Every title has a story to tell: SEVEN (1995)

How many of you adore watching titles in the films? Because, Here in this blog post I am going to give a textual analysis of movie titles, which has the certain hidden meaning of theme and tone of the film. To study, I am choosing the ‘Title Sequence’ from the great movie ‘Seven (1995)’ directed by David Fincher.

In the movie ‘Seven.’, The title comes after three minutes of the expositional opening scene. The title director Kyle Cooper brilliantly crafted the movie title, as it gives a small insight into the movie. The title draws the audience in and hooks them; it intrigues the viewers in the way of wanting to enjoy the rest of the movie and also find out how the taster of the movie at the starting is relevant and how it connects with the rest of the movie. The movie Seven contain horror elements as the case involves a series of murders and each murder corresponds to seven deadly sins, namely wrath, lust, pride, gluttony, envy, sloth and greed.

During the title of the movie Seven, the first shot is a book from the front in black and white, but, there is a changing of colour schemes to the photos after the book is shown. The change of colour schemes is from black and white to red, the red possibly be representing blood or violence. The details of the pages of the book are not shows, although the pages are filled with rough sketches of hand handwriting in the form of a note. The pages of the book can be seen as old, thin and frazzled as they flicker each other, and later a hand appears in the background leading to grasp the pages in its grip, but details are shown only little of the book. The identity of the characters hand also is not revealed.


The titles are put in the negative spaces. This means that they have put the titles n the spaces where the audience would clearly be able to see them. There are little snip-its of actions happening which give the audience insight into what’s going to occur in the film. The name of the director is introduced into the title sequence from a high angle shot of two large, veiny and unlike human hands placed In a drawing board. The hands are drawn to scale, and the drawing is shown in the dull and dark light, i.e., again not much detail is revealed.  The shot of the hand starts to fade out after a light pans and lead to other credits, and lots of other quick and sharp establishing shots are presented of fingers and palms.


Some jagged pieces of sharp metal with rough zig-zag edges, but some with ends filled down to sharp point comes across the camera. The link between the identity of the person of the fingers, the hands that are used in the drawing, and the person’s hand touches the pages are not revealed. The title confuses the audience showing that they are the same person or different characters all linking togeather as they may have something in common to do with the events that are yet to be revealed in the movie.

As soon as an actor’s name appears, for example, Brad Pitt and Morgan Freeman, it shows them doing and action close-up. It only shows their hands or fingers. This allows the audience to see how they act and what they are like in the film.


The sound establishes the genre of the movie Seven, i.e., the sound of the title sequence adds to hook up the audience in and also shows that the genre is a horror thriller. The title sequences’ sound felt like a mystery and withdrawn from detail, a person watching it can hear a constant building up in the background of what is unsure.  However, from the sound, viewers are almost confident that the events that will take place will be twisted in suspense and unkind deadly blood-chilling ending.

The title of the film flashes and looks disoriented which adds to the effect of the thriller genre, and it looks fragmented.


The images are blended with one superimposed over the other. The flickering words and lines make the sequence even more chilling as it looks like they are meant to be there. The background sound gives the audience some knowledge of the title sequence because the visuals that come across created a suspense of the flickering images of a plan about to happen.


In between the title, there was a very fast flicker of which showed the title of the film. This is effective because it shocks the audience.


There are some quick cuts from each action to another, which makes the sequence intense and have a suspenseful atmosphere. The same font and size are used all throughout the title sequence. This makes the sequence continuous. The credits are also entered the same way on the screen every time. A lot of the shots are layered on the top of others which suggests that there are a double meaning to what is happening.


Most of the actions are in black and white, but some have a bit of red in them. This may emphasise that there will be danger in the film and possibly blood. Some of the actions that are shown may be cringey for the audience as something you would not do, for instance, earlier on we saw someone cut the skin of the fingers with a razor blade. This makes the audience feel uncomfortable to watch. In the end, it quickly transitions into the first scene of the film.


The place where the scene takes place is very quiet to the point of you could hear the sound of a pin drop, but the sound added in the post production is non-diegetic which adds to the overall gothic and dark atmosphere of the title.

