title: Playtime.

i like the idea of Playtime as a name, i think that when it is combined with the images I have recorded it will bring connotations of something sinister and a bit different.

However I am aware of a film from 1967 called Play Time, but if i put the two words together i think its different enough and its not exactly copyright, aslo i think the two films are in completely different genres so it should be fine.

title

as the title sequence will mainly be involving childern's toys, hopefully made to look a bit sinister i think it should be based around the the idea of playing or something to that effect.
But with the research i have done involving Tim Burton and the Horror genre they have very contrasting ideas of norms of what makes a good title...

• Tim Burton titles are fairly self explanatory - Edward Scissorhands - involving the story of  'Edward' who has scissors for hands!
• where as many horror films such as Saw and Savage, give an idea of the feel of the film and set up some narrative expectation but also include good use of the hermenutic code as a lot is still left unexplained.

Seeing as I do not have a whole film to base my title on i think it would be much more appropriate to use the horror film model to come up with a name for my film.

Main aspects of the title sequence are ~ lifeless objects

                                                             toys 

                                                             idea of childhood

                                                             a childs' bedroom

So one or two words that are to do with these ideas yet don't give too much away or have ambiguity when used with no context.

 

TITLE?!!

.. I haven't thought of one yet!!
Seeing as I don't know the full storyline of the film that would follow title sequence (and Tim Burton's titles are always fairly laterally thought up e.g Edward Sissorhands, about; a "boy" called edward with sissors for hands!! Planet of The Apes, in which; a planet is controlled by apes!!) I think it would be more interesting and appropriate to take inspiration from my research into horror films. :)

timings..

Though I am a bit behind where I said and would like to be I have realised that I will need to give up parts of my holiday to complete this task.
On a more positive note I should have captured all that I need for title sequence by the end of tomorrow!
Then can take it into college and start editing next week :)

location ~ problems...

the main element of the location I have chosen I think will be the lighting, it is naturally a fairly dark room and the sum only enters around sunset. So, I willhave to improvise slightly with the lighting but as the majority of shots will be degrees of close-ups thinking a torch might actually be sufficient.
 However panning makes ot harder for this to work as obviously a torch won't spread the light very evenly over a wide space so ll have to think of something else for that :S

location ~ details

I have been given permision to use my sisters bedroom for a film location, however they would prefure the family photos to not be in any shots. But I think that a panning close up shot of a photo farme (with a photo in) would be quite effective use of the herminutic code and would hopefully cause viewers to wonder who the person featured is - this combines things learnt from both parts of my research (Horror and Tim Burton).
 So a possibility would be to write up some formal documentation, this may make them feel better about allowing photographs to be included in my work.

costumes & props...

The props i'll be using will mainly be things that already exist in my sisters room, I will have to do a lot of work to make it filmable but I doubt i will need to provide any props into the environment.
In terms of costume, as there will be no people in the film costume wont be overly relevant.
However as it looks like i wont have to consider these two elements that much, i will still have to look at the mise en scene of my shot carefully as the room will be very busy to begin with so i will need to customize it to be moer suitable for what i need it to look like.

time keeping update...

i said that by the 30th of June i would have done all of this 

1. I will have finished presenting all of my research data
2. come to conclusions about the specific features of my title sequence
3. chosen and got permission to film in a certain location 
4. drawn up a shot list 

... i have completed 1 fully and 2 and 3 mostly - if im honest i will probably be changing my mind about the work i do even after i have submitted it! And im pertty sure i'll be doing my filming in my little sisters bedroom - so hopefully i wont need formal permission.


Also i am drawing my shotlist now so hopefully the pictures wuill be uploaded tomorrow!
So, overall i'm not that far behind in terms of what i expected from myself, but i am in terms of what my teacher expected!!

IDEA!! #2

I was thinking of using the whole load of inanimate objects aka dolls, bears, dresses, etc. that are in my younger sisters bedroom, and then filming them in such a way that makes them look as if they could possibly be harmful.

• I like this idea as it very much allows me to incorporate some of the research I've done into the Horror genre as well.

Taking more direct inspiration from ''Edward Sissorhands''

• I want to film something that is completely harmless in real life, in a way which makes it feel a bit evil. Such as robots with smilies.

Though you find in the reality of the film, these robots were
actually harmless but the lighting and smoke distortion make them
look more menacing.

conclusion...

