The federal FOIA does not provide access to records held by state or local government agencies, or by private businesses or individuals. This includes, but is not limited to, school transcripts, school district records of attendance or an individual's criminal record. ... Complete the FOIA
Thursday, 21 March 2019
As well as regulatory bodies, there are a number of legal legislations that must be considered and followed. The Freedom of Information Act (FOIA) generally provides that any person has the right to request access to federal agency records or information except to the extent the records are protected from disclosure by any of nine exemptions contained in the law or by one of three special law enforcement record exclusions.
The federal FOIA does not provide access to records held by state or local government agencies, or by private businesses or individuals. This includes, but is not limited to, school transcripts, school district records of attendance or an individual's criminal record. ... Complete the FOIA
The federal FOIA does not provide access to records held by state or local government agencies, or by private businesses or individuals. This includes, but is not limited to, school transcripts, school district records of attendance or an individual's criminal record. ... Complete the FOIA
21.3.19-Podcast Case Study
BBC podcast Case Study Questions
- What does the Role of a production designer entail? Responsible for the overall look of a production, the design atmosphere, in the hierarchy of importance within a production, the production designer comes after the director.
- During a production, which other members of the production and which other areas of the production does the production designer coordinate with? The production designer will have to converse with mainly the director about the feel/ look of the production, for building sets and locations. A production designer would also have to discuss the look of the costumes with the costume designer and the lighting with the DOP.
- What issues with locations can occur during the production of a TV drama? The location has to be realistic as possible, however a lot of them are tourist attractions so they're not always accessible.
- What skills, education and experience is it beneficial for a production designer to gain? Art schools , work experience on sets, Artistic background, volunteering and having a clear understanding of the role you would like to work in.
- During the production process itself, where are the working locations that a production designer tends to work and how do these relate to the actual filming of the TV drama? The production designer tends to work on the construction sides so working very closely to set and locations, this is where the organisation of props takes place. Graphic designer - makes really researched products. Seamstress- Sows so responsible for a lot of the props within the production. Production designer is never on set watching the filming, but responsible for mostly the planning of the overall production.
Thursday, 14 March 2019
27.11.18- Published notes
Roland Barthes and 'the rhetoric of the image'
In 1977 , Roland Barthes wrote 'The Rhetoric of the image' and through a considered analysis of advertising , argued that there are two levels to any sign or visual representation.
Barthes suggested that denotation tends to be described as the definitional, literal, obvious or common sense meaning of what is seen. Connotation, however, is when the audience brings the established or naturalised meaning to what they see.
Barthes conducted many semiotic analyses of advertising in order to demonstrate how products were sold and how ideologies become naturalised. This theory must be applied when analysing the technical codes of any media product. If we take the sound in TV or film, then the off-screen , denotive noise of an ambulance siren will connote danger or disruption for the character.
We can apply this idea to the basic Mise en scene elements such as colour. Red is often believed to connote danger and pink symbolises love.
Layout- This is how the elements on the page are presented. If you think about the juxtaposition of elements on a page, for magazines and newspapers it is the main image and the masthead.
House style and colour scheme- These are important elements because they give the product a brand identity. The fonts, colours and style of text layout will remain similar across all marketing material.
Photography techniques- This is important in particular for advertising and magazine design. Close ups and medium close ups for example, are used on magazine covers to denote the main cover star.
Captions- These are used to anchor the meaning of a product. Captions are used on newspapers and magazine photographs to tell the audience what the image is about and who it is of.
In 1977 , Roland Barthes wrote 'The Rhetoric of the image' and through a considered analysis of advertising , argued that there are two levels to any sign or visual representation.
Barthes suggested that denotation tends to be described as the definitional, literal, obvious or common sense meaning of what is seen. Connotation, however, is when the audience brings the established or naturalised meaning to what they see.
Barthes conducted many semiotic analyses of advertising in order to demonstrate how products were sold and how ideologies become naturalised. This theory must be applied when analysing the technical codes of any media product. If we take the sound in TV or film, then the off-screen , denotive noise of an ambulance siren will connote danger or disruption for the character.
We can apply this idea to the basic Mise en scene elements such as colour. Red is often believed to connote danger and pink symbolises love.
Layout- This is how the elements on the page are presented. If you think about the juxtaposition of elements on a page, for magazines and newspapers it is the main image and the masthead.
House style and colour scheme- These are important elements because they give the product a brand identity. The fonts, colours and style of text layout will remain similar across all marketing material.
Photography techniques- This is important in particular for advertising and magazine design. Close ups and medium close ups for example, are used on magazine covers to denote the main cover star.
Captions- These are used to anchor the meaning of a product. Captions are used on newspapers and magazine photographs to tell the audience what the image is about and who it is of.
12.11.18- Published notes
Mise en scene
Mise en scene is the term we use to identify all of the elements in a shot or sequence that aren't covered by the other categories.
