Design Context Product Final

Development

Pre-Production

Production

Crew List

Design Context Product - Develpment

Development Stage




Pre-Production Stage


Production Stage

Film Crew Listing

Production Crew

• Producer : A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.
• Executive Producer : An executive producer is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. There may be multiple executive producers on a project, depending on the financing arrangements.
• Production Manager : The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.
• Unit Manager : The unit manager fulfills the same role as the production manager but for secondary "unit" shooting. In some functional structures, the unit manager subsumes the role of the Transport Coordinator.
• Production Coordinator : The Production Coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.
• Post-Production Supervisor : Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the Producer, Editor, Supervising Sound Editor, the Facilities Companies (such as film labs, CGI studios and negative cutters) and the Production Accountant. Although this is not a creative role, it is pivotal in ensuring that the film's Post Production budget is manageable and achievable, and that all deadlines are met. Because large amounts of money are involved, and most of a film's budget is spent during Production, the Post Production period can often be difficult and challenging.
• Director : The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, they are ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.
• First Assistant Director : The first assistant director (1st AD) assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.
• Second Assistant Director : The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action and extras in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating Call Sheets that let the crew know the schedule and important details about the shooting day. In Canadian and British functional structures there are 3rd ADs and even Trainee ADs; in the American system there are 2nd 2nd ADs.
• Production Assistant : A production assistant assists the first assistant director with set operations. Production assistants, almost always referred to as PAs, also assist in the production office with general tasks.
• Script Supervisor : Also known as the "continuity person", the script supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. They make notes on every shot, and keep track of props, blocking, and other details to ensure continuity from shot to shot and scene to scene. The Script Supervisor's notes are given to the Editor to expedite the editing process. The script supervisor works very closely with the director on set.
• Stunt Coordinator : Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director.

Art Department

• Production Designer : A production designer is responsible for creating the physical, visual appearance of the film - settings, costumes, properties, character makeup, all taken as a unit. The production designer works closely with the director and the cinematographer to achieve the 'look' of the film.

Art Dep

• Art Director : The art director reports to the production designer, and more directly oversees artists and craftspeople, such as the set designers, graphic artists, and illustrators who give form to the production design as it develops. The art director works closely with the construction coordinator to oversee the aesthetic and textural details of sets as they are realized.
• Assistant art director : The first, second and third assistant art directors carry out the instructions of the art director. Their work often involves measuring locations, creating graphics and paper props, collecting information for the production designer and drawing sets. Sometimes a set designer is also the first assistant art director. In this capacity, they manage the work flow and act as the 'foreman' of the drawing office.
• Set Designer : The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.
• Illustrator : The illustrator illustrates visual representations of the designs to communicate the ideas imagined by the production designer.

Sets

• Set Decorator : The set decorator is in charge of the decorating of a film set, which includes the furnishings and all the other objects that will be seen in the film. They work closely with the production designer and coordinates with the art director. In recognition of the set decorator's importance, the Academy Award for Art Direction is given jointly to both the production designer and the set decorator.
• Buyer : The buyer is the number two person in the set department below the set decorator. The buyer locates, and then purchases or rents the set dressing.
• Lead Man : The lead man is the foreman of the sets crew, often referred to as the “swing gang”. In Canada, this job is referred to as the lead set dresser.
• Set Dresser : The set dressers apply and remove the "dressing", i.e., furniture, drapery, carpets—everything one would find in a location, even doorknobs and wall sockets. Most of the swing gang's work occurs before and after the shooting crew arrives but one set dresser remains with the shooting crew and is known as the on-set dresser. In some countries, such as Great Britain and the Republic of Ireland, the set dressing department is referred to as dressing props department.

Props

• Props Master : The property master, more commonly known as the props master, is in charge of finding and managing all the props that appear in the film. The propsmaster usually has several assistants.
• Props builder : The props builder, or more frequently propmaker, as the name implies, builds the props that are used for the film. Props builders are often technicians skilled in construction, plastics casting, machining, and electronics.
• Armourer or Weapons master : The armourer is a specialized props technician who deals with firearms. In most jurisdictions this requires special training and licenses.

