AO1 - Television: Regulatory Bodies

Ofcom & Its Influence

Ofcom (the Office of Communications) is the regulatory body of everything to do with broadcasting and telecommunication.

Ofcom are responsible for making sure that no television channels and radio stations are not breaking the law and are following the broadcasting code. Ofcom deal with complaints from viewers when they've found something offensive, or found something wrong with a programme. The regulatory body also monitors the output of TV and Radio to make sure that the stations and channels are broadcasting what they've agreed to in their licences.

Another area Ofcom deals with is the volume of adverts. On television, advertisements aren't allowed to be louder than the programme and TV channels can be fined if they have broken the code.

Ofcom was founded in 2002 and was a merge of all the different media regulators.

AO1 - Jobs in the film & TV industry

Key jobs in Television
There are a number of different jobs in the TV world, and the main ones follow:

• Casting Director - The casting director is usually in charge of casting the actors. Initially, when a TV pilot is commissioned, the only cast would be the casting director and the producers.
• Executive Producer - The executive producer generally oversees all creative and business aspects of the programme. This job is the highest authority on set.
• Producers/Assistant Producers - This bunch of producers are in charge of certain aspects of the show, for example, a segment producer is only responsible for a certain segment of a show, and a line producer is generally in charge of budget, technical aspects and manages the team.
• Make-Up Artists - The make-up artist is in charge of giving each character the 'look' they're supposed to have, for example, if it's an alien, they'd have to make the make-up look like a convincing alien. The role is vast and is different depending on the genre.
• Location Manager - Location Managers find and manage filming locations, although most pictures are shot in studios and it's usually only outdoor shots filmed on location.
• Costume Designer - It's the person in this jobs responsibility to create the costumes for the cast.
• Director - It's the director's job to 'manage' the filming and shots. The director is usually the one responsible for the look and feel of an episode - in charge of filming, sound and lighting etc.
• Researcher - Researchers are there to find out information about the project that's being filmed to make sure that if it's a realistic programme, it is truthful.
• Production Designer - The production designer is in charge of what the television episodes feel like. They arrange the set and props. The role is also referred to as the set designer.
• Writers - There is usually a team of writers, headed by a Head Writer. The script writers are in charge of creating the stories in association with the executive producer(s).
• Grip - The grip is usually responsible for the lighting.
• Camera Operator/Cinematographer - The head member of the camera team is the cinematographer. The camera operators are responsible for the filming.
• Boom Operator - The boom operator is in charge of the over head microphones, responsible for picking up the voices in the scene.
• Floor Manager - The floor manager's responsible for assisting and representing the director on the floor. Close to the role of assistant director, this job is to keep the production schedule moving swiftly.
• Stunt Co-Ordinator - The stunt co-ordinator is responsible for organising and setting up a stunt. They're also responsible for finding stunt actors/doubles.
• Stunt Double - The stunt double is the dopple ganger of a starring actor who is trained in the stunts they perform.
• Gaffer - The gaffer is the chief electrician on set and responsible for the lighting and electrics on floor.
• Production Manager - The production manager is responsible for the business of the crew and sorts out the technical needs of the production.
• Runner - Runners are the most junior members of a television crew and spend their time sorting out problems and issues that arise in the crew.
• Editors - Editors can edit and produce a number of different content for a television show; sound and video.
• Composer - A composer is responsible for creating a sound track of a television show.
• Foley Artist - A foley artist is responsible for re-creating and overdubbing natural sounds that may need replacing or crisping in the edit.
• Presenter - The presenter is in charge of hosting the programming and is responsible for keeping the show cohesive.
• Actor/Actresses - The actors/actresses act to produce the story.
• Voiceover Artist - The voiceover artists can narrate the programme.

Key jobs in Film
As film is on a much grander scale than television, it caters for a larger amount of jobs.

