channel 4 ident diner ident 2007
I remembered seeing this ident from channel 4, of a southern American diner. on the middle of a dusty motorway, with the true feeling of 1940's American life with the classic cars parked outside and neon lights.
I took this picture and traced my own version (top of other page) of my coffeehouse in my story to see what it would turn out like and to get a better feel of what it should look like.
When watching the ad I looked at how the camera moved around, to introduce the diner and logo to the audience. Also what audience that channel 4 was trying to target with this. .
www2.tv-ark.org.uk
16-34 years is the main viewers that channel 4 has. more...
http://annualreport.channel4.com/engaging-the-audience
I remembered seeing this ident from channel 4, of a southern American diner. on the middle of a dusty motorway, with the true feeling of 1940's American life with the classic cars parked outside and neon lights.
I took this picture and traced my own version (top of other page) of my coffeehouse in my story to see what it would turn out like and to get a better feel of what it should look like.
When watching the ad I looked at how the camera moved around, to introduce the diner and logo to the audience. Also what audience that channel 4 was trying to target with this. .
www2.tv-ark.org.uk
16-34 years is the main viewers that channel 4 has. more...
http://annualreport.channel4.com/engaging-the-audience
American diners
the typical American restaurant, late night hang out where young people go to relax and dance and even work at through high school years as a part time job.
everything brightly coloured and new 'chrome' looking, with bright neon lights and leather, typical colours are bright red black and white, and checkered patterns.
the typical American restaurant, late night hang out where young people go to relax and dance and even work at through high school years as a part time job.
everything brightly coloured and new 'chrome' looking, with bright neon lights and leather, typical colours are bright red black and white, and checkered patterns.
script writing
http://2012.scriptfrenzy.org/node/402156
Acts?
The end of Act I should be a “point of no return.” Usually something is taken away from your protagonist, and they can never go back to the way things were. They have no choice but to continue into Act II.
ACT II: It can be helpful to think of Act II as two parts – Act 2a and Act 2b. Act 2a is usually about 30 pages long. This is the part of the film where your protagonist is ‘reacting’ to the pressures of their changed world. Act 2b begins when your protagonist’s worst fears nearly come true. After that, they sit up and say “wait a minute! I can handle this!” They stop “reacting” and take control of the situation. Act 2b can be short: Even 15 pages long. It ends when the plot ensnares your protagonist and propels them toward a “mini-climax.” This is a high point for your protagonist.
ACT III: Reality returns at the beginning of Act III when your protagonist’s false victory is immediately undone by a huge setback. This is their “all is lost” moment. The Ghostbusters go to jail—their gig is up! But wait, what’s that you say? A call from the mayor? New York needs the boys in grey and their radioactive weaponry? You got it. After “all is lost,” your protagonist will usually receive some new information. They see the light, and will now race toward the resolution of their journey.
http://2012.scriptfrenzy.org/node/402156
Acts?
The end of Act I should be a “point of no return.” Usually something is taken away from your protagonist, and they can never go back to the way things were. They have no choice but to continue into Act II.
ACT II: It can be helpful to think of Act II as two parts – Act 2a and Act 2b. Act 2a is usually about 30 pages long. This is the part of the film where your protagonist is ‘reacting’ to the pressures of their changed world. Act 2b begins when your protagonist’s worst fears nearly come true. After that, they sit up and say “wait a minute! I can handle this!” They stop “reacting” and take control of the situation. Act 2b can be short: Even 15 pages long. It ends when the plot ensnares your protagonist and propels them toward a “mini-climax.” This is a high point for your protagonist.
ACT III: Reality returns at the beginning of Act III when your protagonist’s false victory is immediately undone by a huge setback. This is their “all is lost” moment. The Ghostbusters go to jail—their gig is up! But wait, what’s that you say? A call from the mayor? New York needs the boys in grey and their radioactive weaponry? You got it. After “all is lost,” your protagonist will usually receive some new information. They see the light, and will now race toward the resolution of their journey.
