Today our group spoke with our teacher and we discussed our deadline, what we had done so far and what we needed to get finished. So far we’ve completed basic editing of our footage on premier. All that’s left is to add transitions and effects, which we shall be able to have a better grasp on once we’ve added our 1960s influenced music in.
The voices for the soundtrack have been recorded, we’ve chosen a male voice and then to have an accompanying female voice in the chorus. Due to our group refining the soundtrack we decided to take apart the instrumental from the lyrics and edit them separably to our opening scene, we have done this so that the soundtrack is more in keeping with the timing of our opening scene.
All that’s left to do is to finish adding percussion and effects on the computer, then to transfer the file into a file type that we will be able to play as a backing tack for our opening sequence.
Finally titles need to be added into our film opening. Based on our analysis of credits and 60s and 60’s influenced films we will discuss how we shall format our own titles in order to reflect a professional appearance.
Adramatic conventionis a
set ofrules, which both the
audience andactorsare familiar with and which act as a useful way of
quickly signifying the nature of the action or of a character.
Technical conventions
can include lighting, dialogue, monologue, set, costuming and entrances/exits.
We use these dramatic
conventions throughout Cry To Me Cindy to create a love hate relationship
between the audience and the character. The lighting is low key, to accentuate
the gritty teenage lifestyle, and the
make-up is heavily applied to accentuate all the element of being a peer pressured
individual. The costume was designed to represent this character as a spirited
teenager, but the heels infer that she is taking on too much and might not be
ready for what she is about to do. The location was specifically important in
conforming to the conventions of a drama, due to it being the most intimate
place where the character develops outside social areas. This in all signifies
the true nature of the character and signifies her true identity before the façade
is placed.
Distribution companies
There are many distribution companies that would be suitable for distributing our film, such as the following:
Working Title 2 Film Four Heyday Films Fox searchlight Vertigo BBC Films
The two distribution companies that i feel are best for distributing Cry To Me Cindy, is working title 2 and film four. This is due to the striking films that they have distributed such as slumdog millionaire, This is England, The Inbetweeners, The Iron Lady e.c.t and i feel that these films such as This is England and slumdog millionaire present a hard hitting narrative that the audience can reflect on. I believe Cry To Me Cindy has a hard hitting narrative that the audience can reflect on their culture and actions.
At a time when copyright issues are so central in the entertainment industry, film
credits are likely to become more and more important. Furthermore, in an environment
full of clutter, the first impression of the film in the movie theater, or on the television
screen, prepares the viewer for what is to come just like the cover of a book. In this
respect, film credits fulfill the important role of outlining the filmmaker's intentions and
setting up the expectations of those watching.
In order to analyse film credits successfully, one needs to look at how and why
film credits have evolved into their current form. This way, one can understand the
influences behind contemporary title design.
For this project, i am going to analyse opening film credits to grasp an understanding on how and why production comapnies have presented them.
The opening shot bestows a bold, simplistic font that catches the reader’s attention instantly. The colours used are a garish white to introduce the production company, thus making them a primary factor within the opening scene, implying confidence in contrast to the symbolic chaste colour. This colour used could also suggest empowerment towards the production company as white also has the connotations of holiness. The font shown is in the middle of the screen so that the audience’s attention is focused there; the word ‘PRESENTS’ is in a smaller font below the production company to suggest that it is insignificant in comparison to the company and is subordinate to it. This white colour is placed upon a green background, which seems to visually represent the textual material of grass, which suggests a natural organic theme. Being this colour also shows the contrast between the font and the background so that the audience’s attention is focused primarily towards the font instead of the background. The grass is also seen to look animated, which could refer to a façade that might later on be told as the story progresses. The production font lasts on the screen for one second. The next font to be shown on the same background is ‘A CARLO PONTI PRODUCTION’ this font is translucent, revealing fragments of a moving image within the letters, this builds up suspense and tension, which engages the reader. The moving image is dark and muffled which also creates enigma as well as giving the font a glossy and expensive effect. This font lasts for 6 seconds which means that they have the prevalence. Both these fonts have included a clear cut so that the audience recognises the change in font and what the font is about. The title is then revealed in a large font which encompasses most of the space on screen; this font is specifically enlarged to grab the reader’s attention to the title. The large font and the way it enters the scene accentuates the name of the film ‘BLOW UP’; the font still being situated on the green background. This enlarged font is also transparent and enables the reader to grasp more knowledge of the moving image. Even though this image, like the one before, has no significance to the audience yet, it is becoming more comprehendible as we can establish a man processing a camera with other cast members moving around him. This Title lasts for 6 seconds until the title comes towards the camera till fully disappeared; thus drawing in, involving, and engaging the audience into the film for a couple of seconds until almost instantly the image is veiled again by the organic green background and they are taken back to the opening titles; this is subjecting the audience to snippets and separate scenes that they try and make sense of, thus empowering the production company and leave the audience wanting more. This builds up a climax due to the fact that the audience think the film is going to start but essentially turns into an anti –climax.
