Group 3C Prelim Task

Prelim Task: To create a continuity sequence involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom he/she exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180 degree rule.

1. Who did you work with and how did you manage the task between you?

I was in a group with Lewi, Megan and James. Initially as a whole group we sat down and wrote the script and storyboard together so we all agreed on it. As Lewi is studying drama, he was more than happy to act in our sequence and James was perfect for our reserved awkward detainee. Megan and I took turns filming and monitoring sound equally, compensating each other if we found a particular shot challenging. For example, Megan was a lot smoother at panning so she filmed the establishing shot. We agreed on shot framing together and sometimes we would flip the camera screen over so the actors could see what we were seeing so we were all on the same wavelength. We all took turns at editing in postproduction and all collectively agreed on the shots that we would use in the final sequence.

Lewi, Me, Megan and James!

2. How did you plan your sequence? What processes did you use? What theories did you try and take into account?

STORYBOARD

SCRIPT

INITIAL:

Group 3C Prelim Script

MORE DETAILED:

Gone Fishin’

We wanted to make sure our sequence flowed continuously without disrupting the narrative so that the audience could immerse themselves in the story. Obviously we had a specification of essentials we had to include but it didn’t mean we couldn’t be creative and produce something funny and different. We harnessed Levi Strauss’ theory of binary opposites to have two characters with very different personalities: chatty and laidback versus quiet and standoffish. Together, we drew up a script and storyboard and in the initial planning lesson, filmed and marked the sequence through on Lewis iPod to make sure it was not too complicated and it worked well as a whole, checking for any harsh framing distance jumps and the like. We made sure we had ticked the boxes; including a MOA, S/RS and the 180 degree rule. We filmed the whole scene from various different angles and distances so we had variation and choices when we came to editing- some of which we didn’t even include. For example, we filmed the whole conversation OTS and with a POV close up- the latter we didn’t end up using at all!

I was also desperate to include an Edgar Wright-esque sharp whip pan (as seen in this clip from Spaced) so that when Lewi turns to look at the message on the board, it is from the point of view of him. However it didn’t look very effective so it did not make the final cut. Our storyboard was an excellent blue print to refer back to when filming to make sure we had included everything.

 

3. What technology did you use to complete the task and how did you use it?

As previously mentioned, we used Lewi’s iPod for a rough walkthrough of the scene. When it came to actually filming it, we used a video camera, microphone and headphones in order to hear the sound the way the camera did. The microphone was set onto stereo, picking up every detail and making every minute sound amplified which was a bit disorientating when we first put on the headphones! However, it enabled us to make sure that any speech and diegetic sound was clear. Our sequence was edited on Adobe Premiere by capturing clips from the camera and cutting and arranging them using the razor and trimming tools. As most of our group was comfortable using the software, we even experimented with speeding up, slowing down and reversing clips- especially with the whip pan, although these scenes were not used in the final sequence.

4. What factors did you have to take into account when planning, shooting and editing?

One very important thing to think about during planning was our actors. We could only use people available in our group and so had to make sure we selected those with the most confidence, screen presence and appropriate for the desired role so the sequence looked convincing and realistic. Time was another big issue. 2 hours in total to shoot and edit meant that we had to be ruthless with what we included and tried not to over complicate the sequence, our ethos being better to do a simple thing well than a complicated thing badly. As our sequence was filmed during lesson time we had to structure our filming between bells and lesson changes, as this would only contribute unnecessary noise. Also, another group needed to use the hallway for filming as well, so we had to liaise with them to allocate filming slots so we all had sufficient time to get our shots in. Fortunately, students and staff in the media block were very cooperative and could see we were shooting so would stay out of the way until one of us shouted ‘cut’ meaning that there were not any interferences from people coming in and out. During editing, we did not want to make our sequence too long but deliberately left in extended, awkward pauses for effect.

5. How successful was your sequence? Please identify what went well, and with hindsight, what would you improve/do differently?

