Ex_Machina (2015)
•Producer- Ex_Machina
was produced by DNA Films and Film4 Productions
•Director- Alex Garland
•Distributor- Universal
Studios
•Cast- Alicia Vikander,
Oscar Isaac, Domhnall Gleeson and Sonoya Mizuno
•Budget- $15 million
USD
•Locations-
Norway: - Juvet Landscape Hotel, Alstad, Valldal
(Nathan's mountain retreat)
- Sognefjord
- Valldal
- Briksdalen, Jostealsbreen National Park (Vertical panning shot before waterfall hike)
UK: - Bloomberg offices, Finsbury square, broadgate, London
- Pinewood Studios, Iver Heath, Buckinghamshire
- Sognefjord
- Valldal
- Briksdalen, Jostealsbreen National Park (Vertical panning shot before waterfall hike)
UK: - Bloomberg offices, Finsbury square, broadgate, London
- Pinewood Studios, Iver Heath, Buckinghamshire
•Technology- No special effects were used and any included in the
film were done in post-production. However, the Ex_Machina’s Virtual Reality team created a VR experience by using a custom built
digital spherical stereo camera designed for use with its 3D rendering
software. The result allowed the viewer, wearing the Samsung Gear VR headset,
to look around the entire hi-res environment and to ‘meet’ Ava using a specialized
Android Oculus playback app.
•Number of screen -
opening weekend- 17 screens
•Box office figures-
$33 million USD
Screens
shown on- Ex-Machina was released in the UK on the 21st of
January 2015. The film screened on the 14th of March the same year
at the South by Southwest festival before the theatrical release in the US on
the 10th of April.
Box
office Figures-
The box office figures were $36.9
million.
$25,440,971 (USA) (30 August 2015)
$25,434,333 (USA) (23 August 2015)
$25,405,058 (USA) (2 August 2015)
$25,361,484 (USA) (19 July 2015)
$25,233,155 (USA) (9 July 2015)
$24,954,673 (USA) (21 June 2015)
$24,330,000 (USA) (7 June 2015)
$23,587,000 (USA) (31 May 2015)
$21,947,000 (USA) (24 May 2015)
$19,566,000 (USA) (17 May 2015)
$16,705,000 (USA) (15 May 2015)
$15,762,000 (USA) (10 May 2015)
$10,924,000 (USA) (3 May 2015)
$6,827,930 (USA) (26 April 2015)
$250,000 (USA) (12 April 2015)
$36,659,611 (Worldwide) (9 July 2015)
$26,187,268 (Worldwide) (15 May 2015)
€89,727 (Netherlands) (6 May 2015)
$29,501 (Portugal) (15 May 2015)
$25,440,971 (USA) (30 August 2015)
$25,434,333 (USA) (23 August 2015)
$25,405,058 (USA) (2 August 2015)
$25,361,484 (USA) (19 July 2015)
$25,233,155 (USA) (9 July 2015)
$24,954,673 (USA) (21 June 2015)
$24,330,000 (USA) (7 June 2015)
$23,587,000 (USA) (31 May 2015)
$21,947,000 (USA) (24 May 2015)
$19,566,000 (USA) (17 May 2015)
$16,705,000 (USA) (15 May 2015)
$15,762,000 (USA) (10 May 2015)
$10,924,000 (USA) (3 May 2015)
$6,827,930 (USA) (26 April 2015)
$250,000 (USA) (12 April 2015)
$36,659,611 (Worldwide) (9 July 2015)
$26,187,268 (Worldwide) (15 May 2015)
€89,727 (Netherlands) (6 May 2015)
$29,501 (Portugal) (15 May 2015)
Music
(Composer of score)- The musical score was composed by Ben
Salisbury and Geoff Barrow, who previously work with Andrew Garland (producer).
A soundtrack album was released digitally on the 20th of January
2015, with a compact disc release in February 2015, by Invada Records.
