Evaluation of Preliminary Exercise

'I've Been Expecting You'

Group 1E

From L to R: Olivia, Narishma, Frank, James.

  I was in group 1E which contained Narishma, Frank, James and myself. We worked really well together and chose to equally split the pre-production, production and post-production tasks, which meant that we completed the preliminary exercise together. In Production, James and Frank became our actors, Narishma was the director and I took charge of Camera and Sound.

Pre-Production
We began the task by thinking about ideas that would fit the brief given to us:
To show 'A character opening a door, crossing a room, and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180 degree rule'.

We began by noting down what we would need in order to create a good film:


By discussing situations in which this event mentioned in the brief might occur, we came up with the 'I've been expecting you' storyline, and our notes gradually took form as a script, displayed below. In this script we deployed Todorov's Theory of Equilibrium, in the manner seen below:

EQUILIBRIUM BOY is unaware that BOY WITH BABY wants his attention.    
DISRUPTION BOY WITH BABY is upset with BOY. They share conversation.
NEW EQUILIBRIUM: BOY WITH BABY decides that he does not want to talk to BOY.            

The Completed Storyboard

Using the information from the script, we used notepads to create an initial storyboard for our short piece of film. We found this method very helpful because it allowed us to edit and re-order the shots quickly whenever needed. At this point, we started to add in details such as transitions and shot types. Because of this, we had to remember and enforce the 180 and 30 degree rules, because it would affect the angles we could shoot from. At this point, we went to look at our location, because it helped us know which side we should shoot the actors from, and where we should position the camera. As we were working in a small environment, this was vital as it would have been very difficult to shoot without planning our camera set-up.



A clearer look at our storyboards.
This is where we began noting down transitions and sound details, as well as framing specifications.



We also made a complete storyboard, some of which can be seen here

To aid us in planning the shoot, we compiled a shot list, which was much easier to do with the assistance of the storyboard, from which we could pick out each new frame with ease. At this point, we started focusing on continuity, especially as our sequence has its fair share of movement. We took down notes on anything that could break the continuity, such as using different hands to open doors, walking and spinning the chair at different speeds, and costume changes, to make sure that we were vigilant that these things would not happen during production.

As we had been set a strict one hour time limit in which to film any shots needed for the film, it was necessary that we had a shooting schedule so that we had an idea of the order in which we were going to shoot. This also helped us think about external factors that may have affected our production time, such as other groups needing to film in the same areas, and other pupils wandering around the school. Because of this, as you see below, we filmed the master shot before the rest of the conversation, and then moved outside to film the establishing shots. Although this meant that our continuity could possibly have been affected by moving back into the suite later, it meant that we didn't end up having other groups intruding on our sets. 

 

Production

We shot on location in and around the Media Block, using a video camera, which was put on a tripod in all shots apart from the crab shot, because the crab movement could not be easily achieved with the tripod we were using. A Shot-Gun microphone was attached to the camera, and a pair of headphones allowed the camera user to listen to the sound being recorded. We mainly used the shotgun setting to get rid of background noise, but Ambient 1, which is more sensitive, was used in our establishing shot as it was taken from outside the building. Along with our pre-production documents, we used a clapperboard to record the order of our scenes, so that in post production we could quickly capture the individual takes.

Post Production



The Adobe Premiere CS3 Computer Program.

 

We completed Post Production in the editing suite, using Adobe Premiere CS3 which is an advanced piece of editing software. After capturing our shots off the video-camera, we created a new timeline to order our shots in, and then used the razor tool to make seamless match-on-action sequences. We had a large selection of CUs, which allowed us to create a shot-reverse shot effect when cut together.







Reflections on the Task

At the end of the session, I think we came up with a fairly good continuity sequence. Our pre-production was good enough that we were able to film the shots in the allocated time period, and could edit them quickly and efficiently on the computer. During production, we found that the other groups caused a disturbance to us -  as noted above, we had to adjust our shooting order so that it did not reflected the shot order in the final sequence, which meant that we risked our continuity. Fortunately, any differences between the Master Shot and our other shots have not yet been picked up on. Another major issue for us was background noise. Even with the microphone on the shotgun setting, I could hear people in other rooms when they talked loudly. We continued shooting because we recognised that there was very little we could do as other groups needed to shoot too. Although I was worried because the background noise was easily picked up by the microphone, this became less of a problem on the computer because the speakers were not so sensitive to noise. However, the background noise does not run smoothly through the CUs. In production, we planned to take a long shot to pick up background noise, in order to layer it over our other shots, but time constraints meant that this was not a possibility. In future, we would try to wrap the main shooting up earlier in order to do this. What worked well in our shot was the use of match-on-action, which ran very subtly, especially in the first few shots where our character walked through two sets of doors. In addition to this, our video has received the highest amount of hits on YouTube out of all the preliminary tasks; though this is probably due to the originality of our script, we are more than happy to claim full responsibility for it!

