Group 1E - Continuity Sequence

This is our finished piece!

Q1 - Who did you work with and how did you manage the task between you?

For this task I worked with James, Olivia and Frank. We all had an input into the planning process of our video. We worked as a group to produce a script, shooting schedule and storyboards.

  

                         

During the production process we had more specific roles. James and Frank were the actors, while Olivia worked on camera and sound and I had the role of director. We decided that the editing process would be divided equally between us and we all did roughly a 1/4 each.

Q2 - How did you plan your sequence? What processes did you use? What theories did you try to take into account?

While planning for the prelim task we got together as a group and brainstormed ideas of what sort of narrative we wanted to include and how we would incorporate everything that was required into the sequence. To do this we deconstructed the brief into a checklist so that we could be sure that we were covering all the key points.



Our Checklist

Along with this checklist, we used the following to help us both visually and logically:

• Shot List
• Shooting Schedule
• Script
• Storyboard (Draft Version and Final Version)



Sample of final storyboard



Draft Storyboard

From the above images you can see that we have two versions of a storyboard. We decided to use post-it notes for our initial storyboard so that we could illustrate possible shots and move them around easily if we were not happy with the shot order. Our final storyboard was mainly used while we were editing.

While doing this preliminary task we tried to take into account the rules of continuity and continuity editing techniques because the brief was to produce a continuity sequence. We tried to include:

• Match on Match Action
• 180 degree rule
• Shot-Reverse-Shot   
• Eyeline Match



Example of Match on Match Action



Example of eyeline match, 180 degree
rule and shot-reverse-shot







Although the brief focuses on the theory of continuity, we also took into consideration genre because we wanted our video to have comedy incorporated into it.



Below is our script, shot list and shooting schedule

Group 1E Script

Group 1E - Shot List

Group 1E - Shoot Schedule

Q3- What technology did you use to complete the task, and how did you use it?

During the production process we were given a:

• Video Camera
• Tripod
• Set of headphones
• Shotgun Mic 

Our group in action

Obviously we used the camera in order to capture our footage that we would later edit together. The tripod was used in all shots but the crab shot, because it allowed for stability and for the camera to be steady when panning and also for the master shot. Along with these factors we used the tripod to help us achieve an eyeline match.

The shotgun mic was the only piece of equipment that was new to us. It allowed us to choose how much background noise we wanted to include by its three settings. For most of it we chose to use settings 1 and 2 because we wanted to cut out most of the background noise but still wanted to make it clear to the audience that we were in a school setting. The only problem we found when using it was that sometimes it picked up too much background noise and we were concerned with whether the noise difference between the corridor, etc. and inside the edit suite would be too varied.


Our Editing Station

For the editing process we used Adobe Premiere to capture and edit all of our footage together. As we had experience of this software from our GCSE media coursework we were familiar with how everything worked so there were not really any problems in using it.

Q4 - What factors did you have to take into account when planning, shooting and editing?

The main constraint that we had to work around was our time restriction because it meant that when planning, shooting and editing we had to keep in consideration the time. While we were planning we had to make sure that our ideas were achievable in the time that we had. During shooting part of my job as director was to make sure we were working to schedule and that we shot everything we had set out to. In the edit suite we only had 1 hour to produce the final product, so we had to think logically and practically about what we were going to do, how fancy we wanted it to be and what order we would edit in.

The other factor that we had to take into consideration is the location in which we were shooting. Due to the fact that we were filming in school and in school hours, we had to be careful of getting students in shots and the noise from around the school. For the majority of the hour we were shooting we did not have any major problems with location because we decided that it was obvious to the audience through the signifiers such as school buildings, that it is set in a school. But we had to be careful that our establishing shot did not become cluttered with students in the background.

Establishing Shot taken outside of the media block

Technical factors such as lighting, sound and continuity were also considered in the process of this preliminary exercise. At first we thought that it would be a good idea if we started off with the lights being turned off in the edit suite before James entered. But soon realised that this would complicate things at later stages because it would appear much darker on camera. Sound was a factor that we had to check through the headphones which was Olivia's role, because at some points we could hear people in the next room and this was not ideal for our project. We also had to make sure that we followed the principles of continuity such as match on match action, to ensure that the audience are not confused.

Q5 - How successful was your sequence? Please identify what worked well and with hindsight, what would you improve/do differently?

Overall I am pleased with the turnout of our continuity sequence because we managed to achieve all of the key points that the brief was asking us for. For example we have a match on match action, we have a character opening a door, sitting down and having a conversation with another character. I also think that we followed the 180 degree rule well because it stays constant throughout the sequence.

Our shot order is logical because we do not move the audience across a large space too quickly, this is because the shots progress further towards/away from the characters i.e. MS to CU, rather than jumping from a LS to ECU. I think that we also successfully incorporated the comedy genre into our piece because of the humurous/awkward situation that the characters find themselves in.