Too many movies devalue the narrative potential of the title sequence, either by rushing through them or not making use of them to any effect but slapping names on the screen. Perhaps this is because most of the viewers see it as a non-essential portion of the movies. To be frank, I have seen people use this time to grab another bag of chips or refill their soda before the movie start.  However, when this part is properly used, a great title sequence can be effective at setting the pace of the as any other scene. The title can be memorable as any acted scene that follows it. Many movies utilised this time, for example,  The Girl With The Dragon Tattoo (2011)North By Northwest (1959),  Vertigo (1958),  Fight Club (1999).


  1. Fincher, D., (2017). Fight Club (1999). [online] IMDb. Available at: http://www.imdb.com/title/tt0137523/ [Accessed 7 May 2018].

  2. Artofthetitle.com. (2017). The Look of Saul Bass. [online] Available at: http://www.artofthetitle.com/feature/the-look-of-saul-bass/ [Accessed 8 May 2018].

  3. Artofthetitle.com. (2017). David Fincher: A Film Title Retrospective. [online] Available at: http://www.artofthetitle.com/feature/david-fincher-a-film-title-retrospective/# [Accessed 8 May 2018].

  4. Winter, M. (2015). Watch: Title Sequences: The Leap from Alfred Hitchcock to David Fincher. [online] IndieWire. Available at: http://www.indiewire.com/2015/01/watch-title-sequences-the-leap-from-alfred-hitchcock-to-david-fincher-133145/ [Accessed 8 May 2018].

  5. Fincher, D., (2017). The Girl with the Dragon Tattoo (2011). [online] IMDb. Available at: http://www.imdb.com/title/tt1568346/?ref_=nv_sr_3 [Accessed 8 May 2018].

  6. Hitchcock, A., (2017). North by Northwest (1959). [online] IMDb. Available at: http://www.imdb.com/title/tt0053125/?ref_=fn_al_tt_1 [Accessed 8 May 2018].

  7. Hitchcock, A., (2017). Vertigo (1958). [online] IMDb. Available at: http://www.imdb.com/title/tt0052357/?ref_=fn_al_tt_1 [Accessed 7 May 2018].


Link to the VOX POP videos:

My movie:

Client’s movie:


There was no preparation in the pre-production stage. Firstly we went to the Swanston Library and decided the best location for the Vox-pop. Each of the group members shared their personal ideas. We inspected the place and took location stills before the shoot. We decided to shoot on the main entrance of the Library. The Library entrance had enough light for the scene, so we stick on to one plan only. We also decided on the cast and crew roles for the next day, and I took the role of cinematographer.


I was in charge of the camera and lighting in the production. My first task was to set up the camera settings, the frame rate was set in 24 fps and 1/100 shutter. The location had enough light, so the high exposure value and high shutter became the reason for less noise and excellent quality of the footage. The white balance or Kelvin value was 3900K.

We had made full preparation for the shooting, but production process started with a problem; we couldn’t start the shoot as expected because of some unknown security issues.  My role was to handle the camera and also director gave me the full privilege to direct the shot. I need to tell the interviewee where to stand and where to move when doing the take. With the limited time, another issue was with setting the white balance. Setting white balance for each shot made out work slow.  Later after going through the footages and audios, everyone in the was pleased with the quality and lighting of the raw files. After the shoot, I went and took overlay filler videos of the Library.

For the sound recording,  we planned to position the boom mic as close as possible to the interviewee. We recorded ambience sound. There was no recording process.



Naming the raw footages and sound clip was the first step, and it was followed by setting up the project, sequence and bin in Premier Pro. The dialogues matched the lip sync of the interviewee perfectly. With the clapping sound of hand, the merging of audio and video was easy. Editing was the most straightforward task for me, I have experience working in Adobe Premier for feature films and ad films.

Two separate sequences were created to edit both client and my version of edit. Editing client version was easy because it had very few cuts and merge, and the captions were on the black screen. But Editing ‘My Movie’ version was interesting, as I had a perfect plan for the edit, like how the captions should appear and go. Caption and outline were designed in the Adobe Photoshop and synced to Premier. Sorting same questions and answers from footages were the difficult problem I faced during the edit.

