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What song would you like to remake from 1950 to 1999. Upload song.

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Fine Young Cannibals - She Drives Me Crazy (1989)

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"She Drives Me Crazy" is a song recorded by the Fine Young Cannibals, included on their 1989 album The Raw and the Cooked. The song peaked at #5 as a single in the band's native UK in January 1989 (it was released on New Year's Day) before hitting #1 on the Billboard Hot 100 in the US on 15 April 1989.

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from your own research which particular music video has influenced you and why?

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Adele - Send My Love (To Your New Lover)

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Remember your deadline;

Shoot footage music video – Deadline 12th January 2017

Finished Music Video - Deadline 31st January 2017 to be screened to a live audience for questions on the panel

When do you plan to film and edit to meet the deadline?

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The United States (US) and the European Union (EU) have just over three months to come up with a plan to allow the legal transfer of European citizens' personal data or "necessary and appropriate actions" will be taken.

Following the striking-down of the existing 15-year-old Safe Harbor framework by the European Court of Justice, that's the deadline given - and the threat implied - by the Article 29 Working Party, which represents the data protection and privacy regulators of all the 28 EU member state, following a meeting in Brussels on Friday.

The US and the EU have been trying to put the building blocks of a new agreement to replace the Safe Harbor, for the past two years, with little sign of success. Now the clock is ticking.

The initial response from both cloud providers and Brussels was to point to so-called model clauses as a viable work-around for the time being, but these in turn have been questioned by legal experts and by German data protection authoritie s.

Specifically the German authorities issued a position paper stating that model contractual clauses are not a reliable a tool to transfer personal data from Europe to the US and data exporters should suspend such transfers under the model contracts.

There had been concern that the Article 29 Working Party would follow suit, but in the event, its ruling was effectively to pause for thought. The Working Party calls for:

A robust, collective and common position on the implementation of the Schrems judgment, which brought down Safe Harbor.

Member States and the European institutions to open discussions with US authorities to find political, legal and technical solutions enabling data transfers that respect the fundamental rights of European citizens.

Continuing analysis on the impact of the judgment on other transfer tools.

Data protection authorities to consider that Standard Contractual Clauses and Binding Corporate Rules can still be used, with the proviso that this does not prevent local data protection authorities investigating particular transfers.

But it goes on to state that if a solution isn't found by the end of January 2016, then:

EU data protection authorities are committed to take all necessary and appropriate actions, which may include coordinated enforcement actions.

It also calls on businesses to reflect on the risks they take when transferring data and consider putting in place any legal and technical solutions in a timely manner to mitigate those risks and respect EU data protection laws.

But it is unequivocal in its insistence that Safe Harbor, in its original form, is dead and staying dead and plans to make sure that everyone knows it:

Regarding the practical consequences of the CJEU judgment, the Working Party considers that it is clear that transfers from the European Union to the United States can no longer be framed on the basis of the European Commission adequacy decision 2000/520/EC (the so-called "Safe Harbour decision"). In any case, transfers that are still taking place under the Safe Harbour decision after the CJEU judgment are unlawful.

In order to ensure that all stakeholders are sufficiently informed, EU data protection authorities will put in place appropriate information campaigns at national level. This may include direct information to all known companies that used to rely on the Safe Harbour decision as well as general messages on the authorities' websites.

Pause for thought?

Ross McKean, partner and head of the data protection practice at the international TMT law firm Olswang, reckons the outcome is the best that could be hoped for:

The Commission has been caught unprepared for the consequences of the Safe Harbor ruling which left Europe's data protection authorities in a difficult position. There will have been intense debate over the last week in the Article 29 Working Party reflecting widely diverging views among Member State authorities. This was far from a straightforward task, and today's opinion should be welcomed for enabling ongoing data transfers, whilst preserving the right for individual Member States to investigate particular transfers.

But he adds:

We certainly aren't out of the woods yet. Some Member States have already taken a much more restrictive approach to transfer and last week's ruling is fodder for follow-on litigation by privacy activists, disgruntled employees and consumers. Organisations need to assess their exposure and make sure that their transfer solutions still work.

The Working Party has added to the pressure on the Commission and Member State governments to reach agreement with the US on a longer term legal solution to this problem by imposing a deadline of the end of January 2016 after which they threaten "coordinated enforcement action".

Meanwhile the US enterprise B2B cloud industry remains essentially tight-lipped, with the notable exception of CA Technologies which has taken a welcome leadership position.

