Valeria's Progress Report

Today, Hasnaa Lamia and I all met to complete some more editing. We improved our work and found a better soundtrack for our trailer; which proves really creepy. Therefore it is parallel to the action occuring and compliments it, it also proves more effective and realistic as there is a scary atmosphere created. The only thing that needs to be done is the voice over, after which the editing will be completed.
Valeria

Progress Report


Today, Lamia Hasna and I all met up in the conference room and editied for a long period of time, in which We were able to make a lot of progress in the form of adding the various title graphics for our trailer, which complimented the action occurring. As a result of adding the titles, our trailer now looks reaslistic as it embodies all the conventions associated with film trailers. The music present however doesn't compliment the horror genre, as it proves contrapuntal.Therefore, We will change the music for a more creepy soundtrack which will suit our trailer more. The final changes that need to be done is a voiceover, which after doing that our editing will be more or less completed and then we will just be re checking everything.
Valeria

Hasnaa's progress report....

We have edited all the major scenes and now it all depends on the music which hopefully will be put into place tomorow.

Progress Report

On Friday we got alot of editing done, THANK GOD!, but unfortunately no music so hopefully on Monday Hasnaa will bring it in...even though the laptop did freeze quiet a few times we still managed to get something done so now on monday we're gonna do some more editing...we should meet the deadline...think so

Farah

My progress report


On friday the 23rd of march, we have done a lot we worked for 5 periods un our free time, we really worked hard, we got a lot done then we had expected, unfortunatley we couldn't put on the music because we forgot it, we hope to get most of it done in during the following days.
Everyone has put a great effort on the work, during the editing we all came up with different ideas that really helped.
i really helped and used my skills to make a good production,we all shared our skills, we finnaly new how to trim after trying, we really learned so many things.
we got a lot done after some days that we had a lot of problems. we are going to finish the editing before the dead line.
good job everyone

Lamia

Progress Report


Today was good as every group member was present for the editing, so we all worked together. We trimmed some scenes which we didn't need. We were actually able to edit properly, without any technical problems, although the music we needed to add was forgotton, however we made good progress and worked really hard. For the next few days we will all continue to edit and complete the editing.

Valeria

Hasnaa's progress report - 23rd March 2007


Today the whole group managed to get some editing done. We worked hard as a team to get things done so that it could be finished for the dead line. There was only one main issue which was probably my fault and that was i forgot to bring in the music - nevertherless i'll bring it in on monday so that we can add the final touches to out production.

Additional comment

Thanks for that Lamia!! But yeah i will start to edit tomorow morning again hopefully everythin will work out well.

Hasnaa.

Progress Report


Today me n hasnna were doing editing in the morning at hasnaa's house, we did most of the editing, but then we saved into the usb when we stayed after school to show the media mentors what we've done so far but unfotunatley we couldnt show anything because it didnt work, with the laptop that we used at school.
we are going to do it again at school and use the computer at school and we can do work, now it will be much easier as we've done it before we now know what to cut and where to add. we are going to meet the deadline, even the problems.
tomorow hasnaa will start editing again in the morning.

LAMIA

Hasnaa's progress report.

On tuesday during our frees during period 1 and 2 Lamia came to my house to do some editing. We managed to complete all our project to a satisfactory standard. However, after school again me and Lamia, began to edit but there were problems. Firstly there wasnt enough laptops to go round, secondly our project didnt want to open on the school laptop anyway it doesn't matter because even though we dont have much time till the due date ium sure that we will be able to fix our problems in the project.

Progress Report

This past week I have been editing at Hasna's house. However I wasnt able to go to continue editing over the weekend due to problems which arised. Although progress has been made for the pratical production as the music soundtrack that was chosen has been approved. Next week we will be continuing to edit as we only have one week to finish, therefore we have a lot to complete.
Valeria

Self Evaluation By Farah Khan


Attainment:
I put a lot of effort into my work in class and with my homework. I try to keep up with all the work set and with the blog for our practical production. I'm gonna give myself a 2...

Effort:
I'm always putting effort into my work I believe so for that I would grade myself a 1...

Punctuality:
I'm always on time to my lessons even if the teacher arrives early or late so for that i'll give myself a 1...

