EVALUATION OF PRELIM TASK

Our task was to film and edit as short sequence that showed a person walking into a room and having a conversation with another character. We were to use match-on-action, shot/reverse shot and the 180 degree rule.

OUR FINAL SEQUENCE – GONE FISHIN’ :



EVALUATION:

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

For my prelim task, I was in a group with Lewi Allison, James Thicknes and Charley Packham. We all participated in each aspect of the production of our sequence. At each stage we designated tasks, spreading them equally: for example, during planning, we all discussed the storyline together, wrote a script and discussed individual shots. While Charley and Lewi decided on final shots and worked out how to shoot them, James wrote a script, while I drew up the storyboard. We also worked well as a team during filming. Lewi and James acted, while Charley and I filmed with the camera and monitored the sound. We took turns, helping each other if we were unsure on how to film a particular shot, and worked to our strengths to get the best results possible. For example, as I was steadier with the camera, I filmed the pan in the opening shot. However Charley filmed the match-on-action as she was more confident with that type of shot. During editing we worked together, all commenting on and changing aspects that we were unhappy with until we reached a sequence that we were all pleased with.

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

We first discussed our ideas, a wrote out in note form a plan for our sequence. We took into account our brief and its emphasis on continuity and also include Levi-Strauss's theory of binary opposites which we had learnt about in class. After writing a script, and deciding how to split the action into specific shots, we filmed a very rough video of our planned sequence on an Ipod, to ensure that our ideas worked well as a sequence, and that the transition from shot to shot was clear and understandable. We used this video to draw up a storyboard, which was an invaluable resource when filming and editing to ensure that we had all the shots and props we needed.

                                 

When planning our narrative, we included Levi-Strauss’ theory of binary opposites to introduce our characters. We positioned them on opposite sides of the table, to show the contrast between them: particularly how one character was very enthusiastic, the other very quiet. We also tried to use Barthes’ codes to create an interesting storyline. We used movement and action to make the story develop, and included many questions in the dialogue to engage the reader by using enigma.

SCRIPT

Gone Fishin’

STORYBOARD




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



During planning we filmed a rough run-through of our sequence on an Ipod. However, for the final footage, we filmed our sequence using a video camera on a tripod, with HD tape. To record sound clearly and efficiently, we used a microphone with a muffler, linked to headphones. The head phones allowed us, while filming, to hear exactly what was being picked up by the microphone, without needing to play back. This saved us a lot of time: we didn’t realise any crucial sound difficulties only after we had filmed everything. In post-production, we used Adobe Premier to edit our footage, after transferring it to a computer. This program enabled us to cut, separate and reorder our shots, to create an understandable, continuous sequence.

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

Our task was to film a short sequence which contained somebody walking in to a room, match-on-action, the 180 degree rule, shot/reverse shot, and dialogue, so we designed our sequence to include all of these factors.

We planned our sequence while taking into account the actors, equipment and locations available to us. We chose to shoot in the classroom as it was the best option for shooting in a short time. Lewi and James acted for us, as they were the most experienced. We shot indoors to avoid problems caused by weather, such as wind or rain. We chose a reliable set, the Media classroom, and planned to shoot in the following order:

1. Mid-shots in corridor
2. Close-ups of door
3. Match on action inside classroom
4. Master shot inside classroom
5. Lewi’s point of view
6. James’ point of view
7. Gone Fishing

We organised our filming so that we didn’t have to move our equipment from room to room again and again. While shooting, timing was our main concern as we only had one hour. We worked quickly in filming as well as editing.

We achieved most of our continuity during editing, and as this was a crucial aspect of the task, we ensured that we used match-on-action when cutting from shot to shot, to create smooth transitions. We also used the 180 degree rule through-out to make sure the action and setting was clear. During the conversation we used shot/reverse shot, which was an effective way of presenting a conversation, showing the two characters as they speak. All of these techniques help the audience to understand the narrative of the sequence.