Silent film
A silent film is a film with no synchronized recorded sound, especially with no spoken dialogue. In silent films for entertainment the dialogue is transmitted through muted gestures, mime and title cards.
silence was truly golden - Hollywood before the "talkies" came along. In silent film, the music and acting told the great stories. They represent what was happening in the world at that time economically, politically and socially.
http://en.wikipedia.org/wiki/Silent_film
http://www.kmtr.com/news/local/Students-learn-storytelling-through-silent-film-workshop-240384721.html
Chaplin- city lights(1931)
City lights moreover some of his other films has something of a sweet spot, whereas the other have more jokes, this is why I picked this one to properly study.
First and foremost, “City Lights” serves as Chaplin’s defiant statement of faith in silent filmmaking. Chaplin confronts this sea change in the film’s very first moments: as well-dressed society people dedicate a new public statue, their speeches emerge as a series of comic whistles and kazoo sounds. Thus, Chaplin takes comic aim at both the stuffy establishment of his fictional city and his audience’s new affinity for synchronized sound. When the Tramp makes his entrance as the statue is unveiled, asleep in its lap, he roars back to life on screen with a ballet of unwittingly irreverent gestures, crystallizing Chaplin’s comic persona: a combination of an immigrant/striver archetype and a well-mannered anarchist, the nice guy struggling to get ahead who is occasionally pressed by circumstance to punch a cop (incidentally, these character tropes also form the cornerstones of the American comedy tradition). Although “City Lights” includes Chaplin’s first composer credit and several instances of synchronized sound effects—a gag with a swallowed whistle and an off-screen gun shot are entirely dependant on sound—Chaplin sticks to his methods as a silent filmmaker when perhaps dialogue and synchronized sound would have been more conducive to helping an audience identify with his blind female lead. At the very least, dialogue and sound would have provided Chaplin with a path of less resistance.
http://cinespect.com/2014/01/city-lights-romances-provokes-high-definition/
A silent film is a film with no synchronized recorded sound, especially with no spoken dialogue. In silent films for entertainment the dialogue is transmitted through muted gestures, mime and title cards.
silence was truly golden - Hollywood before the "talkies" came along. In silent film, the music and acting told the great stories. They represent what was happening in the world at that time economically, politically and socially.
http://en.wikipedia.org/wiki/Silent_film
http://www.kmtr.com/news/local/Students-learn-storytelling-through-silent-film-workshop-240384721.html
Chaplin- city lights(1931)
City lights moreover some of his other films has something of a sweet spot, whereas the other have more jokes, this is why I picked this one to properly study.
First and foremost, “City Lights” serves as Chaplin’s defiant statement of faith in silent filmmaking. Chaplin confronts this sea change in the film’s very first moments: as well-dressed society people dedicate a new public statue, their speeches emerge as a series of comic whistles and kazoo sounds. Thus, Chaplin takes comic aim at both the stuffy establishment of his fictional city and his audience’s new affinity for synchronized sound. When the Tramp makes his entrance as the statue is unveiled, asleep in its lap, he roars back to life on screen with a ballet of unwittingly irreverent gestures, crystallizing Chaplin’s comic persona: a combination of an immigrant/striver archetype and a well-mannered anarchist, the nice guy struggling to get ahead who is occasionally pressed by circumstance to punch a cop (incidentally, these character tropes also form the cornerstones of the American comedy tradition). Although “City Lights” includes Chaplin’s first composer credit and several instances of synchronized sound effects—a gag with a swallowed whistle and an off-screen gun shot are entirely dependant on sound—Chaplin sticks to his methods as a silent filmmaker when perhaps dialogue and synchronized sound would have been more conducive to helping an audience identify with his blind female lead. At the very least, dialogue and sound would have provided Chaplin with a path of less resistance.
http://cinespect.com/2014/01/city-lights-romances-provokes-high-definition/
Casablanca
1942 American romantic drama film by Michael Curtiz
When people think romance this is usually the first film that pops into mind, one of the most popular - if not the most popular - films of all time.