Awkward atmosphere created by the prescence of the baby
and the silence between the characters

In hindsight, I think that we could have shot more takes of Frank swivelling around in the chair because we found this a problem when editing because the shots we did have weren't perfectly match on match action. If we had filmed some more takes it would have made it easier for us to edit together the shots and make the sequence flow better.

The Jump Cut disrupts the continuity of the sequence

At 0:41 in the sequence we also have a jump cut which hindered the continuity of our sequence slightly because it shocks the audience back into reality. The reason for this jump cut is probably a mix of both breaking the 30 degree rule and editing the shots together at slightly wrong times. Most of the problems that we encountered all have solutions, and I think that if time was not so restricting we could have corrected them. Therefore this is something that I will consider in my future foundation coursework.

Q6 - What have you learnt from completing this task? Looking ahead, how will this learning be significant when completing the rest of your foundation coursework, do you think?

From completing this preliminary exercise I have learnt that when planning, filming and editing in the foundation coursework it is important to consider continuity because without it the film will not flow. Instead it will confuse the audience and disrupt the seamless narrative. Ways in which to ensure that continuity is sustained throughout, that we did/could have used in the prelim. are: match on match action, 180 degree rule and shot-reverse-shot.

I have also learnt how the filming process should run, i.e. the director checking that sound and camera are ready, etc. This will aid me in my future coursework because I will be sure of how everything is supposed to be done and hopefully it will help the process run smoothly.

Finally I have learnt that simplicity can still be very effective when carried out in the right way. This will help when brainstorming ideas for the opening sequence because it will remind me to focus on achievable ideas that can still produce maximum effect.

Applying Barthes to the opening sequence of Take the Lead (Friedlander, 2006)

Roland Barthes' theory suggests that a narrative can be broken down into the following five codes:

Enigma Code

• This code refers to any element in a story that is not explained/revealed therefore it acts as an enigma for the audience. However these questions must be answered at some point in the film otherwise you risk your audience not being satisfied.

Action Code

• This code is applied where an action implies any further narrative, e.g. he pulls out a gun - this implies that he is going to use it to harm someone

Semiotic Code

• This is when only a part of something will be shown but it stands/represents the whole. This code also allows the narrative to show a story rather than tell it.

Cultural Code

• This code is simply where the narrative refers to common bodies of knowledge.

Symbolic Code

• This code is there to explain the complexities of a narrative, but it is one that can be interpreted in many different ways therefore provides no fixed definition/meaning.

To demonstrate these codes in action I have chosen to apply them to the opening sequence of Take the Lead.



Enigma Codes

The questions raised in the opening sequence are: What are they getting ready for? Who are these people and why are they important? Why is the young guy so angry? Why does the smartly dressed man care so much? Why is the man going into the school?

In this clip only the first question gets answered because we see their 'getting ready' routines and then it reveals that the smartly dressed characters are going to a ballroom dance/event and the teenagers are getting ready for a school dance.

We also know from these questions that the smartly dressed man must be a key figure for the rest of the narrative but we do not know exactly what it is going to be just yet.

Action Codes

One example of an action code in this sequence is when the girl in the pink ball gown sighs and looks at unease, as this suggests that she herself is not confident in her dancing skills. This is different from the other female who sits up straight and 'holds her head high', which suggests that something will go wrong in the unconfident girl's routine.

When the young male tries to give in his wet ticket and the teacher stops him with his hand, the audience know that he is not going to be getting to the party that he had aimed to be at. When he walks outside and freezes when he sees the two other males laughing, we know that he is expecting a confrontation, but due to the sigh he lets out we know it is an unwanted one. When they show the golf club we instantly know that it is going to be used to either harm a person or an object.


Semiotic Codes

At the start of the sequence the character's are all getting dressed and putting on make up, etc. this demonstrates to the audience that they are going somewhere out of the ordinary, such as a party.

The apartment size also represents the wealth status of the individuals because the teenagers that are going to the school dance live in very small places that house more than 2 people. We can see this when the girl puts her little brother down and we see more children on the couch and the living room is really messy. Whereas, the man who is getting ready in his suit, has enough space to dance properly and there is hardly any clutter visible.

The MS of the trainers tied on the cable wire and the grimy walls represent that this movie is set somewhere in America that is not wealthy, such as the Bronx, New York.

Cultural Codes

The audience know that the film is set in America because of the character's accents and the yellow taxis.

We also know that the man and girl getting ready for the ballroom event are quite wealthy due to their large apartments and expensive clothing. Whereas the teenagers are not because they live in cramped apartments with their families.

The music that changes at the cuts acts as both a cultural code and semiotic code because we understand the first piece to be classified as classy and quite upper class. Whereas the hip hop music playing at the school dance is very modern and it builds up the atmosphere that the audience percieves through their own knowledge of society.

Symbolic Codes

The constant cuts between the teenagers and the male and female getting ready demonstrate that even though they are worlds apart in terms of wealth, they both share something in common. We are not sure of what exactly they share yet, but we know that their lives will intertwine at some point. It could also represent that the teenagers may seem to be stuck in their lives at the moment but there is still a slight chance that they escape their lifestyles and achieve their dreams like the well dressed man (Antonio Banderas).