The tree idea is a bit of a fail, filming some shots for what I thought would look really good turned out to be a LOT less simple than I had expected.
-It turns out that I don't have the time or equipment to give the inanimate object (a tree) cartoon like features and movement, bit to ambitious!
-The uneven surface of the cracked tree bark made it almost impossible for the camera get everything in focus when in auto, but when manually controlled any movement caused distortion as well.
-Also the object didn't have the sinister feel I was looking for, it may have gotten better after a lot of animation work but that's not possible.

Drawing-board... I'm backk!   

IDEA!!

Following on for the point that in Burton's work there is always something for the audience to follow throughout the sequence, I'm thinking for the use of an inanimate object that could be made into a cartoon and spread in interesting ways in order to be followed - such as a tree!

Health and safety for this would be fairly straight forward ~

Risk: tripping over tripod - as it will be in awkwardly placed positions.
Control: ensure the bottoms are visible and actively take it into account.

Risk: falling on uneven ground.
Control: clear the ground of some leaves so the ground less slippery.    

more plans for my sequence...

Looking through more Burton work and finding some of his history; that he has been a keen artist throughout his life - studying animation at the California institute of the Arts, and following the theme that there doesn't seem to be many title sequences that he has used that involve people to a noticeable extent (other than Planet of The Apes but I personally am not a fan of its title sequence and don't want to go into the sci-fi/action genre)...

• I don't want my title sequence to have any human characters 

Though the majority of his sequencers are also highly animated I don't feel i could do animation any justice and unlike Burton I don't have a strong enough interest in that particular art.

Similarly PPE is used a lot, and though I couldn't achieve the same quality as in Batman (1989), the sequence to Edward Sissorhands is more like something i could possibly do.

• include use of PPE 

with good use of the software I have available e.g Premier Pro CS5 it is possible
to create a similar sequence as the one used for Edward Sissorhands.
  

target audience summary ~ for Tim Burton

I have found this information from looking at various blogging sites in which the topic is Tim Burton films. 

Gender: male and female -the users seemed to be split fairly evenly in gender.

Age: 25-35 - this is noticeably older than the T.A for horror. 

Class: B1-C - the job description on the profiles seemed to indicate well paid and therefore possibly well educated profile. This is also different to horror.    


Psycho-graphic Profile: 
-most likely be highly individualist -due to the nature of the Burton "genre"
-could also be a bit of a mainstreamer as Burton films are extremely popular

    This overall is very similar to the profile for the horror audience. 
Consumption Patterns:
-spending disposable income on creative things such as art work.
-alternative music.
-socialising.
-either in full time education (University) or skilled labour.
-film seeing would be due to their interest in art forms. 

However, there may possibly be a problem with this bit of research due to where I resourced the information from. As it was on a film review site, it cuts the demographic from all Burton fans to; Burton fans who often use review/blogging sites.
http://www.rottentomatoes.com/m/1221547-alice_in_wonderland/-link to where I found the information.

notes from target audience ~ for horror

We spoke to a group of 8, 19-20 year-olds about horror films and what they think makes a good title sequence in this genre.
-All agreed that a good feature of a horror films title sequence is to 'leave questions in the audiences mind'.
-One said the location was very important, to create the 'scary atmosphere'.
-Most felt that the 'lighting helps to create a scary vibe'.
-Some spoke about the importance of sound; one said 'loads of noises like screaming and stuff make you really tense.' But another added that 'silence can be more effective.'
We asked if costume mattered to them...
-One said; 'it does make a difference but it can be anything... there is not one outfit that makes it seam scary or innocent...' (most agreed).

Comments made about the importance of the location make it seam really important for us to try and use Croome Park, and to create the 'scary vibe' with the lighting in the most simple way I think filming when it is going dark would be effective. As the trees and buildings will cast unusual shadows and make the setting very interesting.

The storyline of the title sequence can't give away too much as it has to 'leave questions', but has to make the genre clear; we can do this with things such as costume and sound. Sound will be added in the editing suit as it should appear more professional this way, and costume has to be carefully considered as the group we spoke to said it made an important impact. 

• I will be doing a similar thing for the target audience for Tim Burton films as well, as I plan to combine some elements of the two types of film and therefore it would be directed at both of the audiences, so i need to find out which elements are well received by both of them.      

target audience summary ~ for horror

Gender: male

Age: 18 – 20’s

Class: C1-D


Psycho-graphic Profile: 
-could be an individualist.
-could also be a mainstreamer as horror films can be seen as mainstream now.


