Monday 28 December 2015
history of advertisment ,,,,
History
Main article: History of advertising
Egyptians used papyrus to make sales messages and wall posters.[citation needed] Commercial messages and political campaign displays have been found in the ruins of Pompeii and ancient Arabia. Lost and found advertising on papyrus was common in Ancient Greece andAncient Rome. Wall or rock painting for commercial advertising is another manifestation of an ancient advertising form, which is present to this day in many parts of Asia, Africa, and South America. The tradition of wall painting can be traced back to Indian rock art paintings that date back to 4000 BC.
In ancient China, the earliest advertising known was oral, as recorded in the Classic of Poetry (11th to 7th centuries BC) of bamboo flutes played to sell candy. Advertisement usually takes in the form of calligraphic signboards and inked papers. A copper printing plate dated back to the Song dynasty used to print posters in the form of a square sheet of paper with a rabbit logo with "Jinan Liu's Fine Needle Shop" and "We buy high-quality steel rods and make fine-quality needles, to be ready for use at home in no time" written above and below is considered the world's earliest identified printed advertising medium.
In Europe, as the towns and cities of the Middle Ages began to grow, and the general populace was unable to read, instead of signs that read "cobbler", "miller", "tailor", or "blacksmith" would use an image associated with their trade such as a boot, a suit, a hat, a clock, a diamond, a horse shoe, a candle or even a bag of flour. Fruits and vegetables were sold in the city square from the backs of carts and wagons and their proprietors used street callers (town criers) to announce their whereabouts for the convenience of the customers. The first compilation of such advertisements was gathered in "Les Crieries de Paris", a thirteenth-century poem by Guillaume de la Villeneuve.
In the 18th century advertisements started to appear in weekly newspapers in England. These early print advertisements were used mainly to promote books and newspapers, which became increasingly affordable with advances in the printing press; and medicines, which were increasingly sought after as disease ravaged Europe. However, false advertising and so-called "quack" advertisements became a problem, which ushered in the regulation of advertising content.
19th century
Thomas J. Barratt from London has been called "the father of modern advertising".Working for the Pears Soap company, Barratt created an effective advertising campaign for the company products, which involved the use of targeted slogans, images and phrases. One of his slogans, "Good morning. Have you used Pears' soap?" was famous in its day and into the 20th century.
Barratt introduced many of the crucial ideas that lie behind successful advertising and these were widely circulated in his day. He constantly stressed the importance of a strong and exclusive brand image for Pears and of emphasizing the product's availability through saturation campaigns. He also understood the importance of constantly reevaluating the market for changing tastes and mores, stating in 1907 that "tastes change, fashions change, and the advertiser has to change with them. An idea that was effective a generation ago would fall flat, stale, and unprofitable if presented to the public today. Not that the idea of today is always better than the older idea, but it is different – it hits the present taste."[14]
As the economy expanded across the world during the 19th century, advertising grew alongside. In the United States, the success of this advertising format eventually led to the growth of mail-order advertising.
In June 1836, French newspaper La Presse was the first to include paid advertising in its pages, allowing it to lower its price, extend its readership and increase its profitability and the formula was soon copied by all titles. Around 1840, Volney B. Palmer established the roots of the modern day advertising agency in Philadelphia. In 1842 Palmer bought large amounts of space in various newspapers at a discounted rate then resold the space at higher rates to advertisers. The actual ad – the copy, layout, and artwork – was still prepared by the company wishing to advertise; in effect, Palmer was a space broker. The situation changed in the late 19th century when the advertising agency of N.W. Ayer & Son was founded. Ayer and Son offered to plan, create, and execute complete advertising campaigns for its customers. By 1900 the advertising agency had become the focal point of creative planning, and advertising was firmly established as a profession. Around the same time, in France, Charles-Louis Havas extended the services of his news agency,Havas to include advertisement brokerage, making it the first French group to organize. At first, agencies were brokers for advertisement space in newspapers. N. W. Ayer & Sonwas the first full-service agency to assume responsibility for advertising content. N.W. Ayer opened in 1869, and was located in Philadelphia.
