Technical Skills and Development - Blogging

Technical Skills and Development

Blogging

A "Blog" is an abbreviated version of “weblog”. It is a type of website or can be part of a website. Blog sites are easily built from templates and require no programming knowledge to update or maintain. They are usually maintained by individuals who regularly put up thoughts, comments, graphics or videos. These are called entries and they are arranged in reverse chronological order.

Blogs first came out in 1999 in the form of online diaries where people would keep a running account of their personal lives. Most such writers called themselves diarists, journalists, or journalers. Now in this modern day, most such writers call themselves bloggers. Also, blogs now range from the personal to the political, and can focus on one narrow subject or a whole range of subjects.

A typical blog combines text, images, and links to other blogs, web pages and other media related to its topic. It is interactive meaning that other internet surfers can access it and leave comments on it. This is usually an important part for many bloggers because it shows them that their blog is popular and inevitably gains them followers who are people that particularly like the blog and read it regularly. Many blogs enjoy a very loyal readership.

There are many different types of blogs, differing not only in the type of content, but also in the way that content is delivered or written.

Personal blogs:

The personal blog, an ongoing diary or commentary by an individual, is the traditional, most common blog. Personal bloggers usually take pride in their blog posts, even if their blog is never read. Blogs often become more than a way to just communicate; they become a way to reflect on life, or works of art. One type of personal blog, referred to as a micro blog, is extremely detailed and seeks to capture a moment in time. Some sites, such as Twitter, allow bloggers to share thoughts and feelings instantaneously with friends and family, and are much faster than emailing or writing.

Corporate and organizational blogs:

A blog can be private, as in most cases, or it can be for business purposes. Blogs used internally to enhance the communication and culture in a corporation or externally for marketing, branding or public relations purposes are called corporate blogs. Similar blogs for clubs and societies are called club blogs, group blogs, or by similar names; typical use is to inform members and other interested parties of club and member activities.

By genre:

Some blogs focus on a particular subject, such as political blogs, travel blogs (also known as travelogs), house blogs,fashion blogs, project blogs, education blogs, niche blogs, classical music blogs, quizzing blogs and legal blogs (often referred to as a blawgs) or dreamlogs. Two common types of genre blogs are art blogs and music blogs. A blog featuring discussions especially about home and family is not uncommonly called a mom blog.While not a legitimate type of blog, one used for the sole purpose of spamming is known as a Splog.

By media type:

A blog comprising videos is called a vlog, one comprising links is called a linklog, a site containing a portfolio of sketches is called a sketchblog or one comprising photos is called a photoblog.Blogs with shorter posts and mixed media types are called tumblelogs. Blogs that are written on typewriters and then scanned are called typecast or typecast blogs; see typecasting (blogging).

A rare type of blog hosted on the Gopher Protocol is known as a Phlog.

By device:

Blogs can also be defined by which type of device is used to compose it. A blog written by a mobile device like a mobile phone or PDA could be called a moblog.One early blog was Wearable Wireless Webcam, an online shared diary of a person's personal life combining text, video, and pictures transmitted live from a wearable computer and EyeTap device to a web site. This practice of semi-automated blogging with live video together with text was referred to as sousveillance. Such journals have been used as evidence in legal matters.

Technical Terms/ Aspects of Blogs and Blogging

The Blogosphere:

The term appeared at first in 1999 and was used as a joke but become popular after it was used to discuss public opinion by radios and magazines. It is the collective community of all blogs. Since all blogs are on the internet by definition, they may be seen as interconnected and socially networked, through blogrolls, comments, linkbacks (refbacks, trackbacks or pingbacks) and backlinks. Discussions "in the blogosphere" are occasionally used by the media as a gauge of public opinion on various issues. Because new, untapped communities of bloggers can emerge in the space of a few years, Internet marketers pay close attention to "trends in the blogosphere".

Services of social networking provided by blog hosts:

Friend list: List of other bloggers. Bloggers can restrict access to their blog to their friend list thanks to the privacy feature.

Blog ring:
A group of weblogs with a same focus or theme, that is displayed on the blog.

Metro:
Provided by a host, indication of the geographic location of a blogger and list of members in a same location. This improves again the social networking aspect.

Privacy:
Several levels of permission may be given to read to post comments to a blog, to a friend, group or the public.

Blog Day:

Blog Day was created with the belief that bloggers should have one day dedicated to getting to know other bloggers from other countries and areas of interest. The designated date is August 31, because when written 3108, it resembles the word "Blog". On that day, bloggers recommend five new blogs to their visitors, so that readers discover new, previously unknown blogs.