With its romantic narrative, the songs and fantastic script, the singing of 'La Marseillaise', the climactic sequence at the airport and its perfect final line, Casablanca has entered the popular consciousness, becoming utterly familiar while remaining fresh and vital.
-http://www.film4.com/reviews/1942/casablanca
1942 American romantic drama film by Michael Curtiz
When people think romance this is usually the first film that pops into mind, one of the most popular - if not the most popular - films of all time.
With its romantic narrative, the songs and fantastic script, the singing of 'La Marseillaise', the climactic sequence at the airport and its perfect final line, Casablanca has entered the popular consciousness, becoming utterly familiar while remaining fresh and vital.
-http://www.film4.com/reviews/1942/casablanca
1940's lifestyle-
what was happening in this era?
The Big Apple in glorious black and white: Stunning images cast spotlight on New York City in 1940s
Read more: http://www.dailymail.co.uk/news/article-2056415/Stunning-images-1940s-cast-spotlight-New-York-Citys-Radical-Camera.html#ixzz2qaoHUtJN @MailOnline on Twitter | DailyMail on Facebook
One shows a group of children innocently playing chalk games in the street, one sees lightning fly across the sky above the recently-built Empire State Building and in another a shoemaker is smiling while eating his packed lunch. Huge numbers of sheets and other laundry items are seen criss-crossing the gap between tenements, two men are photographed sitting by a relief in the Union Square park and the Brooklyn Bridge can be seen with a grey sky overhead. These compelling portraits are of everyday life between 1936 and 1951 drawn from the streets of New York City.
what was happening in this era?
The Big Apple in glorious black and white: Stunning images cast spotlight on New York City in 1940s
Read more: http://www.dailymail.co.uk/news/article-2056415/Stunning-images-1940s-cast-spotlight-New-York-Citys-Radical-Camera.html#ixzz2qaoHUtJN @MailOnline on Twitter | DailyMail on Facebook
One shows a group of children innocently playing chalk games in the street, one sees lightning fly across the sky above the recently-built Empire State Building and in another a shoemaker is smiling while eating his packed lunch. Huge numbers of sheets and other laundry items are seen criss-crossing the gap between tenements, two men are photographed sitting by a relief in the Union Square park and the Brooklyn Bridge can be seen with a grey sky overhead. These compelling portraits are of everyday life between 1936 and 1951 drawn from the streets of New York City.
American nick names for coffee,
Java, Joe, Americano, Arbuckle's: (Cowboy Coffee) Battery Acid , Bean Juice, Black Ichor Of Life, Black Tea, Brain Juice
Brew, Brutus, Café , Caffe, Caffeine, Fix
Java, Joe, Americano, Arbuckle's: (Cowboy Coffee) Battery Acid , Bean Juice, Black Ichor Of Life, Black Tea, Brain Juice
Brew, Brutus, Café , Caffe, Caffeine, Fix
The Little Matchgirl
Roger Allers (film 2006)
Hans Christian Anderson (story 1845)
A short story by Danish poet and author Hans Christian Andersen. The story is about a dying child's dreams and hope, and was first published in 1845. It has been adapted to various media including animated film, and a television musical.
a poor girl tries to sell matches in the street. She is freezing badly, but she is afraid to go home because her stepfather will beat her for not selling any matches. She takes shelter and lights the matches to warm herself.
she sees several lovely visions including a holiday feast, it is known that hypothermia sometimes causes hallucinations. she sees her dead grandmother to take her to Heaven.
the film is silent, with only music played along, which makes it incredibly moving. it is remarkable, using a visual style as well as the music played in time to really convey emotion. While the story itself is incredibly sad, Disney shows the girl, her situation and visions as heart-breaking. The animation is excellent (of course) and is Disney’s final use of CAPS (Computer Animation Production System).