Consumption Patterns:
-action games.
-alternative music.
-socialising.
-either in full time education (University) or semi-skilled labour.
-would most probably go out in groups, this is when they would see films of their choice.

time keeping...

By; June 30th...

1. I will have finished presenting all of my research data
2. come to conclusions about the specific features of my title sequence
3. chosen and got permission to film in a certain location 
4. drawn up a shot list 

By, July 3rd....

1. I will have taken all of the film I need for the whole title sequence 

horror genre ~ research summary

Font

This font is typical of the horror genre, the use of red connotes the semantic field of blood and danger, and the bold draws in the viewers attention, these features together also inflict a generic expectation of horror upon the audience.   

The second image is more individual to this title sequence, but still has the same connotations that are apparent in most horror film sequences.  

Transitions

In the 'Dawn of the Dead' sequence the use of a black screen with red writing (the names of people involved with the making of the film) are used as transitions.

However, in the sequence for 'Hostage' transitions aren't as predominant, but this may be due to the fact that all of the shots look similar as they are black and white tones with red accents therefore the transitions look fairly seamless with the use of a simple fade anyway.

Where-as in 'Dawn of the Dead' the location skips frantically and therefore the look of the shots change dramatically, so something is needed to split them up, this also could be used for dramatic effect as it keeps the audience waiting; creating suspense.


Music
The music used in both title sequences begins with a fairy slow pace, and ominously low notes; this is used to connote that something dangerous or evil is apparent. But in 'Dawn of the Dead' the sound is very layered, it consists of dialogue, a piece of music, a heart-beat sound effect and individual stings of music which relate the the on screen image. these features catch audience attention effectively as they have may things they can focus on.


Characters
 Characters introduced in title sequences for horror films mainly verify the sides of the story e.g the good people and evil monsters or other people. This is apparent in 'Dawn of the Dead', the first of the 'Dead' characters shown is costume which consists of blood smeared around it's mouth and ripped clothing, a close-up shot is used to make the audience jump and this causes them to relate these characters with the shock that is caused. often close-up shots are used for this so that the viewer can see who's side they are on or who is opposing them.

Mise En Scene
 The common props of a horror film title sequence would be things like weapons, obviously connoting death or violence, which is use of the Proairetic code as the audience know that something might happen with these weapons so while they're waiting the tension builds. Lighting is fairly low key this ensures the audience's attention is being kept as they are having to watch carefully to see what is going on.

    

Narrative Codes

 Close-ups are used throughout the title sequences, but they are more frequent towards the start. This relates to Barthes Proairetic code as the audience do not quite know what they are seeing, but due to the mise en scene they can tell it is bad so tensions are built.
 The common use of props such as guns or knives relate to the Hermeneutic code as these objects are signs of danger or death, and put the ideas related to this into the viewers mind.
 The fact that the sequences go straight into action full of short takes with a lot of movement in them paired with dramatic music, creates an Action code. This is used to get the audiences attention and create excitement, this is important as it can easily be turned into tension or fear.
 The title sequence introduces the audience straight into Todorov's 'disruption' stage and fully skips the 'equilibrium', this is fairly common of the horror.


Genre
 The genre is established through mise en scene, most significantly the use of costume make-up e.g fake blood. But also the low key lighting contrasting with the use of flash images keeps the audience attracted to the screen, this is use of the action code and is fairly typical of horror and action films. Also the common use of red (in the background or as the writing both added in post production editing which, makes it even more obvious that it is seen as important) this is use of the Proairetic code as the use of red connotes thoughts of blood and therefore death.
 The use of shot of things like nature are hardly ever used as it completely opposite of what is normally trying to be portrayed in a horror film. However, when it is used next to things that are typical of horror films e.g dead people, weapons etc. it has the effect of a Semantic code, as the contrasting images are put together it shows that the peaceful image isn't there to mean what it would normally.

