Technical Codes - Sound

Sound Terminology

DIEGETIC

A sound that is part of the film world and usually heard by those in it

- Sound recorded at the same time as the images – for example, dialogue spoken by the actors on set. This does not include any sound added in post production

- Sound which appears to the audience to come from the scene, whether or not it was actually recorded with the images. Thus includes post-synched dialogue, sound effects and foley. Also known as parallel sound

NON-DIEGETIC

A sound which is added later during editing for effect and therefore cannot be heard by those in the film world. A voice over narration for example. A term that describes sound that does not have a visible onscreen source; also referred to as offscreen sound.

MUSIC

A soundtrack added during editing, the sound and tone can affect the whole meaning of the scene

 

 

 

 

SOUND EFFECTS

Usually added to film in post-production, they may be used to build up ambience or reinforce action.

 

SOUND BRIDGE

Film and TV editing technique in which visual cuts are deliberately not matched with audio cuts. For example, the editor may cut to a completely new scene, but allow sound from the preceding scene to run on for a short time. Alternatively, we may hear the sound of the next scene before we see it.

VOICE OVER

A type of non-diegetic, asynchronous sound in which the audience hear a voice that does not have a source either within the frame or within hearing distance, and which is not heard by the people on screen. Voice overs allow us to see things from a particular character’s point of view

CONTRAPUNTAL SOUND

Sounds that do not easily match the images they are accompanying, or even go against them. This can have a disorientating effect upon the audience and make them question what they are seeing.

TASK:
Watch the clip from the film 'The Srangers' and using the time code as a reference, note down the different types of sound you can hear.

AS Reports

3.  A Report of a maximum 1600 words.  This report should:

 

            * Outline the research undertaken by the candidate

            * Explain how the research has been used to inform the pre-production

            * Outline and justify the target audience for the production – and explain

               HOW the audience has been targeted.

* Evaluate the production, summarising its strengths and weaknesses; preferably    

   by comparing it with similar products.

Conventions of a magazine double page spread

Codes and conventions of a double page spread from Laurengibney

BODY LANGUAGE

Your body language tells an audience exactly what you’re thinking for example during presentations..

According to the experts: 55% of your presentation’s impact is determined by body language, 38% by your voice and only 7% by the words you use.  (The exact percentages vary from study to study, but the message is the same: effective body language is crucial to the success of your speech!).

There are many ways your body can communicate.  
What do you think the body language in the picture below is saying?

Here are some other examples of some actions and what they can mean

Rapid Eye Blinking	When you see someone’s eyes blinking rapidly, more than eight to ten times per minute, chances are the person disagrees with you.
Dilated pupils	Pupils that are open suggest interest.
“Steepling” fingers	This is usually a sign of power.  People who want to project authority will often steeple their hands by putting them together with only the fingertips touching.
Clenched fists	Clenched hands can indicate frustration.
Folded arms	When people fold their arms in front or in back, they may be protecting themselves.  They might also be defensive – or even chilly!
Hands touching mouth or nose	This could be a signal that the person is lying.
Raised eyebrow	Raised eyebrows usually means surprise.
Tilting head forward	Leaning toward the speaker shows interest.  It means the listener is tuned in.  When the hand is supporting the head, the listener is usually bored.
Leaning away	This posture can mean disagreement or lack of interest.  If the listener suddenly leans back, change the subject or direction of the conversation.
Drumming fingers	This gesture could mean frustration or irritation.
Taglines	Eliminate them.  Examples are “don’t you know”, “isn’t it”, “right”, okey dokey”
Wimpy words	Substitute power words.  Examples are “Hopefully, I’ve tried to show you that this is kind of good.”  A better summation would be “I’ve demonstrated how effective this product is.  I am confident that when you use it …”
Jargon	Spell it out.  Not everyone knows all the TLA’s (three letter acronyms)
Apologies	Skip them.  Don’t apologise or put yourself down.  Audience members will interpret this as a sign of weakness.  There is no need to tell the audience that you’re nervous or that you feel unprepared.
Minimisers	Delete them.  Words such as ‘just’ and ‘only’, “I’m only a beginner”.  These words have a negative connotation.
Colourless words	Paint a word picture.  Good speakers use vivid language, this adds colour to your speech and helps the listener create pictures from your words.
Sloppy speech	Speak slowly and clearly.  Mumbling, mispronunciations and slurred speech create a negative impression and are difficult to understand.