Submission and quality of homework:
I rarely forget to do homework and when I do hand it in it is I believe of good quality because I do try my best so I give myself a 2...

Ability to work independantly:
I think that I'm good at working independantly as I can handle doing things alone and don't depend on people even when I do work in a group (thankfully) so for that I give myself a big 1!

Quality of writing:
I think that the quality of my writing is quiet good although I think that I could improve in some areas especially in essay writing...so I give myself a 3 for that one...

Organisation of media folder:
My media folder is organised ok...though i think that needs to improve because it's kinda mixed up because of revision and stuff but it's still fairly organised so for that right now i'll give myself a 3...

Oral contributions in class:
I don't think that I do contribute as much as I used to in class but I think that the reason for that is that I enjoyed the film and broadcast fiction part more but I think that when we have to speak up in class in our practical production groups I do talk alot so I would give myself a 2...

Comments and contributions to the macguffin blog:
I do alot for the blog I think, I even gave it a whole make-over in the half term but it went back to the same old self again. I do all the work that asked of my on the blog and give alot of ideas to my group through the blog... so that will be a 2...

Contribution to the group practical production:
For that I do alot...I contribute enough and I give loads and loads of ideas to the group because I have so many. This is what I enjoy most about the course so I do contribute alot...that will be a 1!

Three targets/ areas of improvements over the next half term:
1: Be more organised
2: Improve essay writing skills
3: Spend more time revising

Does anyone have a life in the sixth form? Day in day out i spend it editing like crazy and even on the weekend I find the rest of my group who are all crazy editing like mad. Anyway, we managed to complete our editing over the weekend, however there was a problem of trying to put it on a disk so that it could be brought to school and shown to the mentors - however nevertheless we will buy the dvd recordable cd and make sure that it is handed in for the mentors feedback.

Hasnaa.

Valeria's Self Evaluation


Attainment
I always work hard in lessons and always complete the tasks which are set on time. I would grade myself a 1.
Effort
I work hard in lessons to my full potential so I am able to really understand the topics, which results in me producing good pieces of work. I would grade myself a 1.
Punctuality
I generally attend all media lessons. however there have been a few occasions in which I have missed two lessons. Although I always arrive on time. I would grade myself a 2.
Submission and quality of homework
I generally hand all my homewok in on time, however there were two occasions in which I failed to meet the deadline set although I handed it in the following lesson. The quality of my homework is really good as it is always presented neatly and not rushed, in which I take my time to complete it. I would grade myself a 2.
Ability to work independantly
I am capable to work independantly, in which I use the library and internet to research current topics I am studying to produce my own work. I would grade myself a 1.
Quality of writing
The quality of my writing is always of a high standard. This is due to me always using words of a high vocabulary, which really improves my work. My presentation is always neat. I would grade myself a 1.
Organisation of media folder
My media folder is always organised, in which I have used dividers for each section covered, which is beneficial for my revision. I would garade myself a 1.
Oral contributions in class
I don't really contribute in class, although I should, to express my opinons in a particular topic raised, However if I am asked a question, I will answer it correctly. I would grade myself a 2.
Comments and contributions to the macguffin blog
I always contribute to the macguffin blog, in which I produce produce reports and have posted up various pics of our production so far and posted up research. I have also commented on other blogs. I would grade myself a 1.
Contribution to the group practical production
I had an active role in acting as I was playing a victim. I also pitched suitable ideas for our production and edited. I would grade myself a1.
Three targets/ areas of improvements over the next half term
1) To contribute more in class
2) To always hand homework in for the deadline set.
3) To attend all media lessons