Blog search engines:

Several blog search engines are used to search blog contents:

Technorati: Display a Top 100 list of most linked blogs from RSS feeds, blog rolls and other links. Uses and contributes to open source software. Related tag cloud.

Feedster: Weblog search tool that indexes and archives individual blog posts based on RSS feeds. Offers also other related services.

Ice Rocket: Blog search engine

Blog Pulse: Trend graph

Feed search: Sort by popularity

Google Blog search

Tec meme: Focused on tech news and Indexes selective blogs. Only the most popular ones are in results.

Blogging communities and directories:

Several online communities exist that connect people to blogs and bloggers to other bloggers, including BlogCatalog and MyBlogLog. Interest-specific blogging platforms are also available. For instance, Blogster has a sizable community of political bloggers among its members.

Blogging and advertising:

It is common for blogs to feature advertisements either to financially benefit the blogger or to promote the blogger's favorite causes. The popularity of blogs has also given rise to "fake blogs" in which a company will create a fictional blog as a marketing tool to promote a product.

Overall despite all the variations of blogs, Blogging has established itself as both a popular hobby and as a legitimate type of media.

Technical Skills and Development - Editing

Technical Skills Development

Editing

(Sagar)

Film editing is part of the process of filmmaking. It involves the selection and combining of shots into sequences, and ultimately creating a finished motion picture. It is an art of storytelling.
 Film editing is the only art that is unique to cinema, separating film-making from other art forms that preceded it (such as photography, theater, dance, writing, and directing), although there are close similarity to the editing process in other art forms like poetry or novel writing.
Film editing is often referred to as the invisible art because when it is well-practiced, the viewer can become so engaged that he or she is not even aware of the editor's work.

On its most basic level, film editing is the art, technique, and practice of assembling shots into a whole. A film editor is a person who practices film editing by assembling the footage.
However, the job of an editor isn’t simply to mechanically put pieces of a film together, cut off film takes, or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively re-imagine and even rewrite the film to craft a cohesive whole. Editors usually play a dynamic role in the making of a film.

With the event of digital editing, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance, in past years, picture editors dealt only with just that—picture.
 Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director.
 However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for the assistant editors or even the editor to cut in music, mock up visual effects, and add sound effects or other sound replacements.
These temporary elements are usually replaced with more refined final elements by the sound, music, and visual effects teams hired to complete the picture.

Film editing is an art that can be used in diverse ways. It can create sensually provocative montages; become a laboratory for experimental cinema; bring out the emotional truth in an actor's performance; create a point of view on otherwise obtuse events; guide the telling and pace of a story; create an illusion of danger where there is none; give emphasis to things that would not have otherwise been noted; and even create a vital subconscious emotional connection to the viewer, among many other possibilities.

(Jasmine)

Using Final Cut Pro

Digital Video Rushes
For narrative project rushes, there are pieces of footage from a certain period of shooting. This footage is not edited, this is used as a way to show some members of the cast and crew what kind of footage needs to be recorded for each scene. These rushes are presented without any kind of constructive order. They are left in the order they are filmed. This is to prepare them for viewing there is a special process to get them onto a format for standard viewing.

Importing RushesBefore you actually export the rushes from Final Cut Pro you will have to get them into this non-linear video editing software to begin with. If you are shooting on a HD digital storage format such as a P2 card this means using Log and Transfer to get those MXF files into your Final Cut Pro Browser and Project. If you are using Standard Definition digital video then you will use Log and Capture to take the footage from your DV tapes and into your Final Cut Pro project.

Arranging Rushes in Final Cut Pro
Once you have gotten all the footage in there make sure that the clips are split up into each individual take or insert. Then label them according to the scene order you want it to fall in and take number so that you can clearly see exactly what clip it is. You will look back at your shot list to double check what order each angle was taken in so that you know exactly what order to arrange them in.

Files and Folders/Timeline/Sequencing
Files and Folders:A Final Cut Pro Project consists of three main separate files:

1). Project File - A binary file which contains all montage information such as time code information, clip's in/out-points, size/crop/position, composition nesting, filter settings, automation data, Etc.

2). Media Source Files - Either captured from tape or loaded/imported from the file system.

3). Render Files, Cache Files - Files which are generated by Final Cut Pro display, filter effects, etc.

The location of the Media and the Render/Cache Files is not standardised. Final Cut Pro can be configured where to store them. After having finished a project, one can erase everything but the project file, to save disk space, and at a later time Final Cut Pro can re-capture/re-link all source data and recalculate all render and cache data.

Timeline:Clips can be edited together in timelines called sequences. Sequences can be nested inside other sequences, so that a filter or transition can be applied to the grouped clips.