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

I think that our sequence was very successful. In terms of continuity, I feel that we used the techniques mentioned above well. I especially think that the match-on-action of Lewi walking through the door was accurate and provide a seamless transition from one setting to another. I also like the shot/reverse shot as it engages the audience during the conversation. Personally I think that the sequence as a whole works well: it is clear and understandable, as well as interesting. The acting was convincing and the editing smooth. In hindsight, I think that a greater variety of shots would make the sequence more interesting. I also think that during editing we could have worked a little quicker as we were pressed for time toward the end.

In terms of continuity there were some errors that we did not realise until we had finished:



Although small, this error has been noticed by a few people who have watched the video, and when making our final sequence, we would have to look out for small mistakes like this.

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 a lot about filming and editing film footage by doing this task. As it was my first time creating a sequence, it was an incredibly helpful experience: I got to put into practise everything that I had learnt about shot types and continuity, as well as theory work such as Levi-Strauss’ theory of binary opposites. When we edited the footage, I learnt how to use Adobe Premier, which is an extremely helpful program.

I realised also that filming a certain scene may take longer than expected, so it is necessary to allow yourself plenty of time when filming. For example, it took us about ten takes to get the ‘detention’ sign to fall off at exactly the right time, which evidently took us a long time. We had to try sticking on in different ways and got Lewi, the actor, to walk in many times. We even tried banging on the door from behind and having three people wave air at the sign using folders! These unexpected experimentations not only taught me to include time for problems while planning, but also to think on my feet to solve a problem that we might have on set.

When we come to film the final coursework sequence, it will be important that we have enough time to film and edit sufficiently. It would also be helpful before filming to look at each individual aspect and think about what could go wrong and how we could fix that problem quickly with minimal disruption, should we need to on set. When filming our sequence, we shot the conversation from four angles, which gave us choice when editing. When it comes to shooting another sequence, it would be helpful to have many different versions, filmed from different angles, in different shot types, so that we have a greater choice when editing. It is important that there is a variety of footage to work with when editing, in case there is a problem with one recording and we weren’t able to reshoot.

By paying close attention to aspects related to continuity in this task, I have learnt that it is an extremely important factor that is necessary in creating a convincing, professional and engaging sequence.

ROLAND BARTHES' CODES - Harry Potter and the Half Blood Prince Opening

Up to 2:00 minutes on the video

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

The sequence starts with a view of the London skyline, and businessmen looking out of their office windows at a strangely stormy sky. This introduces the audience to the black figures that the camera follows next, as they fly through London and into Diagon Alley. Here, they devastate the shops and kidnap an unidentified man. They fly off again, as the camera cuts to a view of the Millennium Bridge. The black figures cause the bridge to twist and break, and fall into the Thames. The music becomes louder and tenser until the camera cuts suddenly to a blurred shot of a moving train. The actions in the sequence create tension and mystery. We expect the rest of the narrative to focus on or be related to the cause of the incidents, and to find out who the black figures are.

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

The first scene of the opening is of businessmen looking out of their office window at a stormy sky. Their puzzled expressions lead the audience to question the situation and think that something strange is happening. The unidentifiable black figures that the camera follow next also create a sense of mystery and pose many questions, for example: Who are they? What are they doing? Why are they kidnapping the man? The kidnapping scene is particularly important in adding suspense and mystery to the opening sequence, as the action leads up to this point, presenting it as an important event. The identity of the kidnapped man is hidden by a sack on his head, so the audience wonders who he is and why is has been taken. As an audience, we also question the figures’ motivations when they destroy the Millennium Bridge.

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

The most important characters in the opening sequence, those who makes the narrative move on, are the unidentifiable black figures that we see fly through London. The audience realise that these are bad characters because they are destructive and violent. The man they kidnap is seen as the victim as he is badly treated by these ‘villains’. The businessmen we see right at the start help to introduce the action in the opening sequence; however they are not presented as important to narrative flow as they are only seen for a few seconds.