    

Dawn of the Dead; Title sequence             

http://www.artofthetitle.com/2008/06/30/dawn-of-the-dead/

In this sequence, we looked particularly at the fragments of narrative (a kind of back story) and at the way the titles appear in red on black with a little 'bleed' each time, but of particular interest is the use of sound, which is quite 'layered' with the Johnny Cash song, the heartbeat noise, the bits of dialogue and other little stings which link with the images.
 The title sequence to Dawn of the Dead (Zack Snyder, 2004) uses cinematography to a good effect. In the first segment of the sequence the angle of the camera is used to connote the roles of the characters in the film; the very first shot shows a vast room filled by the ‘dead’ simultaneously bowing, then a long shot of a supposedly dead person stretched out is used as a way of explaining what is happening. After this an extreme close-up is used to show the audience an example of the ‘enemy’ covered in blood,  high angle shots are used in all of these takes to connote straight away that these characters are the enemy.

 Seeing as this is established all before a shot of the films’ title, it definitely does not follow Todorovs’ narrative theory as it fully misses out the equilibrium stage possibly to make the beginning more dramatic as the audience is thrown straight into action or the 'disequilibrium'. However this could also make the viewers narrative expectation fall as there is not enough time for a build-up in tension. Also, fairly close to the start, the use of a voice-over brings in characters talking about the situation which could show the arrival of the recognition stage; this would infer that the whole film consists of reparation and the discovery of a new equilibrium.

 The fact that the title sequence skips Todorov’s stage of equilibrium means that the audience has no idea how or why this disruption was caused, this relates to Bathes codes. In particular the Hermeneutic code which refers to stories that have elements that aren’t fully explained, this alone should keep the audience’s attention until the point where this becomes clear.      

 These shots of the zombie type creatures are surrounded by a blood-red font on a black background, which each have a 'bleeding' effect used on them, this immediately infers death and danger which obviously cause tension. It is also used as way to bridge the shots which enables them to skip location and change the set design franticly and shows how serious the situation is by showing how widely spread it is, which creates narrative expectation.

 The first few shots are also followed by non-diegetic screaming sound effects; this shows the audience that they are creatures that cause terror, inflicting fear on the audience. But the sound throughout is noticeably layered as well as the dialogue it includes a Jonny Cash song, a heartbeat noise and stings which relate to what is being shown on screen. This effects the audience as there are a lot of things which they can concentrate on, this may inflict an action code.    

 A low angled shot of soldiers is what follows the title shot. The use of a low angle causes the audience to see that this is this opposing team as it is directly opposite to how viewers were shown the ‘dead’, also the low angel connotes that we are on their side or that they should be looked up to. On the shot of the soldiers a lot of the frame is used to show the blue sky above their heads, this makes the shot look completely different to the all of the previous ones that were either in black and white or shots where the only noticeable colour was blood-red, this makes it even more clear that they are meant to be the hero’s of the film, as the blue sky has a positive connotation. And the fact that the two sides are split-up by the title makes the sides even more defined.

 The use of a steady semantic code throughout the title sequence, mostly of death and danger inferred by using shots of dead bodies, ambulances and soldiers shooting people, raises the generic expectations as viewers are left wondering who will survive and how. 

 contrastingly, this film clearly relates to Levi-Strauss’ binary opposition theory as in the title sequence alone the hero v villain or life v death set up is already clear, creating tensions and setting up narrative expectations for the rest of the film.

Hostage; Title sequence

http://www.youtube.com/watch?v=qRu5CNv2fVE

 The title sequence to the 2005 film ‘Hostage’ directed by Florent Emilio Siri, uses its title sequence to set up narrative expectation by using a series of still shots. These stills are highly edited in post production; the red sky contrasting with the black and white used on the rest of the frame connotes danger creating tension.

 The Fact that stills are used could become boring, however they are mostly zoomed in on and from the start to the end the location size is getting smaller, from a city to a person in a house. This helps to connect the shots and gives the effect of a fluent storyline, and as the location gets smaller, to a point where only one house is highlighted in red, it gives the felling that the situation is getting more intense to a viewer.

 This house surrounded by police and soldiers with guns all pointed at it firstly raises narrative expectation and relates to Roland Barthes narrative codes, more specifically the Proairetic code as it is clear that something will develop in the story to do with this house, but at this point for the audience it is not clear what or why.

 However the shots are also sometimes zoomed out of, this also relates to Roland Barthes narrative code. As, at the start of the shot the ‘camera’ is so close to the objects within it that it is impossible for the audience to make out what things are, therefore this uses the Hermeneutic code as while the shot is not clear the audience is kept wondering what is happening, this causes the generic expectation to rise.