Lamia's self evaluation


Attainment-3
i think that i achieved a lot of during the last term, in my writting skills for module one, i always try to follow the comments given by the teacher and improve my piece of homework everytime, i also try to improve other pieces of writtings in other modules and practice more writting.
i have been trying and other members of the my media production group trying to do a lot of work in filming and editing during the last weeks.
Effort-3
i always try and put a great effort in participating in class and a lot of effort when doing my homeworks, i always try to improve my quality of work.
Punctuality-1
i am always punctual to lessons, if im late to one class i try to improve my attendance and come early the other lesson.
Submission and quality of homework-3
i always submit my homework on time, my quality of work has improved a lot, compared to the begining of the year, but i need to put more efforts and improve more on my homeworks especially writting skills.
Ability to work independently-1
i am able to woork independently and i am able to do the task independently and look at other media texts in my own time, to improve my knowledge ogf media.
Quality of writing-3
my quality of writting is improving everytime and i am trying to do my best to get good grades in the exams, i think i am getting better in my quality of writting work, with writting with a good structure, especially for the flow charts to link the media language points together im trying to improve in those.
Organisation of Media folder -1
my media folder is organised in different topics and it is ready to start doing revision, it is organised as i wanted it to help me do my revisions for mocks and exams.
Oral contributions in class-3
my oral contribution to class, i try to contribute to everything that we're doing in class and share my ideas to the class, for the practical production i gave in my ideas to the rest of the group, we all shared many ideas of how to make a better production, and what to change.
Quality of coursework -2
our quality of coursework is good, we really put a lot of efforts on it, the editing is going good aswell, we just need to do some adjustments, i put a lot of work in the editing, as the other members of the group,by giving ideas to each other and everyone contributed in filming and the editing.
Standard of Module 3 blog (Year 12s only)-1
our blog looks good, with pictures of our production and good progress reports form each member of the group and what the group is up to.

My targets for the term:

improve my writting skills

contribute to oral conversation in class

finish editing before the end of term

do more revisions

Hasnaa’s self- evaluation.

Attainment
1 – I am always trying to work to the best of my ability so that I am able to do better and better.

Effort
1 – I try to work my hardest and put a lot of effort in to my work so that when it comes to exam preparation I am able to have all my notes ready to revise from.

Punctuality
1- I have always been punctual especially to all my media lessons.

Submission and quality of homework
2- I am generally very good at handing in my homework especially to Mr. Bush, however there are some issues when it comes to Ms. Jones which consists of ‘3 concept flow paragraphs.’ I seem to find difficulties when writing concept flow paragraphs because sometimes I go off task.

Ability to work independently
2 – Sometimes I am able to work independently however when facing difficulties in work I do tend to ask for friends help.

Quality of writing
1 – I try my best not to write in slang however i have noticed since i have stopped studying English in year 11, i have noticed a change in my writing for instance more spelling mistakes than normal -or just not being able to phrase sentences correctly.

Organisation of media folder
1- This is one of the folders which I always keep in order.

Oral contribution in class
2 – I don’t really contribute that much because sometimes I feel that my answers may be wrong, however when asked a direct question on the spot the question does get answered. Sometimes I feel shy to answer the questions in front of class mates.

Comments and contributions to the Macguffin blog
2- As I have only got the internet a few weeks ago, I have been totally addicted to the whole posting up work and images on the blog. I have greatly improved from before.

Contribution to the group practical production
1- As I was the central protagonist of the story I had a great deal of contribution in out practical production. However, I did help on other tasks such as filming.


Three targets/ areas of improvements over the next half term

Pay more attention on class.
Try and do Ms. Jones homework to a better standard.
Try to participate in class more.

Hasnaa's Progress Report

Not much happened on Friday apart from editing again after school at my house. Over the weekend the whole group will meet up again for a few hours to edit again so that all the work will be completed to a high and satisfactory standard.

Valaria trying to escape from my messy garage.

Hasnaa

Hasnaa's progress report.

Today me and Lamia were doing some editing together. We have already decided upon the music needed and have put it into place according to the scenes. We have put a lot of hard work into editing our work - since we had a late start since the laptop wasnt working. However, we are back on track and have nearly finished editing. Furthermore, we have changed the title of 'Blind Date.'

Valaria looking scared as ever.

Hasnaa.

My house - where nearly the whole practical production took palce.

Hasnaa.

The whole group having jokes before we started to film seriously.

Hasnaa.

A clip showing me climbing up the staires ready to kill.

Hasnaa.

Me again.

Hasnaa

Me holding a knife - as used in part of our practical production.

Hasnaa

PROGRESS REPORT

Today me and hasnaa went editing at hasnaa's house during our free periods and after school, we added on other things, to make it look like a real trailer, we added on the trailer and the music and also we added video effects, me n hansnaa were coming up with ideas to make it look better and what to change we will also meet up again with the whole group later on this week.
Lamia

Progress Report


This last week we really tried to do some editing, we tried many times during our free periods and after school but our computer used to get frozen every second and we couldn't get any work done, last week we decided to meet up at Hasnaa's house and do some editing because there we do some work and we have much more time, we are using a diffrent software but we got a lot done during this week. we hope to finish as soon as possible. we will try to bring up a cd of our work and show to mr.Bush and the mentors for any other improvemnts and changes, we put the music on as well.