• Directors - typically followed by a first and second assistant directors. The job of the director is to 'manage' and 'conduct' the scene. The job of the assistant directors is to schedule the actors and make sure they're correctly placed. They're also responsible for the smooth running of the shoots.
• Casting Director - the casting director is usually in charge of audition and selecting actors to play parts in the film.
• Producers - the head producer is known as the executive producer. The executive producer usually makes the final decision in terms of finance and plays a major creative role in the film. The job typically contains more power in the TV industry.
• Production Manager - the production manager isn't generally involved with anything creative. In fact, the production manager usually oversees budgets, technology and scheduling.
• Production Assistant - these usually assist the producers, directors or senior staff on set with jobs such as running.
• Scriptwriter - the scriptwriter often writes the script to a film and pitches it to producers. Sometimes writers have creative power over the film. The scriptwriting role is overseen by a script supervisor, who is in charge of maintaining continuity and what has been filmed in relation to the script.
• Stunt Coordinator - the stunt coordinator organises stunts needed in the film. This role will also organise stunt actors.
• Location Managers - usually an assistant too. Location managers usually make sure final permission is given for shooting in a certain location. Location assistants are used on bigger budget films.
• Location Scout - does the research for locations and will often find locations for where the film needs to be shot.
• Production Designer - the production designer is in charge of overseeing anything creative with the film - settings, props, costumes, makeup, etc. The Art Director reports to the production designer and looks after the art department production. The art director is assisted by the illustrator.
• Set Production - heading up the set production department are the set designer and set decorator. These produce the sets needed in the film.
• Buyer - the buyer purchases or rents products needed to set the scene.
• Set Dresser - The set dresser applies all the fittings and fixtures prior to a crew arriving for production.
• Construction Coordinator - oversees the construction of all sets and the people building/maintaining them. Assisted by the head carpenter, who manages a team of carpenters and labourers and the head painter, who is responsible for mastering natural elements of sets.
• Costume designer - the costume designer is responsible for designing, creating and overseeing all of the costumes used on set. The costume designer will often work closely with directors in order to create a costume which reflects the traits of a character. The costume designer is assisted by a costume supervisor, who often manages the work space of the costume designers. This role will often assist in the production of costumes.
• Costume Standby - the costume standby's responsibility is to make sure the costume, hair and make-up fits in with the continuity in the film. Without this role, scenes could be confusing with changes in what the character is wearing. Works with the cutter, who is on set all the time to adjust an actors costume, should any last minute adjustments need making.
• Costume buyer - this role is responsible for hiring or purchasing costumes for actors. This role is often used when an actor is in control of what they're wearing for the production, so would therefore hire a buyer.
• Makeup artist & hair stylists - these are responsible for creating the look of a character. Some times there are body make up artists should adjustments need to be made for other parts of the body, as appose to just the head.
• Special Effects Supervisor - This role organises and supports the staff who maintain the special effects. Special Effects Assistants support supervisors.
• Cinematographer - This role is in charge of cameras in the film. Usually, a director would ask the cinematographer to set up the setting of cameras and lighting to how the director would like the scene to look.
• Camera Operators - the cameras operators use the cameras at the direction of the cinematographer. 
• Camera Assistants - the first assistant camera builds/takes down the camera at the beginning and end of the day, they are also responsible for keeping the camera in focus. The second assistant camera is responsible for the clapperboard.
• Steadicam Operator - the steadicam operator is responsible for operating the camera used on shots which require a stabilisation rig.
• Boom Operator - the boom operator is responsible for the overhead microphone which picks up universal sound in the scene.
• Production Sound Mixer - the person in this role is responsible for all sound on set.
• Key Grip - the key grip is responsible for setting up the lighting and blocking, with direction from the cinematographer to achieve the correct lighting for the scene.
• Dolly Grip - the dolly grip is usually in charge of the pulling and moving of the camera dolly. Camera operators and camera assistants are often riders.
• Grips - these are responsible for the levering of heavy objects, for example, rigging lights.
• Gaffer - the gaffer is the head of the electrical department - this includes anything electrical, lighting, sound, etc. This role is assisted by the lighting technician.
• Editors - the editors are responsible for the piecing together of the filmed footage. The editor will often work in conjunction with the negative cutter and colourist to produce the footage. Editors are also responsible for continuity between the shots.
• Visual Effects Producers - these often work in conjunction with the special effects coordinator to produce the digital side of stunts and special effects.
• Sound Designer - the sound designer is responsible for the sound production in post-production of the movie. The sound designer works closely with the foley artist to produce a natural sounding track. A lot of movies use the foley artist to create a wild track. 
• Sound/Dialogue Editor - These edit the sounds, often diagetic, in the film.
• Composer - the composer often creates and can often produce the sound track of the film.