Following talks with European Commission Vice-President Ansip and Commissioners Jourova and Oettinger, Sharyn Dodson, CA Technologies EMEA privacy officer, said that the meeting was "very constructive" and pointed to her firm's own use of Binding Corporate Rules (BCR) for data controllers. But she added:

This is not a short term fix though for organizations that do not currently use BCRs. We will be looking to use standard contractual clauses at least in the short term but like all organizations this will take some time to fully implement. In the longer term business has to be able to rely on mechanisms and CA Technologies, like other organizations, will assess, and look to adopt, the best methods for transfer of data to deliver stability and consistency across Member States.

Many companies however, especially smaller ones, have more difficulties in switching to other legal instruments. We think guidance from the European Commission and the Article 29 Working Party would be beneficial to reduce the legal uncertainty that currently exists.

My take

Both sides better get their heads down pretty fast. Some German data protection authorities are insisting that the only way out of this mess is for the US to rewrite its own data protections laws. That sort of rhetoric isn't going to help and will only create resistance in the US, particularly in an election year. Let's hope saner voices prevail on both sides of the Pond.

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January 31st 2016 - the deadline to deliver Safe Harbor II...or face the consequences

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The United States (US) and the European Union (EU) have just over three months to come up with a plan to allow the legal transfer of European citizens' personal data or "necessary and appropriate actions" will be taken.

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Estimated production costs:

Producer fee: £500 – £1250/day

Director fee: £500 – £1250/day

Camera operator: £500-1000/day

Camera equipment rental: £150 – £3500/day

Key grip + assistant + lighting gear: £1000 – £1750/day

Wardrobe: estimated $20 – £1000/day per character project

City permits: £25 – £1000/day (depending on the city, exact location, whether roads need to be closed, etc…)

Location fees and rentals: £250 – £2500+/day

Actors: £200 – £1200/day (each)

Extras: £50 – £200/day (each)

Estimated days of post-production required: 2-3 days

Editor fee: £500 – £1250/day

Redundant Hard disk archive: £200 – £400

Visual FX artist fee: £75 – £150/hour

Colorist fee: £100 – £200/hour

Additional costs:

Band member compensation

Development/Pre-production (scripts, storyboards, strategy, etc…)

Additional actors and extras

Marketing hours

Props/furniture rentals

Set construction

Production insurance

Catering (food)

Make up

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Later today, European leaders will be meeting in Brussels to discuss the EU's next seven-year budget. Despite such negotiations regularly stretching into the early hours, this week's summit may drag on even longer than usual (and, potentially, be even more ill-tempered). Journalists and diplomats are being advised to "pack an extra shirt or two" in case the summit isn't over by the weekend.

Whilst British Prime Minister David Cameron has attracted a lot of attention because of his threats to veto the budget if spending isn't frozen, fully one third of EU member states have so far said they are also prepared to use their veto. The two most contentious areas of the budget are agricultural subsidies, which represent 46.7% of the total EU budget, and structural and cohesion funds, which account for 30.4% of the budget and are designed primarily to assist Europe's poorer regions and reduce regional economic disparities.

Some countries, including the UK, Sweden and The Netherlands, would like to see a reduction in agricultural subsidies and cohesion funds, whilst another group of countries, including France, Austria, Romania, Italy, Spain and Poland, have all threatened to veto negotiations if those funds are significantly cut. A further challenge will be the question of "rebates", with some countries (including Britain, Germany, Sweden, The Netherlands and Austria) under pressure to reduce or abandon their rebates, whilst Denmark is threatening to block negotiations unless it recieves a new rebate worth €134 million.

Ahead of the budget negotiations, we spoke to Martin Callanan, British Conservative MEP and Chairman of the Conservatives - (e.g. AECR) group, and took some of your comments and questions to him for his reaction.

We began with a comment from Davey, who argued:

The UK should simply cut its contributions unilaterally in line with the clear will of the taxpayer. This is OUR money, not the EU's whose accounts are so corrupt they cannot be signed off. If they don't like our reduction in our contribution then we leave! Simple!

Is it really as simple as that?

Next, we had a comment sent in by Rallan concerning the long-term future of the EU, arguing that:

I would be interested in discussing what form a semi-detached 'outer EU' group of nations might take, or if such an arrangement would be simply unacceptable?

This "two-speed" vision of the EU is something that many reform-minded Conservatives seem to support in the UK. So, how would Martin Callanan see such an arrangement working in practice?

Finally, we had a comment sent in from André, which said:

I myself am a Euro-Federalist, yet I believe that a referendum in the UK on whether the UK should leave the EU or not is best both for the United Kingdom and the European Union. The EU would function just fine without the UK, perhaps even better! Division is not needed in the European Union, the less the better.