Lamia

Progress Report

This past week, we have been able to edit after many problems took place which shortened our editing time. As a group, we decided to sometimes edit at Hasnaa's home as there will be less distraction therefore meaning we are able to complete much more then in school. We have looked at a particular soundtrack which proves parallel to the events occuring in our production.
Valeria

Hasnaa's progress report. Friday 9th March 2007.

Since we are now able to edit our footage finally!! we have done a lot considering we are quite far behind. We have decided to use my laptop at home since a certain the problem was unable to be resolved during school hours. However, we have already began to use music in some of the scenes. Hopefully, we can make continuous progress throughout the time of editing.

Hasnaa.

Farah's progress report!

We're on editing now and have tried to capture our scenes on the laptop but it turns out that we need to have the Adobe premier pro re-installed because it keeps freezing when we try and capture so Mr Babu has told us he'll do that for us. We also in the process of looking for the right music which I have kind of found but we think it's going to be quiet hard because we need to edit some parts of the music out but found out it will be difficult to do and won't sound right. But I think we're all still on top of everything and I personally think that we'll be done editing on time.

Progress Report

during the last few we have been trying to do some editing, but our computer keeps freezing so we couldnt get any editing done, today i tried to do some editing in the evening but it froze again, i captured only about two scenes, we got the type of music that we are going to use which Farah got for us, it really matches with our movie. we will reinstall adobe premier and try to edit again.
we hope to get some more editing done tomorow, and hope that the computer works.

Lamia

Hasnaa's progress report

During the past week all the group members have met to do our editing. Unfortunately for us we had a laptop where the programme continuously froze on us - which was really annoying as we haven't got much done. However, we have already decided upon the type of music which will be played alongside the scenes. However, we were advised to reinstall the programme which was really annoying as this took a lot of time. Anyway lets hope that we can start editing soon.

Hasnaa.

Progress Report

This past week, all the group members all met to start the editing. We were assigned the laptop to complete our editing, however we experienced many difficulties such as the laptop constantly freezing whilst we were trying to capture the footage. This therefore meant that our time was wasted,as we had to keep re-starting the software every few minutes, which resulted in us not being able to capture any footage. This was very unfortunate for us, however after seeking assistance, we were advised to re-install the software which will hopefully make a difference, in which we wil then be able to capture and start editing our footage.
Valeria

Extra Research On Horror/Thriller Trailers

By Hasnaa

Here are some of the research of the shots which we may consider using in our practical production as well as for editing.

Camera Techniques: Distance and Angle

Long shot (LS). Shot which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings. Extreme Long Shot (ELS) - see establishing shot: In this type of shot the camera is at its furthest distance from the subject, emphasising the background. Medium Long Shot (MLS): In the case of a standing actor, the lower frame line cuts off his feet and ankles. Some documentaries with social themes favour keeping people in the longer shots, keeping social circumstances rather than the individual as the focus of attention.
Establishing shot. Opening shot or sequence, frequently an exterior 'General View' as an

Extreme Long Shot (ELS). Used to set the scene.
Medium shots. Medium Shot or Mid-Shot (MS). In such a shot the subject or actor and its setting occupy roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is space for hand gestures to be seen. Medium Close Shot (MCS): The setting can still be seen. The lower frame line passes through the chest of the actor. Medium shots are frequently used for the tight presentation of two actors (the two shot), or with dexterity three (the three shot).

Close-up (CU). A picture which shows a fairly small part of the scene, such as a character's face, in great detail so that it fills the screen. It abstracts the subject from a context. MCU (Medium Close-Up): head and shoulders. BCU (Big Close-Up): forehead to chin. Close-ups focus attention on a person's feelings or reactions, and are sometimes used in interviews to show people in a state of emotional excitement, grief or joy. In interviews, the use of BCUs may emphasise the interviewee's tension and suggest lying or guilt. BCUs are rarely used for important public figures; MCUs are preferred, the camera providing a sense of distance. Note that in western cultures the space within about 24 inches (60 cm) is generally felt to be private space, and BCUs may be invasive.

