Saturday, 7 May 2016
Evaluation Question 3 (glogster)
What kind of media institutions might produce my media product and why?
Friday, 6 May 2016
Evaluation Question 7 (Blogger)
What did I learn from the main task that I didn't learn from the preliminary task?
During the preliminary task I barely knew how to hold the camera steady for filming and didn't know how to edit, sound, images or effects, and didn't realise the effects that camera angles and continuity would have on my production. In short, my preliminary task was a crude and rushed example of what I could do with know prior knowledge or experience.
At the end of my main production, however, I knew how to use Photoshop and the majority of it's visual, sound and special effects, applying as many as I could without going over-saturating my production. To go into further detail:
There were many mistakes and production errors throughout the preliminary tasks and because I made the mistakes, I also learnt how to avoid such mistakes for my main production, For example I neglected the importance of camera angles and continuity during my preliminary task, this was not the case during my main task as careful attention was paid to how the camera angle would impact the audience's knowledge of what was happening.
As well as this, my storyboarding skills have also improved. During the preliminary task, my storyboard was little more than descriptive doodles, during my main production, however, my storyboard had detail on how the camera would act in each shot/scene and even went into some detail of what to add during editing, the majority of which was.
My planning also got better, the preliminary task's planning was done on the spot and filming the shots in chronological order. In the main production, however, the filming was done in order of location, rather than time, as to save time flitting between rooms and the locations were decided and written down beforehand as to not waste time looking.
The notes used as props in the production itself were used instead of printed messages and tape was used so I could make handwritten notes in an inconsistent, sinister font that also gave me a greater feel of creative licence.
Overall, I believe I have made vast improvements on the skills I used in the making of my preliminary task and have learnt new skills to a sufficient degree that I could apply them in future productions.
During the preliminary task I barely knew how to hold the camera steady for filming and didn't know how to edit, sound, images or effects, and didn't realise the effects that camera angles and continuity would have on my production. In short, my preliminary task was a crude and rushed example of what I could do with know prior knowledge or experience.
At the end of my main production, however, I knew how to use Photoshop and the majority of it's visual, sound and special effects, applying as many as I could without going over-saturating my production. To go into further detail:
There were many mistakes and production errors throughout the preliminary tasks and because I made the mistakes, I also learnt how to avoid such mistakes for my main production, For example I neglected the importance of camera angles and continuity during my preliminary task, this was not the case during my main task as careful attention was paid to how the camera angle would impact the audience's knowledge of what was happening.
As well as this, my storyboarding skills have also improved. During the preliminary task, my storyboard was little more than descriptive doodles, during my main production, however, my storyboard had detail on how the camera would act in each shot/scene and even went into some detail of what to add during editing, the majority of which was.
My planning also got better, the preliminary task's planning was done on the spot and filming the shots in chronological order. In the main production, however, the filming was done in order of location, rather than time, as to save time flitting between rooms and the locations were decided and written down beforehand as to not waste time looking.
The notes used as props in the production itself were used instead of printed messages and tape was used so I could make handwritten notes in an inconsistent, sinister font that also gave me a greater feel of creative licence.
Overall, I believe I have made vast improvements on the skills I used in the making of my preliminary task and have learnt new skills to a sufficient degree that I could apply them in future productions.
Thursday, 5 May 2016
Evaluation question 1
Evaluation Question 6
What have you learnt about technologies from the process of constructing this product?
Wednesday, 20 April 2016
Distribution
Distributors
A distributor is an individual or organisation who represents a film at festivals and markets across the world and will attempt to sell it to televisions, airlines, coach companies that have those small TYV's on them as well as many other companies that show short films. The biggest (short)film distributors in England are Futureshorts, Shorts International, Dazzle and Network Ireland TV. Distributors often source new films in order to represent their distribution catalogue at film festivals around the world. These include but are not limited to the Cannes, Rotterdam, Berlinale, AFM and Sundance festivals (features) and Clermont-Ferrand, Tampere, Encounters and Toronto Worldwide Short Film Festival (shorts). The vast majority of films that distributors acquire are completed films sourced at film festivals and related markets.
Distribution Deals
Negotiating deals with distributors requires them to have certain rights to a film, aspects of distribution affected by the rights distributors have to a film are many. Territory, which countries the film can be distributed to by the distributor. Terms, the amount of time the distributor will have the rights to distribute a film. Rights Granted, the agreement that should distinguish between the media rights granted to the distributor, which can include theatrical, video and DVD, television rights etc., and the media rights reserved to the producer. If exclusive rights are agreed to, as apposed to non-exclusive, it will stop others from allowing others to show your film within a specified media/territory/term. Producer's warranties and representation, when the producer is asked to provide assurances that there is no infringement of copyright. Gross receipts, all monies actually received by the distributor from the exploitation of the film before any deductions have been made. Net proceeds, the amount payable to the producer from the proceeds derived from the exploitation of the film after costs incurred by the distributor have been deducted. Costs can include distributor fees, commission and expenses. Expense caps, in order to prevent the distributor claiming unreasonable amounts, which would reduce the amount left for the producer to compensate. Distributor's obligations, The distributor should be under obligations to maintain accurate and true records of sales and expenditure and the producer should have the right to receive regular accounting statements on the film. Termination, which is, in my opinion, perhaps the most important, the circumstances in which you can terminate the relationship with the distributor. If the distribution agreement is for a long period of time and a better deal comes along during that period, the wording of such a clause will often determine as to whether the producer can end the existing agreement.