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.
The first thing we see is a grey, stormy sky and city skyline reflected in a wall of windows that we recognise as an office block. The businessmen together with a city skyline set the scene in London. The audience realise it is London, and not another large city as we see red buses and famous London landmarks in the clip of the figures flying through the air. The figures land in a narrow street lined with old shops which audiences familiar with the Harry Potter series will recognise as Diagon Alley. This is a cultural code that relies on the viewers of this film to be fans of the series and have watched the previous five movies, or have read the books. A close-up of a condiment set establishes the next setting: a cafe. The condiments are typical social codes representative of cafe and restaurants.

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

The key themes of the opening sequence are destruction, evil and mystery; very dark, sombre themes, setting up the mood of the rest of the film. The destruction happens throughout the opening scene, in Diagon Alley and at the Millennium Bridge. The destruction is focussed on through the use of close-ups and mid shots, and loud noises to attract attention to the action. The evilness of the unknown ‘baddies’ is shown through the use of black and dark colours, as well as shadows on their faces when they appear in human form at 1:05. The whole opening sequence raises many questions, so mystery is key theme. These questions are caused by the action, because the audience does not know what has motivated the villains to do this. An air of mystery and suspense is created by the use of blueish tones, which create an unsettling atmosphere.

DYM HW feedback

Very good work, Megan. Well done. You use technical references well to support your points, which is very effective. However, a couple of film clips do not work - try to sort this out asap. Another small point, "tone" is not usually discussed as a feature of film analysis - did you mean mood?

CONTINUITY TECHNIQUES IN A SCENE – Harry Potter and the Prisoner of Azkaban – Marauder’s Map

In this scene, from the movie ‘Harry Potter and the Prisoner of Azkaban’, Harry is given the Marauder’s Map by Fred and George. There are many continuity techniques that are used in this scene to make it flow and make sense. These techniques are used to make the narrative seamless and to create a world in which the audience can believe in.The scene i have chosen is available to view here, however cannot be embedded in this post, so I have included some stills to illustrate my points.

The sequence starts with a wide shot track through the setting, giving the audience an overview of the characters and location. This frame acts as a master shot. A similar shot follows, a crab with the fountain in the foreground. This adds variety to the sequence while still showing the audience the setting and the action.

The camera cuts to a view from indoors after the boys have entered the building. The switch requires match on action to ensure a smooth transition. As the match on action is successful, the cut is less obvious to the audience. When continuity techniques are used well, the audience is more able to ‘suspend their disbelief’ and really get into the story.

The lighting and tones of the sequence reflect the weather and mood of the scene. The use of cool blue tones reflects the cold winter weather. The use of dark colours and shadows indoor gives an air of secrecy which mirrors the action and dialogue; hiding the Marauder’s Map.

During the conversation between Harry, Fred and George, the camera cuts in a shot/ reverse shot way to help the audience understand who is speaking. During the dialogue to create emphasis and to add variety, the camera cuts away and zooms slowly into object of importance, such as the map at 0:46.

In terms of sound, objects further away are quieter than those close to the audience. This is realistic, therefore useful for the audience to believe in the sequence. Also, in order to not interrupt the audience’s viewing, the camera does not cut from one extreme shot to another. Shot order is long, mid to close to ensure smooth cuts and changes in frame.

APPLYING LEVI-STRAUSS'S THEORY OF BINARY OPPOSITES - The Incredibles

The opening scene of The Incredibles (Bird 2004) is nolonger available on the internet to embed here, however here is the trailer to the film to give a sense of what it is about:





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

‘The Incredibles’ is a children’s superhero film. This is shown by many factor’s, the most obvious being the use of animation rather than real people. Animation and cartoon is a popular element of children’s entertainment. The opening line of dialogue, “Is this on?”, is a comedic line, which tells us that the upcoming story is a light hearted, childish one. The superhero theme is immediately signified by the first character that we see: Mr Incredible in a blue superhero suit.