What do YOU think? In a time of fiscal austerity, when national public budgets are being slashed, should the EU budget also be cut? Or would reducing agricultural subsidies and cohesion funds (including to poorer regions) undermine European solidarity and growth? Let us know your thoughts and comments in the form below, and we'll take them to policy-makers and experts for their reactions.

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Should the EU budget be cut? - Debating Europe

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Later today, European leaders will be meeting in Brussels to discuss the EU's next seven-year budget. Despite such negotiations regularly stretching into the early hours, this week's summit may drag on even longer than usual (and, potentially, be even more ill-tempered).

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During the making of the music video, you need to consider and resolve any problems that are likely to come up, it is essential that you think in advance in order to make a back up plan which could still allow you to film successfully.

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UK Summer Weather Forecast 2013 - Outdoors

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For long term contingency planning - The new spring & summer 2014 ultra long-range weather forecast package is now available @ http://www.exactaweather.com/UK_Ultra_Long_Range.html  Or members can access for free @ http://www.exactaweather.com/Business___Commercial.html

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Identify all the hazards

Evaluate the risks

Identify measures to control the risks

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Professional film crews take health and safety issues very seriously. The line of responsibility runs from the Producer to the Production Manager and 1st Assistant Director and finally on to all crew members who have a duty of care which is recognised by law. If someone can see the potential for an accident and does nothing to try to prevent it, they can be held responsible in some way, probably along with their senior colleagues.

When filming, people have many things on their minds, things can get rushed, and risks can increase. Even simple things can become dangerous because this is not an ordinary situation. Of course, all of life presents hazards, but if someone is asked to run down a hill repeatedly to get the scene right, for example, the risk of them tripping and falling on their face is increased with each time they do this. If the hill is pavement rather than grass the risk of serious injury is increased.

Stuntmen now get paid for each time they perform any stunt, not just once for each different stunt. This only happened thanks to improved awareness of health & safety.

Risk assessment

The way to stay safe is to look at each shooting set up or location individually and think of what exactly could go wrong. This is called a risk assessment, and can be an excellent exercise to do with your students. (if you don't work with the young people on it you will need to cover it yourself)

It's a three step process

Identify all the hazards

Evaluate the risks

Identify measures to control the risks

Then put in place safeguards to eliminate or minimise risk. You should make a record of any risk assessment to ensure the students are clear on how to stay safe. This can save time during your shoot. Rules about listening to each other, respecting a chain of command, looking after equipment properly, and not rushing, will all help to keep people safe and happy.

'Hazard' refers to the potential for harm. while 'Risk' is the chance of that harm actually happening. Though some hazards might seem very obvious, people might still need to have them pointed out.

We have a risk assessment template (in Excel spreadsheet format to see the process you go through.

It sounds obvious - but you also have a duty not to put members of the public at risk

Weather

Extremes of weather are one commonly overlooked hazard. If you are filming outside all day, it is essential to make sure the crew are dressed appropriately. A lot of the time you may be standing around and people will get cold very quickly even in what seems quite mild weather. Layers of clothes are best, and get everyone to bring a waterproof and a woolly hat - they keep out wind as well as rain and are invaluable.

Sunburn and heatstroke are other outdoor hazards. Always have high protection sunscreen on hand and make the students put it on. Try to get students to wear some kind of sun hat or stay in the shade when possible and make sure lots of water is available to drink. The other reason for sunscreen is to stop the actors' appearance changing drastically and messing up the continuity of the film!

Time pressure

Rushing to finish in time is when hazards get missed, or people start taking risks. If this starts to happen, take a moment to calm everyone down and remind them: this is only a film. If you feel really pressured try to think of how to lighten the work-load: can you cut out some shots or set ups to give you the time to get the most essential stuff for the film without a panic? Or can you come back tomorrow to finish?

I'm full of fears and I do my best to avoid difficulties and any kind of complications. I like everything around me to be clear as crystal and completely calm

Other common hazards

Tripping hazards

Move or gaffa tape down cables and objects that could be tripped over.

Lifting hazards

Go carefully when moving or lifting heavy or dangerous things, ask someone to help you.

Camera risks

When a camera operator or cast member is walking during a shot, make sure they are comfortable with their route and there is nothing that could cause problems (a camera operator who needs to walk backwards for a shot should have an assistant to guide them and/or check their route).

Water

Shots that involve water.

Precarious

Shots from high up or near the edge of something.

Shots that look illegal

Shots might look illegal if you didn't know a camera was there. This could cause distress to members of the public &/or cause a police call out.

Film & illusion

Remember filmmaking is about illusion. You can act, shoot and edit in a way that suggests all sorts of scary things without having to put people at risk.

