subwoofers blur the line between listening to film music and actually being present at a rock concert, thus radically modifying the identificatory relationship between the audience and the film.

Just as all modern music speakers involve a combination of woofers, midrange, and tweeters, each serving a specific purpose and range governed by a network of crossovers, so current theatrical and home configurations involve a series of quite different speakers, each dedicated to a different purpose, connected by Dolby Pro Logic and the twin needs of narrative and spectacle. While the logic is the same as it was in 1909, with the success of the technology depending in large part on its ability to conform to contemporary notions of what kind of sound deserves reproduction, and how that sound should sound, today's results are far removed from those of the beginning or even the middle of the century. Instead of alternately satisfying divergent sound needs through differing sound systems and speaker configurations, we have entered into an era where careful manipulation of technology and representation alike have made it increasingly possible to satisfy a large number of contradictory needs simultaneously.

As sound technology becomes increasingly microminiaturized--moving first from theater to home and now to multimedia computer workstation- -it is tempting to speculate about future developments. Will CD-ROM- equipped computers need center speakers if they are to be used for talking books or voice-illustrated encyclopedias? Will they have built- in subwoofers next year, so as to provide the bass response needed for certain styles of music? Will they feature FM connections to surround speakers, so that video games will feel truly wrap-around? We live in exciting times, which only become more fascinating when we apply to them the logic systematically applied to past developments in sound: in order to succeed, each new sound technology must satisfy the needs created by the other sound practices to which potential consumers are accustomed.

Ripina Nguyen

Research about the original of topic Swearing- by fanli

Now, we see some facts I found online. "In the Western, English-speaking world, people from every race, class and level of education swear. In America, 72% of men and 58% of women swear in public. The same is true for 74% of 18 to 34 years olds and 48% of people who are over age 55". This statics shows swearing become a social problem on the way, especially the young. In my opinion, the reasons of swearing can classify two big pionts: external influence and individual psychology problems. External influence, such as some TV, talk shows are interested to use swearing words, some online videos, online materials. The individual psychology problems, such as they consider talk swearing words it is a best wat to outlet for strong emotions, establish a group identity.


These also some facts about swearing. "Western society generally views swearing as more appropriate for men than for women. Women aho swear appear to violate more socaital taboos than men who swear. People also tend to judge women more harshly than men for their use of obscenities. Society in general can also make moral judgements about women who swear and use non-standard English. In general, women also believe swear words are more powerful and express more guilt about using them than men do".


Our campaign 'Stop swearing' is to raise awareness about swearing. It will also help people to improve their lifestyle and admit a problem with crusing. According to these conceptual development, our group film shooting will begin soon. Hope everything will be all right.

Soundtrack -by Fanli

Hi,guys. I am Fanli. This post I want to talk about my understanding of soundtrack in a short film. The soundtrack is that the music that goes with whatever is happening in the film. The soundtrack is imporant part to evaluate is it a good film or not.

Firstly, we should clearly recognize the genre of film we plan to make. It is documentary, drama, or interview etc. And then you can decide which style of soundtrack neet to create. We can research and try some free online shareware programs or if use professional computer, we can use GarageBand to play. In the course of shotting, soundtrack must be not so perfect. It need to import these into computer. Using editing programe and then add in the film. Using proper soundtrack is a key piont to film producers. Make sure soundtrack used is needed. It helps to appreciate the film not to distract your audience.


Our film "Swear or not Swear", the target audience is young people in Insearch UTS from 18 to 25 years old students. The soundtrack in the film must be interested and suited in young, such as in the old lady dance with mobile. We can choose some excited and strong rhythm to arrouse the young attention.The most vital is that we should have great patience to make a good soundtrack.

Interview with Quentin

After I finished of my idea for our movie, Toula said that it would be good to have some interview with some people who already got experience to make or help to produce the movies.
So I asked my English teacher from Insearch, His name is Quentin and he was helped some of the UTS student to make the movie, so I asked His opinion about our movie and asked for more suggestion
Through this interview, he said that our movie script was great, it is very nice and quiet funny, but he bit confused about the grandmother dancing. He said that why the grandmother dancing, is that portray of she is angry and just want to have some attention or because she is angry. Well for me this is a good question, so I told him that, this grandmother portray of what old people usually doing, when they are speaking to young people its very rarely that young people give a respect to hem, also this is an advertisement about swearing, some advertisement cant said like please stop swearing, coz when we said that directly, its just make the target audience pissed off and they will feel like we are their parents who are the one always said that when they are small, so from here we want to find any other way to give them attraction which is can make their understand, without feel any strange. Also we try to make a funny stuff to make our target audience not to feel boring or too serious.
After I explained to him, he understood and he said that very good actually, and it’s the best place, garden or park it’s a public places as well, so you don’t need to do the difficult shoot such as Bus or any other place. Another thinks are he mentioned that he didn’t had any experience to made a movie but he had experience as an actor because he took school of arts in performance, so he had experience in performance, but he likes to help people to give suggestion to made movie.
I also got his podcast, so everyone can listen our interview. Through this I can become more reliable to make a movie, it is not that easy job, but all I need is just show everything in detail.

By: Kathy

The Important thing for making a film

Hi guys today I got one video in youtube about filming.
For me that video its really good and usefull for our filming, from this video I can know what is the really important thing should I do before we start making film. The title of this video is "How to Make a Movie: Shot Lists & Storyboards: Moving Making Tips".
The boys in this video explain about the shot list and the storyboard really clearly. Storyboard is an extremely valuable tool. Basically storyboard it can be like a cartoon, or we can use pencil drawing to make a storyboard of all the actor on set, inside the frame.

