Tubechop - Camera shots, angles, movement and composition.

Basic Camera Shots

Extreme Long Shot/Establishing Shot
(Note how this shot starts off high, and then pans downwards and zooms further in as it progresses, rather than staying still and focusing on one area in particular for the amount of time the shot is present.)



Close Up

 

Long Shot




Extreme Close Up



Two Shot




Mid Shot

Camera shots, angles, movement and composition.

Basic Camera Shots





Basic Camera Angles






Camera Movements

Ex Machina - Research

A young programmer is selected to participate in a ground-breaking experiment in artificial intelligence by evaluating the human qualities of a breath-taking female A.I.

Age Rating:

• UK - 15
• US - R (UK equivalent to an 18)

Review Scores:

• IMDB - 7.7/10
• Metacritic - 78/100
• Rotten Tomatoes - 92%

Content:

• Sex & Nudity - 10/10

The woman lifts her leg and wraps it around the man. The scene ends and sex is implied.

A woman begins to undress for a man.

Discussion of attraction, flirtation, sexuality and penetrative sex with a robot.

A man jokes that oral sex was performed by a ghost in a film.

Conversation between two males about sexual intercourse. One asks the other if he wants to have intercourse with the main female lead & leads to about how it would be performed if such a case arises.

Mention of pornography.

Several uncovered humanoid robots shown, with breasts and genitals of actual actresses visible.

A female styled humanoid robot lies fully uncovered on a bed (very brief, non sexual with visible pubic hair).

A female styled robot examines it's uncovered flesh looking body in a mirror; nipples are seen.

A humanoid is seen on the ground in a very short that nearly reveals her flesh-looking buttocks.

There are long scenes where full frontal nudity of feminine humanoid robots in human looking flesh are shown. The appearance of flesh includes details of nipples and full frontal and backside nudity. Some of these humanoids are kept naked in closets. Graphic footage of them in partial human form and naked are also seen.

Because the robots are meant to be provocative of female sexuality in such a way that is fundamental and integral to the story line, their presence through out the entire movie is therefore a form of sexualization.

A female caresses her body in either a sexual manner or self realisation manner

A woman stands in front of a bunch of naked woman humanoid robots and she starts stripping artificial skin off of other naked women robots and placing on her own body.

• Violence & Gore - 8/10

Body Count- 2 Humans and 1 Robot

A man cuts his arm with a razor blade and it bleeds extensively.

A man punches another in the face.

A man is stabbed to death by two different robots. Blood pools in his shirt.

Two robots are hit by another character, one is shown losing their limb and another is shown with a missing jaw after injury.

There is also emotional and psychologic violence towards the robots and it could be questioned whether these interactions depicted in the film therefore constitute a form sexual abuse, slavery and involuntary confinement; particularly in form of both sexual and domestic violence against women.

• Profanity - 7/10

The f-word is said approximately 20 times, in both a sexual and non-sexual context.

• Alcohol/Drugs/Smoking - 7/10

Characters are seen drinking alcohol.

A character gets extremely drunk several times.

There are conversations about drinking and hangovers.

A character encourages another character to get drunk.

• Frightening/Intense Scenes - 5/10

A man cuts his arm, the scene is quite graphic.

A female robot peels back her skin to reveal machine parts.

Robots are beaten and have limbs damaged.

A man is stabbed twice by two different robots. Blood is seen.A man is left to die in a locked room.

A humanoid is screaming and emotionally enraged at her physical and sexual confinement.

Producers

• Eli Bush - Executive Producer
• Caroline Levy - Line Producer
• Andrew Macdonald - Producer
• Allon Reich - Producer
• Tessa Ross - Executive Producer
• Scott Rudin - Executive Producer
• Jason Sack - Associate Producer
• Joanne Smith - Associate Producer
• Jarle Tangen - Line Producer

Production Companies

• DNA Films
• Film4
• Scott Rudin Productions

Director/Screen Writer

• Alex Garland

Actors

• Domhnall Gleeson - Caleb
• Corey Johnson - Jay
• Oscar Isaac - Nathan
• Alicia Vikander - Ava
• Sonoya Mizuno - Kyoko
• Claire Selby - Lily
• Symara A. Templeman - Jasmine
• Gana Bayarsaikhan - Jade
• Tiffany Pisani - Katya
• Elina Alminas - Amber

Budget

• $15,000,000 (estimated)

