I liked the the opening sequence of the Dexter the TV series this made me think about using ideas outside the box. Looking closer at the opening sequence I realised that it had elemnts of film Noir in it.
So I looked at other film Noir movies and decided I would quite like to work with the idea but mix it with other genres such as indie and maybe action.
The opening sequence of Dexter also had Barts enigma code in it throwing up questions for the audience about Dexters character intriguing them and making you question what you think you know about him.
This also re- contextualises the way in which the audience look at the everyday things such as his morning routine at the start.
I would like to do something with the same creative twist attracting a more unique audience perhaps (B C1) INDIVIDUALISTS people who are slightly higher demographic. people who aren't afraid to stand up or who are slightly different.I would like to aim it at quite a large age group perhaps 16-30 I would also like it to be aimed at both genders (suitable for both men and women.)
I would like to include aspects of film Noir as well as some more subtle enigma codes.
I want to look in to some of the key conventions of film Noir so I can get a better understanding of how to construct a good opening sequence using narrative and possibly some aspects of narration (In Search Of A Midnight Kiss).
Thursday, 16 December 2010
key conventions of film noir
Key conventions of film noir
Film noir was influenced by the great depression surrounding world war 2, when many British people escaped to America to escape Hitler and the Nazi’s.
One of the key conventions of film noir is the often dark and pessimistic mood (the fact that these films were made during the great depression explains why this may have been). This often gives a sense of moral corruption and paranoia. There is often a hero (antihero) or corrupt character and villains such as bent cops, gangsters and government agents.
They were usually based on people such as war veterans, petty criminals or murderers. These protagonists are often morally ambiguous low- lives from the underworld of crime and corruption struggling to survive and often ultimately losing.
The females in film noir are either of two types: dutiful, loyal, trust worthy and loving women or femme fatals , mysterious, double-crossing, unloving, predatory, manipulative and desperate women. Usually the male protagonist in film noir often wishes to avoid their mysterious past and has to chose what path to take (or has the path chosen for him) the choice would often be an overly ambitious one. It would often be to follow the goading of a traitorous femme fatale who destructively would lead the struggling hero in to committing murder or some other crime of passion.
Film noir films are often shot in gloomy blacks, greys and whites. This helped show the dark and inhumane side of human nature. Lighting is also used to portray different characters and their nature. For example, hero, villain, good , bad.
Film noir was marked by expressionistic lighting deep focus camera work, disorientation, visual schemes jarring editing, or juxtaposition of elements and skewed camera angles. The use of different lenses is also favoured in film noir experimenting with both high and low angle shots. The use of silhouettes is also popular in film noir, this follows Barts enigma code because it creates questions within the audience making them curious as to who the character is and why they are not allowed to see them. Circling cigarette smoke is another typical key convention of film noir. Settings were often interior with low key lighting. Whether would also reflect the general mood as well. This is known as pathetic fallacy. Examples of this would be rain or fog. Moving the camera from object to object creates a tense atmosphere. Accentuating the eyes with lighting was used to portray the emotional and mental state of the character as well as illustrating emotion.
Shadows are also used for dramatic effect a great deal of the time and it is said that shadow is a film noir creators best fiend.
Yet another key convention of film noir is the frequently complex narrative typically told with foreboding background music.
From Script To Screen: Dexter opening
How does the credit sequence from Dexter work?
Where did the creative ideas come from?
The Creative director , ‘Eric Anderson’ ,saw the letter forms in DEXTER look almost identical right side up as well as upside down. Crime scene photography also played a key role in the context of the creative ideas as it showed the mundane or normal everyday things to be sinister, recontextualising how the audience view the ordinary or everyday things such as the morning routine.
Eric Anderson wanted to examine the way an audience looked at everyday things:
"Everything, no matter how mundane or beautiful, has an undercurrent of violence to it. It is just a matter of how closely you look. We are conditioned to see a blossoming flower as beautiful. But if you look closely, if you look differently you will see it more like an explosion. Here we see a mundane morning routine illustrated in extreme close-ups showing the underlying tension found in everyday situations making violence a part of everything"
Eric Anderson wanted to examine the way an audience looked at everyday things:
"Everything, no matter how mundane or beautiful, has an undercurrent of violence to it. It is just a matter of how closely you look. We are conditioned to see a blossoming flower as beautiful. But if you look closely, if you look differently you will see it more like an explosion. Here we see a mundane morning routine illustrated in extreme close-ups showing the underlying tension found in everyday situations making violence a part of everything"
The window where Martin Luther King was shot from
How did they fit in with the concept of the character of Dexter?