Overall I think our sequence was pretty successful. The shots flowed well and the feedback has been positive; many people found it humorous which was our intention because it means they paid attention to the story. The acting was convincing and people particularly like the falling detention sign. The sequence however, is by no means flawless. There is an obvious continuity error in which Lewi’s jumper is rolled up, then down, then up again which was completely overlooked until postproduction.

 

In the hallway shots, our tripod was set up slightly wonky, meaning every shot had an unintentional tilt which if I had the opportunity to do again I would immediately correct. The framing was generally good however I think if given the chance I would come in tighter on the OTS shots of Lewi as there is a considerable amount of empty space on the RHS. If we had more time I would have really liked to pull off the whip pan because I think it would be a lot more effective than a still cutaway. James’ climactic punch line was a bit quiet, however when we audio gained the clip in postproduction, all the background noise increased as well and it sounded disjointed and odd. Nevertheless I am really pleased with the MOA and the detention sign shot (even if it was cut pretty abruptly because after 5 minutes of slamming a door the sign finally fell down and we finally got the shot we wanted and I couldn’t contain my excitement…I yippeed!) It was really enjoyable to film and I really loved working with my group as we all got along really well and produced something good at the end of it.

6. What have you learnt from completing this task? Looking ahead how will this learning be significant when completing the rest of your foundation coursework, do you think?

I have learnt not to be too over the top and ambitious if you are working to a very tight deadline but still try things because you never know if they will work out. For example, the detention sign shot took a significant amount of time to get right but by pulling it off we really added something extra to the whole sequence. I have learnt to be very selective when shooting and editing and the importance of constantly referring to the script and storyboard. I have also learnt that filming the whole sequence from different angles definitely gives you a lot more options when it comes to editing and can really help to create different desired effects. I know now more than ever I need to work on my time management skills as James and I spent slightly longer in the edit suite than perhaps we should have! The rest of my group told me I need to stop being such a perfectionist as I would edit and reedit until it was just right…but I don’t necessarily see that as a bad thing! Above all things however, I have learnt the importance of continuity in a sequence and can apply this knowledge to the rest of my foundation coursework.

Applying Roland Barthes Theory

Barthes' theory states that a narrative can be broken down into five sets of rules or codes:

Enigma Code- This refers to any element in a story that is not revealed or explained therefore it acts as a mystery (or an enigma) for the audience. At some point in the movie however, these questions have to be answered in order to satisfy the audience.

Action Code-This code can be applied when an action implies further narrative. For example, a character pulling out a weapon implies that they will use it to hurt someone-even if we do not necessarily see the action.

Semiotic Code- This is when a part of something will be shown but it stands/represents the whole e.g the desert representing the whole of the Wild West. This code shows the story rather than tell it.

Cultural Code-This code is where the narrative refers to common bodies of knowledge.

Symbolic Code-This code is there to explain the complexities of a narrative, but can be interpreted in many different ways providing no fixed meaning or definition.

DONNIE DARKO

(The clip I've analysed starts at 8:07 VIDEO 1- carries on into VIDEO 2)

1. Identify the key actions within the opening - what kinds of actions are included and how is the narrative moved forward?

The first key action we see is our protagonist Donnie Darko waking up and sleepily walking outside after following instructions from a robotic voice. In the garden, he comes face to face with the rabbit Frank. We can assume that the robotic voice is coming from Frank even though we cannot be sure of it since we only see a long shot of him. We then cutaway to the TV (which was previously turned onto a news channel) displaying white noise, as Donnie’s father sleeps peacefully in front of it. The scene cuts to Donnies mother asleep in bed then to his older sister coming in from a night out. These are all very typical, normal, unassuming actions. This serenity is completely polarised as the scene cuts away to a chandelier swinging violently from the ceiling of their hallway as there is a deafening crashing sound. We are not sure what has caused this but can deduce from the way that the furniture is thrown around it is something of very high impact, perhaps even an earthquake. This moves the narrative forward as now there is a problem, a strange occurrence that the plot can develop around. The sequence cuts to the next morning where two golfers find Donnie asleep on a golf course with the date given to him by Frank scrawled on his arm. He looks very confused as he apologises and walks away. As well as raising many enigmatic questions, this scene makes the narrative move forward as the audience can assume he will go back to his home and we can find out what has happened there.