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

The main character in the opening scene is Mr Incredible. We are shown this by having him in almost every scene in the sequence. Two other superheroes, Elastigirl and Frozone are also introduced to us, alongside Mr Incredible. The audience understands that these are the good characters through the use of even lighting (no harsh shadows) and their light coloured costumes. These three superheroes are opposed to Incrediboy, an annoying wanna-be superhero, the thief, Bomb Voyage, both criminals. These oppositions are shown through the dialogue, but mostly through the action, especially the scene from 6:30 to 7:40, when Mr Incredible, Bomb Voyage and Incrediboy have a confrontation.

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

The main themes of the film are Good vs. Evil, in terms of superheroes fighting eachother. Adventure and action are both important themes of superhero movies, as are crime, super powers and missions. Secrecy and identity are themes that are introduced during the interview sequence at the start. The presence of police and mention of a lawsuit in the ‘newsflash’ sequence suggest that law is a theme of the film. Love and family is also an important theme, as Mr Incredible and Elastigirl get married.

4. How is the narrative organised to show conflict?

The narrative begins with interviews, then switch to real time, showing a police chase. This establishes the ‘goodies’ and the ‘badies’. Dialogue and action is an important tool for establishing conflicts between characters. Throughout the opening sequence, there are confrontations between typical criminals and the superheroes, in the form of chases, ending in the superhero’s foe being captured.

APPLYING TODOROV'S THEORY OF EQUILIBRIUM - The Sixth Sense

To answer the following questions, I have analysed the opening scene of The Sixth Sense (Shyamalan 2009). Unfortunetly the video is not available to post here, but can be seen on YouTube instead. Here is the trailer to give a overview of the film:





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

From the opening sequence we can tell that the protagonist is the man in the grey, Dr Malcolm Crowe who is with his wife. The audience realises that he is a main character, as the events are centred on him. The antagonist in the opening scene is the man, Vincent Grey, who breaks into their house and who is found in their bathroom.

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 mise-en-scene: what meanings to the props/costumes/lighting/framing carry?

Malcolm Crowe and Anna Crowe are happily married, they lead a comfortable life. The extreme long shot at 6:10 tells the audience this by showing them in their large, well-decorated house, dressed in expensive-looking clothes. Close-ups of the couple sitting together are used to show that the couple are very close. For example, at 5:00, the couple are seen close together in the reflection of Dr Crowe’s psychology award. This suggests that their lives are going well, they are successful and in love. The candle lighting gives a romantic atmosphere and suggests that the couple are romantic, laid-back, leading a normal life.

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

In the opening sequence, the disruption occurs when a man appears to have broken into their house, and he shouts at Dr Crowe, saying “Do you know why you're afraid when you're alone? I do. I do.” The fact that he is strangely dressed in underwear and what he is saying hints that what is to come is eerie and strange. The equilibrium of the two characters lives is disrupted when Dr Crowe is shot. (However, this part is not shown in the clip above, but happens immediately after)

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")

When Crowe is shot at the end of the opening scene, it is hinted that his journey throughout the rest of the film will either include his death or his journey to recovery. Vincent Grey’s spooky reappearance suggests that the rest of the film will have chilling, eerie theme. This thriller genre is further hinted at by the use of low lighting and voyeuristic long shots.

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

The opening sequence results in Dr Crowe becoming very unhappy when he loses his wife. He is a child physiologist and meets a boy who can see dead people, who don’t know themselves that they are dead. By the end of the film, Dr Crowe helps him to come to terms with his ‘sixth sense’. Crowe goes back to see his estranged wife, and while there realises that he has been dead all along and is one of the ghosts that Cole can see. The equilibrium is reinstated as Cole becomes happier and Malcolm Crowe is enlightened.

CONTINUITY

It is important to make sure the audience understands what is going on in a movie. When the camera cuts from shot to shot it is essential to keep the narrative continuous and clear. Directors and editors use many techniques to make sure of this:

• Camera shots – Long, mid, close-up shots, in that order! If the camera suddenly cuts from a long shot to an extreme close-up, it can confuse the audience.