The term is French and roughly translates as 'put in scene'. As with a lot of film and TV analysis, it is an idea that has come from theatre- everything on stage is artificial and is carefully placed to add to the overall effect that the director wants to achieve. Exactly the same can be said about film and TV.
Setting- where it is shot
Set- the stage it takes place in
Lighting- use of light and shadow
Costume and Makeup- how the characters are physically created
Props- how objects add to the scene
Colour- use of colour on all of the above and filters applied to the film
Sound and Music
Soundtrack: Score- Music composed specifically for film/TV show
Incidental Music- Background music
Themes- Musical pieces used to represent a character, location or brand
Sting- A loud pulse of music for shock/comic event
Ambient Sound- environmental sound of a location eg traffic noise
Synchronous /asynchronous sound- Sound that either matches the timing of action on screen (synchronous) or is not in time (asynchronous)
Sound Motif- A short, repeated sound or melody that signifies a character, event or location
Sound Bridge- A piece of sound, dialogue or music used to bridge between scenes
Dialogue- The words spoken by actors in a scene
Voiceover- Dialogue dubbed over a scene, outside of the action
Mise en scene is the term we use to identify all of the elements in a shot or sequence that aren't covered by the other categories.
The term is French and roughly translates as 'put in scene'. As with a lot of film and TV analysis, it is an idea that has come from theatre- everything on stage is artificial and is carefully placed to add to the overall effect that the director wants to achieve. Exactly the same can be said about film and TV.
Setting- where it is shot
Set- the stage it takes place in
Lighting- use of light and shadow
Costume and Makeup- how the characters are physically created
Props- how objects add to the scene
Colour- use of colour on all of the above and filters applied to the film
Sound and Music
Soundtrack: Score- Music composed specifically for film/TV show
Incidental Music- Background music
Themes- Musical pieces used to represent a character, location or brand
Sting- A loud pulse of music for shock/comic event
Ambient Sound- environmental sound of a location eg traffic noise
Synchronous /asynchronous sound- Sound that either matches the timing of action on screen (synchronous) or is not in time (asynchronous)
Sound Motif- A short, repeated sound or melody that signifies a character, event or location
Sound Bridge- A piece of sound, dialogue or music used to bridge between scenes
Dialogue- The words spoken by actors in a scene
Voiceover- Dialogue dubbed over a scene, outside of the action
Monday, 4 March 2019
6.11.18- Published notes
Cuts- These are instant switches between shots, always use the word cut.
Transitions- Switches between shots that take time, like dissolves, fades or wipes.
The frequency and rhythm of cuts- How often cuts happen and whether they happen at the same time as actions or sounds.
Specific editing techniques- Shot reverse shot, crossing cutting, action matches.
These are all elements of continuity editing, where editing is supposed to make sense of time and place for the viewer.
Non continuity techniques include flash backs/forwards montages etc.
Shot reverse shot or shot counter shot- Cutting back and fourth between two established shots - very common for conversation.
Eyeline match- Ensuring that the eye level between character matches between cuts (so they look like they're looking at each other), or cutting from a character looking at something to the thing they are looking at.
Action match - Cutting to continue the action eg shot of a ball being thrown cutting to a shot of the same ball being caught.
Jump cut- A cut that suddenly shifts position or time unnaturally , in order to communicate that something is wrong.
Cross cutting/ parallel editing- Cross cutting between two sequences of action that are happening at the same time , often to link the characters to both actions.
Cutaway- Cutting to a brief shot in a sequence for a variety of technical or narrative reasons- it will be of a shot not covered in the master shot.
Insert- Similar to a cutaway but it will cut to a shot that is covered by the mastershot.
Transitions
Dissolve- One shot blending into another with no fade in between.
Fade in - fading into a shot from a colour, most likely black.
Fade out- Fading out from a shot to a colour , most commonly black.
Wipe- The new shot moves over the old shot in a direction, often motivated by an object or character.
Transitions- Switches between shots that take time, like dissolves, fades or wipes.
The frequency and rhythm of cuts- How often cuts happen and whether they happen at the same time as actions or sounds.
Specific editing techniques- Shot reverse shot, crossing cutting, action matches.
These are all elements of continuity editing, where editing is supposed to make sense of time and place for the viewer.
Non continuity techniques include flash backs/forwards montages etc.
Shot reverse shot or shot counter shot- Cutting back and fourth between two established shots - very common for conversation.
Eyeline match- Ensuring that the eye level between character matches between cuts (so they look like they're looking at each other), or cutting from a character looking at something to the thing they are looking at.
Action match - Cutting to continue the action eg shot of a ball being thrown cutting to a shot of the same ball being caught.
Jump cut- A cut that suddenly shifts position or time unnaturally , in order to communicate that something is wrong.
Cross cutting/ parallel editing- Cross cutting between two sequences of action that are happening at the same time , often to link the characters to both actions.
Cutaway- Cutting to a brief shot in a sequence for a variety of technical or narrative reasons- it will be of a shot not covered in the master shot.
Insert- Similar to a cutaway but it will cut to a shot that is covered by the mastershot.