Construction
The set construction departments include: carpentry, plaster, paint, greens, scenic, laborers, and propmaking.

• Construction Coordinator : The construction coordinator oversees the construction of all the sets. The coordinator orders materials, schedules the work, and supervises the often sizeable construction crew of carpenters, painters and labourers. In some jurisdictions the construction coordinator is called the construction manager.

• Head Carpenter : The head carpenter is the foreman of a "gang" of carpenters and laborers.

Scenic

• Key Scenic : The key scenic artist is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, as well as simulating the appearance of wood, stone, brick, metal, stained glass--anything called for by the production designer. The key scenic artist supervises the crew of painters, and is often a master craftsperson.

Greens

• Greensman : The greensman is a specialised set dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both. Depending on the scope of the greens work in a film, the greensman may report to the art director or may report directly to the production designer. If a significant amount of greens work is required in a film, then the Greens may be an identifiable sub-department, with its own team - often of a size numbering double figures - and hierarchy (eg. Greensmaster, Greens Supervisor, Foreperson, Leading Hand, Laborers). Specialists from other areas of the Art Dept. (eg. Fabricators, Sculptors, Painters/Scenics) may also be drafted to work exclusively on Greens.

Hair and make-up

• Make-up Artist : Make-up artists work with makeup, hair and special effects to create the characters look for anyone appearing on screen. Their role is to manipulate an actor's on-screen appearance whether it makes them look more youthful, larger, older, or in some cases monstrous. There are also body makeup artists who concentrate their abilities on the body rather than the head.
• Hairdresser or Hair Stylist : The hair stylist is responsible for maintaining and styling the hair of anyone appearing on screen. They work in conjunction with the makeup artist.

Wardrobe

• Costume designer : The costume designer is responsible for all the clothing and costumes worn by all the actors that appear on screen. They are also responsible for designing, planning, and organizing the construction of the garments down to the fabric, colors, and sizes. The costume designer works closely with the director to understand and interpret "character", and counsels with the production designer to achieve an overall tone of the film. In large productions, the costume designer will usually have one or more assistant costume designers.
• Costume supervisor : The costume supervisor works closely with the designer. In addition to helping with the design of the costumes, they manage the wardrobe workspace. They supervise construction or sourcing of garments, hiring and firing of support staff, budget, paperwork, and department logistics. Also called the wardrobe supervisor. This term is used less and less.
• Key costumer : The key costumer is employed on larger productions to manage the set costumers, and to handle the Star's wardrobe needs.
• Costume standby or Set Costmers : The Costume standby is present on set at all times. It is his/her responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. (S)he will also assist the actors and actresses with dressing.
• Art finisher or Costume Breakdown/Dyer : An Art finisher may be employed during the pre-production setup to "break down" garments. This specialized job includes making new clothing appear dirty, faded and worn. They are also known as breakdown artists.
• Costume Buyer : On large productions a buyer may be employed to source and purchase fabrics and garments. A buyer might also be referred to as a shopper. This distinction is often made when the lead actor in a production has control over their wardrobe, and they may personally hire this person.
• Cutter/fitter : A costume technician who fits or tailors costumes, usually on-set. They can also be called cutters, seamstresses or tailors. Some celebrity actors have favorite cutters, and larger productions may hire several and have them on set at the same time, particularly in period film projects that might have complicated or extremely expensive extras wardrobe.

Camera

• Cinematographer : The term cinematographer has been a point of contention for some time now. It is usually synonymous with "director of photography", though some professionals insist this only applies when the director of photography and camera operator are the same person.
• Director of Photography : The director of photography is the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DP how they want a shot to look, and the DP chooses the correct aperture, filter, and lighting to achieve the desired effect.