The timeline in Final Cut Pro allows video tracks to be layered on top of each other. If a clip is higher in the timeline than another, then it obscures whatever is below it. The size of a video clip can be altered and there are many other settings that can be changed. The clarity levels can also be altered to make it sound like the feeling you want it to. It can also animate over the whole track using key frames. Final Cut Pro also has other compositing modes that can be applied to clips, such as Add, Subtract, Difference, Screen, Multiply, Overlay, and Travel Matte Luma /Alpha. The compositing mode can be changed through the contextual menu.

Sequencing:
Start by creating a base at the beginning announcing the project, the director, the scenes that were recorded, and the date for the shoot that the rushes came from. Then begin stacking the unedited clips according to the order that they were shot on the Timeline. This will create a very long sequence of raw footage, but this is the way that the rushes need to be presented.

Exporting From Final Cut ProOnce you have a final sequence of your rushes using your Timeline you need to go to File and choose to export using QuickTime. This will give you a large base QuickTime file that is easily viewable from any digital location. You then can just transfer it onto another digital storage (disk). The file size can often be fairly large, so if it is too big just open the QuickTime file into compressor and choose a codec that will maintain the base QuickTime format but will shrink it up a bit.

Technical Skills and Development - Sound Recording

Technical Skills Development

Sound Recording for Films and Video

Thriller films are types of films which give the watcher intense excitement by creating suspense and anticipation to know what is going to happen next. Thrillers cause uncertainty, anxiety, and nerve-wracking tension…This is what makes it effective. A genuine thriller is a film that relentlessly pursues a single-minded goal - to provide thrills and keep the audience cliff-hanging at the 'edge of their seats' as the plot builds towards a climax that’s why thrillers are made abstract or shadowy. 
To get all this right it is vital in production to have the right soundtrack as it heightens all these senses a thriller is meant to have and may connote characters and their feelings together with the setting, it adds atmosphere.

On-Camera Microphone:
Most video cameras have some sort of audio capture built-in. You can usually find a hole or a slot on some the front of the camera, behind which rests a tiny microphone. This microphone captures not only the noises your talent make in front of the camera, but also the noises the camera handler makes, the noises the wind makes. With most camera microphones you might need to keep it closer to the camera filming crew so that the sound can catch on and be more understandable. Some types of cameras have zoom lens on their mikes these are called ‘zoom mikes’. It behaves as a non-directional mike when the lens is zoomed out to its widest angle. When the lens is zoomed in it gives more close up clearer sound compared to the zoomed out angles.
Off-Camera Microphone:
There are instances in filming production when it's better to use an external microphone.

Room acoustics:
Whenever a room has smooth, unbroken walls or uncarpeted floors, reverberation (slight echoes) can be a problem. Moving mics closer to subjects is the simplest solution, but that's not always possible. Other solutions include using highly directional mics, adding sound absorbing materials to walls, or placing objects within a scene that will absorb or break up sound reflections.

Shotgun Mic:
Because of their highly directional characteristics shotgun mics can be used out of camera range at distances of up to 10 meters. As with all directional mics, they have to be carefully aimed, preferably with the aid of high-quality earphones. Shotgun mics are often mounted on fish poles.

Fish Poles:
The quickest solution for picking up audio, especially in on-location shooting, is to attach a directional mic (shot-gun mic) to a pole and have someone hold it just out of camera range. A sound person equipped with an audio headset can monitor the sound being picked up and move the microphone according to changes in camera shots and talent position.

Microphone Booms:
Microphone booms range from a fishpole mounted on a trip od to a large perambulator boom it is very heavy and takes two people to operate. The largest booms have a hydraulically controlled central platform where operators sit and watch the scene on an attached TV monitor while controlling such things as the:

· left or right movement (swing) of the boom arm

· boom extension (reach of the arm)

· left to right panning of the attached microphone

· vertical tilt of the microphone 

Hanging Microphones:
A mic can be suspended over a performance area by tying it to a grid pipe or fixture just above the top of the widest camera shot. The disadvantage of this approach, of course, is that the mic can't be moved during the production.

Both boom mics and suspended microphones should be checked with the studio lights turned on to make sure they do not create shadows on backgrounds or sets.

Hidden Microphones:
Its sometimes easier to hide a mic during a seated or standing scene, this makes it much easier to hear the characters. It will eliminate both the need for personal or handheld mics. Microphones are sometimes taped to the back of a prop or even hidden in a table decoration, such as the vase of flowers shown here. However you may find during an editing session that the audio from different mics used at different distances will not be able to be edited without noticeable changes in quality.