AO1 - Television: Live & Recorded Music Programme Analysis

Live Music Programme

For the course, I analysed several live music events, primarily festivals, Glastonbury, Rockness and Radio 1's Big Weekend - noticing similar themes and conventions used to produce the coverage of the festivals. Broadcast in a narrative format, pieces to camera and fading transitions often act as a cohesive device in the shows.

  

Firstly, as a class, we began by watching and analysing BBC Alba's music festival, Rockness, comprising of artists from the UK and Scotland. The programme began with a two-shot piece to camera, with the presenters placed in front of the audience, introducing the show and artists to the audience at home. In festival coverage, I noticed that there's usually two presenters that open the show before the titles, just like in Rockness. The two faces are welcoming and energetic, encouraging the audience at home to continue watching. In Rockness, once the presenters had finished their opening speech, the camera (on a crane) lifted from the presenters to reveal the audience cheering and shouting before the titles rolled. This first shot is crucial to the opening of festival coverage, setting the pace, trying to involve the audience in the action - setting the scene. In Rockness and other festival shows I saw, the titles were basic, CGI and bright.

The titles are similar amongst all of the live music festivals. I noticed similar colours used in the titles - blues and greens to represent the outdoors. The opening sequence is usually simple, lasting no longer than 20 seconds. The music that complements the titles is usually a rock instrumental, conveying the ambience of the festival on screen. As the titles finish, a piece to camera in a studio follows.

Seen in the coverage of Radio 1's Big Weekend, Glastonbury and Rockness, another piece to camera is presented after the titles. The two presenters are usually now in a pop-up studio, overlooking the festival premises. This part of the segment is usually live, whereas the introductory, pre-titles shot is usually pre-recorded to create the correct mood for the programme. I saw this in Glastonbury and Rockness. The studio the presenters usually sit in are designed to fit the identity of the programme in terms of the logo and on-screen idents. For example, in Radio 1's big weekend, the studio's theme and design looked like it had been designed in accordance to the opening titles. Whilst Rockness and Glastonbury used greens and blues to represent the outdoors, Radio 1's Big Weekend used blues, oranges and yellows to convey summer.

The second two-shot piece to camera isn't necessarily there to 'welcome' viewers. This section of the broadcast is usually where the presenters inform the viewers as to who's coming up on the programme. In this shot, the presenters discuss who they've enjoyed and their highlights from the festival, before handing over to a montage of pre-recorded shots to show who will be featured in the live music show. In Rockness, Glastonbury, Radio 1's Big Weekend, these montages were accompanied with captions with the names of the artists. The montage usually hammocks the lesser-known acts in between the bigger artists so that viewers stay entertained and appealed by who'll be appearing on the show. Once the montage has finished, it's cut back to the presenters who then introduce the first performer of the show. The show usually finishes in a similar format, with a montage of the performers the viewers have seen (seen in Radio 1's Big Weekend) before saying goodbye, when the credits are cut to.

Generally, the target audience for music festival coverage is male and female teenagers that take particular interest into modern indie, rock and pop, the typical target audience for festival-goers, and the programmes seem to have been designed to fit this demographic. Everything in the shows are geared towards the demographic - the graphics, music, presenting and editing. The presenters are young, fresh-faced and have knowledge on the festival music scene, people who the audience can usually relate to. The graphics are bright and fun, something that would definitely catch the eye of the teenagers. The music featured are usually themed for the type of broadcast they're airing. For example, Radio 1's Big Weekend would often feature artists like Cheryl Cole, Lady Gaga and Rihanna together in one broadcast and Example, N-Dubz and Eminem in another. This is probably to maintain a steady audience throughout the shows. By grouping artists and music by genre, the shows flow and are more cohesive. The editing is also cleverly put together to entertain the target audience, adding pace and quick cuts between different cameras.

Shots are used in a number of different ways to grab the ambience of the festivals in the broadcasts. One of the most popular, and most used in the headline acts are shots that are taken on the camera cranes, capturing the audience cheering and chanting. These shots are important to capture the mood of the festival.  The crane shots are used across a range of different live programming - sports, reality television, music programmes and interview-based shows. Not only does it make a smooth edit, it also captures more of the festival in one shot.

"Rockness" was also filmed in live, as-live and recorded segments to create extensive coverage of the festival. Due to the fact the coverage has a wide range, it allows for coherant presenting styles and similar show structures and I think it works well for this coverage. It's also fairly similar to other BBC festival coverage like that of, "Radio 1's Big Weekend" and "Glastonbury".