Screens Shown On

Weekend Gross

$3,690 (USA) (30 August 2015) (5 Screens)
$3,324 (USA) (23 August 2015) (4 Screens)
$9,571 (USA) (2 August 2015) (17 Screens)
$30,721 (USA) (19 July 2015) (31 Screens)
$144,881 (USA) (21 June 2015) (124 Screens)
$389,000 (USA) (7 June 2015) (302 Screens)
$768,000 (USA) (31 May 2015) (506 Screens)
$1,423,000 (USA) (24 May 2015) (896 Screens)
$2,103,000 (USA) (17 May 2015) (1,718 Screens)
$3,510,000 (USA) (10 May 2015) (2,004 Screens)
$2,286,000 (USA) (3 May 2015) (1,279 Screens)
$5,349,500 (USA) (26 April 2015) (1,255 Screens)
$250,000 (USA) (12 April 2015) (4 Screens)
€38,500 (Netherlands) (3 May 2015) (8 Screens)


Box Office Figures

Opening Weekend

$5,349,500 (USA) (24 April 2015) (1,255 Screens)
$250,000 (USA) (12 April 2015) (4 Screens)
€38,500 (Netherlands) (3 May 2015) (8 Screens)

Gross

$25,440,971 (USA) (30 August 2015)
$25,434,333 (USA) (23 August 2015)
$25,405,058 (USA) (2 August 2015)
$25,361,484 (USA) (19 July 2015)
$25,233,155 (USA) (9 July 2015)
$24,954,673 (USA) (21 June 2015)
$24,330,000 (USA) (7 June 2015)
$23,587,000 (USA) (31 May 2015)
$21,947,000 (USA) (24 May 2015)
$19,566,000 (USA) (17 May 2015)
$16,705,000 (USA) (15 May 2015)
$15,762,000 (USA) (10 May 2015)
$10,924,000 (USA) (3 May 2015)
$6,827,930 (USA) (26 April 2015)
$250,000 (USA) (12 April 2015)
$36,659,611 (Worldwide) (9 July 2015)
$26,187,268 (Worldwide) (15 May 2015)
€89,727 (Netherlands) (6 May 2015)
$29,501 (Portugal) (15 May 2015)


Music (Composer of Score/Soundtrack)

• The musical score for Ex Machina was composed by Ben Salisbury and Geoff Barrow.
• A soundtrack album was released digitally on 20 January 2015, with an LP and Compact Disc UK release in February 2015 by Invada Records.

Additional songs featured in the film include:

• "Enola Gay" by Orchestral Manoeuvres in the Dark
• "Get Down Saturday Night" by Oliver Cheatham
• "Husbands" by Savages
• "Piano Sonata No 21 D. 960 in B-Flat Major" (first movement) by Franz Schubert

Marketing (teaser trailers, trailers, posters, websites e.t.c.)

Teaser Trailer:

Trailer:

Poster:

TV Spots:



Website:

SFX (special effects - technology used)

   Cameras:

GoPro Hero 3 Black Edition Sony CineAlta F65, Cooke Xtal Express, Kowa Prominar and Angenieux Optimo Lenses Sony CineAlta PMW-F55, Cooke Xtal Express, Kowa Prominar and Angenieux Optimo Lenses Cinematographic Process: Digital Intermediate (2K) (master format) J-D-C Scope (anamorphic) (source format) Kowa Scope (anamorphic) (source format) (some scenes) Much of Ex Machina takes place inside Nathan's house - an isolated building in the mountains filled with glass-lined walls. Production filmed on the Sony F-65 with anamorphic lenses, which would ultimately make for challenging plate tracking. On set, Vikander wore a gray wetsuit material costume covering most of her body. When visual effects replaced a section of the actor, the remaining parts were still the wetsuit material. Each setup involved an IBL take. Design and texturing of an Ava model continued at DNeg during principal photography, after which it was clear the rig had to be ‘astonishingly flexible’. To ensure the CG elements would perfectly match to the live action photography, Vikander was initially photobooth scanned in pre-production so her equivalent CG model could be built. Once the final costume was ready on set, the actress was scanned again and the model refined. The film was shot like ordinary live action. There were no special effects, greenscreen, or tracking markers used during filming. All effects were done in post-production. To create Ava's robotic features they filmed the scenes both with and without actress Alicia Vikander's presence, which allowed them to capture the background behind her. The parts they wanted to keep, especially her hands and face, were then rotoscoped while the rest was digitally painted out and the background behind her restored. Camera- and body-tracking systems transferred Vikander's performance to the CGI robot's movements. In total there were about 800 VFX shots, of which 350 or so were robot shots. Any Issues "The very premise of Ex Machina sets up a battle of the sexes that has quickly proved to be controversial: As Caleb examines Ava, he begins to fall in love with her, and he’s increasingly horrified by the notion that Nathan is keeping this feminine creature as his prisoner and potential sex slave. Certainly, men don’t come off so well in the movie, which links their desire to create with the more primal male desire to procreate: In other words, it posits that the tech-bros who are driven to design humanlike robots may be thinking less with their brains and more with their ... well, you know. It’s Ex Machina’s treatment of women, though, that has already spurred the most think pieces. The male characters in Ex Machina are blinkered and sexist in the way they relate to Ava (who's presented to both Caleb and the audience as a tantalizing mystery), but does their mere portrayal imply that the filmmaker approves of their actions, even unwittingly? It’s a notion that needles Garland, who understands all too well that a story designed to make you feel many things can be read by some as intending only one thing. Ava read as post-gender, her circuits whirring underneath a body she’s been placed into but feels skeptical of. At the same time, she’s still just as hemmed in by male expectations as any real human woman would be: Kept imprisoned by Nathan in his remote hideaway, Ava is born into a literally patriarchal system that measures her worth based on how men respond to her, and it’s up to her to either exploit that system or learn how to circumvent it. When she dons a feminine wig and pours herself into a dress, she’s gauging her physical impact on Caleb; alone in her bedroom, the androgynous android studies images of other women that Nathan has provided, forming her notions of sexuality from the magazine cutouts and advertising images that are literally placed in front of her."