Thursday 24 December 2015
Tuesday 8 December 2015
Sunday 6 December 2015
Sunday 29 November 2015
Wednesday 25 November 2015
Monday 23 November 2015
Sunday 22 November 2015
The film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized. Directors need to be able to mediate differences in creative visions and stay in the boundaries of the film's budget. There are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors. Other film directors have attended a film school. Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect, and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors edit or appear in their films, or compose the music score for their films.
Thursday 5 November 2015
The first permanent photograph of a camera image was made in 1826 by Joseph Nicéphore Niépce using a sliding wooden box camera made by Charles and Vincent Chevalier in Paris.[5] Niépce had been experimenting with ways to fix the images of a camera obscura since 1816. The photograph Niépce succeeded in creating shows the view from his window. It was made using an 8-hour exposure on pewter coated with bitumen.[6] Niépce called his process "heliography".[7] Niépce corresponded with the inventor Louis-Jacques-Mande Daguerre, and the pair entered into a partnership to improve the heliographic process. Niépce had experimented further with other chemicals, to improve contrast in his heliographs. Daguerre contributed an improved camera obscura design, but the partnership ended when Niépce died in 1833.[8] Daguerre succeeded in developing a high-contrast and extremely sharp image by exposing on a plate coated with silver iodide, and exposing this plate again to mercury vapor.[9] By 1837, he was able to fix the images with a common salt solution. He called this process Daguerreotype, and tried unsuccessfully for a couple years to commercialize it. Eventually, with help of the scientist and politician François Arago, the French government acquired Daguerre's process for public release. In exchange, pensions were provided to Daguerre as well as Niépce's son, Isidore.[10]
In the 1830s, the English scientist Henry Fox Talbot independently invented a process to fix camera images using silver salts.[11] Although dismayed that Daguerre had beaten him to the announcement of photography, on January 31, 1839 he submitted a pamphlet to the Royal Institution entitled Some Account of the Art of Photogenic Drawing, which was the first published description of photography. Within two years, Talbot developed a two-step process for creating photographs on paper, which he called calotypes. The calotyping process was the first to utilize negative prints, which reverse all values in the photograph - black shows up as white and vice versa.[12] Negative prints allow, in principle, unlimited duplicates of the positive print to be made.[13] Calotyping also introduced the ability for a printmaker to alter the resulting image through retouching.[14]Calotypes were never as popular or widespread as daguerreotypes,[15] owing mainly to the fact that the latter produced sharper details.[16] However, because daguerreotypes only produce a direct positive print, no duplicates can be made. It is the two-step negative/positive process that formed the basis for modern photography.[17]
The first photographic camera developed for commercial manufacture was a daguerreotype camera, built by Alphonse Giroux in 1839. Giroux signed a contract with Daguerre and Isidore Niépce to produce the cameras in France,[18] with each device and accessories costing 400 francs.[19] The camera was a double-box design, with a landscape lensfitted to the outer box, and a holder for a ground glass focusing screen and image plate on the inner box. By sliding the inner box, objects at various distances could be brought to as sharp a focus as desired. After a satisfactory image had been focused on the screen, the screen was replaced with a sensitized plate. A knurled wheel controlled a copper flap in front of the lens, which functioned as a shutter. The early daguerreotype cameras required long exposure times, which in 1839 could be from 5 to 30 minutes.[18][20]
After the introduction of the Giroux daguerreotype camera, other manufacturers quickly produced improved variations. Charles Chevalier, who had earlier provided Niépce with lenses, created in 1841 a double-box camera using a half-sized plate for imaging. Chevalier’s camera had a hinged bed, allowing for half of the bed to fold onto the back of the nested box. In addition to having increased portability, the camera had a faster lens, bringing exposure times down to 3 minutes, and a prism at the front of the lens, which allowed the image to be laterally correct.[21] Another French design emerged in 1841, created by Marc Antoine Gaudin. The Nouvel Appareil Gaudin camera had a metal disc with three differently-sized holes mounted on the front of the lens. Rotating to a different hole effectively provided variable f-stops, letting in different amount of light into the camera.