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CONVENTIONS OF MAGAZINE COVERS

We have covered a lot of this already but some of you need refreshing.

http://dls-media-as-1314.blogspot.co.uk/2013/10/facial-expression.html

The generic conventions of magazines cover from jenmcnulty

One Main Image that takes up most of the cover

• Usually the main feature article. - Studio photographs as opposed to a paparazzi shot, 
• usually in mediumclose-up or mid shot 
• - Direct mode of address.

Masthead or Title

• Has a trademark, a unique font. - Usually consists of one or two words.
• Fills the width of the cover, or is in the top left corner. 
• Positioning statement – how the magazine positions itself in the marketplace against the competition - Price and issue sometimes near to the barcode, date near title this is often (11pt size).
• Puff
• offers something else to the magazine such as free giveaways
•  Buzz words 
•  usually with the main feature article. Used to attract attention e.g. “EXCLUSIVE, FREE, PLUS” 
• Barcode 
• This will be positioned at the bottom right, or up the right side. Along with it will sometimes be the date/month of edition, price, website and issue number
• Coverlines 
• lines of text on the front cover designed to attract the audience’s attention and make them pick the magazine up and look inside. 
• Main Coverline 
• This is the largest text on the cover after the title and it anchors the meaning of the image. Usually a sub line in smaller text giving more information about the article. Other cover lines are usually one or two words with sub lines explaining them. Some are used to intrigue the reader. These must represent the stories inside. There are only 5 or 6 and they are positioned down the sides, framing the image, so the main image is not covered. These are usually in the same font to create a distinctive design.
• Strip 
• across the top or bottom containing lists of items which feature in the magazine. This conveys the magazine is full of interesting stories and the audience is getting value for money.
•  Colour – often a limited palette is used with a simple colour scheme adding to the distinctive design.

Conventions of Teaser Posters

Conventions of Teaser Posters 

Teaser posters are a way in which Hollywood studios are able to ram up interest in their upcoming production. Often the detail is kept to a minimum for example: 

Although the iconography of Batman is in the poster (the symbol of the bat) it is difficult to disseminate any plot details from the poster. By keeping the information to a minimum it helps to keep the audience interested without overwhelming them with plot details. 

Another good example of this minimalist approach is:

The Scream 4 poster is designed with a pre-target audience in mind. The tag line "New Decade. New Rules" implies a pre-existing fan base whom have saw the previous 3 instalments and therefore creates a feeling of exclusivity to the audience. 

Media Regulation

What is Regulation?

Regulation is the control of what is shown, advertised and produced for Television

This can be through the scheduling and the production of TV shows
Regulation can also stem into the censorship of TV 

Regulation in the UK TV Industry

OFCOM – they are the independent regulators of the media and communication industries

Specification of Broadcast Code – this provides a set of mandatory broadcast rules, it covers:

Protection of under-eighteens

Harm and Offence

Crime

Religion

Sponsorship

Elections

                   Privacy 

Rules on the amount and distribution of advertising

Examines specific complaints made by  the public

Public consultations on matters relating to TV broadcasting

Committee for Advertising Practice – contracted by OFCOM to maintain the codes of practice for television advertising

Advertising Standards Authority

 

– independent body which deals with complaints relating to the 

advertising industry.

Licensing in the UK     

     All of the UK needs a license to view publicly broadcast services.

     This is the commercial channels, cable and satellite transmissions.
      The money from the fee is used for radio, TV and internet content for the BBC and its welsh language TV programmes for S4C

Media regulation is the control or guidance of mass media by governments and other bodies. This regulation, via law, rules or procedures, can have various goals, for example intervention to protect a stated "public interest", or encouraging competition and an effective media market, or establishing common technical standards.
 

The principal targets of media regulation are the press, radio and television, but may also include film, recorded music, cable, satellite, storage and distribution technology (discs, tapes etc), the internet, mobile phones and more.

Self Regulatory Bodies:

Britain has a free press. This means that the content of publications is not controlled by the government so newspapers and magazines are free to publish content which supports any political ideology.

