Media Studies A Level Coursework

Lights... I have decided that for part of the AV section of my project I want my lighting to be heavily tinted. I have also decided that, while it would be possible to achieve this effect in post, I want to create the lighting effects on set. So, I set about experimenting with lighting at home. These are the results. Initial Tests For my very first tests, I went small. I used small lights, for example the torch on my iPhone and my desk light, from around my bedroom and took close-up pictures of the remote control for my stereo. To the right is one of my macro setups. Blue cellophane is covering my desk light, yellow cellophane is covering my iPhone torch, and red cellophane is covering a wind-up torch I found in a drawer. The resulting image is below. Other examples using different colours of cellophane include: I also tried photographing a few other things around my room using different lighting setups and moving away from macro-photography. ...

Premise In the town of Taughn, there is a killer on the loose. There have already been two killings. The killer has no consistent MO, but writes a number on the forehead of the victims in marker. When another victim is discovered, DI Scott Skinner and DI Niels Wissen investigate the crime scene, and discover a connection between the victims. Short Synopsis DI Scott Skinner is having a nightmare. One of the victims of the killer loose in his town is taunting him for not saving her. Skinner awakes to a phone call from his partner telling him that another victim of the killer has been found. Skinner and his partner, Niels Wissen, go to the crime scene, where Skinner makes a link between the killings and the victims. Skinner and Wissen go off to investigate this new lead.   Long Synopsis  The show begins with the killer having already killed two people from the town of Taughn. DI Scott Skinner of the local PD is haunted by the case; he knew the victims well, and th...

Dream sequence ---> Real scene Dream sequence shows imagery that is revealed in the real sequence to be reference to the previous bodies in this case. Maybe use quick flashbacks to the dream sequence - sort of like snapshot memories - to reiterate this connection and reinforce the idea that the protagonist is having nightmares about the case that are mixed in with something else that may or may not be relevant because enigma. Dream Meta-plane or warped reality Link to main arc or personal arc Personal demons Unsolved case from the past Horror elements Extreme lighting Forest setting Real Finding body - is it the first or a serial killer? Reflections of dream sequence in dialogue

I want my project to be quite stylistic, and I think that one of the most important elements of creating a specific style lies in the use of colour. I have been doing some research into different colour palettes, both in ITV crime dramas, as well as in films in general, because I need my production to offer something new and different to what's already on ITV. Looking at some blog posts from Shutterstock and Cinema5d, I found repeated use of colour spectra, which is maybe something that I would like to consider when planning my shots. In anything that I have made before, I have relied mostly on post-production alterations to create a colour scheme, but for this project, I think the colour holds more weight, so I want to consider it before filming as well. According to the cinema5d website, " a colorist can only work with what he (or she) is given, and so it can be argued that the overall look and feel of the image is the responsibility of the production designer." This ...

I have decided to make one of the two scenes I am doing for my project a dream sequence. This brings up lots of new things for me to consider, both narratively and stylistically. This post is the result of such considerations. Narrative According to Mark Montgomery (2010), dream sequences   can tell a lot without the need to draw out the story. Characters can be fleshed-out and developed into three-dimensional personas, with events of characters' pasts usually affecting and/or influencing the sequence in some way. The most difficult parts of a dream sequence are often getting in and getting out of it. The transitions needs to be jarring enough to let audiences know that they're no longer in the real world, but not so jarring that they take the audiences out of the universe the film/show has created for them. Transitioning into a dream sequence is irrelevant to me as I am beginning my show with a dream sequence, but I will need to think about how to get out of the dream. C...