This fits with the concept of the character Dexter as on the whole it looks normal, but really there is something slightly wrong, such as the letter forms, the ‘T’ and the ‘R’ which are upside down. Much like his character, on the outside or to soceity he seems normal/acts normal when really he is a serial killer. The use of jump cuts also emphasise the sense that there is something wrong with him as the jump cuts make his routine seem even more sinister. This raises questions and sets an 'enigma code' in which the audience are intrigued to find out more.
How did the actual sequence communicate this meaning about Dexter?
The mise-en-scene of ordinary things that can be seen as violent enhanced the audiences understanding that although things may look normal, they have a darker meaning. The morning routine certainly shows this as the simple act of making breakfast becomes disturbing by the use of close-ups on the food and the knives that are used in preparation of it. The Orange especially does this as it looks like a normal orange, but however when it is cut into it is red inside which connotes that ‘Dexter’ will be far from ordinary and subtly gives indications into of the unusualness of his character.
The mise-en-scene of ordinary things that can be seen as violent enhanced the audiences understanding that although things may look normal, they have a darker meaning. The morning routine certainly shows this as the simple act of making breakfast becomes disturbing by the use of close-ups on the food and the knives that are used in preparation of it. The Orange especially does this as it looks like a normal orange, but however when it is cut into it is red inside which connotes that ‘Dexter’ will be far from ordinary and subtly gives indications into of the unusualness of his character.
Cutting meat or fish seems like an ordinary task but if you think about it, it seems almost violent and disturbing. |
How did the use of noir lighting and shallow depth of field add to the atmosphere of the piece?
The shallow depth of field helps to add atmosphere as if you normally look at things you are conditioned to see them as beautiful, where as if you look closely, shown by the extreme macro close up shots of his routine such as his face, you think it is almost grotesque and out of the ordinary as it is a different way to look at things. The creative director was aiming for what he called ‘unpolished grittiness’.
Noir films portrayed a more dark side about urban life filled with crime, mystery and often a horror feel. In ‘Dexter’ noir lighting was used to enhance the feel that underneath the character surface, that there is something dark about him.
One of the key aspectss of film noir is the lighting which gives a crisp and precise image and figures outlines in the darkness. Shadow was extremely important to create a certain mood, like in the opening sequence of ‘Dexter’.
How did the choice of music anchor the meaning of Dexter, why was it chosen over the Xploding Plastix track?
The shallow depth of field helps to add atmosphere as if you normally look at things you are conditioned to see them as beautiful, where as if you look closely, shown by the extreme macro close up shots of his routine such as his face, you think it is almost grotesque and out of the ordinary as it is a different way to look at things. The creative director was aiming for what he called ‘unpolished grittiness’.
Noir films portrayed a more dark side about urban life filled with crime, mystery and often a horror feel. In ‘Dexter’ noir lighting was used to enhance the feel that underneath the character surface, that there is something dark about him.
One of the key aspectss of film noir is the lighting which gives a crisp and precise image and figures outlines in the darkness. Shadow was extremely important to create a certain mood, like in the opening sequence of ‘Dexter’.
How did the choice of music anchor the meaning of Dexter, why was it chosen over the Xploding Plastix track?
The undercurrent violence that Anderson wanted was mean to represent Dexter, whilst the Xploding Plastix track wasn’t like by the creators of the show as it seemed to violent and didn’t fit Andersons concept. The second track however gave the audience a playful view of the character Dexter as well allowing them to imagine how normal things can be perceived as violent or humorous. The first track didn’t work as it came over as too strong and violent and not the concept that everything mundane can be seen as sinister if you look at it closely |
Wednesday, 15 December 2010
Juno opening:
Film Openings: Juno
Take Juno’s opening: it immediately tells us this is going to be a sweet, funny-sad film with an indie spirit. And, of course, it is.
Pick 5 denotations from the title sequence (you might include the music, different parts of the mise-en-scene, the titles themselves, the animation effect ...) and explain what is being connoted about the film and about Juno’s character. Provide an image for each point you make.
1
The font used for the titles shows the indie style of the film. The scribbled titles show that the film is going to be light hearted and good fun and a bit quirky. The writing also connotes childishness, so the audience can guess that growing up might be a theme in the movie.
2
The acoustic music also gives an indie feel to the movie; it also gives it an upbeat feel, so the audience can tell it is going to be quite a happy film with some elements of comedy.
3.