Overlay filler footages were added before the start of the interview in the video. The raw footage had little bit shake, so ‘Wrap stabiliser’ effect was used to make it stabilise. Tracking in all the footages were in different speed, so time remapping was used to make it similar. Ambience sound was added in a new track. ‘Constant Power’ audio transition effect was used to sync adjacent audio clips.

Bin Screenshot:


Timeline Screenshot:


Workspace Screenshot:


Audio of the raw files was filled with noise and dialogues of the crew members. After arranging the clips and audio, each clip was exported to Adobe Audion to denoise and match the adjacent clips. After importing back the “Constant power” audio transition was used to match the audio with other audio clips.

I’m a great fan of Blue tone in movies. So, I decided to give a bluish tone to the whole film. The Three Way colour corrector and RBG curves were used for accomplishing the task. Reducing the saturations helped me to reduce the yellow and blue tone in the raw footage.  I tried three different versions of grading. So to make the work easier, three adjustment layers were added in the timeline, and grading was done on the layers alone and placed the layer over the track were footage are sorted.

At the end of the video, a ‘Dip to Black’ effect was added to make a smooth ending to the video. With the help of ‘Pen Tool’, a fade was added to the audio at the end. End credits were added with the interviewee’s names.

After Grading:


Colour grading can affect viewers psychologically and physically, often without us being aware, and can be used as a strong device within a story. Knowledge gives you control, and control means you can manipulate colour to give your work a powerful and beautiful edge.Being able to use colour to create harmony, or tension within a scene, or to bring attention to a key visual theme can be used to spectacular effect.

In the sense of the work of the world’s greatest cinematographers, we admire so much nothing is accidental. A strong red colour has been shown to raise blood pressure, while a blue colour has a calming effect. Some colours are distinctly associated with a particular location or place, while others give a sense of time or period.

Before & After Screenshots:


The Three Way colour corrector and RBG curves were used for accomplishing the task. Reducing the saturations helped me to reduce the yellow and blue tone in the raw footage.  I tried three different versions of grading. So to make the work easier, three adjustment layers were added in the timeline, and grading was done on the layers alone and placed the layer over the track were footage are sorted.

Workspace Screenshot:


Grade Version 1:

I’m a great fan of  David Fincher and his Blue tone in movies. So, I decided to give a bluish tone to the whole film. The values give to the tones are shown in the screenshot below. The vibrancy and saturation were reduced to get the desired tone to the video. Blue colour brings a calming effect to the viewers, and this I have learned during my cinematography class in bachelors.

Effect Tool Screenshot:

wh bl.png

Grade Version 2:

In movies, it said that a strong red colour has been shown to raise blood pressure. To experiment it, I tried to add a reddish tone to the video.

Effect Tool Screenshot:


Grade Version 3:

I tried to experiment low saturation and vibrancy for the version 3. Reducing all the Red, Blue and Green tone to a specific level made the video appealing.

Effect Tool Screenshot:

wh sa.png

Version without grading:


Colour Grade – VOX POP

Reflection On The Course

Sound and Image was a substantial change of pace to what I was used to in Bachelors. The course is very slow paced, almost the moment you start you’re already thrown in the deep start. I think the course has helped me in reflectivity more than in any other area. One of the drawbacks I had going into the course was specialised learning. I had worked as cinematographer assistant, professional assistant director in 2 feature films and have been using Premiere Pro and Foundry Nuke for very nearly a time of my life. In that route, for me, it was the self-disclosure that I discovered most lighting up less the specialised preparing.

Here what I have learned is theory more than technical knowledge. I did filmmaking for my bachelor’s, and when I came here, I was compelled to learn everything from scratch, because, we are not even allowed to use handheld shots, or even pan or tilt in the shot. But, I had no experience in the writing part, and here I have learned a lot in that aspect. I took this class with a big dream, I took this for the opportunity to make a diverse range of great content, and I think the course certainly didn’t push me to do what I was dreamed off. I think more than anything S&I has taught me that intense focus is not always the best way to go about things. All through school, we would have these moments of focus, these problem areas of task due dates and essays and long-winded academic compositions and study. I think this has changed the way I make and has shown me to depend less on ability or talent and more on theoretical information.