Too Be Completed

Filmic Production

The 5 Stages of Film Production

Development — The script is written and drafted into a workable blueprint for a film.

Pre-production — Preparations are made for the shoot, in which cast and crew are hired, locations are selected, and sets are built.

Production — The raw elements for the finished film are recorded.

Post-Production — The film is edited; production sound (dialogue) is concurrently (but separately) edited, music tracks (and songs) are composed, performed and recorded, if a film is sought to have a score; sound effects are designed and recorded; and any other computer-graphic 'visual' effects are digitally added, all sound elements are mixed into "stems" then the stems are mixed then married to picture and the film is fully completed.

Sales and distribution — The film is screened for potential buyers (distributors), is picked up by a distributor and reaches its cinema and/or home media audience.


Development
The Producer finds the story
The Producer works with Writers to develop a step outline. [Step Outline breaks the story into one paragraph scenes that focus on the dramatic structure.]
Treatment is constructed [Treatment is a 25-30 page document that describes the story, its mood and characters, often contains images to help visualize key points]
The Screen Writer writes a screen play [Screen Play is an original piece of writing that can be an adaptation of another piece that conveys the narrative and dialogue of the film.
Then the treatment and script is "pitch'd" to a film company.

Pre-prodcution
The Production is story-boarded and visualised often with the help of illustrators and concept artists.
The Producer then hires a crew:

• The director is primarily responsible for the storytelling, creative decisions and acting of the film.
• The assistant director (AD) manages the shooting schedule and logistics of the production, among other tasks. There are several types of AD, each with different responsibilities.
• The casting director finds actors to fill the parts in the script. This normally requires that actors audition. Lead actors are carefully chosen, often based on the actor's reputation or "star power."
• The location manager finds and manages film locations. Most pictures are shot in the controllable environment of a studio sound stage but occasionally, outdoor sequences call for filming on location.
• The production manager manages the production budget and production schedule. They also report, on behalf of the production office, to the studio executives or financiers of the film.
• The director of photography (DoP) is the cinematographer who supervises the photography of the entire film
• The director of audiography (DoA) is the audiographer who supervises the audiography of the entire film. For productions in the Western world, the nearest role is that of sound designer.
• The production sound mixer is the head of the sound department during the production stage of filmmaking. They record and mix the audio on set - dialogue, presence and sound effects in mono and ambience in stereo. They work with the boom operator, Director, DoA, DoP, and First AD.
• The sound designer creates the aural conception of the film, working for the supervising sound editor. Some productions employ a sound designer instead of a DoA.
• The composer creates new music for the film. (usually not until post-production)
• The production designer creates the visual conception of the film, working with the art director.
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• The art director manages the art department, which makes production sets
• The costume designer creates the clothing for the characters in the film working closely with the actors, as well as other departments.
• The make up and hair designer works closely with the costume designer in addition to create a certain look for a character.
• The storyboard artist creates visual images to help the director and production designer communicate their ideas to the production team.
• The choreographer creates and coordinates the movement and dance - typically for musicals. Some films also credit a fight choreographer.

Production
In production, the film is created and shot. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are just the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities possible during the production of a film.

A typical day's shooting begins with the crew arriving on the set/location by their call time. Actors usually have their own separate call times. Since set construction, dressing and lighting can take many hours or even days, they are often set up in advance.
The grip, electric and production design crews are typically a step ahead of the camera and sound departments: for efficiency's sake, while a scene is being filmed, they are already preparing the next one.

While the crew prepare their equipment, the actors are wardrobed in their costumes and attend the hair and make-up departments. The actors rehearse the script and blocking with the director, and the camera and sound crews rehearse with them and make final tweaks. Finally, the action is shot in as many takes as the director wishes. Most American productions follow a specific procedure:

The assistant director calls "picture is up!" to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoot, he calls "roll sound" (if the take involves sound), and the production sound mixer will start their equipment, record a verbal slate of the take's information, and announce "sound speed" when they are ready. The AD follows with "roll camera", answered by "speed!" by the camera operator once the camera is recording. The clapper, who is already in front of the camera with the clapperboard, calls "marker!" and slaps it shut. If the take involves extras or background action, the AD will cue them ("action background!"), and last is the director, telling the actors "action!".