2.  Identify the enigma codes within the opening - what kinds of questions are posed and how is the audience meant to read these codes?

This is possibly one of the most enigmatic sequences in any film (hence why I chose to do it!) as it poses SO many questions: Who is Frank? Why is he there? Why is he a rabbit? Why has he been ‘watching’ Donnie? Why will the world end in 28 days 6 hours 42 minutes and 12 seconds? How does he know this? Why is he telling Donnie this? Why did he tell him to leave? What was the crashing? What significance does this have to the rest of the story? Is Frank real? Why was Donnie asleep on a golf course? Why does he have the cryptic date scrawled on his arm? The audience wonders all of this and continues watching in the hope that the answers to these questions will be revealed.

                                                    

3. Identify key characters and think about what they represent in the opening

Our main character is clearly Donnie Darko- his name even being the title of the film- so we know he is very crucial to the story. He is a young teenage boy and we can tell is slightly troubled and albeit a bit weird from his confused expressions and vacancy. Another crucial character is Frank the rabbit. Although what his purpose is at this early stage we are not sure. We are left to ponder his prupose: perhaps he is a guardian angel, guiding Donnie away from trouble? In actual fact, Frank is a six foot tall bunny rabbit that only Donnie Darko can see. He makes Donnie commit crimes and often talks about time travel. Later in the movie, Frank reveals he is from the future. Frank is actually a boy Donnie's age who Donnie shoots in the end of the movie because he accidentaly runs over Donnie's girlfriend Gretchen.

4. Interpret the cultural codes in the opening.  What kind of knowledge is being drawn on? social/historical/political/art and culture etc.  Highlight the 3 most important references in the opening that help with audience understanding.

(See video 1 from beginning) Donnie Darko draws on cultural codes earlier on in the film as it refers to the 1988 presidential election and Dukakis in which Donnie’s sister says she would vote for him. This sets the time and place and shows political debate over the dinner table which adds to the realism of a very fantastical film and gives the characters a more rounded and developed personality. The song ‘The Killing Moon’ is featured in the opening scene by the band ‘Echo and the Bunnymen’- ironic, seeing that Frank is a rabbit. At the dinner table scene, Donnie’s mother also mentions his sister going to Harvard, a prestigious Ivy League college. From the audiences cultural knowledge we can deduce she is very clever and high achieving to even be applying for a position there. We also see that Donnie has a younger sister, meaning Donnie is the middle child and bar his father, the only male in the family. This adds to the isolation of his character and perhaps provides explanation as to why he is such an outcast and disturbed in personality.

5. Identify key themes and analyse how they are presented visually/technically.

It is difficult to identify themes at this early stage in the film exacerbated by the fact the movie as a whole is fairly confusing and the writer and director Richard Kelly himself even admits to not fully understanding the story! I suppose one of the key themes is time travel which is revealed later in the story but at this point our only clue is that Frank has told Donnie that the world will end in 28 days.