[22] Instead of using nested boxes to focus, the Gaudin camera used nested brass tubes.[23] In Germany, Peter Friedrich Voigtländer designed an all-metal camera with a conical shape that produced circular pictures of about 3 inches in diameter. The distinguishing characteristic of the Voigtländer camera was its use of a lens designed by Josef Max Petzval.[24] The f/3.5 Petzval lens was nearly 30 times faster than any other lens of the period, and was the first to be made specifically for portraiture. Its design was the most widely used for portraits until Carl Zeiss introduced the anastigmat lens in 1889.[25]
Within a decade of being introduced in America, 3 general forms of camera were in popular use: the American- or chamfered-box camera, the Robert’s-type camera or “Boston box”, and the Lewis-type camera. The American-box camera had beveled edges at the front and rear, and an opening in the rear where the formed image could be viewed on ground glass. The top of the camera had hinged doors for placing photographic plates. Inside there was one available slot for distant objects, and another slot in the back for close-ups. The lens was focused either by sliding or with a rack and pinion mechanism. The Robert’s-type cameras were similar to the American-box, except for having a knob-fronted worm gear on the front of the camera, which moved the back box for focusing. Many Robert’s-type cameras allowed focusing directly on the lens mount. The third popular daguerreotype camera in America was the Lewis-type, introduced in 1851, which utilized a bellows for focusing. The main body of the Lewis-type camera was mounted on the front box, but the rear section was slotted into the bed for easy sliding. Once focused, a set screw was tightened to hold the rear section in place.[26] Having the bellows in the middle of the body facilitated making a second, in-camera copy of the original image.[27]
Daguerreotype cameras formed images on silvered copper plates. The earliest daguerreotype cameras required several minutes to half an hour to expose images on the plates. By 1840, exposure times were reduced to just a few seconds owing to improvements in the chemical preparation and development processes, and to advances in lens design.[28]American daguerreotypists introduced manufactured plates in mass production, and plate sizes became internationally standardized: whole plate (6.5 x 8.5 inches), three-quarter plate (5.5 x 7 1/8 inches), half plate (4.5 x 5.5 inches), quarter plate (3.25 x 4.25 inches), sixth plate (2.75 x 3.25 inches), and ninth plate (2 x 2.5 inches).[29] Plates were often cut to fit cases and jewelry with circular and oval shapes. Larger plates were produced, with sizes such as 9 x 13 inches (“double-whole” plate), or 13.5 x 16.5 inches (Southworth & Hawes’ plate).[30]
The collodion wet plate process that gradually replaced the daguerreotype during the 1850s required photographers to coat and sensitize thin glass or iron plates shortly before use and expose them in the camera while still wet. Early wet plate cameras were very simple and little different from Daguerreotype cameras, but more sophisticated designs eventually appeared. The Dubroni of 1864 allowed the sensitizing and developing of the plates to be carried out inside the camera itself rather than in a separate darkroom. Other cameras were fitted with multiple lenses for photographing several small portraits on a single larger plate, useful when making cartes de visite. It was during the wet plate era that the use of bellows for focusing became widespread, making the bulkier and less easily adjusted nested box design obsolete.
For many years, exposure times were long enough that the photographer simply removed the lens cap, counted off the number of seconds (or minutes) estimated to be required by the lighting conditions, then replaced the cap. As more sensitive photographic materials became available, cameras began to incorporate mechanical shutter mechanisms that allowed very short and accurately timed exposures to be made.
The use of photographic film was pioneered by George Eastman, who started manufacturing paper film in 1885 before switching to celluloid in 1889. His first camera, which he called the "Kodak," was first offered for sale in 1888. It was a very simple box camera with a fixed-focus lens and single shutter speed, which along with its relatively low price appealed to the average consumer. The Kodak came pre-loaded with enough film for 100 exposures and needed to be sent back to the factory for processing and reloading when the roll was finished. By the end of the 19th century Eastman had expanded his lineup to several models including both box and folding cameras.