 Recorded Music Programme

The recorded music programme I will be analysing is 2011's Christmas special of "Top of the Pops". Like Rockness, the show is presented "as live", however, performances would have been recorded over various different days and weeks with all the links filmed in one go. 

The show is presented by Fearne Cotton and Reggie Yates, two of the most famous faces of Radio 1, presenting the live lounge and Reggie presenting the chart show. The two were also the last presenting duo of Top of the Pops, hence their selection. Their fitness for audience is perfect, given their years of experience in presenting, and both self confessed musical and festival lovers, something that I think appeals to the young and family demographic the "Top of the Pops" specials aim at, unlike "Top of the Pops 2". Fearne could be considered a wise choice of presenters having been a part of the "TOTP family" for some time, initially presenting the CBBC Saturday spin off, "Top of the Pops Saturday", which follows the same format.

Rather than a dark and more edgy output when it finished, the show follows a more funky, colourful and almost nostalgic feel, with references to older logos and using bright lights to light the audience and stages.

AO4 - Thriller Opening: Evaluation

In the beginning of the production, I was set to be working with another group, however, after a number of changes, I decided to work with Sophie, who I produced my music video with, and Lucie. Due to the disastrous beginning to this unit, it meant our start date in this unit was around a month later, but I feel it was an obstacle we over come easily due to the effort we all put in collectively outside of lessons and in study leave.

As a group, we began the unit by completing some initial research into the history of the film industry and thrillers and it was helpful in the process of actually producing the thriller opener, allowing us to explore the use of shots, different roles and jobs on set, and the conventions of thrillers. Through our research, we were able to find a lot of inspiration for our piece, "The Sixth Sense", "Se7en", "North by North West", etc. We completed the initial research by using search engines, Wikipedia and websites of well known thrillers, whilst also referring to the IMDB, the internet movie database.

Our first stage in planning the production was organising meets where we could discuss our visions for our thriller opening, with the first taking place in early 2011, discussing our ideas and thoughts about what direction we wanted to take in this unit. In the beginning, we struggled to come up with a theme, but after an hour's session of brain storming, we came up with the concept we have finished with. We took our inspiration from the start of "Se7en" and "The Sixth Sense" and combined ideas and added our own to create our production. We loved the idea that the opening should be placed in an everyday setting so that when something dramatic or odd occurs, it captures the 'thrill' sensation a thriller should have. Having come up with the concept for our production, we began on our pre-production.

Firstly, we began by taking photographs of suitable locations for our thriller opening and found something suitable in the community. We used Wem Town Hall as our opening location as it has the perfect fixtures for a thrilling location. Empty, pale corridors that have the ability to look really 'creepy', given the perfect lighting and editing, empty class rooms which look eery without solid lighting and messy offices with old windows, perfect for helping in our tension build-up. We took the shots and were happy with what we had found, therefore, we had completed this section of our pre-production. We used a high quality camera in order to make the picture clear and to make the story concise with nothing that could be confused.

Following on from this, our next job was to story board and create an animatic so we could shoot our thriller with some kind of outline. If honest, as a group we found this the worst part of our production as we were all eager to being filming and producing, we considered it to be boring, but we couldn't be more wrong. The story boarding in fact helped us when it came down to the filming as without it, we would have lost ideas and how we wanted to shoot certain scenes along the way.

Our next step was filming, and it was by far the lengthiest section of the production, but by far, for me, the most enjoyable. We filmed our thriller opening three times to ensure that it was perfect in terms of continuity, ease to edit and was filmed to the a high level. We also had to make sure that the thriller had the perfect footage to ensure it captured the 'thrill' we wanted to give, and I'm glad that as a group, we put in the effort to do this. We used our first film as a 'continuity practice' in the end as it gave us a shock to see how much effort was needed in just the filming to keep cohesive. Filming never became tiresome for the group and we had many ideas from just filming the opening about how the film could continue after our opening.

By the time we had completed our filming, we had run out of time in the year to complete the unit due to the fact it was now May, and study leave for year 12 for a month. Despite the fact we hadn't finished due to our late start, at this point, most groups in the class had completed the production section of the unit. We were determined not to fall behind on our schedule and arranged to meet up in study leave at college to produce our thriller opening, and without all three of us remaining committed, we would not have finished the unit. Upon our meet up, we were able begin the editing and soundtrack process, which was enjoyable for us - we were able to see our work finally come together after the start troubles.