I have delighted in the course up until now, yet I am extremely amped up for studios and having the capacity to sharpen my art in the second semester. I anticipate proceeding with my media travel here at RMIT University. Much obliged to you to all the fantastic tutors.

Forbidden Lies

I came across ‘Forbidden Lies’, the phenomenal 2007 Australian documentary (directed by Anna Broinowski) while researching for an interview proposal for ‘Story, Genre and Medium’.  While perhaps not one of the best-made documentaries from a technical standpoint, Forbidden Lies is definitely one of the most entertaining and intriguing films I’ve seen this year.

The sound used and applied in the sequence given from Anna Broinowski’s 2007 exploratory narrative titled Forbidden Lies, includes a music track, sound impacts, sounds recorded with a boom and a mixer catching the recording alongside other sounds that were possibly recorded and connected to the narrative. The film likewise includes altering systems, for example, a sound lead or in changing terms, a ‘J cut’, layering soundtracks and also quieting sound film to improve the sound that is layered over the recording.

The first scene appeared in the portion has used non-diegetic sound, making the scene feel like somewhat of a dreamscape and this maybe how Broinowski feels’ about the book under question. To help this approach, a music track plays over the recording while the first stable of the recording has been quieted. The sound impacts of winged creatures twittering happen and additionally an incredible sound, which is joined with a twirling move into the following scene. The sound effects are nothing especially favour and could in all probability be sourced on the web and are frequently accessible for nothing from noise impacts sites. Distinct sounds have been recorded maybe with a zoom recorder or sourced from set up sound effects to attract consideration regarding components inside the narrative that help the story.

The sound of the book being slammed is instantly trailed by a sound impact of what gives off an impression of being sand being separated (or perhaps anticipating what is to happen to the subject being referred to). There are several approaches to accomplish this in the altering procedure, in any case, the most legitimate way that I can consider is applying a J cut, layering the sound impact and bringing down the J track’s volume to take into account the sound effect to be of core interest. A ‘J cut’ is regularly utilised as an altering strategy to help with the moves between scenes however in this example, the sound of a book pummeling and also the picked sound impact gets the watchers consideration and maybe snaps them out of the fantasy like the presentation and into the topic of the narrative.

Demonstrating that truth is odder than fiction, the film disentangles like an elegantly composed riddle would she say she is coming clean, simply some portion of reality, or is everything that leaves her mouth an unabashed deception (like George Costanza attempting to lie out of more lies no matter what)? Some portion of the reason the film advances like this is executive Anna Broinowski moved toward Khouri with the aim of making a film that would disclose to her side of the story and excuse her from every one of the affirmations. So from numerous points of view, the film is truly Broinowski’s trip as she goes from stern devotee to unconvinced cynic. Exactly how far will Khouri go to demonstrate her honesty? There are a lot of sudden wanders aimlessly, as an ever increasing number of mysteries begin leaving the woodwork, but then, as Khouri is regularly the voice we listen, we feel nearly constrained to think all that she says.

The last half-hour or so might be too indulgent and redundant, and a portion of the strategies was somewhat mushy. However, all in all, Forbidden Lie$ is basically arresting. I can’t trust I hadn’t found out about the narrative until just two or three days prior.

And if anyone wants to read more about the story (warning: contains spoilers), I would recommend this article from reporter David Leser, who also appears in the film — Norma Khouri: The Inside Story of a Disgraced Author

No Direction Home

“No Direction Home” is a legit documentary that rejects myths about rock music’s most noteworthy lyricist and endeavours to catch reality about Bob Dylan. Martin Scorsese has made an archive that will satisfy Dylan fans over repeated viewings and ought to bring naysayers into the Dylan overlay. The director Scorsese has assembled an interesting collection of performance clips of the young, folkie and early electric Dylan. Technically, they sparkle visually and sonically, and as a story-telling mediator, they convey the shock wave he sent through the America’s music scene soon after his coming. Best of all, the directors have tied the story together with visions from Dylan’s inner circle, and with lucid explanation and memories by the artist himself.