The next font to be shown is the staring list which presents three names and lasts for 7 seconds. The font is again bold but in a colour of blue against the green background, but this time depicts what looks to be a woman posing within the letters. The impression given then becomes more sexualised rather than obscure. The letters shown take up most of the space which emphasises the importance of these characters, and the fact that they share the same font size suggest that they are as important as one another. The order in which the names are presented also show relevance in importance as there are two female names before the male name, which could suggest that the movie is more heavily focused on woman than the male gender.
The next part of the opening scene shows the ‘WITH’ list who are in much smaller font which suggest that they are subordinate to the other names mentioned, implying that they will not be a prominent feature within the film. Throughout the duration of this font the woman posing in the background is still shown which shows her to have prevalence. The font structure is presented through a more systematic approach resembling a column layout. This last for eight seconds but does not denote it to have more status as the leading actors, due to the larger amount of names that is presented.
The Director of photography, stating the way the film was shot appears on the screen for 6 seconds. With the less important information placed at the bottom right hand side of the screen in an increasingly smaller font. Furthermore, Music for five seconds as was the Dress Designer, Assistant Director, Sound Recordist and Location Manager, who apart from music shared one page in a small font that appear in all four sides of the screen, suggesting that they are not as major as the former roles.
For a further 12 seconds there is presented three long lists of job roles and their names. The fonts for these are very small suggesting that they play minor rolls. They then for a split second cut back to the almost animated grass before presenting the Art Director; I believe they have done this to separate all the different directors from the cast members and prop designers as they did this also before they introduced the cast members and prop designers. The Art director, in bigger font than the last to be shown, features for 5 seconds before the Executive producer is presented singularly at the bottom left hand corner for a further 5 seconds. Additionally, for 5 seconds the ‘STORY BY’ ‘SCREENPLAY BY’, ‘PRODUCED BY’ and ‘DIRECTED BY’; all on separate pages are presented, but with the ‘PRODUCED BY’ being in small in the bottom right corner, it allows there to be a bigger entry for ‘DIRECTED BY’ when that appears last in the middle of the page. The 'DIRECTED BY’ is in a smaller font in comparison to the name of the Director ‘MICHELANGELO ANTONIONI’ so that the Director is more emphasised and is empowered, this is the last font to be shown before the full storyline begins. After this font ends so does the green background, by using juxtaposition we are cut from an organic connotation to a much urbanised long shot.
Throughout the final shots that present the ‘DIRECTOR’ and other various people that attributed to the film, the woman is still being shown through the translucent font, which suggest female dominance.
As the font progresses so does the storyline. You start to see that the different snippets are fragments of the same scene but from different angles and different closeness. It illustrates men to be the voyeur towards this woman posing on a building, with one man holding a camera in hand.
There is Non- diegetic sound that runs throughout the whole opening scene. I believe they have done this so that the attention does not stem away too much into a dialogue. By doing this the producers make the audience unsure about what is going on; creating suspense and withholding the audience.
What characteristics would you expect to see in a teenager aspiring to be a model in the 1960’s?
When they have seen the two minute opening scene
What era do you think this film is based?
What do image do you think the character is trying to portray?
Do you like this opening scene if so why? And if not why?
What audience do you think will be interested in watching this film?
Would you watch this film from the opening scene?
We will show this to numeral members of the public, and the information that we will receive will help us to determine what type of audience will watch our film and what things we would need to tweak to make it more appealing.
Modeling industry
The Modeling Industry has always been image conscious throughout multiple generations. The Modeling Industry particularly in the 1960's became more body conscious due to the fashion changed that happened in the 60's. The 50's was a time of curvaceous woman in comparison to the 60's where Twiggy brought in the 'boyish' figure; due to this abrupt change in society woman were subjected to pear pressure, struggling with weight-lose to fit the fashionably revealing outfits, such as the mini skirt.
People have sung protest songs throughout human history. Wherever people are oppressed or united in a common struggle, someone will voice strong feelings in song. The 1960s came to be known as the decade for protest with the twin causes of the Vietnam War and the lack of civil rights for African Americans. Some of these songs became anthems and still resonate today. They were the inspiration in countless demonstrations and marches.
Published in 1962, Bob Dylan expresses to the listener that by taking away the innocence of these young men who arebeing forced into war, there will be a devastating results which includes the death of these men.
Artists and bands use alliteration and repetition to help certain verses stick in the listener's mind. Bob Dylan's lyrics are, for the most part, very poetic and sometimes ambiguous in meaning. His song "A Hard Rain's A-Gonna Fall" shows how the use of these devices benefit his attempts to voice his opinion on war, more specifically the Vietnam War; we also do this throughout our own lyrics to express Cindy's need for help due to her live fast die young, demanding lifestyle 'oh Cindy Cry for me, oh Cindy lie to me, oh Cindy get high for me' the repetition used shows the strain and pressure that Cindy has to endure, and also illustrates how lengthy her strain lasts. The words we have used also presents them to have an imperative tone rather than a free-willing one, to ironically counteract how wild and outrageous her lifestyle is.