The hand drawn style shows that Juno is a quirky character. The audience can tell that Juno is going to be an interesting character because she is all in colour but everything else is quite bland and plain, this shows that Juno’s life is quite simple; it’s all bland colours, whereas she is bright and colourful and lives in a world of her own.
4
The bottle of Sunny D also connotes childishness; it shows that Juno is unconventional and individual, just because she is supposed to be more grown up doesn’t mean she will act grown up; because the Sunny D bottle has also got lots of colour it shows that the childish side of her is very important in the film.
5
This shot shows that Juno is a world of her own and is completely removed from the rest of life, the fact that she is walking one way and the runners are going the other way shows that she doesn’t fit into the norm, that she is different from the rest of the people her age and does her own thing her own way. Also because she doesn’t acknowledge the runner it shows that she doesn’t really pay attention to the boring, average things around her.
Film Openings: Juno
Take Juno’s opening: it’s a lo-fi animation sequence in which the teen of the title strolls pensively through her neighbourhood, chug-a-lugging a jug of SunnyD in preparation for a pregnancy test. With cut-out Xerox images of Ellen Page, hand-drawn typography and a whimsical tune by kids’ balladeer Barry Louis Polisar on the soundtrack, it immediately tells us this is going to be a sweet, funny-sad film with an indie spirit. And, of course, it is.
In order to analyse the opening sequence of Juno (Jason Reitman, 2008) I will look at the different micro elements and try and establish how they are used to set up character, narrative and genre.
The music chosen for the opening sequences is by anti folk artist Kimya Dawson. It is evocative of Bob Dylan and helps to establish the low key feel of a US independent film - on which the film was successfully marketed. The lyrics tumble along in the style of a quirky, downbeat love song listing partnerships like ‘if I’d be a tree you would be my leaves’, this helps set up the character of Juno as both innocent and pensive, alluding to the search for romance and the coming of age story that follows.
The music chosen for the opening sequences is by anti folk artist Kimya Dawson. It is evocative of Bob Dylan and helps to establish the low key feel of a US independent film - on which the film was successfully marketed. The lyrics tumble along in the style of a quirky, downbeat love song listing partnerships like ‘if I’d be a tree you would be my leaves’, this helps set up the character of Juno as both innocent and pensive, alluding to the search for romance and the coming of age story that follows.
However, I feel that it is the mise en scene that plays the most important part in establishing the tone and genre, as well as the lead character in the film. Juno is depicted walking through suburban USA, shiplap houses and mail boxes set up her small world in which the local shops - the guitars shack, beauty parlour and drug store - are the dominant features and from which the park represents a temporary break for reflection. The leaves falling from the trees show time passing and establish the time of year – this will become important when Juno gets pregnant. She passes an acoustic guitar and a retro TV that reinforce the teenager’s interests.
Juno’s costume acts as a kind of timeless unisex teen uniform; blue jeans, sweat top and canvass shoes. It indicates to us that she is perhaps a bit of a tomboy but neither extraordinary or pretentious. The sunny delight carton she is drinking reasserts the bland diet of the mid American teen. The college team that jogs past at the start and end of the sequence further set us in the teen world and act as a contrast to Juno’s lonesome figure.
The animation technique of rotoscoping (tracing over live action filming) suits the US independent style by alluding to independent comic books like American Splendour. This technique allows the director to simplify and mute the colours, making it graphically pleasing as well as mundane. The unfinished drawings also build on a concept of an almost incomplete environment.
Juno’s costume acts as a kind of timeless unisex teen uniform; blue jeans, sweat top and canvass shoes. It indicates to us that she is perhaps a bit of a tomboy but neither extraordinary or pretentious. The sunny delight carton she is drinking reasserts the bland diet of the mid American teen. The college team that jogs past at the start and end of the sequence further set us in the teen world and act as a contrast to Juno’s lonesome figure.
The animation technique of rotoscoping (tracing over live action filming) suits the US independent style by alluding to independent comic books like American Splendour. This technique allows the director to simplify and mute the colours, making it graphically pleasing as well as mundane. The unfinished drawings also build on a concept of an almost incomplete environment.
Some interesting slide and push edits also allude to comic books. Juno s character is sometimes on the screen in two different shots and this along with her constant presence and dominant framing establish the centrality of her character within the film. Some of the more adventurous camera angles, for example the overhead shot, are pleasing to the eye.