In this 3.5 hour documentary, I adapted more about Bob Dylan and the atmosphere around his music than I at any point thought I would. The setting begins in the place where he grew up, moves to the Village in New York and after that into history around the globe. Bounce Dylan’s remarks are blended all through as he recollects and portrays every one of the impacts in his music and life. Every one of my suspicions about Mr Dylan wasn’t right, and now I have reestablished regard for him. I generally enjoyed his music yet now I see it in another light. All through the motion picture Mr Dylan simply needed to make music. However, the melodic press continued classifying and naming him. The most amusing part was amid the public interviews when Bob Dylan continued being peppered with inquiries concerning understandings of his music that even amazed him. The motion picture closes right where it starts, with the music. I discovered this documentary rather wise and well-made. Described by Dylan, executive Martin Scorsese primarily talks with companions, associates and group of Dylan (and also Dylan himself) and gets to the foundations of his motivation and childhood.

The archival images that director has assembled draw upon the power of their indexical heritage, the particular relation between cinema and the real, rendering history as tantalisingly present, allowing the observer an impression of the commotion of Bob Dylan’s early career. Roland Barthes has reflected on the “return of the dead” and the immobilisation of time in photography, which he characterises as “a release of past reality”:

“The important thing is that the photograph possesses an evidential force and that its testimony bears not on the object but on time. From a phenomenological viewpoint, in the Photograph, the power of authentication exceeds the power of representation.”

The archival footage originates from many sources, including documentaries by Pennebaker and Murray Lerner (“Festival”). A significant portion of the meetings was directed by Michael Borofsky, and Jeff Rosen was a key supporter. Be that as it may, Scorsese gives the ace vision, and his actual footage unfurls with the account energy of fiction.

Having examined some genealogical connections between No Direction Home and Pennebaker’s work on Don’t Look Back and Eat the Document above, I need to extend this examination by considering the story state of Scorsese’s film. Not at all like in his histories of American Movies ‘A Personal Journey With Martin Scorsese Through American Movies’ (1995) and Italian Post-War Cinema ‘My Voyage to Italy’ (1999), Scorsese does not show up before the camera in No Direction Home. Here he is substance to play blend ace, strip-mining a jackpot of rarities, from sound and film recordings beforehand inaccessible in people in general space, to photos, manually written verses, notices and handbills. The story of the movie is sorted out around this material in a comprehensively sequential manner, supplemented by meetings with companions and associates, its movement chronicled in sub-titles denoting the progression of time. The type of No Direction Home is moderately clear: as far as Bill Nichols’ documentary scientific categorization, it would be portrayed as a standard TV style intuitive documentary, mainly subject to a blend of meetings and the Chronicle. Maintaining a strategic distance from any positive story turns, it advances teleologically towards its peak.

Watching him singing in “No Direction Home,” I see no look at cleverness, no endeavour to engage. He utilises a level, pitiless conveyance, more persevering rhythm than tune, practically lecturing. Be that as it may, once in a while at the question and answer sessions, we see snapshots of a bashful, amusing, energetic child inside. Also, only once, in his current meetings, found in profile against a foundation of dark, we see the apparition of a grin.



The Expository mode is the most recognisable in the world of documentary, so I’m going to talk about it. Expository docs are intensely investigated and are at times alluded to as article movies since they intend to instruct and clarify things — occasions, issues, lifestyles, universes and exotic settings we know minimal about. Ordinary generation components incorporate interviews, illustrative visuals, some fact, maybe a few representation and photographs and a ‘voice of God’ portrayal track. Scripted portrayal interfaces the story components and frequently unloads a theory or a contention.

It can be contended that the explanatory mode emerged from these errors that the poetic mode was defenceless in exhibiting, and additionally the “diverting qualities” of fiction movies. Therefore, the expository mode plans to teach the gathering of people and “bring out and delight a longing to know”, in this way it can maybe be accepted that it depicts an accurate portrayal of a given reality. While the legitimate, straight structure of explanatory documentaries strengthens this and the sequence of actual fact, its run of the mill tradition of voice over ostensibly twists the mode’s capacity to speak to reality precisely.

Maybe the most appropriate example to use is Night Mail (1936); an early narrative that takes after a postal prepare’s overnight trip to Scotland in which its mail is sorted, dropped and conveyed.


