Preliminary Exercise: Coursework Task - Evaluation

Here is my groups preliminary coursework task - to produce a simple continuity sequence containing a shot/reverse shot technique, the 180 degree rule and match on action.

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

For this task I worked with Laura, Holly and Bhavika. We worked well as a team throughout the various stages of the task - planning, production and editing. During the planning process we assigned each other different tasks, with one person drawing frames on the storyboard, one person writing on the storyboards, one person doing script and one person doing the shooting script. However, before anything we shared our ideas on what to film and came to a quick decision as of our location, actors and content of the film. Problems or disagreements were discussed and then fixed or resolved efficiently. During shooting, we rotated the roles. Two of our group were actors (Holly and Laura), so they directed shots in which they did not feature, whilst shots with both actors were directed either by Bhavika or myself. We rotated between the roles of director, and sound/assistant to the director so everyone got a chance to do both at some point. This system was continued in editing with each of the 4 group members getting around 15 minutes during the hour to take charge of the mouse. Decisions in editing were still made as a group but everyone got their chance to actually do the cutting and various other editing tecniques recquired to create the sequence. The group dynamics were always high with work done efficiently and without much complaint everyone stuck to their tasks.

2) How did you plan your sequence? What processes did you use?

In planning the sequence, the main processes we used were storyboarding, script writing and shooting script. First we brainstormed our ideas in group discussion before deciding on the best idea for the narrative. Next we picked a location and our actors, as well as managing the tasks between ourselves. We then applied our ideas and decisions to the storyboard, script and shooting script. Before shooting we did a walkthrough run using our location and actors in position. We were also allowed to test all our equipment ready and provided by the media department. We shot using the order provided by the shooting script in order to minimise time spent changing location and camera angle. This allowed us to finish shooting several shots within an hour. Next we captured our shots onto editing software and edited the sequence using our storyboard as a guideline - helping us complete a simple continuity sequence. Editing techniques we used were cutting, creating titles, creating transitions such as fades and cuts and working with seperate video and audio tracks to help our sequence flow and make sense.

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

In shooting we equipment provided by the media department - a Canon video camera and mini-DV to record onto. This came with an adpatable and flexible tripod. For sound we used were given standard camera mics, whilst boom mics were available but we chose not to use them. We used this hardware, as well as a climp board and all our paperwork, to shoot the film. Afterwards, using the editing software we captured our shots on to was Premier Pro and we used non-linear and diagonal editing to put our shots together with the help of titles and transitions. We used 2 video tracks and 1 audio track, and using the process of cutting we pieced our sequence together before rendering it as one clip. Finally, we posted our sequences onto youtube and linked them to our Media AS blogs at Blogger.com with the use of simple internet technology.

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

During planning we had to take into account that we had only the equipment provided by the media department with no budget, and only an hours time to complete our shots during shooting, so our ideas were simple in order to cater for these limitations. During walkthrough we got a better idea of the environment of our location, with lighting, sound and clutter. When it came to shooting we knew how to avoid problems with these issues as we had encountered them already. During shooting, we had to account for amature acting, unwanted background noise, and people such as teachers and year 13 students moving in and out of the media room we were using. This did not always help our time situation. We also had to account for simple equipment meaning we could not shoot anything too cinematic (with too much camera movement) as it was often hard to keep the camera movement smooth and steady. We had to take into account shot types, making sure framing was right, as well as simple continuity to do with position and matching on action. We succeeded these techniques, often using improvisation (such as placing the handheld camera on a shelf to film from an awkward angle, when the position was unattainable by tripod). Finally, we had to take into account for other groups in our class who were using the same department. Though in seperate rooms, people could be seen through doors, which would make for bad continuity, so we had to work between groups and give each other a fair chance to film what we wanted to film, by sharing time and space. By the time we started editing we realised another thing to take into account whilst shooting would be to make sure we had at least 2 takes of every shot and a very large range of shots, as some mistakes in shots were only identified when watching them back afterwards and there was not much back up in the way of other shots or different takes of the same shot to use instead. Finally, we had to take into account the use of technology and how it can often be temperamental, especially when editing. We were lucky to get through with no technical problems using the computer to edit, but this is not always guaranteed to happen, and if it does then you have to use your iniative to get past the problem.

