AICE Media Studies

Scene 1: Establishing shot of the street with the name of the studio in the skyline. Scene 2: Shot of missing posters and the name of production company is shown on one of the missing posters. Scene 3: Shot of sidewalk then reporter comes in frame walking and actors names are being displayed  Scene 4: Reporter enters a building, which is their job. Medium long shot is used and film name appears on wall as person walks by.  Scene 5: Reporter walks into job saying "hi" to co-workers. Music and edited by appear on screen  Scene 6: Reporter walks to his office/cubicle and sets himself up. Steady zoom in and the title, directed by, displays on wall.  Scene 7: Insert/shot of reporter opening file on missing persons/people/friend group.  Scene 8: The boss starts asking about how the case is going. Involves a two shot, over the shoulder shot, and a medium close up.  Scene 9: Reporter then tells the boss about how close he is with the case. Has a medium close up and a steady z

Location: At a city like downtown Fort Lauderdale or somewhere were they are shops, greenery, and not busy to a semi-busy area. But most likely multiple locations that are at range between everyone who is participating.  Participants: The people participating in this project are myself (Corvelest), Te, and David. Although we have not discussed our specific roles, we agreed that Teo would be the protagonists/good person or middle grounded and me or David would be the antagonists/bad person. All of us are some what main characters.  Schedule: After discussing our schedules, we concluded that next weekend and days that we 3 days weekends and early release would be the best time to start filming. The fact that we have 3 day weekends and early releases and no one is doing anything major helps. We also, decided that it would be a good idea to start filming during evening time like 5pm to 8pm for a darker kind of feel.  Costumes: The costumes will vary between my group mates depending on thei

Election Day (Short Film by Zach Wechter) - A Thrill Ride Through the Ballot Box a. Common Sounds: Tense score: Pulsating strings, discordant electronic beats, sharp stings to punctuate action. Diegetic noise: Buzzing of fluorescent lights, frantic typing on keyboards, murmurs of crowds, unsettling radio broadcasts. Silence as anticipation: Moments of hushed tension before the inevitable eruption, drawing the audience in. b. Common Mis-en-Scene (CLAMPS): Confined spaces: Voting booths, cramped back offices, claustrophobic polling stations amplifying paranoia. Power dynamics: Contrasting sterile campaign headquarters with grimy backstreets, highlighting disparity. Technological reliance: Screens everywhere – projecting propaganda, manipulating data, fuelling suspicion. Hidden agendas: Shadows in corners, secret meetings, characters with obscured motives creating unease. c. Common Editing: Fast-paced cuts: Heightening anxiety, jumping between frantic characters and escalating events. Sha

a. Common Sounds: Suspenseful Score: Orchestral strings, eerie pianos, building crescendos, sudden silences. Diegetic Sounds: Footsteps, creaking floorboards, dripping water, car engines, tense breathing, whispers. Sound Effects: Sharp stings, glass shattering, phone ringing, doors slamming, mechanical whirring. b. Common Mis-en-Scene (CLAMPS): Lighting: Chiaroscuro (light and shadow), use of cold blues and greens, isolated spotlights, darkness in corners. Setting: Isolated locations, abandoned buildings, dark alleyways, confined spaces, grand but empty mansions. Costumes: Black and neutral tones, leather jackets, trench coats, raincoats, suits that conceal weapons. Props: Hidden cameras, phones with cryptic messages, weapons (guns, knives), ticking clocks, broken mirrors. c. Common Editing: Fast-paced cuts: Heightening tension, quick shots of chase sequences, jump scares. Slow-motion sequences: Building anticipation, emphasizing dramatic moments, lingering on unsettling details. Sound