Principles of Continuity

This clip is from Marc Webb's 2009 Romcom 500 Days of Summer. At the beginning of the sequence our protagonist Tom (Joseph Gordon-Levitt) is seen swinging open a door and smiling smugly whilst walking towards the camera. He turns his head to the left and the scene cuts to a different angle, cleverly using match on action as we can see the door still shutting behind him. He struts forwards as the camera reverse tracks to follow his movement. The next shot is a steady cam POV so we can see that everyone is smiling back at him and his happiness is infectious. The sequence then cuts to a VLS a fountain which spurts magnificently as Tom walks past. In every shot he is walking from left to right so we are given the impression he is travelling away from where he started. We then go to a MS/LS so we can see his expression and body language- one of triumph and confidence. The camera is even at a slight low angle making him look even more powerful as he shimmies off screen. The next shot is another reverse track as he walks towards the camera, greeting people, high-fiving and kissing women’s hands. He embraces a man in a boiler suit and points at him cutting sharply to a match on action from a different angle continuing his movement. The camera crabs alongside him from a mid shot distance so we see his facial expressions as he interacts with the other extras. We cut back to the master reverse track as Tom turns away from the camera, throws his bag off the screen and dances. He turns around and strikes a pose to the beat of the music. The sequence then cuts to one continuous master ELS as the strangers in the park join in with his routine in a tongue-in-cheek faux-cheesy musical spoof. He is chucked a baseball bat and hits a home run and the crowd lifts him up as he celebrates. The routine is carefully choreographed to the music: Hall & Oates song You Make My Dreams features the lyrics ‘twist and shout’ at which point the mass does just that. We cut to a different angle, another example of match on action as he boogies forwards. We cut back to the master shot as a marching band enters from both sides accompanying the trumpets in the song before cutting to a MS in order to see them playing their instruments and marching in time to the beat. The sequence cuts back to the master shot and jump cuts to a MS/LS of Tom as a cartoon bird enters on screen, reminiscent of Mary Poppins and other typically upbeat Disney films. As Tom lets the bird go, he looks up and the camera cuts to an aerial shot featuring the people dancing merrily. Someone hands Tom his bag and again we jump cut to a MCU as he sighs merrily and exits left. The continuity is consistent as he enters the next shot from the right though from the rapid change in location (back to the initial street setting) we can deduce that perhaps it was all his imagination and simply a day dream as he wandered down the street. He salsas into a lift and the doors close.

Todorov's Theory of Equilibrium DYM Homework

1. Who are the agents: the protagonist (the main hero who propels the narrative forward) and antagonist (opposing agent)

The protagonist in Rocket Science is fifteen-year-old stutterer Hal Hefner (Reece Thompson) who joins his high school debating team (although he is only introduced at the end of this opening sequence).  The antagonist is not immediately obvious but Ginny Ryerson (Anna Kendrick) the ambitious competitive speaker is the agent of change as she recruits a besotted Hal only to betray him later on. For the purpose of analysing the opening sequence, the antagonist is Ben Wekselbaum (Nicholas D'Agosto) a champion speaker who loses his voice…and the national championships.

2. Describe the Equilibrium. How is it represented? What kind of camera shots can you identify? (e.g establishing shots to create a sense of space or use of CUs/cutaways to emphasise particular objects/characters faces). Pick out 2 or 3 examples. Describe the mis-en-scene: what meanings do the props/costumes/lighting/framing carry?

The establishing shot is of two teenagers kissing in an empty auditorium, setting the location and genre of the film (high school comedy).  The camera continues to focus on the couple in a variety of distances, from VLS to ECU’s before the text ‘spring’ appears on screen, letting the audience also know the moment in time before cutting sharply to the same auditorium packed with people and staged for a formal debate. During the debate, the camera cuts back and forth to each team, getting closer and closer each time. There are 2 consecutive ECU’s of the female debaters lips allowing the audience to really focus on how quickly they are speaking and  ironically outlining the importance of eloquence in this initial equilibrium, in a story about a boy with a speech impairment. ’46 miles away’ we are introduced to the main character Hal in the midst of a different kind of debate- his parents arguing. The establishing shots of an empty dining room table and dirty dishes displays the domesticity and normality of his life contrasting with the competitive and formal nature of the debate, and his casual clothing compared against the pristine suits of the speakers really polarises the two settings.

3. Is the Disruption or Disequilibrium introduced or hinted at? (e.g the serial killer in "Seven" is introduced in the title sequence).

The disruption to Ben is hinted at by the narrator through the lines: ‘To anyone who ever heard Ben debate, there was one thing that was undeniable: he had a voice... his partner was biding her time, picturing how it would look up there...the only trophy missing from her crowded, gleaming shelf.’ Something about the use of the past tense and the optimism and close reachability of the honour almost sets it up for futility.

4. Are there any visual/verbal/aural clues that hint at what the hero's journey might be? (e.g having to solve the murders within a time-limit of seven days in "Seven")

Similarly, from the lines “Hal Hefner was at home...just sitting at home like nothing or none of New Jersey was burning around him.” suggests that something, associated with Ben and Ginny or the debating team will occur due to the cross cutting of the two scenarios.