 The title sequence also uses a semantic code very well. Close ups of guns, shots of police and the token use of red on every scene, all raise narrative expectation as they infer that something dangerous is going to happen but the added use of stills gives the audience little understanding of what is actually happening, so these two features together make the viewer very tense and eager for the story to unfold.

 The track being played over the sequence includes drum roles which automatically narrative expectation as the audience suspect that it signifies something is about to happen (even though it may not be). Other sound effects are used, such as a police siren, this ties in with the semantic field being used and makes the scene seam more real as they are supposed to be diegetic.

 As the sequence does not use a fluent story line it is hard to tell what is going on and to see if any of Levis-Strauss’ Binary Oppositions are being formed within the plotline. However the close up of a man inside the highlighted house followed by a diegetic sound of him loading his gun is followed by a extreme close up shot of a gun which then zooms out to reveal a soldier holding it, this would infer that there are sides of an outlaw and the army which simplifies down to good and evil as audiences are already supposed to think of the forces in a protective role.

 This title sequence is in some ways similar to the one for ‘Dawn of the Dead’, they both miss out Todorov’s equilibrium stage and the viewer is thrown straight into the disequilibrium stage. This shows that Steve Neale’s opinion of: ''genres are instances of repetition and difference... difference is absolutely essential to the economy of genre'' can be fairly accurate, as these films are both from the action/horror genre they do have similarities which mean that audiences can recognise what genre they are from. However, ‘Hostage’s use of stills and ‘Dawn of the Dead’s use of a voice over, show that they also need to have difference to keep them entertaining. So that expectations can be made to raise tensions without the films being so similar that they are predictable.   

existing film sequences

Edward Sissorhands; 
http://www.artofthetitle.com/2008/12/26/edward-scissorhands/

  The 1990 Burton film, it is a hybrid genre which combines some horror and romance and elements of action in parts. Its' title sequence is used to set up narrative expectation by cleverly using images of thing which are fairly ambiguous unless the viewer has seen the film. This automatically leads the viewer to eagerly await the start of the film as they want to find out the relevance of the representative images.
  This foreshadowing of what will happen in the film may be seen as misleading to an extent as it visually gives the impression of a pure horror film, most noticeably due to the images of still or at least inanimate objects moving through the frame. Also, the blue lit hue and the plain black background they move on brings connotations of darkness in the objects featured. Other use of lighting which is more stereotypical of the horror genre is present at the beginning where the extremely low key lighting makes it difficult for the viewer to see what is being presented to them, this is common in sequences such as Saw; a classic horror.

 





  As well as the lighting choices in the sequence, the mise en scene also gives the impression of the horror genre. The actual objects featured in the title sequence e.g. metal smiling robot, connote a sort of danger and definitely makes the viewer wonder what they are there for, and assumption aren't likely to be that they are harmless due to the way they are presented.
  However, this contrasts with the score by Danny Elfman as although the strings bring some eerie connotations, it mostly gives a dreamy feel to the movement removing some sinister feel from the images. Horror elements are also balanced due to the PPE segment in which different shaped snowflakes rapidly flash on the screen (still in the blue hue) before falling, though I feel this part removes some of the tension being built, which is the opposite of what it was added for, it does make it clear that the film will not be a pure horror and is one of the first signs of the strange themes the film has that the audience get to see. This may be use of the Enigma code as it could be intended to cause the audience to wonder what sort of things the narrative will include.

 





  Other use of the Enigma code is in the overt use of close-ups combined with reverse zoom effects or a form of panning-styled movement, as this causes the images to not be legible to begin with resulting in the viewer wondering what it is. This feature is also one of things which I found to be a theme in Burtons title sequences, as the flowing movement the panning or zooming (or reverse-zoom) creates a natural route for the audiences eye to follow, this is an effective feature in my opinion.
  Though there are many feature I like, there is very little use of Roland Barthes Proairetic code, so I feel the sequence dose appear to become a little random because it is made up of seemingly unrelated events. However, this could be use of the Hermeneutic code (involving something which is unexplained, creating questions) which is very common in the beginning of stories, and once the themes and features of the film of a whole are taken into consideration there is evident utilization of foreshadowing, but this can only be enjoyed once a viewer has seen the full film, which slightly contradicts the use of an opening title sequence.  

other influences; Narrative Theory

Todorov stated that most stories are made up of 5 of the same elements. 
These consist of;
-Equilibrium: the state of normality at the beginning of the story/film.
-Disruption (Disequilibrium): the stage in which the balance is altered.
-Recognition: the event in which a key character notices that there has been a change.
-Reparation: when something occures to try and restore the 'normal' state.
-New Equilibrium: things are different but there is a balance again.