Released in 1967, this song was extremely popular, and its Album sgt.Pepper's Lonely Hearts Club Band became the biggest selling studio album internationally. The lyrics of the song — which is commonly believed to be about an acid trip — feature image-laden verses which present an overtly psychedelic travelogue, describing a boat trip through a fantastic land of "rocking horse people", "newspaper taxis" and "marshmallow pies", alternating with chorus sections which simply repeat the song's title. This psychedelic song has certainly influenced our 'Cry To Me Cindy' lyrics, with their imaginative lyrics and craft.
Pete Seeger wrote this song, adapting the lyrics from passages in the Book of Ecclesiastes in the Bible. He recorded it in 1962, helping to cement his place as one of the greatest exponents of the protest song. The words state that there is a time for everything, including peace. The folk rock band, The Byrds, enjoyed the most commercial success with their cover version in 1965
Due to our film timing and pace we need to decide when and where our newly edited sound will fit in, it needs to be in keeping with the titles and shots that are shown and also needs to be slightly modified to mirror the scenery. This is our recorded sound that we have edited. This is not our final edit as i believe the sound needs to sound more fitting to the era. The over recording and the layering of sound needs to be tweaked to make it sound more professional.
Sound When discussing the pros and cons of using two voices of each gender we discovered that the voices might override one another and become to powerful, thus drawing away attention from our opening title onto sound which is not what we wan't to do. To solve this problem we decided to use two vocals, one from each gender to create a more simplistic, yet effective sound. This will also emphasis the tone of voices used to create a stylistic effect. This also enables us to have more control over where and when the voices are solo and when they are in unison, this also makes it easier to edit on the Mac computers, which will also help us to record the sound due to its evolving technology. Sound research Due to the range of vocals that we are going to use for our ambient sound our group decision was to split the vocals into the following, Soprano, Alto, Tenor and Bass; then record each octave separately and edit them together, thus allowing each voice to be heard and making it easier and more efficient to record. The Strengths of recording a choir using multi-track is that you have control over the volume of each part. If a member of the allocated group sings a note too loudly you can tone down the phrase which contains that note. A weakness to using multi-track is that you’re not recording all of the parts together and so some of the harmonies may sound artificial and out of place when put back together.
Step one: Place the microphones 12ft away from the section. Angle the microphone downwards making sure it is situated higher than the section. Step two insert headphones so that you can get a sense of the overall sound and volume. If unhappy with the sound, you can experiment placing the microphones in different places, to help you try and find the ‘sweet spot’, this is the part where all the harmony’s can be heard together without them sounding muffled. Step three after recording the choir parts you can judge for yourself the volume and weather you have achieved the sounds that you require.
Sound equipment
Choir mic technique is the technique used to sufficiently record and edit sound, enabling us to be able to have more control over the post-recording work of mixing. Due to each track being recorded individually, means we can adjust the levels appropriately to make the tone and sound more fitting
This week we finished the lyrics to our song; these lyrics reflect Cindy's roller- coaster life, and infer the dangers within her lifestyle.
Chorus - Oh Cindy, cry for me Oh Cindy, lie to me Oh Cindy, get high for me And i'll see you tonight
Verse 1 - You disobeyed your father's words, and went into a world of hurt oh. The cat walk yeah its for the strong, but Cindy what your doing is wrong oh.
Chorus
Verse 2 - If you walk out that door, you aren't welcome here no more oh. And oh what would Twiggy say, if she saw you act this way oh.
Chorus
Verse 3 - Now look at the mess you've made, your left lonely and afraid oh. Look in the mirror what do you see, and empty smile gazing back at thee oh.
Chorus
End
The Instrumentals
This is the instrumental music which will be played on guitar to correspond with what is being sung.
All chords are barred except the E and the B7 (Both chords are played open). The * symbols playing the EADG open.
Chorus 1 EAB
Oh Cindy Cry For Me
E A B
Oh Cindy Lie to Me Repeat x2 E A B Oh Cindy get High for me D C A And I'll see you tonight Verse 1 B7E E * E * E E * E You disobeyed your father's words, and went into a world of hurt oh. B7 E E * E * E E * E The cat walk yeah its for the strong, but Cindy what your doing is wrong oh. Chorus 2 – Repeat Chorus 1
Verse 2 B7 E E * E * E E * E If you walk out that door, you aren't welcome here no more oh. B7 And oh what would Twiggy say, if she saw you act this way oh. E E * E * E E * E Chorus 3 – Repeat Chorus 1 Verse 3 B7 E E * E * E E * E Now look at the mess you’ve made, your left lonely and afraid oh. B7 E E * E * E E * E Look in the mirror, what do you see, an empty smile gazing back at thee oh.
Chorus 2 E A B Oh Cindy Cry For Me E A B Oh Cindy Lie to Me E A B Oh Cindy get High for me B B B A A E And I’ll see you tonight