5. From your knowledge of the film, how will the equilibrium be restored and what will be the new equilibrium?

Sadly, this coming of age film isn’t all happy endings. A few minutes later in this scene (unfortunately there wasn’t a clip long enough) Ben loses his voice… “46 miles apart, at the very same moment, all the arguments stopped. So there was this bridge of silence spanning New Jersey. No shouting from Hal's parents, no debating, no voice. No one's voice at all.” in turn surrendering the title of champions to the other team and retiring as a speaker. Ginny recruits Hal for the squad, seemingly seeing potential behind his stutter but deceives him and leaves him humiliated. At the end of the film he is exactly where he began, the equilibrium disrupted and restored in a cyclic pattern, his journey being the basis of the film as opposed to the outcome.

Levi Strauss's Theory of Binary Opposites

(Up until 6 minutes)

1. What is the genre of the film? How are the genre signifiers introduced?

Tim Burtons ‘Big Fish’ is an adventure, drama and fantasy film about a dying man and his son, who is trying to learn more about his fathers life by reliving the stories he has been told over the years. The film begins with a CGI forward track through a sun lit lake following the path of the big fish as it weaves gracefully past hooks. The scene is accompanied by an atmospheric enchanting score by Danny Elfman and a voice over by the young Ed Bloom (Ewan McGregor) reciting one of his tales. Already this combination connotes a fantastical, fairy tale like quality, further exacerbated by the following scene, which shows him continuing the story to his son William Bloom (Billy Crudup) as a young boy in bed then a group of boy scouts around a campfire. The subsequent scenes follow the character chronologically as he ages, showing the development of a realistic individual- a genre signifier for dramatic movies.

2. Who are the main characters and how are they opposed?

The two main characters are Ed and Will Bloom (father and son respectively). They are initially introduced as Ed tells a young Will his stories in bed. However, as time passes (Will is getting ready for prom) he has grown tired and reluctant of his fathers repetitive tales, even mouthing ‘make him stop’ to his mother. As we are taken further into the future (Wills wedding party) he is even more noticeably angry by his fathers anecdotes and storms out. Will feels he is a ‘footnote in his father’s great fictional adventures’ and lashes out at him for stealing the spotlight on his special day. After that, they do not speak for 3 years and the scene cuts sharply from a serene boat setting to a busy modern office- another evident opposition between the slow paced dreamy, idealism of his fanciful father and fast paced pragmatic son.

3. What are the main themes of the film and how are they introduced? 

If you strip away the beautiful, extraordinary settings powerful cinematography and contemporary technology, we are left with a very simple story, ‘the heart of this film; that one can create their own legacy, "the story of my life."’ The opening sequence is very escapist in how the audience is instantly drawn into Ed’s charismatic charming fiction, absorbing and wanting to relate to him more than his more boring (for lack of a better word) realistic son. The moral of the story is very much  ‘life your life and don’t care what others think’ and Ed seems to be happier because of it.

4. How is the narrative organised to show conflict?

Conflict is shown in the narrative, by the increase in tedium from Will as we move into the present day. Most of the opening sequence made up from pans and fade or dissolve transitions to create a slow paced start, abruptly interrupted with a cut to Will’s office bustle. The juxtaposition between the water of the lake and boat and fire is very effective and connotes conflict (the infinite freedom of ocean vs the short lived ‘burnt out’ fire) whilst simultaneously denoting a scene change.  The dialogue tells us that the father and son do not speak so it is hinted at that something will occur later in the film in order for them to set aside their differences for a greater good.

Principles of Continuity- In Action

Now I know all the rules and techniques listed below, I have begun to notice them in other films. For example, director Catherine Hardwicke uses colour and saturation in her films to convey a certain feel- probably most noticeable in the blue tones of ‘Twilight’ but also the colourful ‘SoCal’ lomo styling of ‘Lords of Dogtown’.

 I have also noticed how many directors break these rules for effect. Scorsese’s ‘Shutter Island’ is uncomfortable to watch as scenes are disjointed and jump from angle to angle which in this case keeps the audience on their toes and infiltrates their minds to create a powerful intense psychological thriller that really involves the viewer.