UK Tribes // Self Representation

Group(s) I Believe I Belong To

 MAINSTREAM

• Fan Girls

"Fan Girls and Tumblr Kids have merged – 24/7 access to celebs means this Tribe are getting younger and moving faster than ever.

It’s strange to think that in 2012 Fan Girls were a new Tribe – today they are one of the most noticeable and well known facets of UK Youth culture! United by their love for musicians, vloggers, bloggers, models, books, TV series, TV personalities (and anyone in between) the Fan Girls start at 13 years upwards and are a powerful force on social media – and big spenders on merchandise and experiences."

I feel like I belong to this group, because I spend a majority of my time on social media websites, where I have a strong, passionate love for celebrities (mainly musicians). I would say I have been a fangirl since the age of 12/13 (so for around 4/5 years now), and I spend a lot of my money on merchandise like CD's, posters and clothes, and also on concert tickets to see these musicians when they come to my local area.

My main influences for being within this group are Fifth Harmony, Lana Del Rey, Melanie Martinez, Halsey and Taylor Swift. I also feel like sometimes, I will try to dress similar to these musicians (particularly Lauren Jauregui from Fifth Harmony and Lana Del Rey), and my music taste/interests are also incredibly similar, because I try to see what they like and enjoy, and then try to enjoy it myself (and 99% of the time I do enjoy it myself).

(Melanie Martinez)

• Makers

"Being creative is firmly in the Mainstream today. From photography to art, craft, music, film and blogging – everyone is curating online!

Everyone is a creator now, and Makers are the new Tumblr Kids as everyone is creating original content online and sharing it on social media; while many are also getting hands-on creative at home. So from DIY furniture and art to animation, there’s an explosion of creativity across the Mainstream – just don’t confuse it with Leading Edge career Creatives, these guys are doing it for themselves!"

I feel like I belong to this group, because I have a passion for creating music (which in a sense can also be seen as creating an art within the lyrics and the instruments). I spend a lot of my personal time either creating song covers, or my own original songs in my room, sometimes posting them online for others to listen to. I promote these pieces on platforms like Twitter, Tumblr, YouTube and Facebook, and I post my pieces at least once a week. Occasionally, I also enjoy making fan art/edits for particular musicians that I like, just for the fun of it and also to improve my photoshop skills. My ideal future career is to be a musician/music producer, so these particular elements of life fit my style perfectly.

My main influences for being within this group are Fifth Harmony, Justin Bieber and Austin Mahone. This is because I believe they all have incredible backstories, which got them to the place that they are today. Fifth Harmony being five random girls that all auditioned for the X Factor USA as solo artists, were then put together, coming 3rd place in the entire competition, and are now multi-platinum selling artists that are adored worldwide. Justin Bieber and Austin Mahone both being discovered by incredible record labels, just by simply posting song covers on YouTube every so often, that ended up appealing to a massive public audience, who stayed loyal with their support for both of the musicians daily. Both now have successful music out, which is released by very professional labels, and are currently touring all over the world with fans that adore them.