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

Our sequence did work well in relation to the task set for us; to complete a simple continuity task involving a character opening a door, crossing a room and sitting down opposite another character to have a short conversation with. The story of our sequence featured all of these things, and this simple story was obvious due to the matched on action in every shot. This was particularly good at the beginning with the character looking through the door at the other character, then entering the room and sitting alongside her - the matched on action was perfect here. We used all the techniques mentioned in the task brief - match on action, shot/reverse shot and the 180-degree rule. The match on action helped the whole sequence flow and make sense, keeping constant continuity. We used the shot/reverse shot technique in the direct conversation between the 2 characters, lasting for about 4 shots. This worked well as we established both characters and saw their facial expressions at MS/MCU whilst they were talking, bringing more meaning to the conversation (with one character trying to be friendly but being more sympathetic of the other character who just wants to be left alone). The 180-degree rule was never broken during the shot/reverse shots, with the camera being shot over one characters left shoulder and then the other characters right. This was to keep perspective from looking the same and preventing characters from being in exactly the same position as this would confuse the reader giving the impression the characters were swapping positions and that the shots were not from the same conversation. The continuity techniques we used are not obvious, which is good as it shows they have been done well and the audience takes notice of the actual story. The basic continuity is there so I believe we have created a successful continuity sequence. We tried to add more excitement to it by making it funny in an ironic style, referring to the "blogging" side of our media coursework and playing on the fact that blogging has taken up alot of our time. This was shown in the sequence by the character chosing to blog rather than hang out with friends (something probably more funny to people involved in this media course than your normal audience). I believe this worked well mainly due to the awkward silences, sarcastic expressions of the sympathetic character and the acting in general. There were a few minor things that could have been avoided or done differently next time, one being to shoot more than one take of every shot, as one of our shots was interrupted by an arm in view in the bottom right hand corner, and we had no back up for this shot but was vital in our sequence. Also, the conversation was too quick and next time I would try and convince actors to leave slight pauses between each setence or mid sentence but still keeping the conversation flowing. A moment of our shot/reverse shot is too quick, flashing back and forth from each character too fast, and a slight pause would have prevented this. As well as this, the cutaway shot to the blog on computer screen is too still, and we could have filmed the whole conversation from this point of view in order to show the characters head turned towards the other character then back at the screen. This could have worked better in running with the rest of the sequence as well as producing another oppurtunity for a match on action. Other things that could be improved were the shaky camera movement and sound, but would be hard to improve with the equipment available to us. The conversation can be heard so it is just background fuzz that interupts the sequence (not a great deal). Other than that, framing, continuity and acting are fine and I believe our sequence both works well, is amusing and meets the brief.

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

The task gave me practise in actually going through the whole filming process in order to provide our sequence. In effect, producing this sequence (as being 30 seconds long) was like producing a quarter of an opening 2 minutes such as we will do for our projects. The processes I got practise in included using shooting in a different order to the storyboard using a shot script, providing actors with a script, using equipment such as mics to capture the sound and using the headphones on shoot ("sound, camera, action!"), using basic camera movements and learning to improvise to prevent a shaky camera or to shoot from an unusual angle, editing a sequence on Premier Pro following a storyboard and finally working in a group of 4 by taking everyones ideas into consideration and making group decisions. I learnt improvisational, technical and teamwork skills that will be helpful when shooting for my project, as well as basic organisation, knowledge and decision making that is vital to a filmmaker. Evaluating this preliminary coursework had also made me more aware of all the things I will have to take into account throughout the shooting process. I now understand how completely thorough, organised and professional you have to be on shoot, and this can be helped buy really organised and effective planning. I will have to make sure I have locations completely booked and certain people and equipment definately available for my use. I will have to use test shoots to my gain by doing thorough walk throughs as if I was actually on the real shot. Therefore, anything that does not work then I can fix for when it comes to the real thing. The most important thing is to be able to use your iniative and I believe I have learnt that and now have a greater understanding of what it will take to make my project sequence successful. There is so much to think about, but I have summed all this up in this evaluation, and can now use my experience of filming this basic continuity sequence throughout the rest of my project, and refer back to it to make sure I do not make the same mistakes whilst doing everything I got right the same. This task has been very beneficial to the rest of my foundation coursework.

Continuity Techniques

I am going to analyse short movie clips from Die Hard, Shaun of the Dead and Rush Hour respectively. In each I will explain how the director has used continuity techniques to distract the audience from the filming/editing process so they can enjoy the whole reality of the movie.