A take is over when the director calls "cut!", and camera and sound stop recording. The script supervisor will note any continuity issues and the sound and camera teams log technical notes for the take on their respective report sheets. If the director decides additional takes are required, the whole process repeats. Once satisfied, the crew moves on to the next camera angle or "setup," until the whole scene is "covered." When shooting is finished for the scene, the assistant director declares a "wrap" or "moving on," and the crew will "strike," or dismantle, the set for that scene.

At the end of the day,the director approves the next day's shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. Call sheets are distributed to the cast and crew to tell them when and where to turn up the next shooting day. Later on, the director, producer, other department heads, and, sometimes, the cast, may gather to watch that day or yesterday's footage, called dailies, and review their work.

With workdays often lasting 14 or 18 hours in remote locations, film production tends to create a team spirit. When the entire film is in the can, or in the completion of the production phase, it is customary for the production office to arrange a wrap party, to thank all the cast and crew for their efforts.

Post-production
Here the film is assembled by the film editor. The modern use of video in the filmmaking process has resulted in two workflow variants: one using entirely film, and the other using a mixture of film and video.

In the film work, the original camera film is developed and copied to a one-light workprint (positive) for editing with a mechanical editing machine. An edge code is recorded onto film to locate the position of picture frames. Since the development of non-linear editing systems such as Avid, Quantel or Final Cut Pro, the film workflow is used by very few productions.

In the video workflow, the original camera negative is developed and telecined to video for editing with computer editing software. A timecode is recorded onto video tape to locate the position of picture frames. Production sound is also synced up to the video picture frames during this process.

The first job of the film editor is to build a rough cut taken from sequences (or scenes) based on individual "takes" (shots). The purpose of the rough cut is to select and order the best shots. The director usually works with the editor to ensure the envisioned shots are selected. The next step is to create a fine cut by getting all the shots to flow smoothly in a seamless story. Trimming, the process of shortening scenes by a few seconds, or even frames, is done during this phase. After the fine cut has been screened and approved by the director and producer, the picture is "locked," meaning no further changes are made. Next, the editor creates a negative cut list (using edge code) or an edit decision list (using timecode) either manually or automatically. These edit lists identify the source and the picture frame of each shot in the fine cut.

Once the picture is locked, the film is passed into the hands of the postproduction supervising sound editor of the sound department to build up the sound track. The voice recordings are synchronised and the final sound mix is created by the re-recording mixer. The sound mix combines dialogue, sound effects, atmos, ADR, walla, foleys and music.

The sound track and picture are combined together, resulting in a low quality answer print of the film. There are now two possible workflows to create the high quality release print depending on the recording medium:

1. In the film workflow, the cut list that describes the film-based answer print is used to cut the original color negative (OCN) and create a color timed copy called the color master positive or interpositive print. For all subsequent steps this effectively becomes the master copy. The next step is to create a one-light copy called the color duplicate negative or internegative. It is from this that many copies of the final theatrical release print are made. Copying from the internegative is much simpler than copying from the interpositive directly because it is a one-light process; it also reduces wear-and-tear on the interpositive print.
2. In the video workflow, the edit decision list that describes the video-based answer print is used to edit the original color tape (OCT) and create a high quality color master tape. For all subsequent steps this effectively becomes the master copy. The next step uses a film recorder to read the color master tape and copy each video frame directly to film to create the final theatrical release print.

Finally the film is previewed, normally by the target audience, and any feedback may result in further shooting or edits to the film.

There are two ways that film can be put together. One way is linear editing and the other is non-linear editing.

Linear editing uses the film as it is in a continuous film. All of the parts of the film are already in order and need not be moved or any such thing.