Angle of shot. The direction and height from which the camera takes the scene. The convention is that in 'factual' programmes subjects should be shot from eye-level only. In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting an air of detachment. A low angle shot places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action.

Viewpoint. The apparent distance and angle from which the camera views and records the subject. Not to be confused with point-of-view shots or subjective camera shots.
Point-of-view shot (POV). A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot.

Two-shot. A shot of two people together.
Selective focus. Rendering only part of the action field in sharp focus through the use of a shallow depth of field. A shift of focus from foreground to background or vice versa is called rack focus.

Soft focus. An effect in which the sharpness of an image, or part of it, is reduced by the use of an optical device.

Wide-angle shot. A shot of a broad field of action taken with a wide-angle lens.

Tilted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated. Such shots are often used in mystery and suspense films to create a sense of unease in the viewer.

Zoom. In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible as the shot tightens (contrast tracking). It may be used to surprise the viewer. Zooming out reveals more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot widens. Zooming in rapidly brings not only the subject but also the background hurtling towards the viewer, which can be disconcerting. Zooming in and then out creates an ugly 'yo-yo' effect.

Following pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in front of the subject: the pan 'leads' rather than 'trails'. A pan usually begins and ends with a few seconds of still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as establishing the viewer's relationship with the subject. 'Hosepiping' is continually panning across from one person to another; it looks clumsy.
Surveying pan. The camera slowly searches the scene: may build to a climax or anticlimax.

Tilt. A vertical movement of the camera - up or down- while the camera mounting stays fixed.
Crab. The camera moves (crabs) right or left.

Tracking (dollying). Tracking involves the camera itself being moved smoothly towards or away from the subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert attention to the edges of the screen. The speed of tracking may affect the viewer's mood. Rapid tracking (especially tracking in) is exciting; tracking back relaxes interest. In a dramatic narrative we may sometimes be drawn forward towards a subject against our will. Camera movement parallel to a moving subject permits speed without drawing attention to the camera itself.

Hand-held camera. A hand-held camera can produce a jerky, bouncy, unsteady image which may create a sense of immediacy or chaos. Its use is a form of subjective treatment.

Process shot. A shot made of action in front of a rear projection screen having on it still or moving images as a background.

Editing TechniquesCut. Sudden change of shot from one viewpoint or location to another. On television cuts occur on average about every 7 or 8 seconds. Cutting may:
change the scene;
compress time;
vary the point of view; or
build up an image or idea.

There is always a reason for a cut, and you should ask yourself what the reason is. Less abrupt transitions are achieved with the fade, dissolve, and wipe

Matched cut. In a 'matched cut' a familiar relationship between the shots may make the change seem smooth:
continuity of direction;
completed action;*
a similar centre of attention in the frame;
a one-step change of shot size (e.g. long to medium);
a change of angle (conventionally at least 30 degrees).
*The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Because the viewer's eye is absorbed by the action he is unlikely to notice the movement of the cut itself.

Jump cut. Abrupt switch from one scene to another which may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section.

Motivated cut. Cut made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible (causing us, for instance, to accept compression of time). A typical feature is the shot/reverse shot technique (cuts coinciding with changes of speaker). Editing and camera work appear to be determined by the action. It is intimately associated with the 'privileged point of view' (see narrative style: objectivity).

Cutting rate. Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize.

Cutting rhythm. A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer.

Cross-cut. A cut from one line of action to another. Also applied as an adjectuve to sequences which use such cuts.

Cutaway/cutaway shot (CA). A bridging, intercut shot between two shots of the same subject. It represents a secondary activity occurring at the same time as the main action. It may be preceded by a definite look or glance out of frame by a participant, or it may show something of which those in the preceding shot are unaware. (See narrative style: parallel development) It may be used to avoid the technical ugliness of a 'jump cut' where there would be uncomfortable jumps in time, place or viewpoint. It is often used to shortcut the passing of time.

Reaction shot. Any shot, usually a cutaway, in which a participant reacts to action which has just occurred.

Insert/insert shot. A bridging close-up shot inserted into the larger context, offering an essential detail of the scene (or a reshooting of the action with a different shot size or angle.)