Levi-Strauss Binary Opposition
He found that the meaning behind most narratives are based on oppositions, and the elements in the story can be paired as opposites; right and wrong.
This is most evident in genres such as action films, thought this isn't Burtons' most common genre, it is obviously extremely apparent in Burton films such as Batman.  

Plans for my sequence...

From making a montage, which I felt represented a fair amount of his work into one simple image, I now have a more clear understanding of thing which my sequence should either incorporate or be influenced by.

• ambiguous images running through the work. (his come from foreshadowing the actual film but I may have to use extreme close-ups or another form of distortion of my images to make them ambiguous.)
• a lot have things for the viewer to follow, (i.e Sweeney Todd; blood trail and Big Fish; a fish!) these features rum throughout the sequence and give the audience a sense of story, which mirrors the fact that there are a lot of references to the film within the title sequence.
• this leads me to think that maybe my title sequence could be like a short story. (fairly simple to do due the ambiguous nature of it.)
• I could replicate the "story" element using a character to follow, or panning shots with similar layouts, so they look like they flow well, encouraging the audiences eye to follow.

Tim Burton ~ film title monage

  I chose to make an extremely simple image on photoshop as I feel it reflects the simplicity of Burton films title sequences. The dark blue backing is imitated as I have noticed it in a lot of his sequences, as was the font of the text, though the colour and the animation is more usually adapted to the film, there appears to be a fairly standard type of font which he favours. The supposedly blood-red corners are meant to represent the subtle but noticeable elements of darker themes in his films. As a lot of the content of the sequences for his films are direct references to occurrences or themes within the film which become clear once contextualised after seeing and understanding the film, I felt a smoky layer would show this this well. It also has a more direct aesthetic reference to the title sequence to "Sweeney Todd...."

I incorporated the pallet, font and smoking effect
from this sequence into my montage. 

The smoky affect is again apparent in this
sequence.

The use of a blood trail highlight a darker element
to the film.

This also has the blue pallet and similar text font,
but also the majority of the sequence is
referential to what will happen in the film.

  It is fairly apparent that I took a lot if direct inspiration for his works, but then used the tools I have and some of my own imagination to combine them and create something new. This is what i would like to do for my final piece also. 

Steve Neale (1980, 48) ''genres are instances of repetition and difference... difference is absolutely essential to the economy of genre''.

 Though I don't think technically the work of Tim Burton is so distinct that it could be classed as its own genre, his style is fairly individual therefore there are some common themes that run through his work, which means it is possible to treat it as though it is, as; "genres are instances of repetition". Also, his body of work is large enough to have plenty of pieces to choose to compare, which can highlight the "differences" Burton may incorporate into his work in order for it to continue to entertain.

  It is crucial for Tim Burton's work not to become predicable, as his reputation means that a lot of the same people watch the majority of his work, and if the audience becomes used what will occur it looses impact. This backs up that there should be difference in his title sequences and works as a whole. For instance, the way in which narrative expectation is built-up. For the title sequence to Sweeny Todd: The Demon Barber of Fleet Street, Morrison (who created the title sequence for this Tim Burton film) used a metaphor throughout the sequence; following the trail of blood is said to represent the development of the characters idea, (to be a serial killer!). Hence the importance of falling onto cogs, this sets up expectation for the audience as the seamtic field of blood death and danger is used to instigate the feeling of drama and the overt use of panning shots lead the viewer to feel as thoug they are following something which doesn't often occur without reason.
  Where as in the Title sequence for Big Fish more features are used for representation of things which will occur in the narative, e.g the animated zoom into an extreme close-up of a wedding ring suggests that that will have some relevance to the story/characters but they havn't been shown what it is yet.
  This use and manipulation of the Hermeneutic code which is apparent in both title sequences shows me that though they look very different, similar pocesses and techniques are used as they are proven to get the desired reaction out of the target audience.
  This theoretically shows that the strucure of my title sequence could be extremly close to that of Tim Burton's while astetically appearing entirerly different.
  Also, due to Burton's choice of the same musician (Elfman) to work on both of the sequences, each of their scored have a lot of similareties, which shows Burton obviously found a style of music that inflicts on the audience the feel he intended. Though they are cearly not exactly the same scores, it shows that repeating things which are proven to work isn't a negative thing, and can be done without the work being predictable.
  Therefore overall, fully agree with the statement made by Neale, however the area that I explored wasn't technically an actual genre, so it may not be as fitting for whole genres as it appeard to be for the group of Tim Burton films.

what i want my real piece to be inspired by...