• Editing – post-production editing allows the footage to be cut down to what is really needed and each scene or frame to be ordered. This is where the story really starts to make sense in terms of chronology.

• Transitions, such as fades, cuts, wipes or dissolves are used to create a smooth change from shot to shot. Sudden cutting confuses the audience and interrupts the narrative.

• Transitions can also be used for effect – to create a fast-paced action sequence or slow, romantic scene.

• When editing, it is important that the cuts do not give two frames within 30° of each other, to avoid jumps.

• The 180° rule ensures that the placement of characters is clear to the audience. The concept refers to an imaginary line, where the cameras can only shoot from one side, and never cross the line. This is used a lot in conversation scenes or scenes where direction of the character is important.

• Match on action – it is important that a character does not seem like they have gone backwards or forwards when they are moving between cuts.

• Master shots, or establishing shots, are used to show the audience where all the characters are in relation to each other. This helps the audience to understand what is happening.

• Sound editing ensures that the sound matches up to what is happening on-screen.

• Lighting is an important factor in establishing the setting, atmosphere and tone of the film. This helps the audience to believe in the action.

Continuity editing is an editing process that ensures that the film makes sense to the audience. Suture is a process that ensures that the audience can ‘suspend their disbelief’, i.e. believe in the made up story of the film (especially in fantasy!). The aim is that the audience do not realise the editing techniques and feel as if they are seeing the events unfold in real life, with their own eyes.

When I come to make my own film, it will be necessary to ensure that it makes sense, and that the story flows smoothly. The cuts must not be obvious, to ensure that the audience can ‘suspend their disbelief’. To help the audience to believe in the story, I will need to use the relevant lighting, sound and framing to convey the right atmosphere.

STORYBOARD - QUESTIONS

‘P’ is for Psycho Storyboard

A) What is happening in the opening sequence of the film?

In the opening sequence of ‘P’ is for Psycho, a man is in a men’s toilet. At first all we see are his legs, next to a sink, then we are shown him holding his hand as if in pain. The camera cuts to show some objects – a photo, a watch and a wallet. Through a close-up shot, we are then shown blood being washed away in a sink, and the man wrapping his hand in a bandage. He moves is wrapped hand, just as he hears a door opening. He quickly turns his head. As another boy walks into the toilet, the man puts away a gun, and we get a close-up of his face in shadow. He say’s “Bad move, kid” and the screen fade to black. Gunshots sound loudly.

B) How is the narrative flow established?

Each shot is orders so that the right information is given in order for the audience to understand what is happening. The first shot is of the toilet door, establishing the setting. The next shots are mid-shots and low-angle shots, concealing parts of the man, in order to add mystery. The following close-ups of some objects and blood being washed away add even more mystery, the blood especially creating an eerie atmosphere. Unless for effect, such as in the extreme close-up in shot 11, mid-shots are used to show the audience what is happening in the scene. Although each shot cuts to the next one, suggesting a sudden change, each shot relates to the next one, so that the flow of the story is smooth and not too confusing. Camera movement is used to show where things are in relation to each other, such as showing the audience, by using tilt, that the legs in the last frame belong to the man now pictured.

C) If you were directing this sequence, what aspects of the storyboard would you like to change?

If I was directing this sequence, I would either remove shot 4, the close-up of objects, or add another shot in explanation. It is unclear at the moment what their relationship to the characters or events is. I also think that the close-up of the blood in the sink is slightly misleading or confusing; the audience are left unsure of where it has come from. However I also think that this adds a sense of mystery to the sequence, which is necessary for achieving the eerie atmosphere of a thriller.

STORYBOARDING TIPS

Here are a few helpful websites I found on storyboarding:

A Few Practical Tips on Storyboarding
How to Make a Storyboard
Creating a Storyboard


And a video:

Storyboarding Tips for Movies -- powered by expertvillage.com

STORYBOARDING

Why is a storyboard important?