CAPS- collection of software, scanning camera systems, servers, etc. developed by The Walt Disney Company and Pixar in the late-1980s. It was used to computerize the ink, paint and post-production processes of traditionally animated feature films produced by Walt Disney Animation Studios. CAPS was used for the production of Beauty and the Beast, Aladdin, and The Lion King; it played a large part in the “Disney Renaissance”.
http://christinastettenbenz.wordpress.com/2012/08/15/the-little-match-girl-disney-animated-short/
Roger Allers (film 2006)
Hans Christian Anderson (story 1845)
A short story by Danish poet and author Hans Christian Andersen. The story is about a dying child's dreams and hope, and was first published in 1845. It has been adapted to various media including animated film, and a television musical.
a poor girl tries to sell matches in the street. She is freezing badly, but she is afraid to go home because her stepfather will beat her for not selling any matches. She takes shelter and lights the matches to warm herself.
she sees several lovely visions including a holiday feast, it is known that hypothermia sometimes causes hallucinations. she sees her dead grandmother to take her to Heaven.
the film is silent, with only music played along, which makes it incredibly moving. it is remarkable, using a visual style as well as the music played in time to really convey emotion. While the story itself is incredibly sad, Disney shows the girl, her situation and visions as heart-breaking. The animation is excellent (of course) and is Disney’s final use of CAPS (Computer Animation Production System).
CAPS- collection of software, scanning camera systems, servers, etc. developed by The Walt Disney Company and Pixar in the late-1980s. It was used to computerize the ink, paint and post-production processes of traditionally animated feature films produced by Walt Disney Animation Studios. CAPS was used for the production of Beauty and the Beast, Aladdin, and The Lion King; it played a large part in the “Disney Renaissance”.
http://christinastettenbenz.wordpress.com/2012/08/15/the-little-match-girl-disney-animated-short/
creating music for animation
Chances are that when something moves you by either making you laugh or cry while watching a movie or TV show, a musical score accompanies the scene. Music is a fundamental device that filmmakers use to develop a mood, set up a character and move a scene along. Music for animation has its own set of requirements, so we asked four successful animation composers to give us a behind-the-scenes peek at how they work. They talked with Animation World Magazine about their working relationship with producers, directors and creators, how they approach their work and what they think about when writing a score.
Denis M. Hannigan
leading name in children's animation music.
A prolific film and TV music composer and one of the most sought-after names in animation music, His music is heard on many of today's most popular children's programs, including Disney's Recess, CatDog, Rugrats, as well as Disney's Adventures in Wonderland.
Having worked closely with Rugrats co-creator Paul Germain on that series, Hannigan was a natural choice to compose the music for Disney's Recess, the animated television series created by Germain and Joe Ansolabehare as part of Disney's One Saturday Morning line-up. Says Germain, "Denis' music has contributed enormously to the success of Recess."
CatDog creator Peter Hannan. "Because the show is so off-the-wall, I wanted CatDog to have a unique musical palette with mostly live instruments and original synthesizer sounds," explains Hannan. "Denis gave CatDog just what it needed, musically."
http://www.awn.com/animationworld/creating-successful-music-animation
http://www.denishannigan.com/bio/bio.html
Chances are that when something moves you by either making you laugh or cry while watching a movie or TV show, a musical score accompanies the scene. Music is a fundamental device that filmmakers use to develop a mood, set up a character and move a scene along. Music for animation has its own set of requirements, so we asked four successful animation composers to give us a behind-the-scenes peek at how they work. They talked with Animation World Magazine about their working relationship with producers, directors and creators, how they approach their work and what they think about when writing a score.
Denis M. Hannigan
leading name in children's animation music.