(Fifth Harmony)

LEADING EDGE

• Creatives

Creatives are still top of the Tribal map and care constantly creating new content

DIYers are creative, tech savvy self-starters that bring culture to life for Tribes today – they produce music, promote club nights, start indie brands and create festival stages. Many are also Creatives, but DIYers are set apart by their aspirations to ‘make it’, create events and actively influence culture in their area. DIYers used to be focused more in London, but in 2015 all major cities have a strong DIY scene.

I feel like I belong to this group, because like I previously stated in the other groups, I have a passion for creating music. I am self taught when it comes to all of the technical stuff that's involved, but I do have a rough idea on how to use things, and so I create covers and original songs, with special editing that I do by myself on my computer at home in my room. I have a dream to become a professional singer and have my own album and hopefully tour the world. I realise that many other people have the exact same dreams and aspirations as me, but I don't give up, as other people's motivation to reach the same goal as me only inspires me to try and be 10x better. They push me to be a better musician, because I feel like to make it into the music industry, you have to stand out. You have to produce something that people are going to notice, and won't want to ignore.

My main influences for being within this group are Lana Del Rey, Melanie Martinez and Paramore. They all have a major passion for music, and actually write their own material, which they want the public to hear. They don't stick back with what their labels want them to do, they have control and write lyrics that suits them, and they do this because that is how they want the public to recognise them. They want to be known for their actual personalities, not something that the media has created for them. This is what I aim to be like, hence why I always write my own lyrics when it comes to creating my own song.

 (Lana Del Rey)

The 4 Areas of Textual Analysis

These are the 4 things you use to analyse the clip and answer the exam question.  These 4 things will all help to construct the representation of the individual/group (the 7 areas of representation).  It is your job to discuss how.

Camera Shots, Angle, Movement, Composition.

• Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial shot, point of view shot, over the shoulder shot, and variations of these.
• Angle: high angle, low angle, canted angle.
• Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.
• Composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.

Editing

Includes transition of image and sound – continuity and non-continuity systems.

• Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting, parallel editing, cutaway; insert.
• Other transitions, dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time, post-production, visual effects.

Sound

• Soundtrack: score, incidental music, themes and stings, ambient sound.
• Diegetic and non-diegetic sound; synchronous/asynchronous sound; sound effects; sound motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound perspective.

Mise-en-Scène

• Production design: location, studio, set design, costume and make-up, properties.
• Lighting; colour design

7 Areas of Representation

1. Gender
2. Age
3. Ethnicity
4. Sexuality
5. Class and Status
6. Physical ability/disability
7. Regional identity

The Man, The Woman & The Man 2

The Man

• Who is he?

- A homeless man?
- A rich man in disguise?

• What does he do?

- Begs?
- Roams the street for money and a place to stay?

• What is his story?

- Kicked out of his house?
- Lost his job?

• WHY? How do you know?

- He's alone.
- His clothes and facial hair.

ACTUAL INFORMATION:

Name: Doug Bihlmaier
Occupation: Buyer for Ralph Lauren

The Woman

• Who is she?

- Caring grandmother?
- Author?
- Artist?

• What does she do?

- Looks for art pieces?
- Goes shopping on a regular basis?

• What is her story?

- Very wealthy from being an artist/author?
- Past career left her wealthy?

• WHY? How do you know?

- Trolly bag.
- Glasses (look very artistic).
- Clothes.

ACTUAL INFORMATION:

Name: Julie Christie

Occupation: Actress.

The Man 2

• Who is he?

- Play director?
- Movie director?
- Actor?

• What does he do?

- Directs high street plays?
- Discovers actors on the street?

• What is his story?

- Went to performing arts college and is now a successful actor/director?
- Starred in lots of plays and also directed them?

• WHY? How do you know?

- Clothes.
- Posture.

ACTUAL INFORMATION:

Name: Christian Louboutin
Occupation: Shoe designer.

My 5x5

MY 5X5

Section B: Institutions and Audiences
Candidates should be prepared to understand and discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions. In addition, candidates should be familiar with:

• the issues raised by media ownership in contemporary media practice;
• the importance of cross media convergence and synergy in production, distribution and marketing;
• the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
• the significance of proliferation in hardware and content for institutions and audiences;
• the importance of technological convergence for institutions and audiences;
• the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.

• the issues raised by media ownership in contemporary (current) media practice

The depth and range of ownership across a range of media and the consequences of this ownership for audiences in terms of the genres and budgets for films. How for instance, can Channel4's Film4 survive in the British market place against the high concept, big-budget films made by Newcorp's FOX, Warner Bros, Disney, Universal, etc.? What kinds of niche audiences are left for Film4 to attract? Are mass audiences out of reach given the genres of films Film4 have the budgets to make? How successful have they been in reaching mass audiences with their films? How healthy is it that just a few mega media groups can own such a range of media and can decide what the public may see, and, perhaps, shape audience's tastes?