Die Hard (John McTiernan - 1988)

I am going to analyse the scene shown at the time period 5:13-6:11

We start at LS of the main subject (John McClane) walking through a crowded airport. The camera pans to the right as John walks past, before becoming a sideways track following John’s walk. The camera stops moving as a young woman pushes past a startled John. Here the shot cuts to an MCU from John’s front, matched on action with the last shot, as the action of the woman pushing past him is completed, as well as his head in mid-turn after the last shot, finishing its turn. The camera stops as we see the action behind John, of the woman jumping onto and hugging another man. John turns back round in disgust and begins walking forward, resulting in a reverse track (the camera still following John). John then sarcastically says “California” in remark to the action he just saw, before turning his head to the right (our left). Here the shot cuts back to the sideways track from before as a matched cut, with John being in the same position behind the same man as before. However we do not see his matched on action as the John is briefly out of view for a second at the beginning of the shot, blocked by a man walking past. John slows down as a train of trolleys is pushed past in front of him, towards the right of the camera. The camera tilts downwards and pans slightly to the right following this movement of trolleys, as John is momentarily out of shot. The camera zooms in slightly as the last of the trolleys is pushed out of view, revealing a board with ‘J McClane’ on it. Although this is part of the same shot, which started with John walking, this acts as an insert shot, revealing an important detail that the man holding this sign is to drive John to his destination (taxi). We cut back to MS of John from behind, matched on action to when we last saw him as he had stopped to let the trolleys past. He turns around his eyes directed down to the right – possible eye matching with the sign we have just seen. The camera reverse tracks again as John walks back slightly where he had walked forward and turns around to face the taxi driver. The camera stops moving as the shot becomes an MCU of John on the left talking to the driver on the right. This is the master shot of their conversation. We cut to an MCU almost face on to the taxi driver as he speaks, before cutting to an MCU of John’s reaction to the drivers words (a reaction shot as he nods sarcastically). This is a shot-reverse-shot effect cutting back and forward between the 2 speaking, and uses the 180 degree rule, as the taxi driver is more to the right of his shot, and John is more to the left of his shot, resulting in them not being in exactly the same face on position (the camera is always on the same side of the conversation but switching from person to person. The shot cuts back once more to the driver before returning to the master shot of the conversation again. Between these shots the characters eye lines maintain a matching position. The scene ends with the same shot-reverse shot technique, one shot of the driver and one of John as they speak respectively. We see their expressions and can tell the driver is nervous. John is wary of this and his face both pities and mocks the driver. Without much conversation, the relationship between the two characters is established, with the background noise and continuity of people walking past making the airport scene very real to the audience.

Shaun of the Dead (Edgar Wright -2004)

I am going to analyse the scene shown at the time period 3:26-4:11

We start at an insert shot focused on the legs and feet of the main character (Shaun) as the bus doors open and he steps off. This shot matches on action to the next shot, an MS of Shaun who has stepped off the bus. The previous shot ended with a slight swivel to our left of his feet, and this shot begins with the completed action of Shaun turning around to the bus driver, before stepping fully onto the bus and continuing his walk. He walks past the camera as it begins to sideways track him at an MCU. The film is full of lengthy shots following Shaun as he walks from place to place in one whole take – a technique the film uses to focus the film solely on Shaun and his repetitive, robotic life, as well as adding to the alternative style. This shot is one of them lengthy shots, and follows Shaun as he passes a chaotic street, where there has been a crash. We see all his reactions in this one shot at MCU, so there is no need for a reaction shot. We get so taken in by what is happening around Shaun, that we get a shock when he is stopped by another woman abruptly (whom we think is a zombie) The shot cuts to an OTS MS, over the woman’s shoulder so we see Shaun’s shocked emotion, before this turns into a laugh as he realises it is an old friend. We then begin cutting from over her right shoulder, to over Shaun’s left shoulder and back to over her right shoulder again, using shot-reverse-shot as well the 180 degree rule so each character does not appear to be in the same position. Therefore the audience is not confused by the sense of perspective. The shot cuts back and fourth several times, with continuity being kept throughout. This is best shown when we see an ambulance drive past from behind Shaun, whilst looking over the woman’s shoulder. When we cut to over Shaun’s shoulder, the action of the ambulance is completed as it drives past, starting in exactly the same position as it finished in the previous shot. Also, throughout this scene, the eye lines of the two characters are always matching. We then cut to a master shot of the conversation at MS, with the scene of the crash at their side continuing. Two men seen in the previous shot to Shaun’s right remain in the same position here making it a matched cut. Finally we cut back to over the woman’s shoulder, as we zoom in on Shaun (who has a thoughtful but startled expression on his face as he has just realised he has forgotten to book the meal for his girlfriend). The shot ends with an alternative swipe transition to the next scene. These swipes are used commonly in the film, adding to its alternative style and creating disorientation and confusion to the audience, as we begin to get a feeling of something sinister going on around Shaun throughout (i.e. the crash, the noise of sirens, people standing deadly still etc.).