Though there are some restrictions placed upon the press, such as those imposed by anti-discrimination laws, much of the content of British magazines and newspapers is self-regulated. This means that there are codes that journalists, editors and photographers are expected to follow by choice. The two main self-regulatory codes are:

 National Union of Journalists’ Code of Conduct 

 

The National Union of Journalists

 

When a journalist elects to join the National Union of Journalists, they are expected to sign an agreement stating that they will abide by the Union’s Code of Conduct. The Code of Conduct covers areas such as protecting confidential sources, respecting people’s privacy and defending the freedom of the press. Whilst journalists are not obliged to join the NUJ, many employers would expect it. By joining the NUJ, journalists are choosing to partially restrict the ways in which they can obtain information. They are also agreeing to certain ethical standards, such as rectifying harmful errors that have already gone to print. For more information on the National Union of Journalists and for a complete copy of their Code of Conduct see www.nuj.org.uk.

Press Complaints Commission’s Code of Practice

The Press Complaints Commission is an independent, non-statutory body that was set up in 1991 by the British newspaper and magazine industry. It oversees and administers the Code of Practice, which is written by editors,

for editors. The PCC is a quick, simple and cost-free way for members of the public to resolve complaints arising from editorial conduct and content which may breach of the Code of Practice. (www.pcc.org.uk/index2.html)

The Press Complaints Commission’s Code of Practice is very similar to the NUJ Code.

 

PCC Code

Summary of Content

 

Accuracy

Every precaution must be taken to ensure that published material is accurate and not misleading or distorted. Any inaccurate material must be rectified quickly and an apology published. All publications must ensure it is clear what is fact and what is opinion.

 

Opportunity to reply

Readers and individuals mentioned in published articles have the right to reply to inaccuracies.

 

Privacy

Every person has the right to privacy, including their home / family life, health and communications.

 

Harassment

Journalists and photographers should not harass or persistently pursue any individual.

Intrusion into grief or shock

Sympathy and discretion should be used when reporting on cases involving grief or shock and excessive details should not be given in cases of suicide.
 

Children

Children under 16 should not be approached for photographs or interviews unless a custodial parent or responsible adult consents. The children of famous parents are included in this.

Children in sex cases

Children involved in sex cases should not be identified so special care must be taken in the wording of articles relating to cases of incest.
 

Hospitals

Journalists must make themselves known to hospital executives before entering non-public areas.
 

Reporting Crime

The family or friends of a person convicted or accused of a crime should not be identified without their consent.
 

Clandestine devices and subterfuge

The press should not use hidden devices to obtain information nor intercept phone calls, messages or emails unless it is in the public interest and could be obtained by no other means.
 

Victims of sexual assault

Victims of sexual assault should not be identified unless there is adequate justification.
 

Discrimination

The press should not discriminate or make unnecessary reference to a person’s race, colour, religion, gender, sexual orientation, physical disability or mental health.
 

Financial journalism

Journalists must not use information they obtain for their own financial gain.
 

Confidential sources

Journalist must protect the identity of confidential sources.
 

Witness payments in criminal trials

Payments should not be made to witnesses as this contravenes the Contempt of Court Act 1981.*

Payment to criminals

Payments for stories which glamorise crime must not be made to criminals or their families.*

BBC Article, Read this:

Will police stop naming suspects?

http://www.bbc.co.uk/news/uk-22391562

This text is also very informative: 

http://www.webdesignerdepot.com/2009/10/the-history-and-evolution-of-social-media/

OFCOM

 

Ofcom has certain powers to regulate the BBC's licence fee funded television and radio

 services aimed at audiences in the UK, but not the World Service which is grant-in-aid 

funded.  Ofcom's Broadcasting Code applies in the following areas:

• Protection of under-18s
• Harm and Offence
• Avoidance of inciting crime or disorder
• Responsible approach to religious content
• Prohibition of use of images of very brief duration
• Fairness
• Privacy.

The Editorial Guidelines reflect the provisions of the Ofcom Broadcasting Code in these areas.

Task 1:

Use the points from the Press Complaints Commission’s Code of Practice, or find a complete version at www.pcc.org.uk, and rank the points of the code in order of which are most clearly evident in the national press. Which parts of the code do journalists definitely abide by and which do you think are less stringently adhered to? Use the PCC website to see which points of the code generate the most complaints.