In spite of the fact that the voice-over is seemingly educational, with respect to the labourer’s activities, its melodious configuration, truth be told, appears to have a hidden disseminator expectation. i.e. to support the average workers of their own significance when an industrialised war seemed up and coming. This to some degree strengthens Nichol’s thought that the gathering of people is reasonable, or possibly supported; to acknowledge that there is an “immediate connection between the pictures and voice over”.

These days the explanatory mode is for the most part connected with nature documentaries, for example, The Blue Planet.


Here, David Attenborough’s voice clarifies the development, condition and propensities for different tenants of the sea. Expecting Bill Nichols is right concerning there being a connection between the pictures and voice over, it can, consequently, be contended that a favoured significance is developed inside the narrative as the gathering of people are not urged to by and by cross-examine the pictures and account freely.

In spite of the fact that this hypothetically does without a doubt distort reality, it ought to be viewed as that the aims of the explanatory mode are instructive and consequently explore more likely than not been led keeping in mind the end goal to truly show a specific view, especially on account of science orientated documentaries like The Blue Planet. Considering this, it can be expected that there is some broad understanding of the perspectives that the voice-over communicates; along these lines, the expository mode can be effective to some degree in exhibiting a “true” documentation of reality.

All things considered, it ought to be viewed as that similarly, the poetical mode guides the crowd to a particular conclusion through the methods for underscored visuals and poetical control, the expository mode likewise surrenders to displaying a built reality through the predominance of the voice over and the direction this gets to the gathering of people understanding intricate, nitty gritty story of expository documentaries.

The “Why We Fight” (1942-43) arrangement of promulgation movies appointed by the administration to clarify U.S. contribution in World War II were made in great descriptive style. Different cases incorporate current undertakings docs made for “an hour,” History Channel projects, and nature movies, for example, “The Blue Planet.” The general verifiable documentaries of Ken Burns (“Mark Twain,” 2001; “The Dust Bowl,” 2012) fall into the interpretive classification.


  1. Nichols, Bill & Hjorth, Larissa (Lecturer) & Nichols, Bill 1991, Representing reality : issues and concepts in documentary, Indiana University Press, Bloomington, p32.
  2. Renov. M (1993) Theorizing Documentary Routledge, Oxford University Press, pg140.
  3. YouTube. (2017). Night Mail – (1936) – Part 1. [online] Available at: https://www.youtube.com/watch?v=-WO7JxYlhOM [Accessed 29 Apr. 2017].
  4. YouTube. (2017). Amazing and weird creatures exhibit bioluminescence – Blue Planet – BBC Earth. [online] Available at: https://www.youtube.com/watch?v=UXl8F-eIoiM [Accessed 29 Apr. 2017].
  5. Condor.depaul.edu. (2017). DOCUMENTARY MODES. [online] Available at: http://condor.depaul.edu/dtudor/DOCUMENTARY%20MODES.htm [Accessed 30 Apr. 2017].
  6. Trilogy, G. (2015). Nichols’ 6 Modes of Documentary Might Expand Your Storytelling Strategies. [online] No Film School. Available at: http://nofilmschool.com/2015/09/nichols-6-modes-documentary-can-help-expand-your-storytelling [Accessed 1 Jun. 2017].

My review


The digital story ‘Laughter Yoga in Peace Lab.’ Is a documentary examining the life of a Lawyer who founded the ‘Peace Lab’ to coach meditation and yoga to train people to ease stress and tensions in life. To talk about the experience, it was a shocking and funny moment while watching the video. Because it was weird to see people laughing loud, like few on the floor and few standing. Later I realised how stressful and painful their life is.

The person behind the video should have done lots of research regarding content, editing, camera and so on. The shots were very amateur, but I felt a raw feel to the video with made me feel realistic. The most interesting part is video’s target audience is so specific, i.e., people who are interested in stress relief or may be yoga. I couldn’t get much information about the social media campaign to reach the audience. Another thing I wish to talk about is ‘Logo’, to me the meaning of the logo is a single eyed yogi.


This is the only video I like technically, they had a perfect camera and editing plans. The black and white,  video’s noise filters and Charlie Chaplin style of approach were my favourite picks in the project. The video was about an overseas student from Asia trying to become a part of new Australian society. However, she alway meets some embarrassing things thanks to the culture difference. The plot was funny and made all of us engaged and laugh in class.