We completed our first edit and began creating a soundtrack around the edit so that the changes in pace, music and sound effects were in time with what we had edited. The film editing took place on Final Cut Pro, a programme I had already gained experience on through my GCSE media and music video in Unit 3. Sophie was also experienced in using this software. Final Cut was new to Lucie, and she picked up the software quickly which helped when she wanted to explain changes she'd like to implement. As a group, we preferred Final Cut Pro as a software to iMovie as it's more professional and in some aspects, easier to edit with more precise timing. We exported our beginning edit into Garageband, a programme I am familiar with, to create the soundtrack - which was my responsibility. I began by adding the diagetic noises we wanted to keep for fright; door closing/opening, lock noises - we purposely added no other sounds as we wanted the door to be the focus point in the thriller. Upon completing the sound FX, I moved on to the music backing, which was a simple pattern of bass and low-pitched strings to build tension, which crescendo when something dramatic is about to occur.

In terms of editing, I feel we were almost perfect in terms of continuity, the only thing I felt that let us down was the loss of some clips in transferring, but due to our late start, we didn't really have the time to go back and re-shoot scenes, it would have been a tremendous effort to maintain continuity - this would be something I'd change next time. I wish, looking back, I had gone back and found time to re-shoot the lost footage.

I felt I gained a lot of experience when it came to lighting in the piece. Taking inspiration from "French New Wave", we primarily used natural lighting, apart from the office scene as we used effect tools on Final Cut in order to create the desired feelings and themes.

We managed to produce the video in time for our return so we could gather feedback. After collecting feedback from peers about our 'rough cut' we were now able to make amendments to the production after collecting opinions from a focus group of a few students in class. This proved vital as I think the changes we made following from this improved our thriller. We removed cuts from lengthy shots which had already conveyed their purpose in a short amount of time so that we could get to the action more, and to make the 'thrill' seem more abrupt and disturbing. After editing the opening from the feedback we gathered, we once again came back to the focus group with our final result, and gained a generally positive response.

We decided to keep with the eery and weird feel of the production by using a black and white filter in the opening to emphasise the black ghoul's wickedness, I think with colour it would have made our production weaker than what it finished with and I'm glad we stuck with it.

We followed all the legal and ethical issues in the production by using risk assessments, being very aware of avoiding copyright issues and producing our own soundtrack, which can be heard on the clip.

Overall, I am happy with the finished product and I'm very happy with the results. I'm very happy with the effort we collectively put in and the work produced as a group. In fact, the only thing I would change would be to decide to work with Lucie and Sophie from the off as appose to joining together half way through the unit.

AO4 - Thriller Opening: Final Edit & Feedback

Final Edit
Below is the final edit of our thriller opening.

Final Edit - Focus Group
The following feedback is of my thriller opening from my fellow peers, put together from a focus group.

Feedback from Paige Overton (peer):

In the opening thriller 'Dead Air' I particularly liked the use of black and white effects on the screen. This straight away gives a creepy feel to the opening. The use of lots of different shots is a good way in showing the actress's different points of view, one minute she sees nothing, yet in the next shot we (the audience) can see the ghost. This was a great way in creating tension throughout the opening as we slightly sympathize for  the actress. I like the way that the ghost is wearing all black, the directors of the opening have clearly thought through what the colour black represents and have used it well when dressing the ghost. The only negative criticism I have is that i would of liked to of heard human diagetic sound throughout the opening sequence. Other than that I really enjoyed dead air and it gave me the thrill a thriller should give you.


Feedback from Tanya Steele (student):
I felt it was scary. It had all the right elements of a thriller, made me really tense. It was dark, a good effect for a thriller and set the mood. The sound effects are really good and emphasises the more dramatic moments of the thriller.

Feedback from Mr Haycocks (teacher):
Titles could be smaller and more discreetly placed with more attention to type face. Sound effects were severely lacking recorded sound and the final shot of the antagonist was too long, and should have faded to black immediately. Excellent use of camera language, very atmospheric in it's use of lighting, excellently directed/acted and the right length. It ticks all the boxes of the codes and conventions of thrillers.