Buffer shot (neutral shot). A bridging shot (normally taken with a separate camera) to separate two shots which would have reversed the continuity of direction.

Fade, dissolve (mix). Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction to a scene; a slow fade-out is a peaceful ending. Time lapses are often suggested by a slow fade-out and fade-in. A dissolve (or mix) involves fading out one picture while fading up another on top of it. The impression is of an image merging into and then becoming another. A slow mix usually suggests differences in time and place. Defocus or ripple dissolves are sometimes used to indicate flashbacks in time.

Superimpositions. Two of more images placed directly over each other (e.g. and eye and a camera lens to create a visual metaphor).

Wipe. An optical effect marking a transition between two shots. It appears to supplant an image by wiping it off the screen (as a line or in some complex pattern, such as by appearing to turn a page). The wipe is a technique which draws attention to itself and acts as a clear marker of change.

Inset. An inset is a special visual effect whereby a reduced shot is superimposed on the main shot. Often used to reveal a close-up detail of the main shot.

Split screen. The division of the screen into parts which can show the viewer several images at the same time (sometimes the same action from slightly different perspectives, sometimes similar actions at different times). This can convey the excitement and frenzy of certain activities, but it can also overload the viewer.

Stock shot. Footage already available and used for another purpose than the one for which it was originally filmed.

Invisible editing: See narrative style: continuity editing.

Manipulating TimeScreen time: a period of time represented by events within a film (e.g. a day, a week).

Subjective time. The time experienced or felt by a character in a film, as revealed through camera movement and editing (e.g. when a frightened person's flight from danger is prolonged).

Compressed time. The compression of time between sequences or scenes, and within scenes. This is the most frequent manipulation of time in films: it is achieved with cuts or dissolves. In a dramatic narative, if climbing a staircase is not a significant part of the plot, a shot of a character starting up the stairs may then cut to him entering a room. The logic of the situation and our past experience of medium tells us that the room is somewhere at the top of the stairs. Long journeys can be compressed into seconds. Time may also be compressed between cutaways in parallel editing. More subtle compression can occur after reaction shots or close-ups have intervened. The use of dissolves was once a cue for the passage of a relatively long period of time.

Long take. A single shot (or take, or run of the camera) which lasts for a relatively lengthy period of time. The long take has an 'authentic' feel since it is not inherently dramatic.

Simultaneous time. Events in different places can be presented as occurring at the same moment, by parallel editing or cross-cutting, by multiple images or split-screen. The conventional clue to indicate that events or shots are taking place at the same time is that there is no progression of shots: shots are either inserted into the main action or alternated with each other until the strands are somehow united.

Slow motion. Action which takes place on the screen at a slower rate than the rate at which the action took place before the camera. This is used: a) to make a fast action visible; b) to make a familiar action strange; c) to emphasise a dramatic moment. It can have a lyric and romantic quality or it can amplify violence.

Accelerated motion (undercranking) . This is used: a) to make a slow action visible; b) to make a familiar action funny; c) to increase the thrill of speed.

Reverse motion. Reproducing action backwards, for comic, magical or explanatory effect.
Replay. An action sequence repeated, often in slow motion, commonly featured in the filming of sport to review a significant event.

Freeze-frame. This gives the image the appearance of a still photograph. Clearly not a naturalistic device.

Flashback. A break in the chronology of a narrative in which events from the past are disclosed to the viewer. Formerly indicated conventionally with defocus or ripple dissolves.

Flashforward. Much less common than the flashback. Not normally associated with a particular character. Associated with objective treatments.

Extended or expanded time/overlapping action. The expansion of time can be accomplished by intercutting a series of shots, or by filming the action from different angles and editing them together. Part of an action may be repeated from another viewpoint, e.g. a character is shown from the inside of a building opening a door and the next shot, from the outside, shows him opening it again. Used nakedly this device disrupts the audience's sense of real time. The technique may be used unobtrusively to stretch time, perhaps to exaggerate, for dramatic effect, the time taken to walk down a corridor. Sometimes combined with slow motion.

Ambiguous time. Within the context of a well-defined time-scheme sequences may occur which are ambiguous in time. This is most frequently comunicated through dissolves and superimpositions.

