Preliminary excercise

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

In my group was Michael Cassidy, Alex Thoupos and myself. We were all very professional in the way we handled the various tasks required considering we only had 3 people in our group. Michael started as the director and camera man while Alex and I acted as the bully and his friend. Alex then had to switch with Michael as he became the new actor. Although the main camera man was normally Alex we all got up from time to time to check framing and constantly gave different suggestions to keep the flow of filming going, which was very important due to the short time span we were given to film.

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

To plan our sequence we first decided to draw up a basic script. This script gave a general outline of the dialogue and action of the scene which allowed us to consider which direction we wanted to take with regard to the shooting.

The Bully Script

After that we decided to make a basic storyboard, just with stick figure drawings, which also gave a sense of what we wanted on screen. We also managed to sort out a few problems with framing before we even started filming which was very helpful. As for techniques, we were required to primarily consider continuity. This meant using the 180 degree rule and 30 degree rule as well as match on action and shot reverse shots. While writing it we considered Levi-Strauss' theory of creating narrative through binary opposites like good verses evil. The opposites we had were:
-Big vs. Small
-Friends vs. Friendless
-Tall/confident vs. hunched and scared
-Loud vs. Quiet

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

As seen in the picture (left) we used a standard cannon HDV video camera with an additional microphone attachment and a basic tripod for steadier shots. The mic had 3 settings, each successive one allowing for more and more of the surrounding noise to be heard. We only used the shotgun setting and the ambient 1 setting, which allowed a high level of focus on the noise. We also used a set of headphones plugged directly into the camera (also seen left) and this allowed the camera man to hear exactly what the camera heard and therefore prevent any mistakes in the sound. The final piece of kit was a clapper board used for simplicity when it came to the editing process; when we saw what was written on the clapper board at the start of a shot we instantly knew what we were looking at.

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

- Time:
We were given an hour to plan, an hour to shoot and another hour to edit. This meant getting our heads down and keeping work flow at a constant. During the planning we made sure we were clear on all shot ideas so that we could shoot them with relative ease when the time came. We also had to make sure it wasn't too complicated in order to get it done in time.

- Number of people:
Unfortunately our group only had 3 people. This meant that we could only have 2 people acting at a time and make sure the transition between different camera men was both smooth during the shooting and didn't show up during the edit. Our idea was easy enough to do with 3 people and we all pitched in during shooting; directing and giving ideas, which really helped keep the project moving

- Continuity:
This was perhaps the most important factor as it was the point of the task. When shooting, we had to make sure that everything in the scene remained unchanged which was achieved simply by keeping the room free and setting up in advance. We had to keep the lighting the same so we used the non natural lights present in the room. We had to follow continuity rules, such as the 180 degree line rule, the 30 degree rule, and the shot reverse shot technique. We also included a technique called eyeline matching which kept the actors at a level with the audience.

- Location:
We were only able to shoot in school, and so we were limited to where we could actually go. Many rooms were in use at the time of our shooting and so we used the most sensible room (the room our lesson was in).

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

The success of our sequence was quite high. The match on action shots were very effective, especially on the grabbing of the door handle and chair. The 180 rule was adhered to and the continuity of the sequence was spot on (which was the point of this exercise)

The last few shots were highly effective in portraying the desired emotion of fear and the speed of the action.

There were however a few problems with the sequence. The arc of the camera was slightly wobbly and the framing off as the bully walked over to sit down by the nerd. This was probably due to the tripod being left on too stiff controls. One major issue is the use of the POV shot when the bully stands. This POV shot is supposed to be from the view of the nerd, however just before that shot the nerd is looking another way so the shot doesn't make sense. In hindsight I would have liked to start that shot with a pan across to the bully to represent the nerds head turning.

I think the sequence on the whole was very successful in portraying what we wanted and what I've learnt will be useful in later projects.

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?

Looking back I think more detailed storyboarding and a wider variety of shots will allow the editing process to be much smoother. Also the time limit was a big constraint so in future projects I will make sure I have plenty of extra time on my hands.

Applying Barthe's Theory

Enigma code:
Will Kyle Gass and JB end up together in a band? Is he the man prophesied to be JB's counterpart? Why was Kyle so cold to JB? How will JB live in Hollywood with no friends, family or steady income to speak of?

Action code:
What will young JB's  foolish action of jocking out in front of his father bring about? The pick is shown to be of some importance when it is highlighted by an extreme close up after being flicked at JB, leaving us wondering as to it's significance.

Semiotic code:

An example of a semiotic code in this sequence is when we see the Hollywood sign as JB steps off the bus as well as the beach and many street performers, giving us a clear sense of where we are.

Applying Levi-Strauss' Theory of Binary Opposites

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

The genre is crime/action. This can be seen by one man being involved with betting on cock fights and then running from an MI5 operative. The action is seen in the various explosions and crazy heart stopping stunts.

Who are the main characters and how are they opposed?

James bond. The protagonist. We see him doing the same running and stunts as the chased antagonist, however bond runs while trying to keep passers by reasonably safe, while the antagonist can be seen constantly pushing people and getting in the way of others. James bond is also made up to be slightly more comical than the other man to make him seem more close to the audience.

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

Action and crime tend to just be covered in Bond films. The act of chasing is also a recurring theme, as well as the traveling to foreign countries and saving innocent people.

How is the narrative organised to show conflict?

Bond uses both brawn and brain to get down while the other man uses cunning and stealth. One is being chased the other chasing. Bond works for good the other man for bad. Bond never causes explosions only tries to avoid them. The two men are just shown to be complete opposites through the chase while still performing the same acts.

Todorov's Theory of Equilibrium

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

Protagonist: John Anderton (Tom cruise)

Antagonist: The police, Danny Witwer, Lamar Burgess

Describe the Equilibrium. How is it represented?