Sales Agents
More rarely, both short and feature films can benefit from the skills of a Sales Agent, who works on selling a smaller range of films on behalf of the film's rights holder / producer. Agents are responsible for setting up the deals, but do not necessarily deal with all the contracts paperwork, taking a percentage fee from any sales that arise from their work. They tend to take slightly lower fees than distributors as they do not have such large overheads and provide no guarantees of sales. However you may need to pay them a retainer until they achieve a sale. They can also be responsible for setting up deals with film distributors per territory.
Sales and Income
It is very rare that a profit is made when selling a short film. It is not a good idea, and probably never will be, for companies and conglomerates alike to overspend on their budgets, hoping that they will get it back afterwards from selling the film. Short film distributors tend to sell films in packages to make their profit margins sustainable, with a slant on high production values, romance/comedy/ drama genres and avoidance of overly ‘adult' themes. Countries outside of the UK, including the EU member states and the USA, can legally withhold up to 40% of the due license fee as withholding tax until the producer provides the licensee with a certificate of residency with a local tax office, where the producer's company is registered.
Self-Distribution
Self explanatory. Advantages: The producer retains full control and rights over a film, allowing them to choose where the film is shown. Money made from sales must not be shared with a distributor.
Disadvantages: It is often a full time job and will likely be time consuming with the risk that the production will still fail anyway. It can limit options for sales as distributors often have established relationships with buyers. Requires a wide understanding of copyrights laws, clearly making it difficult for one person to manage.
http://www.bbc.co.uk/filmnetwork/filmmaking/guide/distribution/distribution
A distributor is an individual or organisation who represents a film at festivals and markets across the world and will attempt to sell it to televisions, airlines, coach companies that have those small TYV's on them as well as many other companies that show short films. The biggest (short)film distributors in England are Futureshorts, Shorts International, Dazzle and Network Ireland TV. Distributors often source new films in order to represent their distribution catalogue at film festivals around the world. These include but are not limited to the Cannes, Rotterdam, Berlinale, AFM and Sundance festivals (features) and Clermont-Ferrand, Tampere, Encounters and Toronto Worldwide Short Film Festival (shorts). The vast majority of films that distributors acquire are completed films sourced at film festivals and related markets.
Distribution Deals
Negotiating deals with distributors requires them to have certain rights to a film, aspects of distribution affected by the rights distributors have to a film are many. Territory, which countries the film can be distributed to by the distributor. Terms, the amount of time the distributor will have the rights to distribute a film. Rights Granted, the agreement that should distinguish between the media rights granted to the distributor, which can include theatrical, video and DVD, television rights etc., and the media rights reserved to the producer. If exclusive rights are agreed to, as apposed to non-exclusive, it will stop others from allowing others to show your film within a specified media/territory/term. Producer's warranties and representation, when the producer is asked to provide assurances that there is no infringement of copyright. Gross receipts, all monies actually received by the distributor from the exploitation of the film before any deductions have been made. Net proceeds, the amount payable to the producer from the proceeds derived from the exploitation of the film after costs incurred by the distributor have been deducted. Costs can include distributor fees, commission and expenses. Expense caps, in order to prevent the distributor claiming unreasonable amounts, which would reduce the amount left for the producer to compensate. Distributor's obligations, The distributor should be under obligations to maintain accurate and true records of sales and expenditure and the producer should have the right to receive regular accounting statements on the film. Termination, which is, in my opinion, perhaps the most important, the circumstances in which you can terminate the relationship with the distributor. If the distribution agreement is for a long period of time and a better deal comes along during that period, the wording of such a clause will often determine as to whether the producer can end the existing agreement.
Sales Agents
More rarely, both short and feature films can benefit from the skills of a Sales Agent, who works on selling a smaller range of films on behalf of the film's rights holder / producer. Agents are responsible for setting up the deals, but do not necessarily deal with all the contracts paperwork, taking a percentage fee from any sales that arise from their work. They tend to take slightly lower fees than distributors as they do not have such large overheads and provide no guarantees of sales. However you may need to pay them a retainer until they achieve a sale. They can also be responsible for setting up deals with film distributors per territory.
Sales and Income
It is very rare that a profit is made when selling a short film. It is not a good idea, and probably never will be, for companies and conglomerates alike to overspend on their budgets, hoping that they will get it back afterwards from selling the film. Short film distributors tend to sell films in packages to make their profit margins sustainable, with a slant on high production values, romance/comedy/ drama genres and avoidance of overly ‘adult' themes. Countries outside of the UK, including the EU member states and the USA, can legally withhold up to 40% of the due license fee as withholding tax until the producer provides the licensee with a certificate of residency with a local tax office, where the producer's company is registered.
Self-Distribution
Self explanatory. Advantages: The producer retains full control and rights over a film, allowing them to choose where the film is shown. Money made from sales must not be shared with a distributor.
Disadvantages: It is often a full time job and will likely be time consuming with the risk that the production will still fail anyway. It can limit options for sales as distributors often have established relationships with buyers. Requires a wide understanding of copyrights laws, clearly making it difficult for one person to manage.
http://www.bbc.co.uk/filmnetwork/filmmaking/guide/distribution/distribution
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