Universal time. This is deliberately created to suggest universal relevance. Ideas rather than examples are emphasised. Context may be disrupted by frequent cuts and by the extensive use of close-ups and other shots which do not reveal a specific background.

Use of SoundDirect sound. Live sound. This may have a sense of freshness, spontaneity and 'authentic' atmosphere, but it may not be acoustically ideal.

Studio sound. Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise ('ambient sound'), e.g. dubbed dialogue. This may be then mixed with live environmental sound.

Selective sound. The removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect - to create atmosphere, meaning and emotional nuance. Selective sound (and amplification) may make us aware of a watch or a bomb ticking. This can sometimes be a subjective device, leading us to identify with a character: to hear what he or she hears. Sound may be so selective that the lack of ambient sound can make it seem artificial or expressionistic.

Sound perspective/aural perspective. The impression of distance in sound, usually created through the use of selective sound. Note that even in live television a microphone is deliberately positioned, just as the camera is, and therefore may privilege certain participants.

Sound bridge. Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted.

Dubbed dialogue. Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements. Not confined to foreign-language dubbing.

Wildtrack (asynchronous sound). Sound which was self-evidently recorded separately from the visuals with which it is shown. For example, a studio voice-over added to a visual sequence later.
Parallel (synchronous) sound. Sound 'caused' by some event on screen, and which matches the action.

Commentary/voice-over narration. Commentary spoken off-screen over the shots shown. The voice-over can be used to:
introduce particular parts of a programme;
to add extra information not evident from the picture;
to interpret the images for the audience from a particular point of view;
to link parts of a sequence or programme together.

The commentary confers authority on a particular interpretation, particularly if the tone is moderate, assured and reasoned. In dramatic films, it may be the voice of one of the characters, unheard by the others.

Sound effects (SFX). Any sound from any source other than synchronised dialogue, narration or music. Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking.

Music. Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene. Background music is asynchronous music which accompanies a film. It is not normally intended to be noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action. Through repetition it can also link shots, scenes and sequences. Foreground music is often synchronous music which finds its source within the screen events (e.g. from a radio, TV, stereo or musicians in the scene). It may be a more credible and dramatically plausible way of bringing music into a programme than background music (a string orchestra sometimes seems bizarre in a Western).

Silence. The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel dissociated from reality.

LightingSoft and harsh lighting. Soft and harsh lighting can manipulate a viewer's attitude towards a setting or a character. The way light is used can make objects, people and environments look beautiful or ugly, soft or harsh, artificial or real. Light may be used expressively or realitically.

Backlighting. A romantic heroine is often backlit to create a halo effect on her hair.

GraphicsText. Titles appear at or near the start of the programme. Their style - typeface, size, colour, background and pace - (together with music) can establish expectations about the atmosphere and style of the programme. Credits listing the main actors, the director, and so on, are normally shown at or near the beginning, whilst those listing the rest of the actors and programme makers are normally shown at the end. Some American narrative series begin with a lengthy pre-credit sequence. Credits are frequently superimposed on action or stills, and may be shown as a sequence of frames or scrolled up the screen. Captions are commonly used in news and documentaries to identify speakers, in documentaries, documentary dramas and dramatic naratives to indicate dates or locations. Subtitles at the bottom of the screen are usually used for translation or for the benefit of the hearing-impaired.

Graphics. Maps, graphs and diagrams are associated primarily with news, documentary and educational programmes.

Animation. Creating an illusion of movement, by inter-cutting stills, using graphics with movable sections, using step-by-step changes, or control wire activation.

Narrative styleSubjective treatment. The camera treatment is called 'subjective' when the viewer is treated as a participant (e.g. when the camera is addressed directly or when it imitates the viewpoint or movement of a character). We may be shown not only what a character sees, but how he or she sees it. A temporary 'first-person' use of camera as the character can be effective in conveying unusual states of mind or powerful experiences, such as dreaming, remembering, or moving very fast. If overused, it can draw too much attention to the camera.

Moving the camera (or zooming) is a subjective camera effect, especially if the movement is not gradual or smooth.

Objective treatment. The 'objective point of view' involves treating the viewer as an observer. A major example is the 'privileged point of view' which involves watching from omniscient vantage points. Keeping the camera still whilst the subject moves towards or away from it is an objective camera effect.