Conversely, non-linear editing is not subject to using the film in the order it is taped. Scenes can be moved around or even removed. A better way to see it is that non-linear editing is like a hodgepodge of video.

Sales and distribution
This is the final stage, where the film is released to cinemas or, occasionally, to DVD, VCD, VHS (though VHS tapes are less common now that more people own DVD players), Blu-Ray, or direct download from a provider. The film is duplicated as required for distribution to cinemas. Press kits, posters, and other advertising materials are published and the film is advertised. film companies usually release a film with a launch party, press releases, interviews with the press, press preview screenings, and film festival screenings. Most films have a website. The film plays at selected cinemas and the DVD typically is released a few months later. The distribution rights for the film and DVD are also usually sold for worldwide distribution. The distributor and the production company share profits..

Independent Filmmaking
Filmmaking also takes place outside of the mainstream and is commonly called independent filmmaking. Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a film, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. However, the Internet has allowed for relatively inexpensive distribution of independent films; many filmmakers post their films online for critique and recognition. Although there is little profitability in this, a filmmaker can still gain exposure via the web.

New Direction

My design context has taken a new direction, instead of trying to cram the 3 areas of Process, Subject Matter and Director into a trivia game, i am now going to focus purely on the process and people involved in creating Filmic, 3D Animation, Stopmotion and Motion Graphics productions. Showing examples and Crew Listings in a DVD Format, Making a kind of Idiots guide to Motion Production DVD.

Paper Work

Motor Neurone Disease Advert

Visually stunning, and incredibly dramatic scenes violently depicting the mental effects of Motor Neurone Disease. The struggle resembles scenes of rape from an invisible assaulter.

Banned from TV

Don Hertzfeldt Bitter Films

Don Hertzfeldt Bitter Films are very odd but hilarious, they are traditionally made through drawn animation. I like the drawn style, and bizarre content.

Flynn Production - Nick Frew

Nick Frew from Flynn Productions produced this Mark Ronsons - Just Video, he brought the graffiti to life using affter effects
Being a fan of graffiti i liked seeing work from some of my favorite artists come to life and dance to a funky beat. This video would fall into the motion graphics category under Process on my Design Context Project.

Noah Harris

A Stop Motion/CGI masterpiece by Noah Harris for E4, he creted a series of these moving scenes




http://www.noahharris.co.uk/projects/e4-identity-07/

Talk Talk
Brighter


Director: Noah Harris
Production Company: Blinkink
Agency: CHI & Partners

Shot on custom time slice array comprising 80 HD cameras,
and the Canon 5D mkII. All effects achieved in-camera

http://www.chiandpartners.com/#/home/

Ford Fiesta:

http://www.noahharris.co.uk/files/gimgs/Quicktime/FF_DC_web.mov
made by Blink Ink: http://www.blinkink.co.uk/home/

Zombie Land Rules

CIS VFX Group the creators of the Zombie Land Rules and visual effects
http://www.cisvfxgroup.com/




Brilliant visual effects all the way through the film, a perfect example of what i aspire to one day create.


I love the clean text and the smooth quirky motions and actions. The words, desecrate in some scenes and bold in other portray their meaning perfectly and fittingly every time.

For a full account from the visual effects producer Mark Breakspear visit http://features.cgsociety.org/story_custom.php?story_id=5380&referer=rss



http://www.awn.com/articles/cg/getting-izombielandi-mood/page/4%2C1

Primus - The Devil Went To Georgia

An impressive use of stop motion, Tim Burton cryptic Gothic style. and a hilarious song.

Her Morning Elegance / Oren Lavie

Stopmotion light hearted feel good song, smooth and quirky motions and inventive use of pillows to change the blank canvas of the bed into a landscape. my favorite part has to be the sock fish.