Someone at height can be faked by lying on the ground with the camera looking up at someone with only sky behind them, acting as if they are on the edge of a great height.

Young people often want to depict violence, with or without weapons. This can get out of hand and lead to real injury. The safest way to deal with violent scenes is to suggest the violence, or show the aftermath but leave the detail to the viewer's imagination.

Example: a scene about bullying. The victim stands alone, the bullies advance. We see a shot of the victim's face, scared. We see the victim's point of view as the bullies crowd round. We see a shot from a distance as the victim is finally surrounded, the camera tilts up to the sky, a lovely sunny day, birds sing, we hear the SOUND of the bullies thumping our victim. Cut or Fade to the aftermath, victim sitting crying in a heap on ground, or in hospital bed, headmaster's office - wherever you wish to take your story next...

The point is: your viewer will probably imagine something far worse than you could ever safely show. Get your students to think about examples from films where violence has been suggested rather than graphically shown. One of the most famous scenes is the shower scene in Hitchcock's Psycho: very little is shown, but audiences were horrified and that was in black and white! (Obviously this exercise depends on the age of your students).

Young people will take extra risks when filming, usually because they are caught up in the moment and want to make their film look like the ones they've seen on TV or cinema. It is your job to be vigilant, listen to what they are trying to achieve and help them find a way to do this safely. The key to this success is right back at the start - PLANNING & PREPARATION - careful planning and prep will save time, money and heartache.

Don't let health & safety be a barrier. Look for solutions to problems, there is nearly always a safe way of creating the same shot.

Release forms

Before commencing film making with young people you should obtain signed release forms from parents/guardians for everyone involved; this should also release them for photographs (and get it for animation films too, in case you use faces in the credits or the like). And remember you might want clearance to go on a school website (or vimeo - think festivals) so these should be covered too.
A letter with the release form, detailing the benefits of the project will encourage parents to say yes to their child being involved
Disclosure forms

Disclosure Scotland should be contacted if you are enlisting the help and practical support of others on the film project to work alongside young people. Enhanced Disclosure forms will certainly be held by most professional filmmakers and project facilitators. To get your form visit www.crb.gov.uk.

Food

Feeding your crew, and keeping everyone hydrated makes everyone work better. If you organise food at a set time (aka catering), it is a good break for everyone. Food doesn't have to be fancy, a simple pizza delivery can boost flagging energy levels and raise morale.

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Professional film crews take health and safety issues very seriously. The line of responsibility runs from the Producer to the Production Manager and 1st Assistant Director and finally on to all crew members who have a duty of care which is recognised by law.

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Lyrics are words that make up a song usually consisting of verses and choruses. Explain what the your chosen song means to you.

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Actors and dancers. Who?

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what shot type will you use?

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What styles will you choose to do and how?

1.   In-concert and live footage

2.   Interpretative

3.   Narrative

4.   Impressionist

5.   Surrealist

6.   Parody

7.   Influence of commercials

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Man Like Me - You'll Always Find Me In The Kitchen At Parties

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Subscribe to our channel here: http://bit.ly/12gshQW Man Like Me - You'll Always Find Me In The Kitchen At Parties. Download the track now from Itunes here: http://itunes.apple.com/gb/album/youll-always-find-me-in-kitchen/id471519534 Or Amazon here: http://amzn.to/abn5l8 We're MASSIVE fans of Jona Lewies original version and we're also MASSIVE fans of Man Like me and their new version of the track.

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What equipment will you need? ask Dave.

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What do you need to make a movie?

You canshoot video with almost any camera. You can even film and edit on your iPhone. But if you're serious about filmmaking, you'll probably need

a mirrorless camera, DSLR or camcorder

microphones, headphones and maybe an audio recorder

a tripod to keep your shots steady

lights or reflectors

a computer with a good editing app

Choosing a camera

Your choice of camera will depend on how much you can afford, and what kind of movies you want to make. For most people, a mirrorless camera or DSLR (where you can change lenses) is the best choice. I recommend the Panasonic G7 for beginners on a budget.

But if you're shooting events, news or documentaries, camcorders are more convenient. And cinema cameras like the Canon C100 combine the best features of camcorders and DSLRs, though they're expensive.

Sound equipment

Sound is as important as pictures, and you won't get great audio with the microphone in your camera. Using a separate microphone will make a big difference. Lavalier ('lav') microphones, which clip onto clothes, are the most affordable way to get good sound. Wireless lavs are great if you can afford them. You can also use a directional microphone on a boom pole.

You really need to be listening to the sound on headphones as you shoot. But some cameras have limited audio recording options - and no headphone sockets - so you may need a separate audio recorder.