Technical Skills and Development - Lighting

Technical skills Development 

Lighting

Fill light: in television, film, stage, or photographic lighting, a fill light (often simply fill) may be used to reduce the contrast of a scene and provide some illumination for the areas of the image that are in shadow.
The fill light is often softer and, by definition, less intense than the key light. The ratio between light and shadow depends on the desired effect. For example, a fill light that is a small fraction of the power of the key light will produce very high-contrast or low-key lighting, while filling with half or more of the key light power will produce a high key, low-contrast tone.
An alternative to using a direct light source as a fill is to re-direct or "bounce" the key light towards the subject by using a reflector.

Key light is the first and usually most important light that a photographer, cinematographer, or other scene composer will use in a lighting setup. The purpose of the key light is to highlight the form and dimension of the subject. The key light is not a rigid requirement; omitting the key light can result in a silhouette effect. Many key lights may be placed in a scene to illuminate a moving subject at opportune moments.

The background light: is used to light up the background area of a set. The background light will also provide separation between the subject and the background. The background light is placed last and is usually placed directly behind the subject and pointed at the background.
In film, the background light is usually of lower intensity. More than one light could be used to light up a background or alternatively to highlight points of interest.
In video and television, the background light is usually of similar intensity to the key light because video cameras are less capable of handling high-contrast ratios. In order to provide much needed separation between subject and background, the background light will have a color filter, blue for example, which will make the foreground pop up.

Cameo lighting: in film is a spotlight that makes a single person seems clearer in a scene. It creates a soft shot, such as one where God is shining down and a light shines down onto this person.
Cameo lighting derives its name from the art form in which a light relief figure is set against a darker background. It is often achieved by using barn-doored spotlights. It helps focus on the subject and not its environment. A problem with cameo lighting is that it can lead to color distortion and noise in the darkest areas.

Functions of lighting: Stage lighting has several functions, although to allow for artistic effect, no hard and fast rules can ever be applied. The functions of lighting include:

• Illumination: The simple ability to see what is occurring on stage. Any lighting design will be ineffective if the viewers cannot see the characters.

• Revelation of form: Altering the perception of shapes onstage, particularly three-dimensional stage elements.

• Focus: Directing the audience's attention to an area of the stage or distracting them from another.

• Mood: Setting the tone of a scene. Harsh red light has a totally different effect than soft lavender light.

• Location and time of day: Establishing or altering position in time and space. Blues can suggest night time while orange and red can suggest a sunrise or sunset.

• Projection/stage elements: Lighting may be used to project scenery or to act as scenery onstage.

• Plot(script): A lighting event may trigger or advance the action onstage.

• Composition: Lighting may be used to show only the areas of the stage which the designer wants the audience to see, and to "paint a picture

Technical Skills and Development - Camera work

Technical skills Development 

Camera work

There is a variety of different types of shots, angles and movements that is used in filming and they all have different effects and uses. Such as the establishing shot which is a wide shot used to establish a new setting and set the location of the new scene. There are also the use master shots which a shot that runs throughout the whole movie, a master shot can also overlap with an establishing shot. There are also the two and three shots where you have two or three people in the same shot which is a good way of letting the audience see the reactions of the characters at the same time and comparing them. A shot that I had seen reoccurring in thrillers was the point of view shot which lets the audience put themselves in the shoes of the character and get a better experience of what’s happening on screen.

Throughout all the thrillers I have seen that low angle shots were used frequently on the villain who is used to make them seem bigger and more threatening when compared to everyone else. A lot of close ups and extreme close ups are also used to show the facial expressions of the characters.                                                                                                                

There are also a variety of camera movements used such as a static movement where the camera has a low depth of field and the background is blurry and out of focus which is used to focus in on something usually a person or it could be an object and so that the background does not distract the audience.

There is also the use of the camera tilt where the camera starts rather at the facing the top or the bottom and it moves horizontally in the opposite direction which is used to reveal a character slowly who were previously hidden in mystery.                                                                                                                    

There is also the over the shoulder shot were the camera is placed to shoot over the shoulder of one character while they are usually talking to another character this is done to help the audience place the characters in there setting.

In Horror films a lot of POV shots are used in order to put the audience in the shoes of the villain and it is usually shown to show that the villain is stalking a victim and it makes the audience sympathise with the victim and it builds up tension making the audience feel as if the villain is about to strike when really the villain does not strike but strikes unexpectedly in order to scare the audience. 