The preliminary task has really helped me recognise the important of pre-production, as generally I am too willing to leap straight in with a video camera. In the Media Examination, this would be a very bad idea as we are given time and equipment constraints, and any actors we may wish to use need to be previously notified of our shooting dates. Storyboards in particular are very useful in implementing the 180 and 30 degree rules, alongside other continuity theories. I think that the location must be looked at before we can start planning shot types, as size restrictions could mean that some shots would be impossible to take in some environments. When shooting, it is vital that we have a clear set of instructions as to the movement and dialogue in the script, as this means we won't have to re-assemble or re-shape footage using adobe premiere cs3, to make the scene make sense again.

Applying Roland Barthes

CHICAGO

I am focusing on the opening sequence until the blackout after 'All That Jazz'



ENIGMA CODE
The main enigma code in the opening of Chicago is the identity of the two women who the camera follows during the evening. Velma, played by Catherine Zeta-Jones, is clearly a nightclub artist, but from the introductory shot of her running down the alleyway towards the club, followed by the action of her tearing the name 'Veronica' away from a poster with both their names on it, makes the audience initially question who Veronica is. When the club owner enquires where her sister is, this is partially explained, but the audience then watch Velma washing blood off her hands, which creates suspense as they begin to wonder why this is - and specifically whether she killed her sister. Details about Velma's evening before the performance are held back during much of the film, which creates a sense of enigma. Roxy is even more enigmatic - we can see that she is fasinated by the show, wishes to imitate Velma and is commiting adultery on her husband, but other than that the audience has no idea who she is. This is significant as her identity becomes a theme of the narrative.

ACTION CODE
Again, there are two main action codes in this clip, one for each woman. We see Roxy taking a man up to her room, who is neither her brother nor her husband. However, as they go upstairs they bump into a neighbour who is told that he is her brother, but as she has seen them kissing the audience knows that the neighbour is disbelieving of this story. The camera pauses for an extra beat on the cutaway of the woman's CU in which she looks suspicious, which lets the audience know that what the neighbor has seen will be important later in the narrative.

Velma's action code comes right at the end of the sequence, as she finishes 'All That Jazz'. A policeman enters the club and looks up at her, and we briefly see her smirk defiantly before she sings the last line. When this event is linked with the earlier events of Velma washing blood of her hands, the audience can tell that the policeman's appearance is going to have an influence on the narrative.


SEMIOTIC CODE
Arguably, it is the costumes that contain most important semiotic codes in Chicago. Velma struggles into a black sparkly dress in the opening sequence, and wears strong bold make-up, noticeably very red lipstick.This represents the flashy showgirl culture that she is a part of, which during the film is a key part of her character, as her ability to create a popular public persona is the main reason for the press interest in her at the beginning. The fact that she is dressed entirely in black suggests that she is dark and mysterious, which is interesting as we later find out she has just killed her sister and husband.

Roxy, on the other hand, is dressed much more innocently, in a pale neutral dress, and a fur coat. This gives her a bland look, which is central to her own character as one of her motivations during the film is to become flashy and seductive like Velma. At this point, Roxy has no murderous incentive and therefore appears a lot less dark. However, when she stares at Velma she holds her jewellery up to her mouth, indicating a desire to become more elegant.

CULTURAL CODE
The only text that appears outside of the films narrative is the title - CHICAGO. It is written in capitals with traditional show lighting, which represents the glitz and glamour of the film. It is also worth noting that the title is created so that it appears to come from behind Roxy's eye, like it was part of her thoughts. This symbolises Roxy's obsession with the performance scene in the city.

SYMBOLIC CODE
Symbolic code can be drawn from most things that appear on screen, but I find the use of proxemics very interesting in this clip. Velma is up on stage to perform, meaning that Roxy stands below her looking up, which represents the positions of power during the films opening between the two characters. The power play between Roxy and Velma is continued throughout the film, and often standing above another character, or sitting whilst another must stand, represents the competition between them.

New Intstructions for weekend
1.  Identify the key actions within the opening - what kinds of actions are included and how is the narrative moved forward?
2.  Identify the enigma codes within the opening - what kinds of questions are posed and how is the audience meant to read these codes?
3.  Identify key characters and think about what they represent in the opening
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.
5.  Identify key themes and analyse how they are presented visually/technically.