Of course the key function of a title sequence is as a vehicle for the main credits. In Juno these are brought in as neatly hand drawn three dimensional block letters, continuing the comic theme and not unlike a teenager’s graphics project or doodling. An effect has been used that keeps the titles wobbling slightly in an organic way.The titles are framed thoughtfully to balance with the framing of the subject and many are brought onto screen from behind bits of the set or are integrated into the scene. An example is a title that appears painted on the fence by using perspective. Juno also walks in front of a number of the titles. These techniques are satisfying for the viewer and help integrate the title sequence into the film.
Of course the key function of a title sequence is as a vehicle for the main credits. In Juno these are brought in as neatly hand drawn three dimensional block letters, continuing the comic theme and not unlike a teenager’s graphics project or doodling. An effect has been used that keeps the titles wobbling slightly in an organic way.The titles are framed thoughtfully to balance with the framing of the subject and many are brought onto screen from behind bits of the set or are integrated into the scene. An example is a title that appears painted on the fence by using perspective. Juno also walks in front of a number of the titles. These techniques are satisfying for the viewer and help integrate the title sequence into the film.
Key conventions
Key conventions
One of the main points of an opening sequence is to introduce the main cast and crew. 
The title sequence should also indicate how the narrative might work out.
Opening sequences often use an enigma code to throw up questions for the audience or use a disruption that the audience will want to see solved. As seen in Brick . 
An opening sequence should also introduce key characters and tell the audience a bit about them. For example, like Dave from kick Ass, who throughout the exposition is seen to have a lack of female attention. This lack of female attention could also be seen as a disruption because it is for this reason that his life is uneventful and also the reason he want to become a super hero. 
An opening sequence should also show an example of binary opposites. For example, in shifty when we see our hero 
he is always in a close up shot, he also gets much more screen time than the guy we see unwrapping the heroin 
whose face we do not see and who also has a lot less screen time.
he is always in a close up shot, he also gets much more screen time than the guy we see unwrapping the heroin whose face we do not see and who also has a lot less screen time. Lastly an opening sequence should also give the audience an idea of what genre the text is. For example after the opening scene of Kick Ass we are aware that it is a teen comedy. 
Moods or tones are also introduced to the audience in the opening credits. For example in “In Search Of A Midnight Kiss” the tone is bitter sweet. This is shown through the narration by the main character over the opening credits. He slowly builds up a picture for the audience, introducing the tone of the text. 
The opening sequence to a film should also introduce the key theme or themes of the text. For example in “Shifty” the main theme is drugs.
The time and place should also be established in the opening sequence. As seen in “Kick Ass” where we are shown that large sky scrapers and the American dress along with the American accent of Dave (who’s narrating the opening credits.) this tells the audience that it is an average day, in New York.
Monday, 6 December 2010
first thoughts:
I liked the opening sequence of the Dexter the TV series this made me think about using ideas outside the box. Looking closer at the opening sequence I realised that it had elements of film Noir in it. So I looked at other film Noir and decided I would quite like to work with the idea but mix it with other genres such as indie and maybe action.
The opening sequence of Dexter also had Barthes’ enigma code in it throwing up questions for the audience about Dexter’s character intriguing them and making you question what you think you know about him. This also re- contextualises the way in which the audience look at the everyday things such as his morning routine at the start.
I would like to do something with the same creative twist attracting a more unique audience perhaps (B C1) INDIVIDUALISTS people who are slightly higher demographic, people who aren't afraid to stand up or who are slightly different.
I would like to include aspects of film Noir as well as some more subtle enigma codes.
I want to look in to some of the key conventions of film Noir so I can get a better understanding of how to construct a good opening sequence using narrative and possibly some aspects of narration (In Search Of A Midnight Kiss).
Tuesday, 30 November 2010
updates
I have been finding it difficult posting things on to my blog due to technical issues with my laptop.
It has also been diffcult because of the absence of one of our group members not being present for many of the lessons and not putting thier ideas forward. This lack of work on thier part is putting a lot of strain on the work load me and my other member of the group are having to do making it quite stressful.
I am worrying about meeting deadlines because of my technical issues but i will hopefully get this sorted before its to late.
It has also been diffcult because of the absence of one of our group members not being present for many of the lessons and not putting thier ideas forward. This lack of work on thier part is putting a lot of strain on the work load me and my other member of the group are having to do making it quite stressful.
I am worrying about meeting deadlines because of my technical issues but i will hopefully get this sorted before its to late.