They have made a good step in their social media campaign, they have almost used all the available social media platforms to share their work and reach the maximum audience. Editing was perfect in the video, timely syncing of slow and fast motions made the video more attractive, the piece of music running throughout the video reminded me of old Charlie Chaplin movies.


Final stages of ‘MUSICORUM’

Music is the greatest language in the world, people can understand the feeling or mood of the music while listening even though they don’t know the meaning. (Patel 2008) “Is music a universal language or not?”, This is the question to be proved through our reaction video. We should be able to communicate our idea to everyone in the audience equally with our Musicorum project, which is one of our goals to create a real fusion of multicultural idioms, without sacrificing anything. To achieve this idea, we as part of the Musicorum experiment have put together a group of 10 to 15 volunteers who were made to listen to a music track and based on their listening experience, we got them talking to explore if some/most of their answers are similar or different.

During the pre-production stage, my duty was to build a website, design minimal posters and logo. And for production, my duty was to take care of cinematography and sound. We used Sony X200 Videocam, and Zoom HF Lapel mic for the shoot and no additional lights were used. Shooting was smooth and perfectly arranged. But, during the shoot, there was a lot of disturbances from the construction site of Metro Tunnel.  Another Group ‘Melbourne Busking’, had this same issue with the ambience sound as they were shooting on the streets. The mic recorded all the unwanted ambience sounds and made our sound mixing work harder. And another thing we should have changed during the shoot was the background of the frame because there was a poster behind the speaker which will mislead the viewer. And one more mistake we did was about the second angle for the shoot. If we had one more angle for the shoot, I think our edit would have been better. My part in social media campaign was to bring out something catching to attract more followers for the social media pages. So, I came up with the idea of an Instagram template board with ‘Muiscorum’ title. I passed the idea to my team member Emre, he went down the Melbourne streets and asked people to pose for the photo, which in turns made people search for the social media pages.

Post-production was the most challenging part for me because the selection of the exact expressions and answers from the vast collection of footages was not an easy task. I had interviews with fifteen people, and a huge number of questions and answers were to be watched and picked. We planned to make a video with fast and precise cuts. For a better understanding of the viewers, questions were displayed in the bottom of the video, and other popups like country flags and names were also added. The video was a bit over exposed, and skin tone of the participants was messed up. At the point when there are individuals in the shot, life is a great deal more unpredictable; because skin tone is a “memory colour.” So grading and colour correction were done to make it appealing. A cool blue tungsten tone was added to the video. Larry Jordan is a Video Editor who faced a similar issue with setting back the skin tone. He describes it on his blog and how to get rid of it and other problems which can be arisen while colour correction and grading over exposed videos. His suggestions are to add enough mid-tones and shadows to the video. Then to compare colour scheme and editing style of most famous reaction video and notice how colours improve viewers attraction. He also suggests using cool colour tint like, blue, green or violet, and as it allows for easy catching by the eyes. Details from his blog helped me to make the video better without the clutters, and with additional graphical text representation, it became much better in appearance.

Link to Website:


Link to Youtube:


Link to Facebook:


Link to Instagram:


Link to Twitter:



  1. Patel, A. D. (2008). Music, language, and the brain. Oxford, UK: Oxford University Press.
  2. Larryjordan.com. (2017). Color Correction: Make People Look Normal | Larry Jordan. [online] Available at: https://larryjordan.com/articles/color-correction-make-people-look-normal/ [Accessed 31 May 2017].
  3. Noamkroll.com. (2017). The Best Order Of Operations For Color Grading & Why It Makes All The Difference. [online] Available at: http://noamkroll.com/the-best-order-of-operations-for-color-grading-why-it-makes-all-the-difference/ [Accessed 31 May 2017].



CROSS-MEDIA = One story, many channels.