Continuity Sequences

Willy Wonka and the Chocolate Factory

"There is no life I know to compare with pure imagination. Living there, you'll be free if you truly wish to be"
Gene Wilder

Skip to 5:23 to see key sequence. Finishes at 6:38.


I looked at the sequence in Willy Wonka and the Chocolate Factory in which Willy Wonka walks down the red carpet from his factory to greet the children with golden tickets.

The sequence opens on a LS of a door in a wall which is closed. While the camera remains static, the door opens and Willy Wonka appears in the door frame. As he steps down some stairs, the camera pans down to keep him the central image of the long shot. It then cuts away to a shot of the cheering crowd, through this is taken from behind in order to keep the 180 degree rule. In the distance we can see Wonka walking down the carpet towards the camera. A matched cut moves the framing to a MCU, where Wonka stumbles closer to the camera, whilst the sound of the cheering crowd is bridged throughout the scene. Another cutaway is used, this time it is a CU on Charlie's face as he frowns- this is to show that he is worried about Wonka's condition. The noise from the crowd is still heard, but it is quietening in anticipation. We are then shown another LS of Wonka, still abiding by the 180 rule, but to improve the match on action he is now closer to the camera. The sound of footsteps becomes overlayed across the shots as he moves closer to the camera.

Two cutaways are then used to show the crowd reaction. first a wide shot of the crowd, followed by a MS of Charlie, Verruca and their respective guardians. This lets the audience become aware of the central characters. We then move to a new camera angle as wonka approaches the crowd - a profile LS of him walking, which pans into a WS of his back and the faces of the crowd - however because it is all filmed on the same side of the carpet, this technically doesn't break the 180 rule.  Another match-on-action cut is used as we switch to his front, and he removes his hat whilst walking at the same pace. A CU of several children makes the audience feel like they are nearer to Wonka, and we cut to a LS of Wonka facing the camera, where he walks forward, leans over and does a roly-polly, ending up on his feet, larger in the frame.We cut back to Charlie's CU where we see him smiling, which lets us know that he is happy again.

PRINCIPLES OF CONTINUITY

"They say the camera never lies. It lies every day." Cesar Romero

PRE-PRODUCTION

STORYBOARDING

Storyboarding is vital when trying to make a sequence look seamless. Often, problems can be identified and rectified before picking up a camera, because the visual images help the crew see what shots don't look right when pasted together.  

SCRIPT
If there's any action or dialogue in the scene, a script is needed in order to recreate, to perfection, any events, as the director will want to shoot the scene several times over. This allows some aspects of one take to be comfortably merged with aspects of another take.

PRODUCTION SCHEDULE
The production schedule needs to be one of the final stages of pre-production. A production schedule means that for example scenes shot in the same location, or featuring actors in the same costume, can be shot consequetivly, even if the scenes to not follow eachother in the storyboard. This saves time and money, and also prevents natural influences from disrupting continuity, such as unwanted bad weather.

PRODUCTION

CAMERA TECHNIQUES

180 degree rule: If the camera crosses the line of vision between two characters, the viewer will find it hard to keep track of the positioning in the scene, which will distract them from the plot.
30 degree rule: If the framing stays the same, the angle of the camera pust either stay the same or jump by more than 30 degrees, or it will appear as if the camera has jolted, which looks unprofessional.
Matched cuts: Action should never be repeated in the final cut, or it will be obvious that it has been filmed twice.
Reaction Shots and Cutaways: These help the viewer identify what is important in the scene, and if really nessessary, can help divert from mistakes in other shots. In our project, for example, time constraints could mean that some problems could take up too much time to be rectified.

SHOT DURATION
Each shot should be longer than nessessary - filming blank background before and after the scene means that editing can be much tighter. In the 'accident' project, we were not allowed any post-production time so had to second-guess the timings between each scene, which proved incredably difficult. If you have access to an editing programme, make sure your shots are as easy to work with as possible!

POST-PRODUCTION

• EDITING FOOTAGE
  The previously discussed storyboard, in addition to a shot list, is very helpful in helping the editor line the shots up into the correct order on an editing programme. At this point, blank space can be deleted to increase the pace of the film, and any sequences set to specific music will have the sound put in. Hopefully, the editor will have time to look at rushes before starting his or her job, in which case any major problems can be reported back to the director and producer. Cuts will be used to link shots together so the audience can become emotionally involved with the narrative, while a fade could be used to signify the passing of time