•Storyboards enable directors to turn the script from written information to a visual source
• It enables the director to visualise the flow of camera shots, and exactly how the shot will look (mis-en-scene, framing, characters etc.)
• The director can see what sets or props are needed
• Storyboards help with deciding the sequence of shots and scenes
• The most effective lighting can be decided on
• The finished storyboard can then be used in discussions and in production briefings, before shooting
• Storyboards are essential for designers, such as the production or set designer, in planning the sets or costumes
• A visual representation of a shot means that there will be less misunderstandings during discussion– it is an important tool of communication
• Special-effects supervisors will be able to say if the director’s ideas are realisable
• Through story-boards, the director can show where the emphasis should be in the shot– what should be shot close-up, or what elements aren't that important to the development of the story, so therefore don't need to take up so much room in the frame
• Storyboards can be used like kit-lists, for the crew, so that everything that is needed can be prepared
• In post-production, storyboards are used as reminders for editors and special-effects teams

 

Example : Heroes Genesis Storyboard from Earl's Blog

ANALYSIS OF THE OPENING SEQUENCE OF - The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

This is the opening scene of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe a 2005 film adaptation of the famous children’s story, by C S Lewis, set in the magical world of Narnia, directed by Andrew Adamson. The film can be categorised as a children’s fantasy, action and adventure. The opening sequence clearly establishes the setting and time period of the movie: London during the Blitz.

The film starts with a dark, foggy scene, with the faint humming sound of planes in the background. The camera moves through the clouds, before arcing around a flying Luftwaffe bomber. As the fog clears, more planes appear and beams of light draw our attention to them. The camera reverses, to show the audience the pilots inside the cockpit of one of the bombers. We hear the voices of the pilots speaking German, and this helps to establish that these are German planes bombing London during the Blitz. This is extremely important to the story, as it tells the audience the setting and time period of the film. The camera cuts to an aerial view, showing a bomb being dropped onto London, with Tower Bridge visible below. This switch to a close-up provides variety to the shots and involves the audience in the action. Suddenly, we cut to a mid-shot of a boy, in typical 1940s English costume, looking out of a window to the bombing outside. This is much calmer in comparison to theprevious shots. A woman, his mother it is suggested by her angry yet worried actions, comes running to him, with an older boy. Through the use of dialogue, we are told that the boys are called Edmund and Peter. The characters rush to get to their air raid shelter, and the camera jolts and uses whip pan to convey this sense of panic. The camera cuts to a mid-long shot of a girl looking terrified in her bed, then shows an older girl rushing with a torch, grabbing her out of the house. Using a long shot to fit all characters in, we see them running out, across the garden to their shelter. A close up of their feet, in slippers, is a small detail which shows the audience that these characters were not prepared for what is happening and are in a hurry to get out of their house, hinting that they didn’t even have time to get shoes. Just as they are entering the shelter, Edmund runs back towards the house, shouting “Dad!” The camera shows a close up of Peter’s hand slipping off Edmund’s jumper, emphasising that he shouldn’t be going back. The camera continues to jolt and whip pan, following the boys back to their front room. With a loud explosion and the sound of breaking glass, the boys fall to the floor. Through a close-up, we are shown a cracked photo of a man in uniform, in Edmund’s hand. Another aerial shot shows the two boys running to the shelter, with the menacing shadows of the planes sweeping across them. A low angle from below the running characters shows us that the threat of bomber planes is right above them, and this makes the action very dramatic and tense. The scene is almost black and white to increase this sense of tension, and to give a negative atmosphere. The camera quickly cuts to a lighter scene inside the shelter, suggesting a safer environment. The scene ends abruptly with Peter slamming the shelter door shut after shouting at Edmund for almost getting them killed. The two parts of the opening sequence, the planes and the family are strongly linked. The family rushing to their air raid shelter is a consequence of the bombers arriving, and the two sequences could, in fact, be happening simultaneously.