The expression “Cross-Media” is frequently clarified as something that incorporates the dispersion of substance (e.g. music, pictures, video, and so on.) among various media. One every now and again utilised mix is TV, daily papers/magazines cell phones and the Internet. (Cambridge.org 2017)

Crossmedia is normally observed as the utilisation of customary media along each other in a creative way. In any case, the term can be utilised as a part of an assortment of ways; cross-average ideas are not just shaped utilising a business reason (counting showcasing efforts and broadcasting courses of action) additionally rely on upon the individual existences of customers. In the present media scene, purchasers control the utilisation of media; they choose when and where they wish to get to particular media and substance. The cross-media division itself characterises the term as takes after:

“The crosswise over media-part gives sight and sound items and administrations by utilising radio, TV, the Internet, cell phones, print and occasions all the while along each other.”

This suggests the collaboration amongst organisations and authorities is a piece of the idea of cross-media also.

Technology vs. Communicative Goal:

In a few parts, cross-media is related to advancement and strategy. Distributors, for instance, utilise the word cross media for database distributing; articles, intended for magazines, appropriated among other media like CD or e-paper. This procedure of disseminating a similar substance through various channels is likewise called multi-directing.

The present propensity among creation organisations and broadcasting companies, be that as it may, is to some degree diverse. More substance is created to start with, and changed a while later, to suit diverse media. Cases of this are podcasts and vodcasts. This substance can be downloaded to, for instance, an iPod, and saw or tuned in at any coveted time. Clients can rate the substance, and extra related things can be prescribed to them by different clients.

This last case demonstrates that a cross-media idea does not need to be connected to a specialised idea. It demonstrates that cross-media can be utilised as an instrument to accomplish an informative objective (For this situation giving a supposition about a podcast). As it were, the term cross-media is utilised to infer the open objective of an idea.


Another meaning of cross-media is given by Crossmedia-master Monique de Haas:

“Crossmedia is a specialised device including a story that urges you to change starting with one medium then onto the next, and back.”

The outcome has enhanced the idea in two courses: from one perspective, the profundity of the story expands (which prompts more advantages for the client), while despite what might be expected, the shot of making a traverse to another medium is expanded because of the intriguing story.

Another essential advantage of a decent story is the developing plausibility of useful informal promoting (buzz); along these lines, the speculation of a decent showcasing story can bring about a large measure of benefits, inside a brief time-traverse.


Cross average advertising includes the utilisation of various media, in light of their particular qualities. The principle reason for this blend is to build the area of a battle. As such: the media mix needs to serve the crusade idea, so as to boost effect on the objective gathering.

The utilisation of various media does not actually prompt a cross-average idea. In any case, if the distinctive media are utilised as a part of such a path, to the point that their qualities are utilised without limitations, and the likelihood of support for the objective gathering is available, one could call it a cross-average idea.

The cross-average appropriation of substance is a productive approach to building mark mindfulness. Mark mindfulness is utilised to strengthen the client encounter, for example by putting the item into various settings. A decent case of this is a case of LEGO joined to an arrangement of batteries. A site page on the bundle urges customers to visit the site and purchase more LEGO.


  1. Dictionary, c. (2017). cross-media Meaning in the Cambridge English Dictionary. [online] Dictionary.cambridge.org. Available at: http://dictionary.cambridge.org/dictionary/english/cross-media [Accessed 26 May 2017].

  2. Gutenberg, P. (2017). | Project Gutenberg Self-Publishing – eBooks | Read eBooks online. [online] Self.gutenberg.org. Available at: http://self.gutenberg.org/articles/eng/Cross-media_marketing [Accessed 27 May 2017].

  3. Press.etc.cmu.edu. (2017). Cross-Media Communications: an Introduction to the Art of Creating Integrated Media Experiences | ETC Press. [online] Available at: http://press.etc.cmu.edu/content/cross-media-communications-br-introduction-art-creating-integrated-media-experiences [Accessed 27 May 2017].

  4. Transmedia Journalism. (2014). Multimedia, Crossmedia, Transmedia… What’s in a name?. [online] Available at https://transmediajournalism.org/2014/04/21/multimedia-crossmedia-transmedia-whats-in-a-name/ [Accessed 28 May 2017].

  5. Smallbusiness.chron.com. (2017). What Is Cross-Media Advertising?. [online] Available at: http://smallbusiness.chron.com/crossmedia-advertising-22546.html [Accessed 28 May 2017].