SFX
(Technology used)- There were no special effects, greenscreen or
tracking markers used during the entire filming of Ex-Machina. All effects were
done post-production, to create ‘Ava’s’ robotic feautures, they filmed the
scenes both with and without the actress, which allowed to capture the
background her. Her main features they wanted to keep were her hands and face,
were rotoscoped (essentially drawn on) while the rest was digitally painted out.
The Ex_Machina’s Virtual Reality team created a VR experience by using
a custom built digital spherical stereo camera designed for use with its 3D
rendering software. The result allowed the viewer, wearing the Samsung Gear VR
headset, to look around the entire hi-res environment and to ‘meet’ Ava using a
specialized Android Oculus playback app. It was filmed in digital at 4K resolution. 15,000
mini-tungsten pea bulb lights were installed into the sets to avoid the
fluorescent light often used in science fiction films. The film was shot like
ordinary live action. There were no special effects, greenscreen, or tracking markers
used during filming. All effects were done in post-production. To create Ava's
robotic features, they filmed the scenes both with and without actress Alicia
Vikander's presence, which allowed them to capture the background behind her.
The parts they wanted to keep, especially her hands and face, were then
rotoscoped while the rest was digitally painted out and the background behind
her restored. Camera and body tracking systems transferred Vikander's
performance to the CGI robot's movements. In total, there were about 800 VFX
shots, of which 350 or so were robot shots. Other visual effects were Ava's
clothes seen through the transparent areas of her body, Nathan's blood after
being stabbed and the interior of the artificial brains.
Apply each
of the seven areas from the specification to each film:
Issues
raised by media ownership in contemporary media practice
Film4 and DNA Films were responsible for the making of the film.
Both of them are small companies especially when compared to other film
companies e.g. 20th Century Fox. This can impact on the quality and number of
resources and technology the companies have access to. Film4 is a British
company owned by Channel 4 Television Corporation . DNA Films is also a British
company and one of the most successful production companies located in the UK.
Both of the companies are successful in their own way and have been behind some
big and successful films e.g. DNA Films was involved with the production of the
2003 film Love Actually. Neither of them are global companies or successful
worldwide which makes them a smaller company but they are good at what they do.
The film only had a small budget as well, it makes more sense to have smaller
production companies who are more used to working with a lower budget as it's
more likely they would be able to manage it effectively and cover what they
need. Sometimes people prefer working with smaller production companies if they
have a certain vision for the film, as sometimes the work of bigger companies
can affect the overall look of the film.
The
importance of cross media convergence for institutions and audiences
The film was distributed by Universal Pictures, they are able to
use their name and power to get the word out there about the film and get it on
as many screens as possible. They were behind the advertising for the film and
released the trailers for the film in order to spread the word and get their
audience interested. Both Film4 and DNA Films are small production companies,
if they worked with a small distributor then the film wouldn't get anywhere and
it wouldn't be as successful as it was. By working with a big distributor like
Universal Pictures it is more likely that the film will be more widespread and
generate a bigger audience than it would with a small distributor. Universal
Pictures have an advanced understanding about the film industry and what audiences
like and don't like. In order to minimise the risk of a loss, they will be
careful with how many screens they choose to show the film on. Universal helped
finance the film in exchange for worldwide sale rights. However, after the film
was finished, Universal decided that the film was too quirky for a big studio
release. They knew that it wouldn't work in the way they thought it would so
tried to sell the rights to somebody else. Eventually the distributor A24,
known for working with indie films, picked it up and put it in cinemas in the
US. Initially the film was only shown on 4 screens but just a week later that
number had raised to 2,050. This is a clear example of how successful the film
was in the US box office as it made such a significant jump.
The technologies that have been introduced in recent years at the
levels of production, distribution, marketing and exchange
Ex-Machina only had a small budget so they couldn't spend a lot of
money on special effects and green screens during production. Also, they were
working with small production companies who just didn't have the access to high
quality technology like some other bigger production companies would. All of
the special effects were added in post-production. This meant that they had to
prepare for this during production knowing that they would have to edit it
later to create the effect they wanted. An example of this is the appearance of
Alicia Vikander's character who is a robot with a transparent middle section.