Transitions
Dissolve- One shot blending into another with no fade in between.
Fade in - fading into a shot from a colour, most likely black.
Fade out- Fading out from a shot to a colour , most commonly black.
Wipe- The new shot moves over the old shot in a direction, often motivated by an object or character.
1.11.18- Published notes
Long/ wide shot- Sets the scene, shows scale
Medium shot- Shows the characters interacting
Close up- Allows us to see emotion and detail
Two shot- Very common for conversation
Over the shoulder shot- To show connection
Low angle- Looking up sometimes makes the audience feel vulnerable
High angle- looking down sometimes makes the audience feel powerful
Point of view shot- looking directly through the eyes of a character
An establishing shot is usually the first shot of a new scene, designed to show the audience where the action is taking place. It is usually a very wide shot or extreme wide shot.
A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view. It is often a long shot and can sometimes perform a double function as an establishing shot.
Camera Movements
Pan - Camera stays in one position and rotates around a point right to left or left to right.
Tilt- Camera stays in one position and rotates around a point up or down.
Tracking- Camera moves smoothly along a track in a lateral (straight lines).
Dolly- Similar to a tracking shot, but the camera is on a wheeled mount that can move in all directions.
Crane- Camera is on a jib arm with a counterweight that be raised and lowered.
Steadicam- Camera is strapped to the operator with a stabilisation rig allowing for smooth movements across all surfaces.
Handheld- Camera is held in hand and will film bumpy footage.
The organisations or elements within the frame
Symmetry and asymmetry for emphasis
Depth of field - using focus to make the viewer concentrate on elements.
The rule of thirds- An imaginary 3x3 grid that can be used to make shots more dynamic.
Medium shot- Shows the characters interacting
Close up- Allows us to see emotion and detail
Two shot- Very common for conversation
Over the shoulder shot- To show connection
Low angle- Looking up sometimes makes the audience feel vulnerable
High angle- looking down sometimes makes the audience feel powerful
Point of view shot- looking directly through the eyes of a character
An establishing shot is usually the first shot of a new scene, designed to show the audience where the action is taking place. It is usually a very wide shot or extreme wide shot.
A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view. It is often a long shot and can sometimes perform a double function as an establishing shot.
Camera Movements
Pan - Camera stays in one position and rotates around a point right to left or left to right.
Tilt- Camera stays in one position and rotates around a point up or down.
Tracking- Camera moves smoothly along a track in a lateral (straight lines).
Dolly- Similar to a tracking shot, but the camera is on a wheeled mount that can move in all directions.
Crane- Camera is on a jib arm with a counterweight that be raised and lowered.
Steadicam- Camera is strapped to the operator with a stabilisation rig allowing for smooth movements across all surfaces.
Handheld- Camera is held in hand and will film bumpy footage.
The organisations or elements within the frame
Symmetry and asymmetry for emphasis
Depth of field - using focus to make the viewer concentrate on elements.
The rule of thirds- An imaginary 3x3 grid that can be used to make shots more dynamic.
29.10.18- Published notes
Codes : The familiar and predictable forms and techniques used by producers when creating media texts. These are used to communicate certain ideas or to convey a desired impression. Indicators or signs contained within a product that when identified by the audience create meaning.
There are two types of code: the technical and the symbolic. Technical codes are created through the way equipment is used to produce a media product. For example a camera can be used to present a particular characters point of view. Symbolic codes point the audience towards meaning that are not always apparent. For example in early Hollywood films the villains always wore black as this was seen in western culture as representative of evil.
Conventions: The commonly accepted ways of doing things. There are general conventions in all products, such as the use of opening credits in audio visual products. However, conventions can also be genre specific, such as the chase in action/ adventure films.
Genre: Media products are usually classified into categories and sub-categories. These categories are referred to as a products genre. By categorising a product, its audience will have a set of expectations that they will look forward to being met. For example, the audience for a horror film will expect to be scared. A product within a genre can be identified by its distinguishing features; its codes and conventions.
Verisimilitude: How real the world of the story or narrative of a fictional media product appears to the audience (for example, is the world presented to the audience believable?)
There are two types of code: the technical and the symbolic. Technical codes are created through the way equipment is used to produce a media product. For example a camera can be used to present a particular characters point of view. Symbolic codes point the audience towards meaning that are not always apparent. For example in early Hollywood films the villains always wore black as this was seen in western culture as representative of evil.
Conventions: The commonly accepted ways of doing things. There are general conventions in all products, such as the use of opening credits in audio visual products. However, conventions can also be genre specific, such as the chase in action/ adventure films.
Genre: Media products are usually classified into categories and sub-categories. These categories are referred to as a products genre. By categorising a product, its audience will have a set of expectations that they will look forward to being met. For example, the audience for a horror film will expect to be scared. A product within a genre can be identified by its distinguishing features; its codes and conventions.
Verisimilitude: How real the world of the story or narrative of a fictional media product appears to the audience (for example, is the world presented to the audience believable?)
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