Thursday, 18 November 2010
main task
Our task is to create the titles and opening of a new fiction film lasting a maximum of two minuets.
we need to complete this project via the following dates:
Research Deadline: 26/11/10
Photo-storyboard Deadline: 3/12/10
Filming Deadline: 07/01/11
Production Deadline: 28/01/11
Evaluation Deadline: 11/02/11
we need to complete this project via the following dates:
Research Deadline: 26/11/10
Photo-storyboard Deadline: 3/12/10
Filming Deadline: 07/01/11
Production Deadline: 28/01/11
Evaluation Deadline: 11/02/11
Tuesday, 16 November 2010
Wednesday, 3 November 2010
Evaluation
Looking back on the task i believe i have learnt a lot about continuity, For example, I have learnt that its not just about filming you relay have to think about how you are going to shoot it so it looks continuous and flow well to the viewer. I have also learnt that you have to take in to consideration what other shots you put in around your match in actions shot to ensure that they all make sense in relation to each other. I also believe that i have learnt a lot about the different rules you have to remember to ensure that your piece is continuous. For example, I am now aware that you must include the 180 degree rule , a match in action shot and the 30 degree rule , you must take in to consideration the character eye line and your basic establishment shots.
I believe that we could have been more organised when it came to preparing to script and our story board as it was all very last minuet. We had both said that we would look at doing a script the day before so we would look at doing a script the day before so we would have some idea of what we were going to say the next day. However neither of us got round to it and we ended up having to write a script at the beginning which did take up filming time. we also lost the story board we had created the day before so had to take time out to re draw it so we could follow our original plan. this task has taught me that organisation is key to making a successful piece.
I think that the task has defiantly shown me how to use certain pieces of equipment that i otherwise wouldn't know how to operate such as the camera and tripod. Although i was not the camera operator I did look before hand at how it was used if eve i did need to use it.
I have also learnt how to use the editing equipment even though i may only be the basics because my sight kept me from the more complicated areas. I fell this is very beneficial because i can now explain how I would edit certain pieces and could describe the editing process quited easily.
In general I think that this taks has taught me an awful lot and made me much more comfortable around the equipment I will be sing later on in the course and has given me a firm foundation of knowledge to build on.
I believe that we could have been more organised when it came to preparing to script and our story board as it was all very last minuet. We had both said that we would look at doing a script the day before so we would look at doing a script the day before so we would have some idea of what we were going to say the next day. However neither of us got round to it and we ended up having to write a script at the beginning which did take up filming time. we also lost the story board we had created the day before so had to take time out to re draw it so we could follow our original plan. this task has taught me that organisation is key to making a successful piece.
I think that the task has defiantly shown me how to use certain pieces of equipment that i otherwise wouldn't know how to operate such as the camera and tripod. Although i was not the camera operator I did look before hand at how it was used if eve i did need to use it.
I have also learnt how to use the editing equipment even though i may only be the basics because my sight kept me from the more complicated areas. I fell this is very beneficial because i can now explain how I would edit certain pieces and could describe the editing process quited easily.
In general I think that this taks has taught me an awful lot and made me much more comfortable around the equipment I will be sing later on in the course and has given me a firm foundation of knowledge to build on.
Monday, 1 November 2010
Post Production:
I found the editing process quite difficult as i found if very hard to see the menus and writing on the screen, making it almost impossible for me to use. however, my partner did help me but i found myself not being able to participate fully in the editing process because i couldn't see enough to help. although the one day my partner wasn't in i had to try using it on my own, so i saved it under a different name so i wouldn't ruin the one we had already finished, so i did get some idea of how to use the program.
this is mine and Gina's finished preliminary task:
this is mine and Gina's finished preliminary task:
production
filming did take longer than expected because of the different locations we had chosen to film in. For example, the care park, this was a problem because we had to get permission first before we were able to film there because it is quite a hight risk area to filming in. this meant that we had to run over slightly trying to film the last shot. Although we were pleased we managed to fit it in, it was quite rushed so could have been a lot better.We were also slightly held up trying to extend the tripod legs on the camera to create the right angle but managed to work it in time. we had an issue with trying to film the last shot because or camera had run out of battery so we had to wait while we charged it enough to use it. i feel we could have taken more care when filming our match in action shots so that they flowed better and gave a better sense of continuity. however we did manage to compete the filming in the allotted time and were ready for editing the next lesson. i do feel as if it could have been better but believe that we can learn fro our mistakes to ensure that our coursework piece is completed to the best of our abilities.
pre-production tasks
Before filming we had to construct a story board to plan what we were going to do and how we were going to do it. We had to do this so that we had structure to our piece and so we could rmember what we wanted to do and how we wanted to do it.