Feedback from Lily Robinson (peer):
I liked the different shots that were used in this thriller, the way that in some shots you could see the girl and some you couldn't showed that she was either a ghost or in Sophie's imagination, without making it look too obvious or tacky. Also the music was really well put together and fitted very well with the shots. It did make me feel very tense and the build up was just right, it wasn't over dramatic and it was very professionally edited. The only constructive criticism I would give would be, the actors could have had a little more expression in their faces, for example the ghost maybe could have had her head tilted to the ground and looking up to the girl. I think this would have made more of an impact when the flashing images of her appeared. Other than that I thought it was very well put together and it had a professional finish.

Feedback from Tim Davies (peer): 
 The sound used within this piece works very well because it is atmospheric and has inconsistent elements. This therefore creates an unpredictability about the opening. The sound is dark and moody which collaborates with the image, which has been edited nicely with darkened edges, overall producing a dark and mysterious theme. The overall idea is good, the shot of the actress trying to open the locked door is effective as this idea of being trapped would be scary to viewers. 

AO3 - Thriller Opening: Continuity, Rough Cuts, Feedback & Editing

Continuity

There was a specific section of the thriller opening where we needed to have spot on continuity. We were originally going to use this footage as the main footage, but decided to replace it as the continuity wasn't to a high standard.

As a group, we now consider this to be 'dummy footage' and helped us to create our real footage as a result.

Rough Cut

To make sure our thriller opening production was perfect, we created a 'rough cut' to see how people felt about our ideas and intentions.

The rough cut's continuity and editing will be more synchronised once we produce the final product.

After showing the rough cut to a focus group of the target audience and industry experts, we gathered the following feedback.

Focus Group from Rough Cut

Once we had created the rough cuts, we asked a few peers and teachers to give feedback in order to improve our thriller opening. This is what we gathered through our focus group:

• needed to be more sounds, it sounds empty and flat.
• suspense needs to be heightened
• a bit repetitive, especially with the paranormal activity in the office
• continuity could definitely be improved when it comes to trick shots.

Editing

From the feedback given of our rough cuts, we'll make the following amendments for our final cut:

• Add some diagetic sound to remove the 'empty' feel of the production.
• Continuity could be a bit tighter when the girl who's being followed turns around in the corridor.
• Remove some of the items falling - it drags it out and people already understand what's going on.

AO2 - Thriller Opening: Pre-Production

Recce
Below are the recce shots for our thriller opening. These images contain the locations and backdrops for scenes in our shoot.

Above is an image of a classroom, something that the girl in the office walks into. It's going to be set either at night or during some kind of break in the day, so it needs to look messy.

This will appear when the woman looks outside the office (top right) after someone bangs on the door. She'll look one way, then back and then the ghoul which she saw out the corner of her eye will disappear.

This location will be used for the woman's office. We wanted to give the office a lived in, aesthetic feel so felt this location was appropriate, given the fact it was free for use and was perfect for the image we wanted to convey.

This is the door/entrance to the office. This will be seen as the woman enters her workplace or when she opens the door to see who has just knocked. At this point, we'll also see the ghoul follow behind her with the whispery noises we intend to overdub.

This is the door the woman and ghoul walk through to get to the class room, it follows on from the next recce shot.

This is the corridoor in which our thriller begins. We see a woman who presumably works here walking down the corridor, when suddenly a ghoul appears. The woman sensing something behind her turns around, and we see the other side of this corridor as we see the woman's (who just looked behind) face. She turns the corner and ends up with the door above.

Storyboard
Featured below is the storyboard for our thriller opening. Following on from this is our animatic.

Animatic
Below is our group's storyboard compressed into an animatic, representing the opening to our thriller.









Risk Assessment
Below is my group's risk assessment for the shoot of a thriller opening.

Legal & Ethical

I would assume that our thriller would be a 12a rating due to the thrilling and mysterious content that could scare or affect a young child. I would advise adult supervision as instructed by the BBFC, The British Board of Film Classification.

We were careful not to use any product placement in our film, however, you can see an Apple Mac computer. Had this been in the industry, permission would have had to be used and possible payment or the removal of the branding to avoid legal following.

Copyright is when the owners or producers of the film own the legal rights to certain aspects of the film, this could be the name, slogans, logos and even the music and soundtrack of the film. As a group, the soundtrack and logo for "Dead Air" are copyright to us, the creators, under the new Digital Economy Act 2010 (UK) and the Digital Millenium Copyright Act for the USA.

 

Production Schedule

Meeting Minutes