Films also made possible capture of motion (cinematography) establishing the movie industry by end of 19th century.
The first camera using digital electronics to capture and store images was developed by Kodak engineer Steven Sasson in 1975. He used a charge-coupled device (CCD) provided by Fairchild Semiconductor, which provided only 0.01 megapixels to capture images. Sasson combined the CCD device with movie camera parts to create a digital camera that saved black and white images onto a cassette tape.[31] The images were then read from the cassette and viewed on a TV monitor.[32] Later, cassette tapes were replaced by flash memory.
Gradually in the 2000s and 2010s, digital cameras became the dominant type of camera across consumer, television and movies.
Tuesday 3 November 2015
Monday 2 November 2015
A film, also called a movie, motion picture or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession. A film is created by photographing actual scenes with a motion picture camera; by photographing drawings or miniature models using traditional animation techniques; by means of CGI and computer animation; or by a combination of some or all of these techniques and other visual effects. The word "cinema" is often used to refer to the industry of films and filmmaking or to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations.[1]
The process of filmmaking is both an art and an industry. Films were originally recorded onto plastic film which was shown through a movie projector onto a large screen (in other words, a photochemistry process). The adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the entire process of production, distribution, and exhibition from start to finish. Films recorded in a photochemical form traditionally included an analogous optical soundtrack, which is a graphic recording of the spoken words, music and other sounds that accompany the images. It runs along a portion of the film exclusively reserved for it and is not projected.
Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles totranslate the dialog into the language of the viewer. Some have criticized the film industry's glorification of violence[2] and its sexist treatment of women.[3][4]
The individual images that make up a film are called frames. During projection of traditional films, a rotating shutter causes intervals of darkness as each frame in turn is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known aspersistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. The perception of motion is due to a psychological effect called phi phenomenon.
The name "film" originates from the fact that photographic film (also called film stock) has historically been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, moving picture, photoplay andflick. The most common term in the United States is movie, while in Europe film is preferred. Terms for the field in general include the big screen,the silver screen, the movies and cinema; the latter is commonly used in scholarly texts and critical essays, especially by European writers. In early years, the word sheet was sometimes used instead of screen.
Friday 30 October 2015
Thursday 29 October 2015
Wednesday 28 October 2015
Screenplay Elements
Below is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one.
Scene Heading
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
A scene heading is a one-line description of the location and time of day of a scene, also known as a "slugline." It should always be in CAPS.
Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The Writers Store during the daytime.
Subheader
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
When a new scene heading is not necessary, but some distinction needs to be made in the action, you can use a subheader. But be sure to use these sparingly, as a script full of subheaders is generally frowned upon. A good example is when there are a series of quick cuts between two locations, you would use the term INTERCUT and the scene locations.
Action
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
The narrative description of the events of a scene, written in the present tense. Also less commonly known as direction, visual exposition, blackstuff, description or scene direction.
Television writing
A freelance television writer typically uses spec scripts or previous credits and reputation to obtain a contract to write one or more episodes for an existing television show. After an episode is submitted, rewriting or polishing may be required.
A staff writer for a TV show generally works in-house, writing and rewriting episodes. Staff writers—often given other titles, such as story editor or producer—work both as a group and individually on episode scripts to maintain the show's tone, style, characters, and plots.[9]
Television show creators write the television pilot and bible of new television series. They are responsible for creating and managing all aspects of a show's characters, style, and plots. Frequently, a creator remains responsible for the show's day-to-day creative decisions throughout the series run as show runner, head writer or story editor.
Monday 26 October 2015
Thursday 22 October 2015
screen play
What Exactly Is a Script?