We then had to make our own scripts and decide who was going to play which character. We deicided on the scrip first and then decided who was going to film it and who was going to play the different characters.Although the script didn't take long to make it could have been more organised. We had originally decided that we would both write a script the day before then use ideas from both to save time. However, neither of us managed to do this so it had to be done at the beginning of the lesson which did take up filming time.We also lost our original story board so had to construct it again at the beginning of the lesson which also took up time. As we were only a group of two we had to ask for help from people which didn't prove to difficult. We also had to scout around for the locations we wanted to use. This was mainly straight forward however one of the locations we wanted to use was the car park.This caused a minor issue because we had to get permission before we could film there because it is a place of quite high risk. however, we managed to get permission and other than this there were no other issues.
We then had to make our own scripts and decide who was going to play which character. We deicided on the scrip first and then decided who was going to film it and who was going to play the different characters.Although the script didn't take long to make it could have been more organised. We had originally decided that we would both write a script the day before then use ideas from both to save time. However, neither of us managed to do this so it had to be done at the beginning of the lesson which did take up filming time.We also lost our original story board so had to construct it again at the beginning of the lesson which also took up time. As we were only a group of two we had to ask for help from people which didn't prove to difficult. We also had to scout around for the locations we wanted to use. This was mainly straight forward however one of the locations we wanted to use was the car park.This caused a minor issue because we had to get permission before we could film there because it is a place of quite high risk. however, we managed to get permission and other than this there were no other issues.
Wednesday, 13 October 2010
Continuity Editing
continuity editing is the main style of editing used by most professional editors. The aim of continuity editing is to make the editors work invisble to the viewers, to make them forget that they are watching a film or TV show so they can becaome more fully involved in what they are seeing. This should then make the experience more enjoyable because it makes the text seem much more realistic, either by heightening the emotional empathey with a character.
The viewer should not notice any cuts and all the shots should flow natrually and should there for be continuous, hence the name "continuity editing"
Continuity editing is unobtrusive and dose not get in the way of the story or plot line. The aim is to take the viewers mind away from their disbeliefs and get carried away in the story. The narrative has to appear logical, coherent and continuous
One of the key editing rules to achieve this is the 180 degree rule.
When two characters are being filmed facing eachother they must never apear in the same half of the frame. Each time a cut is made the characers must remain in the same frame or the continuity is broken. This will then make the viewers aware of the editing within the text.
Another technique used is a match in action cut. this is when two pieces of the same even are filmed or framed differently and are then edited together so it appears continuous.
There is also the 30 degree rule. When cahnging the camera angle to film the same event or object you must cut by atleast 30 degrees or you will get a jump cut, which will disrupt the continuity and make the viewers aware of the editing.
One other rule is to be aware of the eye line match between the interacting character. The footage must be matched to the characters eye line to keep the continuity.
Last but not least you need the basic shot types to establish the auidiences understanding of the scene and the emotional state that the characters are in.
The viewer should not notice any cuts and all the shots should flow natrually and should there for be continuous, hence the name "continuity editing"
Continuity editing is unobtrusive and dose not get in the way of the story or plot line. The aim is to take the viewers mind away from their disbeliefs and get carried away in the story. The narrative has to appear logical, coherent and continuous
One of the key editing rules to achieve this is the 180 degree rule.
When two characters are being filmed facing eachother they must never apear in the same half of the frame. Each time a cut is made the characers must remain in the same frame or the continuity is broken. This will then make the viewers aware of the editing within the text.
Another technique used is a match in action cut. this is when two pieces of the same even are filmed or framed differently and are then edited together so it appears continuous.
There is also the 30 degree rule. When cahnging the camera angle to film the same event or object you must cut by atleast 30 degrees or you will get a jump cut, which will disrupt the continuity and make the viewers aware of the editing.
One other rule is to be aware of the eye line match between the interacting character. The footage must be matched to the characters eye line to keep the continuity.
Last but not least you need the basic shot types to establish the auidiences understanding of the scene and the emotional state that the characters are in.
Monday, 27 September 2010
Preliminary Task - Video Task
Continuity task involving a Character entering a room, crossing the room sitting opposite another character and engaging in a few lines of dialogue.
This should involve a shot/reverse shot and the 180 degree rule demonstrating match on action.
It will also include a cut away and cut in.
This should involve a shot/reverse shot and the 180 degree rule demonstrating match on action.
It will also include a cut away and cut in.
Welcome
welcome to my blog :)
this is where i'm going to update you about all the information on my preliminary and main task
this is where i'm going to update you about all the information on my preliminary and main task
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