From this, I have learnt that once you know the conventions there is flexibility to break them!

Principles of Continuity

FRAMING & SHOT TYPES:

 

• VLS/WS- often used as an establishing shot to show location or to make a figure look small and isolated in the landscape
• LS- where the character can be seen from head to toe
• MS- character can be seen from waist to head. You can normally see what they are doing with their hands
• MCU- chest to head
• CU- a head and shoulder shot used for emotion, to put the audience in the action or to focus on something specific
• BCU- for emotion and expression
• ECU-to emphasise facial expression or create a threatening look about a character
• Two shot- has two people in it
• POV shot- from a characters point of view
• Reaction Shot- expressive shot showing a character reacting to something
• Noddy- Common in interviews sequences. Reaction shot by either character to the other
• OTS- over the shoulder shot, often used in dialogues and interviews.

 

 

 

CAMERA MOVEMENT:

 

•  Should always be used for a purpose. Creates physical movement (tracking) so the audience is forced to focus (zooming), sweep the subject (panning, crabbing, arcing) and create or change perspective (tilting)

 

 

 

EDITING:

 

• Shot duration: when filming, each shot should last longer than necessary so it can be trimmed later in the editing suite as opposed to reshooting short shots. A pause at the end of an important bit of dialogue can also help to create suspense and tension.
• Montage editing: used in title sequences, trailers, music videos and adverts. A combination of contrasting images for a particular meaning/effect 
• Non linear editing: in digital edit suites where shots can be altered in any order and an infinite amount of times with no loss of quality

• Continuity editing: used to ensure the narrative flows seamlessly in a process called suture (where the audience is sewn into the story). Creates realism by allowing the audience to ‘suspend their disbelief’ and forget what they are seeing is a construct
• It is important to make sure the characters appearance, lighting and set remain consistent in continuous shots
• In continuity editing, the audience must be moved through physical space smoothly in a logical sequencing of shots. For example going from a WS to an ECU is likely to disorientate the viewer and disrupt their viewing pleasure.
• 180 degree rule: Whilst shooting, it is vital not to cross the ‘line of vision’ between two characters. If done so it can change the viewers perspective causing confusion
• 30 degree rule: similarly framed shot angles should change by no less than 30 degrees to prevent a ‘jump cut’
• Eyeline match: direction of characters eyes and focus should stay the same 
• Match on Action: movement should be edited on the action so it flows consistently
• Shot/reverse/shot: Whilst filming dialogue you should film once with a master shot, repeat the scene focusing on one character and again on the other with extra BCU’s for important reaction or expression shots
• Split edits: where the sound and picture change at different times

 

• Transitions
• Cuts are most common for seamlessly moving from shot to shot and can create pace and rhythm
• Dissolves link shots slowly and normally denote a change in space or time. Can be used for dream like and flashback sequences. 
• Fading is used to signify a time elapse.

 

 

• Sound
• Diegetic sound: sound that we think is occurring in the scene (though is normally added later by a ‘Foley artist’
• Non diegetic sound: sound we know isn’t part of the scene like music and voiceover
• Sound bridge: Uses sound to link two scenes. Normally the sound from the second scene is heard before we see the picture.

 

 

 

• Lighting 
• High key: bright and low in contrast 
• Low key: more pronounced shadows and dramatic contrasts 
• Low angle lighting: makes a subject appear threatening 
• Backlighting: produces ‘halo’ effect

• Colour
• Cold or blue wash lighting conveys alienation, technology and a spooky, mysterious atmosphere, whereas warm yellow hues are comfortable and easy going.

 

 

 

 

 

How will it be useful in my own film making experiences?

 

I have learnt a lot from all this information and I have many things to bare in mind when filming my own opening sequence. During our in class ‘accident’ practical, we already unintentionally followed some of the principles of continuity editing, such as eyeline match and shot variation. However as we couldn’t edit the sequence, techniques we tried to employ (match on action) looked stunted and very unconvincing! When it comes to our prelim tasks I think I will have a much better understanding of how to create a professional looking sequence that is genre appropriate and conveys our intended messages.