Institutional Context & Professional Practice - BBFC Guidelines

Institutional Context and Professional Practice

BBFC Guidelines

The BBFC stands for the British Board of Classification. They are in charge of making sure that films produced are targeted for the right audience and they are overall in control of stating what age certificate a film should have. They make these decisions by having strict guidelines that state what aspects a film should or should not have in certain age certificate films. Their guidelines can be found online, so if a film is produced to be targeted for a 15 and over audience but doesn’t meet the 15 and over certificate guidelines, the BBFC has the power to impose an 18 certificate on the film.

When considering the guidelines for the age certificates, they keep in mind whether the material is in conflict with the law, whether the material may cause any harm at the category concerned, whether the availability of the material, at the age group concerned, is clearly unacceptable to broad public opinion.

As stated on their website, the BBFC guidelines are as follows:

Universal – Suitable for all

It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.

Discrimination

No discriminatory language or behaviour unless clearly disapproved of.

Drugs

No references to illegal drugs or drug misuse unless they are infrequent and innocuous, or there is a clear educational purpose or anti-drug message suitable for young children.

Horror

Scary sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring.

Imitable behaviour

No potentially dangerous behaviour which young children are likely to copy. No emphasis on realistic or easily accessible weapons.

Language

Infrequent use only of very mild bad language.

Nudity

Occasional natural nudity, with no sexual context.

Sex

Mild sexual behaviour (for example, kissing) and references only (for example, to ‘making love’).

Theme

While problematic themes may be present, their treatment must be sensitive and appropriate for young children.

Violence

Mild violence only. Occasional mild threat or menace only.

Parental GuidanceGeneral viewing, but some scenes may be unsuitable for young children. Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.

DiscriminationDiscriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context.  Discrimination by a character with which children can readily identify is unlikely to be acceptable.

Drugs
References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.

Horror
Frightening sequences should not be prolonged or intense. Fantasy settings may be a mitigating factor.

Imitable behaviour

No detail of potentially dangerous behaviour which young children are likely to copy. No glamorisation of realistic or easily accessible weapons.

Language

Mild bad language only.

Nudity
Natural nudity, with no sexual context.

Sex

Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.

Theme
Where more serious issues are featured (for example, domestic violence) nothing in their treatment should condone unacceptable behaviour.Violence 
Moderate violence, without detail, may be allowed, if justified by its context (for example, history, comedy or fantasy).

Suitable for 12 years and overExactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.

Discrimination
Discriminatory language or behaviour must not be endorsed by the work as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.


Drugs
Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail.
Horror
Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.

Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free.  Easily accessible weapons should not be glamorised.

Language
Moderate language is allowed. The use of strong language (for example, ‘fuck’) must be infrequent.

Nudity
Nudity is allowed, but in a sexual context must be brief and discreet.

Sex
Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable.

Theme
Mature themes are acceptable, but their treatment must be suitable for young teenagers.

Violence
Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.

Suitable only for 15 years and over

No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.

DiscriminationThe work as a whole must not endorse discriminatory language or behaviour.

DrugsDrug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.

Horror

Strong threat and menace are permitted unless sadistic or sexualized.

Imitable behaviour

Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.

Language

There may be frequent use of strong language (for example, ‘fuck’). The strongest  terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.

Nudity

Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.

Sex

Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.

Theme

No theme is prohibited, provided the treatment is appropriate for 15 year olds.

Violence

Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.

 

 Suitable only for adults

No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video.

In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:

• where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
• Where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
• Where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.

In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.

Sex education at ‘18’

Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.

Sex works at ‘18’

Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.

To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ video works may not be supplied by mail order. The following content is not acceptable:

• any material which is in breach of the criminal law, including material judged to be obscene under the current interpretation of the Obscene Publications Act 1959
• material (including dialogue) likely to encourage an interest in sexually abusive activity (for example, paedophilia, incest or rape) which may include adults role-playing as non-adults
• The portrayal of any sexual activity which involves lack of consent (whether real or simulated). Any form of physical restraint which prevents participants from indicating a withdrawal of consent
• penetration by any object associated with violence or likely to cause physical harm
• Any sexual threats, humiliation or abuse which does not form part of a clearly consenting role-playing game. Strong physical or verbal abuse, even if consensual, is unlikely to be acceptable.
These Guidelines will be applied to the same standard regardless of sexual orientation.
Reference: http://www.bbfc.co.uk/wp-content/uploads/2010/05/R18s200.png
After looking at all these ratings, I can conclude that we will produce a thriller opening that has a 15 certificate s it seems it has guidelines that allow us to produce a thriller opening that is true to what a real thriller is and it allows us to include certain aspects like inappropriate behavior and violence which is what many thrillers include unlike the certificates below it.
• The infliction of pain or acts which may cause lasting physical harm, whether real or (in a sexual context) simulated. Some allowance may be made for moderate, non-abusive, consensual activity