In order to add in this transparent effect later on the production team filmed
the scenes both with and without her to capture the background behind her. When
it got to the stage of post-production they rotoscoped her hands and face, the
main features they wanted to keep, then digitally painted the rest of her body
and restored the background. This then completed the final look of her with
features of both the scenes with her, without her and the post-production
effects that digitally painted the rest of her body on. They didn't use any
tracking markers during filming, they just relied on camera and body tracking
systems to transfer to the robot's CGI movements. The entire film was filmed in
digital, which is a cheaper way to film especially for distribution of the film
because most cinemas have the technology for digital films instead as that is
the format most companies film on.
The
significance of proliferation in hardware and content for institutions and
audiences
To make
the film available further after the film has been released in the cinema the
distributors have to work to find ways for the film to be released that fit in
with what modern audiences want. Modern audiences are more likely to stream a
film online or through an app with an online subscription than actually going
out and buying the film. Films are still released on DVD as there are still
audiences that buy them in this format and there are some people who won't use
streaming services. If they don't use services and formats that fit nearly
everyone then they are at risk of losing a chunk of their market. The film is
available on Blu-Ray, DVD, Amazon Video, iTunes, Google Play, Playstation Video
and Youtube. They have ensured that the film is available on a number of
different services so that nearly anyone could go access to the film if they
wanted to. The internet helps both
conglomerates and independents to distribute their films.
Viral marketing is free and creates good synergy around a film. e.g.
Ex_Machina synergy with social media websites. Relied on
viral marketing with the Ava sessions. However, the internet
could negatively affect independents and conglomerates. Internet piracy is
common and we can easily download new films from the internet. Conglomerates
tend to budget for piracy, but independents are affected much more. Mobile
phones, have affected the film industry as we can in theory create and edit
films on our own devices. We can also download films on them and watch them on
there or an IPad or tablet. And because conglomerates are horizontally and
vertically integrated they can engage with every new piece of
technology as soon as it comes available on their market.
The
importance of technological convergence for institutions and audiences
The main marketing campaign that the promotional team ran was on
Tinder. They created a profile for Ava, the robot in the film, using pictures
of Alicia Vikander. The campaign was launched at the South by Southwest
Festival where the film was screened. Ava was matched with other Tinder users
who could get to the festival. In the conversation she would send them to the
Instagram handle that they thought was hers but was actually promoting the
film. The idea behind this was to engage with a younger audience by using an
app they may have and interacting with them directly. It was important for the
team to reach out to their audience with a medium that suited their target
audience.
The issues
raised in the targeting of national and local audiences (specifically, British)
by international or global institutions
The promotion team had an issue with the big marketing campaign
they launched on Tinder. The campaign was met with mixed responses, it did well
and proved to be effective but most people had more negative views of it. Many
people described it as being 'counter-productive', 'an invasion of privacy',
'trolling' and 'trickery'. Even though it was effective it didn't get the best
response from the audience they were targeting which doesn't make it a very
successful campaign on the whole. Another issue with this is that it only
targets audience members who were in that area, which is only a small area, so
even though the campaign may have been successful in general it wouldn't have
targeted a large audience on a national basis.
The ways
in which the candidates' own experiences of media consumption illustrate wider
patterns and trends of audience behaviour
I think it's a definite fact that audiences, specifically younger
audiences, are more likely to watch a film streamed online than they are to go
and see it at the cinema. Often there are a lot of films that we may be
interested in but not enough to pay to go and see it at the cinema or maybe it
isn't on at a cinema near us and we don't want to travel. The thing that
audiences like most about streaming services is having the ability to watch on
the go or from the comfort of their own home, they are able to watch it on
their phone/laptop without having to use their TV. I think it's important to
ensure films are readily available online, as this is where modern audiences
are more likely to watch it especially if the film is shown on a limited number
of screens.