a. Common Sounds: Haunting, dissonant music: Often strings, piano, or electronic elements to build tension and unease. Sharp, sudden sound effects: Footsteps, creaking doors, dripping water, whispers, or animal sounds to jolt the viewer and create jump scares. Silence: Used strategically to heighten anticipation and amplify the impact of subsequent sounds. b. Common Mise-en-Scène (CLAMPS): Limited lighting: Creating shadows and obscuring details to fuel paranoia and uncertainty. Confined spaces: Tight corridors, abandoned buildings, or claustrophobic rooms to trap the characters and the audience. Disturbing imagery: Objects out of place, blood stains, surveillance cameras, or distorted reflections to hint at danger and psychological torment. c. Common Editing: Quick cuts and jump cuts: To disorient the viewer and mimic the protagonist's heightened perception. Slow-motion sequences: To build suspense and draw attention to key details. Dutch angles: Tilted camera angles to create une

a. Common Sounds: Intense Sounds: Pulsating beats, discordant strings, eerie electronic sounds, sudden silences. Diegetic Sounds: Heavy breathing, rustling leaves, dripping water, creaking floorboards, strained whispers. Sound Effects: Sharp stings, metal clangs, animal snorts, car engines accelerating, shattering glass. b. Common Mis-en-Scene (CLAMPS): Lighting: Chiaroscuro (light and shadow), use of cold blues and yellows, flickering lights, darkness as a threat. Setting: Isolated cabins, dense forests, deserted highways, confined spaces, unsettlingly familiar environments. Costumes: Layered clothing for protection, muted tones, practical attire concealing secrets, blood stains. Props: Weapons (knives, guns, improvised tools), maps, phones with cryptic messages, hidden cameras, survival gear. c. Common Editing: Fast-paced cuts: Heightening tension, quick shots of chase sequences, jump scares. Slow-motion sequences: Building anticipation, emphasizing dramatic moments, lingering on uns

Pre-Production:  Write within your means: Consider your resources (cast, budget, locations) when crafting the story. Start with what you know you can pull off.  Think in setups and payoffs: Create emotional and narrative build-up and deliver satisfying conclusions.  Go against the obvious: Surprise the audience by subverting their expectations.  Let theme guide your story: Figure out your central message and let it inform the plot and characters.  Production:  Preparation is key: Know the script inside and out, create shot lists and storyboards, and be ready to adapt. Tone is crucial: Every camera angle, lens choice, and lighting decision should reinforce the desired atmosphere.  Cast wisely: Choose actors who can embody the characters and deliver the emotional depth you need. Commit 100%: Both you and your cast need to fully invest in the performance for it to resonate.  Prioritize sound: Capture dialogue clearly and utilize layers of sound design to enhance the experience. Feed your

Part 1: Graphics On a rough count, there are over 400 stills in La Jete, with some repeats. But it's the variation in Marker's usage that makes the overall effect so potent. He employs clean cuts for traditional shot-reverse-shot sequences, cross-fades or dissolves for a dreamlike ambience, and longer holds to allow us to really explore and absorb certain images. The audio, generally used with great subtlety, sometimes accentuates the visuals more overtly, with a pounding heartbeat-type percussion in sinister scenes or even a seductive score for the most romantic interlude. Plot While the premise and climactic twist of La Jete might seem to focus on the mystery of the virus and stopping it, Marker appears more interested in the exploration of time itself. This is where 12 Monkeys steps in. The writers and Gilliam set up a more traditional plot-driven mystery: five million people died in 1996 and 1997, and Bruce Willis' Cole is sent back to gather intelligence to stop the ou

9 (2005), the short film:  Launching into a silent, post-apocalyptic world, 9 immediately captivates with its bleak beauty. Gritty textures meld with fantastical steampunk contraptions, while the scientist the protagonist, 9, navigates a desolate landscape with haunting grace. The plot, focused on survival and a desperate search for meaning, unfolds through evocative imagery and subtle gestures. While character development leans on archetypes (the lone hero, the monstrous pursuer), it's the visual storytelling that shines. Acker masterfully employs silence, relying on body language and expressive animation to convey emotion and tension. The ending, ambiguous yet hopeful, leaves a lasting impact.  9 (2009), the feature film:  Expanding the short's universe, the feature film injects color, dialogue, and a more elaborate narrative. We delve deeper into the world's lore and encounter a diverse cast of ragdolls, each with distinct personalities and motivations. While the special