Opening Sequences Research Conclusive Piece

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Information about Opening Sequences Research Conclusive Piece

Published on March 4, 2014

Author: OliverWoollard


PowerPoint Presentation: OPENING SEQUENCES RESEARCH – THE CONCLUSION WHERE TO START?: WHERE TO START? From my research I have a great mixture of different films all with different conventions as well as similarities that will help us to create a well rounded sequence. I will begin by looking at the conventions of genre in each sequence and how we will make our sequence represent such genres. I will then progress into looking at visuals, editing, titles and finally sound. All of this, as previously mentioned; will be hugely beneficial in creating an opening sequence that is effective and creative. Furthermore I will be creating a goal in which to reach as I will have basically mapped out what I have to do and what I should create. This final image will be clarified by surveys and other forms of market research as we begin to make our sequence user friendly. Of course in any film, directors and film makers are shooting for a reaction from their audience so we should decide what reaction we want but not let that stifle our creation. We have identified that we would like to shock, as it a reaction that is easy yet difficult to get right. The opening sequences will help us understand further what we want to do and what we can achieve. I looked at a multitude of different genres trying to focus on Thriller (as we had decided it was the genre we wanted to base our film around) but expanding the field of Thriller to similar genres like Action and Crime. These genres especially will help us to understand how to create the sense of being a Thriller within the first few seconds of starting. It is pivotal that we get the first few seconds perfect so that we don’t confuse our audience. I believe that the diversity of genres I have looked at will help me to get a well rounded view on what we will do as well as what others have done and may do. We want to challenge convention and therefore make sure that we do something different, innovative and creative. INITIAL VISUALS: INITIAL VISUALS I have researched a variation of different genres meaning that I have seen a multitude of different styles of opening sequence. Some follow the classic way of focusing on animated backgrounds and credits alluding to the plot whilst others go straight into the plot with simplistic fonts appearing. As a production company we sat down and discussed our opinions on the opening sequences and found that we both agreed that James Bond was a great inspiration not least because of the similarities in genre but because they are aesthetically pleasing and entertaining. They feature elements of the plot whilst not giving too much away. As I said in my research, Skyfall’s opening sequence is slick and elegant however we have identified that we want something a little more gritty, therefore we will use Bond opening sequences as inspiration but make it our own by making it more jumpy, flashy and bold. James Bond is a mature character and therefore the opening sequence of each film reflects this whereas our characters ( Artur and Vera) are essentially children, we really want this to come across. We have started thinking about certain aspects of our film, with colour being one that we have identified as interesting. As there is a heavy theme of both blood and violence and national pride, Red would be a great colour to use in order to convey genre association as well as forming an aesthetic foundation. We found inspiration for this from many of the opening sequences, like Hanna, Iron Man and Skyfall for instance; which all created a great precedent for colour schemes. Hanna also lead us to the colour White, not only because we could contrast the innocence of white with the utterly polluted characters Artur and Vera, but because it would relate the national colours of Russia along with the Red. I think however from personal belief that blue will not work well with the Red and White as it maybe too many colours at once for an audience to watch comfortably and may corrupt the idea of continuity of design. EDITING: Part of the course outlines that we should, as well as our own ambitions to do so; challenge convention. From our research I have identified a method of editing that I can exploit. Many of the sequences were either simple, or sleek. None (except Se7en) featured many overlays, flashing or visual chaos, therefore this is something we will not only exploit but use to create something visually striking. Flashes will disorientate and build anticipation for the film whilst complex overlays will add to the effect. We could even look at using something extra to overlay with the footage of Artur and Vera to make the look of the sequence even more unique and striking. In the meantime we will focus on the underlying footage of Artur and Vera before we begin to look at overlays. Something that we both really liked from the Skyfall sequence was the liquid blood effects, which led us to want to add our own version of such that will be different but inspired. Using a combination of ink and water (and ink and paper) we will create footage to overlay with the footage of Artur and Vera to, as previously mentioned; create something unique. Overlays will create interesting shades and colours, so tinting the footage of Artur and Vera will help carry the colour scheme whilst again help to contribute to the aesthetics of the sequence. The dynamic style of Spielberg's ‘Catch Me If You Can’ is also great inspiration for helping keep pace in the editing of shots and the transitions. Whilst I believe that minimal transitions (if any) will help not overload the sequence the timing and pace is something to look at in more detail when it comes to preparing for editing. The edited low-key lighting of ‘The Girl With The Dragon Tattoo’ is yet again huge inspiration for our film because of its dark, murky style coupled with its heavy and wonderfully confusing visuals. They seem to mask everything in a thick layer of tar and whilst tar may not be the kind of look we want, we could look at using it for inspiration, perhaps swapping a tar look for colour or colour filters. EDITING TITLES: TITLES Titles are conventionally necessary for an Opening Sequence, whilst some feature no credits, like Alien for instance; most feature many. Even though we said that we wanted to go against convention I feel it would be a step too far to not have credits as well as an insult to those who helped to not have their names mentioned clearer than in the closing credits (which most people don’t watch). The font and size of the Hanna logo seen in its opening sequence is something that we as a team decided was very interesting and definitely worth keeping in mind when we get to the editing stage. It flashes onto screen taking up nearly its entirety. The font is savage looking with strange shaped ‘A’s’ which help make the whole thing look almost predator in style, like the canines of a beast. This would relate to Hanna’s ruthlessness as an individual and is again something that we will look into using for our own sequence. Because of the nature of our film we feel it would be unwise to use a Sans font and instead are looking to use a Sans-Serif All-Caps font like Futura for instance. We really like these as we feel they relate to the fonts used in the industry and therefore would be relatable for a audience, but also are sleek and easy to read. As for the title we feel something more like Hanna’s, as previously mentions; would be better. We have identified that we don’t like the look of Se7en’s fonts (despite our affiliation with its editing style), we feel it would overload the visuals and make the whole thing messy. Instead we are in agreement that the Simple Sans Serif would be much better. Another font example we likes was the one used in Quantum of Solace which is a working example of the one we hope to use but with sleek transitions that help make them more interesting without taking away from the scene behind. I will investigate these transitions but do have a feeling that it maybe again too much for the sequence. SOUND: SOUND First and foremost I must express my adoration for Karen O’s, Immigrant Song. It is one of the best examples of music that not just matches a sequence but enhances it and takes it to new levels visually and as a whole. Its heavy, almost overwhelming sound is something that we will definitely be looking at in more detail when we get to pre-editing the sequence. We must make the music enhance our own work and fit perfectly with each visual aspect of the whole thing. I also however (and this is completely in opposition to what I previously just said) love the silence of Hanna’s sequence. It is eerie alongside its desolate visual counterparts just using an ambient sound that would easily be recognised as diegetic (despite it being non-diegetic). The purity of the sounds and minimalist style is sleek and is something that I might look at for our own sequence. We really like the music used in The Hunger Games due to its classic yet dystopian sound. We liked how it reflected the nature of the scenes and at times became contrapuntal alongside the positive Capitol interview of Caesar Flickerman and Seneca Crane. It sounded mournful, desperate but a tired desperate which perfectly introduced the scenes that preceded it. – The Hunger Games Soundtrack – Opening Scene – Karen O – Immigrant Song – Hanna Opening Sequence

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