 I haven't decided to go with taking inspiration from an entire genre, I would prefer to study one particular group of films which are similar in many ways due to the fact that they have been directed by the same individual.
 I will look at two films directed by Tim Burton, find the main themes that run through them (i.e the common features of the 'genre') analyse which aspects the target audience and I find affective and adapt these techniques to hopefully make something which has a similar affect on the target audience.

I chose to edit this picture of Tim Burton as it  show the diversity of his work and partially distorted it to show his eccentricity.
(I did this all on photoshop)

Tim Burton

 To take more influence from Burton, I also chose to do some research on him to find out what inspires him and therefore hopefully gain an insight into why his films are the way they are.

  As he spent most of his childhood alone, drawing cartoons and more recently has explored his talent for photography, he is clearly a very artistic individual, his fellowship from Disney to the Californian Institute of The Arts confirms this. Also, the fact that a lot of his work and almost all of his title sequences are animated show his interest in these mediums and may be why I have noticed the high artistic influence on his work, which makes a lot of films he directs don't only work to convey story or emotion they also have a simply interesting aesthetic quality especially in either Establishing shots or Master shots. This also explains why the majority of themes featured in Burton films such as "Edward Sissorhands" are largely based on being a recluse that could be why there appears to be a very dark side to the title sequence he chose.
  However though he is good at bringing his own personal influence on completely new films, he also has a skill of re-telling and re-making old such as Sweeney Todd... and Ed Wood. On these he also manages to brings his own influence, as shown well in Charlie And The Chocolate Factory, as though there was a lightly touched on element of darkness in the original story, Burton chose to go into detail about the problematic childhood of the character 'Willy Wonka',as may be he could relate to this and feels could do a better job if this is the case.
  This vast amount of freedom Burton now has in Hollywood mostly comes from how hugely successful his 1989, Batman film was.

• Saw the title sequence to Batman, not in the genre I first associated with Burton, but the title is really effective, I like what Morrison did with such a simple idea.  
• My sequence has to be very creative, just using interesting camera positions may not be enough to say that Burton was an inspiration behind it. So full use of the software available.
• Assuring it is ascetically interesting.
• No matter how ambiguous the sequence is there must be an element of  'darkness' running through it, for this I could do further research into elements of horror sequences.

Preliminary Project

This is our short project which includes some dodgy use of the 180 degree rule and match on action which in the real project should be used to create continuity and make the "story-telling" aspect better received by the target audience:
http://www.youtube.com/watch?v=ibpURaPQ1W4&feature=player_embedded

Preliminary Project~ Storyboard

We planned our project shot by shot to ensure we could capture all we needed to show the skills that  we have learnt.

health and safety!

Risk: group members or passers by tripping over the tripod legs.
Control: ensure the site is empty when filming and that the member of the group in charge of this equipment is well instructed on how to use it.


Risk: opening doors, onto someone on the other side.
Control: elect a team member to look out for others who may use the area.


Risk: tripping off balcony.
Control: keeping all team members as far away from the edge as possible.

This situation is fairly low risk, but when doing the real coursework, heath and safety may have to be considered in a similar way but ultimately in more detail.

Match-on-action

Match on action is a technique used when continuity editors cut two shots so that the end of the first one looks exactly the same as the start of the second one (i.e they "match"). So if a man is walking into a room at the end of the first shot he and the door would have to be in the exact same position as at the start of the second shot. This ultimately is to make cuts invisible, or at least so smooth that the viewer doesn't take notice of the editing this allows for the audience to consecrate on the story instead of noticing the editing. 

180 degree rule

This is when directors use an imaginary line: "the line of interaction" to film an interaction normally between two people. They keep the camera on one side of the straight line when they turn to film the different characters, this is to ensure that it looks like the characters are conversing with each other to the audience, this may help to make the audience feel as though what they are seeing is real and therefore become more involved or affected by the storyline.
Demonstrated in the picture the camera always stays on the right side to keep the audiences view point, maintaining continuity.