This short action sequence is essential in setting up the rest of the story. It confirms the era and setting of the film, and the character’s names as well as their relationships. We are shown that although Peter cares for his brother Edmund, who misses his dad who has gone away to war, they do not have a good relationship. It is also conveyed that Susan and Lucy, the girls, do have a close relationship, as they are seen hugging each other whilst in the shelter. These four characters are suggested to be the main characters in the rest of the story, as we are told a lot about them in the first few minutes of the film. A lot of information is revealed in the short sequence, and I think it has been shown quite clearly so that the younger target audience can understand what is happening. We are not told, however, what else has been happening in their lives, as this scene is purely to establish the setting, time period and characters in the following story.

The tone of the opening sequence is important to establish the tone of the rest of the film. In this scene, the lighting is dark, as it is night-time. The cool tones suggest a sinister development in the story; and element of risk or danger in the future. The camera framing also has connotations of an adventure-filled future. Firstly, the framing is not very tight, and mostly mid-shots are used. This suggests a laid-back atmosphere, not a tense, panicked one. This suggests that the story will end happily, and that the rest of the story isn’t too serious. The movement of the camera, particularly the use of whip pan and a handheld effect during the bombing scene show that there will be an element of action within the story. The use of an action scene as the opening sequence is also important. It adds emphasis on the action/adventure nature of the forthcoming story. A very important part of this sequence is the music it is set to, which has a very strong drumbeat from the beginning. It is very tense, but the drums also add a military aspect, which reflects the story being set during World War Two.

When I make my short film, the opening will need to tell the audience who the characters, or at least the main ones of my film are and where the story is set. It is also useful to show their relationships with each other, but it is not necessary to give their whole back-stories within the opening sequence.

REFLECTIONS ON MY OWN FILM STILL

1. Describe your shot andidentify in what way it could be described as representing your chosen genre.

My shot is a portrait shot. The bottom half of the frame is relatively dark, as it is filled with the grey of the stone stairs. On the stairs you can somebody’s legs, positioned to suggest that they belong to a body lying down the stairs. On the top half of the frame is a frightened looking girl, cowering in the corner, at the top of the flight of stairs. She is also wearing dark clothing, but her red jumper brings some colour to the image. The lighting in the top frame put the girl in more light, and brings the viewers attention to her. This shot represents a thriller genre well. The characters in the shot are typical of a tense scene in a thriller: a frightened female victim, and a dead body. The expression on the girl’s face also gives a tense atmosphere to the shot. We framed the shot in order to leave mystery; we did not give away the identity of the legs in the shot and used a tight mid-shot frame to leave the audience asking questions. The frame is also slightly tilted to make the scene disconcerting. We did not include any bright or light colours in or shot, to preserve the spooky nature of the scene. We used cool tones to reflect the thriller genre as these connote an unhappy and uncomfortable situation.

2. What did you actually do to achieve the effect?

Firstly, we took the camera off the tripod in order to allow us more freedom with angle and framing. We took the shot from very low down on the stair itself to portray the sense of a tight, trapped space at the top of a thin flight of stairs. In terms of lighting, we chose quite a dark place to shoot. We turned off the flash on the camera to get rid of any unwanted harsh light, and to achieve the cool blue tones that represented the eerie atmosphere of our shot.

3. Identify what is successful about your shot.

I feel that our shot is successful in representing the genre of thriller. I think that I use of framing and low angle evokes a strong sense of enclosure and adds mystery to the shot, which is necessary in representing a tense thriller story. I especially think that the tones of our shot are successful, as they connote many aspects of a thriller or horror story – darkness and a cold, spooky, uncomfortable environment.

4. What would you do differently in hindsight?

If we were to take the shot again, I would use a more professional model/actor as I think that the girl’s expression is the main problem in the still: it is unclear whether she is very scared or just nervous. Also, I think the shot would work well in an even darker setting.