• the importance of cross media convergence and synergy in production, distribution and marketing

 Digital technology is enabling various media to converge in hubs, platforms and devices. For instance, mobiles phones do a lot more than act as hand held telephones: you can download and watch films and TV programmes, use them as alarm clocks, watches, play music on them, take photos and short films, text, go online, use GPS functions, a range of apps, and a whole lot more. New HD TVs, Playstations, X-Boxes, iPads, Notebooks, MacBooks, etc. are also examples of hubs which in which a variety of media technologies can converge for convenience for users. Media convergence is having an enormous impact on the film industry because of the ways in which institutions can produce and market for audiences/users on a widening range of platforms, capable of receiving their films.

Synergies can come out of an organisation's size; smaller media organisations such as Channel4 can-cross promote their films, etc. but the scale of cross-media promotion is nowhere near as great as that which can be gained by massive media organisations. Film4 is therefore unable to promote their lower budget films on a level playing field.

• the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange

The audience's ability to interact with films by, for instance, using digital technology to put extracts on You Tube and overlay new sound tracks on them, etc. and make answering videos has been greatly enhanced by Web 2.0; Film studios can make films using CGI, greenscreen and other special effects that were impossible to make only a few years ago. The ways of filming and editing films have changed, too, with the introduction of digital film and film cameras, editing software, laptops, digital projectors, etc. Distributors market films using the latest software for designing high-concept film posters and trailers. They can use phone apps., online marketing, Twitter, etc. File-sharing and piracy are growing issues because the software exists to take the protective encryption of DVDs, etc and WEB 2.0 enables people to make and share copies of films easily. One way in which film companies are trying to get around this is by releasing films soon after theatrical release by selling them on video-on-demand, premium TV channels and downloads. US and UK cinemas chains are not happy about this, especially after all the investment some have made on digital equipment, projectors, etc. which unfortunately quickly goes very quickly out of date!

• the significance of proliferation in hardware and content for institutions and audiences

This means the increase of something: i.e. digital cameras, software, CGI, 3D films, film genres, etc. which are part of current trends; how significant is this for See Saw Films or Film4? Or are they still able to be successful without it by making films with genres that do not need the latest breakthroughs in digital technology? Research the film company's use of cameras, special effects, software, posters, digital distribution of films, etc.

• the importance of technological convergence for institutions and audiences

This is a WEB 2.0 issue and how technology is coming together in hubs like laptops is one of the features of our age; the mobile phone in your pocket is a great example of technological convergence: it can do so much more than a simple phone call; think how this is affecting film making at the production, marketing and exhibition stages? The Internet is acting as a hub for many aspects of film: you will find film posters, YouTube videos on films, interviews, trailers, official film and blog websites, etc. on it.  Audiences can also remake their own films by creating extracts and running new scores over them and then posting them on YouTube. This often leads to answering videos, never mind the comments, etc. that people make  on such sites. The internet, film and videos games seems to be converging in so many ways. People can watch films in a range of ways, using an astonishing range of hardware and software. They can also find audiences of their own. This amounts to free publicity for film institutions for their films and "A Long Tail" sales into the future through endless exchange.

• the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions

"Slumdog Millionaire" was originally aimed at Asian audiences living in various parts of the UK and also at Danny Boyle fans. The film's unexpected success at film festivals and being nominated for the Oscars led to another theatrical release and a crossover from the "indy" art-house into the mainstream. British film makers often make social realism films and aim them at local and regional audiences whereas this would never be enough for the major media players who tend to make high budget, high concept films. They have boutique offshoots who make and often distribute lower budget films, aimed at more high brow audiences. Disney's Mirimax and Fox's Fox Searchlight are examples of such boutique, art-house film distribution.

• the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour
How you consume films whether it is as a social activity after visiting a shopping centre or on an MP4 player or Playstation, is what is at issue here. Visit Pearl and Dean to see how multiplex cinemas are adapting the experience of cinema-going to gain audiences. In an age of falling DVD sales, home cinema and an increase in downloading for both music and film audiences are changing in how they want to consume film. Identify trends and consider where the audience trends are going in the near future.

This unit should be approached through contemporary (up-to-date) examples in the form of case studies based upon one of the specified media areas.


Thanks to DOG for this post.

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