A script is a document that outlines every aural, visual, behavioral, and lingual element required to tell a story. Why "outlines"? Because film is a highly collaborative medium and the director, cast, editor, and production crew will, based on your "outline", interpret your story their way when it is filmed. They may consult you, or they may not. Other writers may be brought in or you may be asked to re-write the entire thing. That's life, in the world of screenwriting. But because so many people are involved in the making of a film, a script must conform to standards that all involved parties understand and thus has a specific format or layout, margins, notation, and other conventions. This document is intended to overview the typical elements used screenplay writing.
It is crucial to remember that film is a VISUAL medium. You don't tell your audience your story, you SHOW them. You must learn to write a screenplay VISUALLY. Write what they will SEE and what they will HEAR. You might love your characters and know what they are thinking, but the discipline of screenplay writing is how to show it on a screen. When it happens, it may be just done with a look, often improvised on the movie set. So just write the pictures, sounds, and speeches, and leave the rest for the filmmakers.
What Makes Good Story?
Let's hazard a guess. The movies you loved most featured characters that swept you up, who captivated your emotions, got you involved. The audience viewing a movie not only wants to be interested in and care about the people they see on the screen, they want to be PASSIONATE about them, whether they like them or not. Great heroes and heroines inspire us; great villains make us want to jump into the screen!
There is always something at stake in a good movie. Not just something someone wants, something that must be acquired, no matter what the risk, as in Indiana Jones and the Raiders of the Lost Ark. Or something highly desired by as many main characters as possible, like the small black statue in The Maltese Falcon. Some times it can be an intangible thing, like the freedom of a people in Lawrence of Arabia or Gandhi. All these things drive the character's quest, even gives the hero superhuman strength. It can be something personal (romance) or for the good of all (saving the world from aliens) but it must be powerful and grow more desperate as the story unfolds.
There are always obstacles, which provide that catchword that actors love so much -- CONFLICT. This is the heart of drama. Someone wants something and people and things keep getting in the way of them achieving the goal. At times, the obstacles can be common to both the hero and villain, and the ultimate goal a laudable one for both parties, as in Jingle All The Way. In that film, Arnold Schwarzenegger and Sinbad battle to achieve the same goal--the acquisition of the last popular action figure for sale that Christmas season. Both of them have promised their son, and they must not fail. Conflict and obstacles can be physical or emotional. But they have to be in your story or you don't really have a story. In most good stories, the protagonist will also have an inner obstacle, some mental or even spiritual problem, that will be resolved by the time s/he reaches the outward, physical goal of the story. Some people call this inner demon a "ghost," while others call in a "wound."
You need a hook. That's a songwriting term that describes that thing that catches the public's attention. A popular Hollywood term is a "high concept." A better idea might be a simple "What if?" In Galaxy Quest, for example, the concept is "What if the washed-up actors from the crew of a cancelled but still popular sci-fi TV show are pressed into a real war in space by aliens who think the TV show broadcasts they received were documentaries?" A good enough "what if?" will set your script apart from the pack. It is why people will leave the comfort of their homes and plunk down their hard-earned bucks at the local cineplex.
Hollywood buys genres. Agents, managers, and producers are drawn to and specialize in specific genres so approaching them with something they can recognize is a good idea. Successful stories have a fresh face but are identifiable. You know what makes your idea unique, but can you describe it quickly to others? Is it a fast-paced thriller, romantic comedy, action adventure?
Scripts have to look a certain way. I can't stress this point enough. You must present your work like an insider. The sheer volume of submissions makes it so that if ANYTHING about your script looks strange it's headed for the circular file. If you don't know the game they won't play. The scriptwriter has to adhere to conventions covering everything from how many pages to what font (Courier 12 pitch in the U.S.), and that's just the beginning. I recommend you follow those rules, unless you're independently wealthy and plan to finance, produce, and direct your movie. Even then, however, the people you'll need to work with will be accustomed to standard formats.
Friday 16 October 2015
Screenplay Elements
Below is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one.
Scene Heading
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
A scene heading is a one-line description of the location and time of day of a scene, also known as a "slugline." It should always be in CAPS.
Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The Writers Store during the daytime.
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