Tripods and camera support

It's important to keep your camera steady. Some cameras have very effective built-in stabilisation, but most filmmakers use a tripod or monopod at least some of the time. If you want to be able to pan and tilt your camera smoothly, you'll need a fluid head tripod. You can also get sliders (for smooth tracking shots), electronic gimbal stabilisers (for continuous flowing shots), and jibs (for vertical camera movements).

Lights and reflectors

Once you start to get serious about filmmaking, you'll want to control the lighting. To start with, you can use inexpensive five in one reflectors to enhance natural light. Basic work lamps are a good starting point for learning about creative lighting. For filming on the go, LED panels are the most convenient option, though good ones are expensive. For a budget studio setup, CFL soft box lights are a good choice, but they're not very portable.

Editing

Computers

I use Macs. They're designed for video editing and widely used in the film and media industry. You'll get more for your money with a PC, but they aren't as user-friendly and you'll need to check that the spec is good enough to run your editing software.

If you don't need to be portable, a desktop computer will be better value for money than a laptop.

All Macs come with iMovie, a good basic video editing app. Apple also make Final Cut Pro X, a professional editing app that's relatively easy to learn.

Editing apps

Adobe Premiere Pro is another pro editing app for Mac or PC. It's powerful, but not as user-friendly as Final Cut. It's only available on subscription, which can work out expensive (there's a big student discount). But many colleges and creative businesses already subscribe to the Adobe Creative Cloud software suite, which includes Premiere Pro. There's also a more basic version, Premiere Elements, which you can buy outright.

Looking for a free pro option? Black Magic Design make a free version of their DaVinci Resolve app for Mac or PC.

Storage

Video - especially 4K video - takes up a lot of space. If you're just doing small projects, you can keep all your video on your main system drive, but for large and more ambitious projects you'll probably need external drives. You'll also need to be really organised about backing up your projects and media.

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Equipment for low budget filmmaking - Learn about film

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You canshoot video with almost any camera. You can even film and edit on your iPhone . But if you're serious about filmmaking, you'll probably need a mirrorless camera, DSLR or camcorder microphones, headphones and maybe an audio recorder a tripod to keep your shots steady lights or reflectors a computer with a good editing app Your choice of camera will depend on how much you can afford, and what kind of movies you want to make.

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Take a photos of your planned location/set and explain why you think it will be suitable.

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a set of clothes worn by an actor or performer for a particular role

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a prop is considered to be anything movable or portable on a stage or a set i.e. chair, table, pen, flowers, cup etc.

What will you be using and why?

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Even though the big screen adventures of Harry Potter are over for now, it's still cool to see some of the magical props that brought the world of Hogwarts School of Witchcraft and Wizardry to life on display.

Original Harry Potter movie props on display

This selection of cool props from The Goblet of Fire and The Chamber of Secrets were photographed as part of a Harry Potter movie exhibit at the London Film Museum on May 15, 2012.

Harry Potter and the Goblet of Fire movie poster

In the fourth installment in the Harry Potter saga, the titular wizard competes in the Triwizard Tournament for the ornate Triwizard Cup trophy.

Triwizard Cup prop from Harry Potter and the Goblet of Fire

In the fantasy movie, the Cup is turned into a Portkey which magically transports Harry and fellow Triwizard contestant 'Cedric Diggory' to a graveyard ambush laid by Lord Voldemort.

As a fan, it's great to see the detail of this dragon-festooned prop up close.

Golden Egg prop from Harry Potter and the Goblet of Fire

The golden egg was the prize of the first task in the Triwizard Tournament, which could be obtained by retrieving it from the nest of dragon eggs. I love the artwork detail on the side of this egg prop which you don't really see in the film.

Harry Potter and the Chamber of Secrets movie poster

Also on display with these props from the fourth film were items featured in second movie, including Ron Weasley's broken wand and the letter he receives from his mum, 'Mrs. Weasley', which turns into magical 'Howler' message (through the wonder of CGI special effects).

Ron Weasley's broken wand and letter props

from Harry Potter and the Chamber of Secrets

If you're a fan of J.K. Rowling's infamous character, be sure to also check out these fantastic original costumes from the Harry Potter movies here at Hollywood Movie Costumes and Props.

Buy a Triwizard Cup replica: Wizarding World Harry Potter Light-Up Tri Wizard Dragon Champions Cup TriWizard NEW

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Harry Potter and the Goblet of Fire movie props on display...

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Even though the big screen adventures of Harry Potter are over for now, it's still cool to see some of the magical props that brought the world of Hogwarts School of Witchcraft and Wizardry to life on display.