Goto Her Morning Elegance online Gallery to view the video broken apart to its 2096 still frames.
http://www.hmegallery.com

Her Morning Elegance Gallery:
"Her Morning Elegance music video was made of exactly 2096 still photographs, shot and sequenced to create the sense of movement using stop motion technique.
After going from stills to motion, the artists decided to break the motion back to its still form and exhibit the 2096 individual photographs in gallery exhibitions worldwide.
Each still photograph will be printed once as a single edition print and sold through this website.
Once a photograph is sold, the corresponding second in the video will no longer be available. And with the very last frame sold, the video will have been broken apart, back to its original 2096 pieces, spread worldwide and hung in 2096 houses, bedrooms, living rooms and galleries."

Purple And Brown

Purple and Brown is a short on Nickelodeon Network. The series is animated using Claymation: stopmotion with clay. Its storylines are usually random and are composed for the purpose of amusement. It is popular in the UK and has recently become more so in the United States and the Netherlands.

Purple and Brown is about two buddies made out of clay. The dynamic duo has a trademark giggle which is the hallmark of the show. In one short, it is suggested that each of them are married. Purple and Brown is a creation of Aardman Studios, who are more widely known for animating Wallace and Gromit.

The Red Balloon

French Release Date: 15 October 1956
USA Release Date: 11 March 1957

Plot
A young Parisian boy finds a balloon and after being forced to let it go realises that it has a will of its own and an loyal attachment to him.

Empire:
"At the age of 35, top French bloke Albert Lamorisse invented the strategic board game Risk. While this may have ensured his place in the Board Game Hall Of Fame alongside Colonel Mustard, it pales into insignificance alongside Lamorisse’s 1956 achievement, The Red Balloon, still the only short film to win a Best Screenplay Oscar."



I Love this films simplicity, even with such little dialogue it keeps me entertained for the full 34Mins, the control of the balloons, the gray surroundings contrasted by such vivid colours. and the playful nature that is characterized by the balloon, creates a magical and feel good storyline.

Process - catagories

Nyle Let The Beat Build

This video was filmed in one take, with audio being recorded simultaneously with the film.

A Scanner Darkly

Combination of animation and video

The Pacific Intro

Motion Graphics/Title Sequences

Modul zhestkov

3D Animation

Patrick Jean

great example of technical ability

All Stars Of Comedy Logo - Image Refrences

Stop Motion Graffitti - Broken Fingaz

This is a really well shot stop motion animation of graffiti being painted, they have impressive continuity in some of the shots, for example when the man seems to be flying through the air. Also the transitions from painted walls to painted 3D objects is very impressive.

The Pacific

The Pacific is sky's new ten part series produced by Tom Hanks and Steven Spielberg, the title sequence is visually stunning, along with the music it makes an incredibly dramatic effect. It conveys the struggle and anguish that the men go through with dark tones and pressured strokes, while faint explosions of red mist like inkblots instill the message of blood and explosions. The images animate onto the screen as if they are being developed in a very dark sketching style, which then come to live as they transition to video. This type of high impact titles is something that i want achieve in my own work in the future.

Slowmotion Surfer

Brilliant shot, captured for the BBC on slow motion pocket camera, the 1st shot of its kind.

Slowmotion Parkour

Parkour in Slow Motion - Phantom HD Test from Dave Adams on Vimeo.

Some really nice slow motion shots of parkour in Primal Fitness, Washington DC, footage shot at 60 fps and slowed down.

Panic - Marshmallow murder

This is the best example of panic i have ever seen!
It has the same sick comedic take of panic that i want to achieve through my own video/animation.

NHS Organ Donor

Dramatic and effective video advert for NHS Organ donation, i intend to finish my advert with a similar register online aesthetic as this one. it will be fully animated rather than filmed to match the styling of my advert already.

Surround Sound

I Movie Destroying My Job

Click Here to view the quick and easy way of animating a map, although this is a fantastic tool that apple and iMovie have supplied, I fear that the advancements of automated technology will one day render my chosen profession as an animator useless.

NHS Organ Donor - Leaflet

I collected these leaflets to find out how you registered to the NHS organ donor register, also to analyse the style and layout of NHS Design.