Parallel development/parallel editing/cross-cutting. An intercut sequence of shots in which the camera shifts back and forth between one scene and another. Two distinct but related events seem to be happening at approximately the same time. A chase is a good example. Each scene serves as a cutaway for the other. Adds tension and excitement to dramatic action.

'Invisible editing'. This is the omniscient style of the realist feature films developed in Hollywood. The vast majority of narrative films are now edited in this way. The cuts are intended to be unobtrusive except for special dramatic shots. It supports rather than dominates the narrative: the story and the behaviour of its characters are the centre of attention. The technique gives the impression that the edits are always required are motivated by the events in the 'reality' that the camera is recording rather than the result of a desire to tell a story in a particular way. The 'seamlessness' convinces us of its 'realism', but its devices include:
the use of matched cuts (rather than jump cuts);
motivated cuts;
changes of shot through camera movement;
long takes;
the use of the sound bridge;
parallel development.

The editing isn't really 'invisible', but the conventions have become so familiar to visual literates that they no longer consciously notice them.

Mise-en-scene. (Contrast montage). 'Realistic' technique whereby meaning is conveyed through the relationship of things visible within a single shot (rather than, as with montage, the relationship between shots). An attempt is preserve space and time as much as possible; editing or fragmenting of scenes is minimised. Composition is therefore extremely important. The way people stand and move in relation to each other is important. Long shots and long takes are characteristic.

Montage/montage editing. In its broadest meaning, the process of cutting up film and editing it into the screened sequence. However, it may also be used to mean intellectual montage - the justaposition of short shots to represent action or ideas - or (especially in Hollywood), simply cutting between shots to condense a series of events. Intellectual montage is used to consciously convey subjective messages through the juxtaposition of shots which are related in composition or movement, through repetition of images, through cutting rhythm, detail or metaphor.

Montage editing, unlike invisible editing, uses conspicuous techniques which may include: use of close- ups, relatively frequent cuts, dissolves, superimposition, fades and jump cuts. Such editing should suggest a particular meaning.

Talk to camera. The sight of a person looking ('full face') and talking directly at the camera establishes their authority or 'expert' status with the audience. Only certain people are normally allowed to do this, such as announcers, presenters, newsreaders, weather forecasters, interviewers, anchor-persons, and, on special occasions (e.g. ministerial broadcasts), key public figures. The words of 'ordinary' people are normally mediated by an interviewer. In a play or film talking to camera clearly breaks out of naturalistic conventions (the speaker may seem like an obtrusive narrator). A short sequence of this kind in a 'factual' programme is called a 'piece to camera'.

Tone. The mood or atmosphere of a programme (e.g. ironic, comic, nostalgic, romantic).
Formats and other featuresShot. A single run of the camera or the piece of film resulting from such a run.

Scene. A dramatic unit composed of a single or several shots. A scene usually takes place in a continuous time period, in the same setting, and involves the same characters.

Sequence. A dramatic unit composed of several scenes, all linked together by their emotional and narrative momentum.

Genre. Broad category of television or film programme. Genres include: soap operas, documentaries, game shows, 'cop shows' (police dramas), news programmes, 'chat' shows, phone-ins and sitcoms (situation comedies).

Series. A succession of programmes with a standard format.
Serial. An ongoing story in which each episode takes up where the last one left off. Soap operas are serials.

Talking heads. In some science programmes extensive use is made of interviews with a succession of specialists/ experts (the interviewer's questions having been edited out). This derogatively referred to as 'talking heads'. Speakers are sometimes allowed to talk to camera. The various interviews are sometimes cut together as if it were a debate, although the speakers are rarely in direct conversation.

Vox pop. Short for 'vox populi', Latin for 'voice of the people'. The same question is put to a range of people to give a flavour of 'what ordinary people think' about some issue. Answers are selected and edited together to achieve a rapid-fire stream of opinions.

Intertextuality. Intertextuality refers to relationships between different elements of a medium (e.g. formats and participants), and links with other media. One aspect of intertextuality is that programme participants who are known to the audience from other programmes bring with them images established in other contexts which effect the audience's perception of their current role. Another concerns issues arising from sandwiching advertisements between programmes on commercial television (young children, in particular, may make no clear distinction between them).

By Hasnaa.