The equilibrium in this film could have been in two places. The first being the time when John still had his son and wife and wasn't addicted to neuroin. This time is represented in the film as being a bright and happy time where he play's with his son and they appear to have a great relationship. Later the equilibrium could be when he is head of precrime. This is in the opening scene and although the man is sad, he seems to have his job going very well for him and has been living like this for a long time. However in this time its very dark and the character John presents allot of anger through actions like throwing cornflake packets when they annoy him.

What is the Disruption or Disequilibrium?

The disruption of the first situation is his son being taken away by an unknown man, resulting in the loss of his wife and his drug addiction. The second would be when he is told he will kill someone in the future, resulting in a long chase sequence where he tries to prove precrime wrong.

Are there any visual/verbal/aural clues that hint at what the hero's journey might be?

In the trailer we see him running away from the precrime officers showing that his journey will be to eacape them and we also see him looking at the captured prisoners, possibly looking for a flaw in the system.

How will the equilibrium be restored and what will be the new equilibrium?

Tom cruise will find out a flaw in precrime and they will be disbanded. He will find peace in himself and no longer take drugs and it will be hinted at the idea that he will get back together with his wife. The precogs will get a normal life together and will not be tortured anymore.

Applying the principles of continuity

This is the original, color version of the scene in which Uma Thurman's character, the Bride, takes on the Crazy 88's (although they're aren't really 88 of them, they just think it sounds cool)
The released version is in black and white, to avoid an NC-17 rating, and also doesn't have some of the kills as in this version.

Kill Bill is one story, divided into two volumes with five chapters each, presented in a nonlinear narrative style, as is common among Tarantino's films. The film is about a former assassin known as The Bride. On the day of her wedding, she's gunned down by a former employer along with her child, groom-to-be and the rest of her wedding circle. She, however, manages to barely survive, with a bullet lodged in her brain. Five years later, she awakes from a coma. Ready to wreak havoc for the deaths of her child and groom, she's off to kill Bill.

The scene opens with a pan up the body of a man who is clearly one of the ring leaders. Then it cuts to a tilt of The Bride unmoving as the crazy 88 circle in. As it cuts to her she is still standing in the same position as before, she raises her sword to see the reflection behind her in order to get a 180 degree view. All the shots so far have been flowing as they are all mid shots or close ups and have all been following the same swooping motion. As soon as the fighting starts the shots become much shorter and cut between wides and close ups to throw the audience in and out; making them feel like they're moving around in the fight. The match on action shot of The Bride removing an eye of her opponent is pulled off very well by the well cut together motion. The fact that the eye is fake is hidden behind the speed of the action. Each fight between The Bride and a new opponent fits the 180 degree rule in order to not confuse the audience too much.

These rules continue and many match on action shots can be seen, for example the cuts between the axe being thrown and it colliding with another of the crazy 88's chest. The shot order is all very logical; opponent approaches, The Bride attacks, the opponent is shown to be bleeding profusely and then it repeats. We also get shots of the one's she has killed lying in the exact place they died; another continuity technique. The camera is always eyeline matched when The Bride attacks or when emotion is being shown which keeps the audience knowing where they are most of the time, but the shots will also change to HA or LA to either show more of the surroundings or throw the audience away and give them a feel for the speed of the fight.

Principles of Continuity

Why is Continuity important?

Continuity is used to keep the narrative flow both logical and understandable. When continuity errors occur the audience can be left confused as to what has happened.

The Rules of Continuity Editing

Shot order - You should help your audience make sense of the film by moving across physical space in a logical shot order, i.e. long shot to mid shot to close up, instead of jumping from long shot to extreme close up

180 degree rule - This rule refers to an imaginary line running through the middle of the scene (shown below). It is important not to cross the line because it changes the perspective that the viewer see he scene from which can cause confusion and disorientation. So unless this is intended or the viewer actually sees the viewpoint move across the line, then it is important not to cross the line. 

30 degree rule - If the camera angle moves by less than 30 degrees (with the same framing) the audience may notice a 'jump' in the footage (also known as a jump cut)

Eyeline Match - It is important that the direction of the characters' gazes stay constant. For example if one character 1 is taller than character 2, then when the camera is from character 1's point of view it should be a high angle (looking down) and from character 2's point of view it should be a low angle (looking up).

Match on Match Action - You should match the last action of the previous shot to the first action of the next shot. This will ensure that action doesn't appear to repeat itself.

Shot/reverse/shot - When cutting back and forth between two people having a conversation you should do it in stages as following:

• Film it once as a master shot (showing character 1 and character 2)
• Film it again as a close up on character 1
• Film it again as a close up on character 2
• Film BCU's as individual shots when you want to show emotion
• When needed film mid shots, etc.

Creating meaning through Continuity

Meaning can be created through the use of transitions, sound, lighting, camera movement/position and framing.

A selection of techniques are:

Cross Cutting - This is where shots that are from different spaces of the narrative are put together. Overtime audiences have learnt to understand that this action is occurring simultaneously. Cross cutting is often quick and a popular example of this would be in a chase scene.

Fades - Fading in/out of a shot is often used to represent the passing of time

Wipes - Even though wipes are unusual to see, they can be used to make something wacky or lively and is more likely to be seen in a children's tv program or a comical sketch.

How will this help me in future?

I have now learnt the various techniques needed in order to maintain an audiences attention and keep a constant understanding of the story. I will make sure to keep the camera within both the 30 degree rule and 180 degree rule as well as taking a master shot along with a few takes on each shot to make sure one will edit in correctly. Finally i will make sure to shoot a long part of the sequence after setting up the next shot.