Rush Hour (Brett Ratner - 1998)

I am going to analyse the scene shown at 5:13-7:10

We start at a LA VLS establishing shot of the scene (Chinatown in LA) as the two main characters (Detective Inspector Lee and James Carter) come from round a corner, walking in unison side by side. The camera pans to the right as they move around the corner. The camera then tilts up to show a traditional Chinese building and a man advertising free papers by spinning the paper in a windmill action, who the characters pass. We cut to a LA MS of the two characters in the same position in relation to each other (matched on action). Here James is pointing down at something on the ground, which Lee’s eyes follow, making this shot a motivated cut, as the audience want to see what both character are looking at. We cut to a slab of pavement signed by John Wayne, which is what the characters were looking at, making this shot and insert and cutaway shot with a minor but relevant detail (James is trying to show Lee some American culture). We then cut back to the same previous LA shot, making the previous a true insert shot. In this new shot, James leaves Lee’s side, turning and walking back where they had just walked from. Lee turns to see where James has gone. We then cut to an MLS of the man selling papers, with space to his left where the two characters had walked past. James comes walking back this way so our perspective of where the two characters had previously walked in relation to the paper man has not changed. James arcs around the man to talk to him so we are looking at MS almost over James’s right shoulder towards the man. Using the 180-degree rule this cuts to over the man’s left shoulder at the same angle and distance, as the conversation continues, in order to prevent a loss of continuity in perspective. Continuity continues through this brief interaction, with people queuing to get on a bus behind the two. This scene of people does not change as the camera cuts back and fourth. During this scene, the short-reverse-shot of the conversation changes to MCU to see their expressions of anger and frustration more clearly, with their matched eye line as the camera switches becoming more obvious. We become more involved in the conversation and less aware of what is happening around the characters (we momentarily forget about Lee). James looks around him briefly drawing your attention to this fact, making it a motivated shot, leading to the next shot where we cut to a LS of a crowd of people standing where Lee was before (beneath the tall Chinese building) but is no longer present. This is an insert/cutaway shot alerting the audience to this detail before cutting back the original master shot of the conversation between James and the paper man – this time James darting back into the crowd to find Lee. We cut to a MS from behind James as he runs towards the crowd of people, and looks around. Just as he swivels to his right the shot cuts to a side on view of James completing this swivel action (match on action) with the same people around him in the same positions (matched cut). James begins to walk towards the camera, which reverse tracks at MS, the camera almost parting the crowd (though it is James who is parting it with his movement, as people cut in front of the camera, reminding us that there is “no camera” and the scene is “real”). This is followed by another insert shot showing the view James is looking into, of a crowd with no Lee. We cut quickly back to James who begins to run forwards (we think he has seen something). The scene picks up pace due to quick-cut editing between shots. James moves forward to tap someone on the shoulder, making this shot another motivated cut, as we want to see if he has found Lee. We cut to an MCU over James’s left shoulder of a man who turns around but is not Lee (he is Chinese and looked like Lee from behind). Using the 180-degree rule we cut to over the Chinese man’s right shoulder rather than his left, before James looks around and moves off again at pace. We cut to a MLS of James from front view (temporarily blocked by a bus moving off) and the continuity is right as in the previous shot James turned to his left, where the road would have been in continuation from the perspective of the shots before. In this new shot, James looks to his left as if he has seen something (another motivated shot), and we cut to a MLS of Lee on the bus that just drove past (which was what James just looked at to his left) as he waves to tease James. We cut back to the MS of James as he starts to run after the bus, this time the camera following him in a sideways track and then we cut to a shot from behind James at LS as he begins running down the middle of the road towards the bus (still moving in the same direction it left off), matching the shot and action. We then cut to a HA of James jumping onto the back of the bus, from the top railing of the bus where Lee is sitting. In this shot, we can tell by the road lines the bus is turning right (towards our left) and this action is continued in the next shot with a VLS of the bus turning right around a corner with James on the back. Again this action of the bus turning right is matched in the next shot at LS of Lee sitting on the back of the top deck of the bus (the bus movement being continued by the view behind the bus showing the last movement of turn revealing a crossroads in which the bus just turned into. We then jump cut to MCU of Lee – his action has not changed, but we have been instantaneously brought closer to Lee and his expression of calm. We know James is close behind him and a gun is pointed at Lee’s head (this being James who has climbed to the top of the bus). This is why we were bought closer to see Lee’s reaction, making this effectively a reaction shot. Lee is shocked and annoyed at himself as he turns to face a triumphant James.