Actually storyboard it just a quick visual snapshot of what's going on particular scene. Based on my experience we make a storyboard before we do the filming. So, it can help us more easily to get the shot. If you already make a storyboard before you start your filming you can just follow the shot from your storyboard.
Also in this video he recommended to us to use storyboard before we making our video.

And the important thing is shot list. Shot list is A shot is an uninterrupted sequence of frames taken by a video camera. In other words, this is the continuous film taken from when the camera has been turned on to when it has been turned off. A list of shots helps in the planning and filming of your movie. An example of a shot list can be seen below

Camera Shot List:
Location Scene # Framing Camera POV Camera/Lighting Instructions Action, Dialogue
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Based on this video, a shot list is done between a director, sometimes assistant director if they need to consult with the unit production manager to producer. Shot list is really important for making film. Any director even the first director will make a shot list for their filming. Without shot list, you will get trouble, over schedule, and might be over budget.

Posted by Karina Ekasari S

Make a good short film-by fanli

How to make a good short film? How to make a successful short film? I research so many online materials and library books. I sum up some elements.

Firstly, the short film should have interesting and exciting original idea. It is the basic. Researchh film's target audience.What your audience interested? How old? Whcih social class they stay?...All these information are considered aspects. Collect all materials from primary and secondary resources. It is short film which need more directly to display the purpose and the spirit of creation. And then how to design strong script? In a short film, how to effectively represent characters' role to create successful image? I think one of the most importants aspect is script. Thirdly, a short film should emphasis the theme all the time. The time is limited. As a film producer, what you think just in a limited time to repeat your theme in an effective and logic way, such as in a documentary film,like stop smoking. The most easy way like we can use black background added white subtiles to emphsis: stop smoking continued in the whole documentary. What is more, some film producers say: good beginning is most vital in film unit. If a short film has a boring beginning. How can your audience spend time watching this. In this piont, we should consider deep about our target audience need. They like special beginning or interesting beginning. All of these also focus the represented theme. In addition, such as acting, shooting, editing all these perfect operation can create a good short film.


Know about these theories and important information and then consider about our group short film in the course of create.Fighting! In next post, I will show some research information about our topic stop swearing, my understanding and opinions about our group film. Cheer up!!!

The special effect

Im just finish watching Knowing (Nicholas cage) movie and i really like the special effect from that movie, especially from the ending movie.

Through this movie, i really want to have some special effect for our short movie, not that big special effects like in 'Knowing', but im just want to put like some caricature character.

So this is my idea, if i can, i want to make the actor/ actress like real, but their skin looks like some caricature, or like rough drawing with pencil. If its too difficult then i will just trying to just make that at the ending movie. So it will be like the grandmother finish dancing and just walk away, and i will make the background the grandmother bit blur and put that caricature effects, while the words come up.

I;ve been speaking with Kathy, and she said that she is really like my idea, but i really need to make it very clear. Well will see, i will do my best

By: Karina

Getting pretty pictures

As camerawomen for our short movie, i had read book about how to get pretty picture.
This book was borrowed by Kathy, the title is Film making for teens.

From here, i was wondering i never seen some ugly movie, isn't? But for boring films, stupid films and bad actor, i;ve seen that, so how people will know and avoided to make your short movie doesnt look ugly?


These are the tips:

Do:
Use a tripod
Use a variety camera angles and heights
Shoot in locations that are visually interesting
Fill the frame with some interesting

Donts:
Do not use autofocus
Do not use zoom
Do not put every actor in the middle of the screen
Do not shoot with very strong light behind or above your characters.

Wow, this is very good for me, all this tips just give some information getting pretty pictures

By: Karina

Special Effects Make up

On week 7, in class Toula shows us an interesting series of very short films. They are created bu Isabella Rossellini. They talk about the sex life of bugs, insects and various creatures. In fact the content of this film is simple. It can applies in education for child. However, the series are so interesting, es specially the make up.
And I am so impressive with the effect make up in the series. That's why I find some books that talk about that such as Special Effects Make-up: For Film and Theater (Special Effects) (Paperback)by Janus Vinther. This book is so useful for me.
Come back to our topic and script, it is very close to our life. But if we want to make it special, we should think about how to create some strange and new in characters, in actions, in outfit, and in make up as well.


From this book I have found: there are three categories in make up for film:



*
Basic - designed to compensate for undesirable changes in appearance introduced by the television process.
*
Corrective - designed to enhance positive attributes and downplay flaws.
*
Character - which introduces major changes in appearance
Although people might think that makeup is reserved for people "who just want to look better" on TV or in film, in actual fact, makeup may be required to just retain a subject's normal appearance.

This is because the television and film processes to some degree can introduce (or make obvious) undesirable attributes to skin tones and features.
After making up the lighting is also important make the make up effective.
Makeup should always be checked, and if possible even applied, under the lighting that will be used in photographing the subject.
Even when video cameras are properly color balanced, sunlight, incandescent, and fluorescent lighting will all affect subject matter in different ways. For this reason, many makeup mirrors have adjustments for each of these types of light.

This consideration is particularly important with standard fluorescent light (if you can't avoid that type of lighting) because these lights tend to be low in red light and high in green.

Because normal skin tones contain a significant amount of green to start with, you may note obvious green skin tones under standard fluorescent light. The problem may be compounded if the makeup, itself, has green elements.

This is just another reason that you should use a high-quality, properly color-balanced video monitor to check the results.
In our film we have an old lady. It is hard for us to find an old lady actress. We discuss and think the best way we use the make up, it will be fun and we can explore the process to produce the film.

Ripina