A prolific film and TV music composer and one of the most sought-after names in animation music, His music is heard on many of today's most popular children's programs, including Disney's Recess, CatDog, Rugrats, as well as Disney's Adventures in Wonderland.
Having worked closely with Rugrats co-creator Paul Germain on that series, Hannigan was a natural choice to compose the music for Disney's Recess, the animated television series created by Germain and Joe Ansolabehare as part of Disney's One Saturday Morning line-up. Says Germain, "Denis' music has contributed enormously to the success of Recess."
CatDog creator Peter Hannan. "Because the show is so off-the-wall, I wanted CatDog to have a unique musical palette with mostly live instruments and original synthesizer sounds," explains Hannan. "Denis gave CatDog just what it needed, musically."
http://www.awn.com/animationworld/creating-successful-music-animation
http://www.denishannigan.com/bio/bio.html
Requiem for Romance
Jonathan NG
Short animated film, about a young couple that are having a phone conversation about breaking up, while a beautiful animation is played to it, of the couple having hand to hand combat against landscapes of ancient feudal china.
The director shared some thoughts on the genesis of his film as well as the challenges of bringing his vision to life.
Dan Sarto: How did this film come about? What is the genesis of the story?
"Jonathan Ng: I was just coming off a two year period where I had been focusing a lot on film history, film theory and writing for film. I had taken in a lot of films from different periods of Chinese cinema, including the water ink animations from the 60s, martial arts action films, and love stories, all of which resonated with me. I felt that there was going to be some way for all of them to intersect through my independent animation. I thought back to an original script that I had previously written about a break up and had put on the shelf. I re-read it and still thought it had some potential, and decided to embark on bringing it to life."
"I saw it as an opportunity. Artistically, it was a chance to expand and change from visual styles of my previous films and a chance to explore a different storytelling structure by way of contrasting parallels between the audio and visuals. The water ink under camera technique was something I was innovating and I really wanted to try it out and have fun with it. I hadn't ever explicitly explored East Asian aesthetics in my work before. The feedback from funding organizations on my script was very positive and I eventually received the funding to do it. Everything just came together, with the visual inspirations to work with, the story meaning something to me on a personal level, and having the resources to do it properly. So why not? As a creator, you're always going to have 2 - 3 or maybe more ideas in development, but life will let you know when it's the right time to realize a particular project."
http://www.awn.com/animationworld/jonathan-ng-talks-requiem-romance
Jonathan NG
Short animated film, about a young couple that are having a phone conversation about breaking up, while a beautiful animation is played to it, of the couple having hand to hand combat against landscapes of ancient feudal china.
The director shared some thoughts on the genesis of his film as well as the challenges of bringing his vision to life.
Dan Sarto: How did this film come about? What is the genesis of the story?
"Jonathan Ng: I was just coming off a two year period where I had been focusing a lot on film history, film theory and writing for film. I had taken in a lot of films from different periods of Chinese cinema, including the water ink animations from the 60s, martial arts action films, and love stories, all of which resonated with me. I felt that there was going to be some way for all of them to intersect through my independent animation. I thought back to an original script that I had previously written about a break up and had put on the shelf. I re-read it and still thought it had some potential, and decided to embark on bringing it to life."
"I saw it as an opportunity. Artistically, it was a chance to expand and change from visual styles of my previous films and a chance to explore a different storytelling structure by way of contrasting parallels between the audio and visuals. The water ink under camera technique was something I was innovating and I really wanted to try it out and have fun with it. I hadn't ever explicitly explored East Asian aesthetics in my work before. The feedback from funding organizations on my script was very positive and I eventually received the funding to do it. Everything just came together, with the visual inspirations to work with, the story meaning something to me on a personal level, and having the resources to do it properly. So why not? As a creator, you're always going to have 2 - 3 or maybe more ideas in development, but life will let you know when it's the right time to realize a particular project."
http://www.awn.com/animationworld/jonathan-ng-talks-requiem-romance