It could also be suggested that when the headteacher opens the doors and we see the ballroom event occurring that it represents there is currently a barrier (the door) restricting her students from making it out of poverty. But it could also hint at the glimmer of hope that if the right person comes along to help them, they may gain the ability to open more doors for themselves.

Applying the Principles of Continuity to Just Friends (Kumble, 2005)

At the start of the clip we see a grey taxi pull onto the curb and a white young male gets out and runs inside. We could say that for this individual clip it acts as the establishing shot as it allows the audience to know that it is snowing, it is night-time and they are outside a public building. It then cuts to the male pushing through a crowd of people at a Christmas party in order to ask his friend "where is she?". Before we even get to see the friend answer, it cuts again to the grey taxi stopping outside a house on a neighbourhood street. The purpose of these two cuts is to build pace to the sequence as it allows the audience to know and feel that there is an urgency to find the girl he is searching for.

When he reaches the door he starts banging on the door and it cuts to a reaction shot of the girl he has been searching for. When she opens the door and realises it is him, she shuts the door again representing that she doesn't want to have any contact with him at this point due to what he said earlier/previously. When he realises that he isn't going to get her to open the door he starts to shout his apology in the hope that she is listening, while this is happening there is a slow zoom (in) which is drawing the audience into the narrative. By doing the zoom slowly they are almost recreating the movement a viewer might physically make when moving closer to the screen, but they don't notice they are doing it, which enhances the idea of a seamless narrative.

There is then a slight sound bridge because we hear the door open but don't actually see it open until a second later when Jamie appears. The next continuity editing technique in this sequence is eyeline matching because when we see Jamie in shot it is from a slight high angle (as he is taller, he would be looking down) and when Ryan Renold's character is in shot it is from a slight low angle (as she is shorter and would be looking up). This is done in order to keep the sequence consistent, realistic and ultimately to keep the narrative flowing smoothly.

As they have their conversation about why he has come back to the town, shot/reverse/shot is used because Jamie will say a line and then it cuts to Ryan Renold's line, etc. This happens 11 times, this allows the audience to feel as though they are right there while it is happening.

Throughout this sequence the director sticks to the 180-degree rule because the camera remains on the left hand side of the characters while they are at the door. This enables the narrative to flow because it reduces confusion and disorientation for the viewer. The last shot of this clip is a master shot of the kiss. The master shot is important here because we know where they are in relation to each other and the framing distance goes from a MCU to MS and then the camera starts to move to the right and slightly zooms in demonstrating that there is going to be a change in time/location

Applying Levi-Strauss' Theory of Binary Opposites: Pretty Woman (Marshall, 1990)

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

The genre of Pretty Woman is Romantic Comedy (RomCom). The signifiers that demonstrate the genre to the audience within the film are the plot, the music, the title font and the characters. In the first ten minutes of the film we are introduced to both characters and we are given the idea that there is going to be a point at which their paths intertwine due to the cross cutting technique. This helps denote the genre of the film because we know that they both live in completely different worlds and yet we know that they will both merge into one.

Who are the main characters and how are they opposed?

In the opening sequence we are introduced to Edward Lewis who is a very rich young male who enjoys the luxuries of life. We know this by the way he dresses, his environment and the cars he drives.

The next main character we are introduced to is Vivian Ward the leading lady of the film. We learn that she shares a room with Kit and they don't have alot of money. They both work as prostitutes on the Hollywood walk of fame in order to make the money to pay rent, etc.

Right from the start we know that these two characters couldn't live in more different worlds. The main difference between them is that one is rich and one is poor. We are shown that Edward is very wealthy because he can afford smart suits, whereas Vivian is poor because she has to fill in her shoes with permanent marker instead of buying a new pair.

We also get the sense that Edward is quite naive to the 'real' world because he gets lost in Beverly Hills while trying to get to his hotel. Whereas Vivian seems pretty clued up and smart because she has the sense to keep paying her rent and tells Kit off for spending the money on drugs.

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

The main themes of the film is for the two characters to find their escape from their current lives in each other. We are introduced to this idea in the opening sequence when we see Edward reflecting on his life and rushing to escape the party. Vivian asks Kit whether she ever just wants to get out of their current situation. This shows us that both characters are not happy with how their lives have turned out and they want to reach that happiness that they once dreamed of.

Another theme that is introduced to us through this is that love conquers all boundaries. This is made evident by showing the definite differences between the two worlds that the main characters come from, because at the time when the film was made it was still quite a strange idea for someone like Vivian to be involved with someone like Edward.

How is the narrative organised to show conflict?

Conflict is created by the binary opposites that are shown within the film. Even in the first ten minutes of the film we are introduced to a number of binary opposites. This is done by the frequent cuts between Edward and Vivian because we are constantly transported from his world to her world and we instantly notice the conflict that has been created.

The first example of this is when we are shown Edward's party. Everyone is smartly dressed and have expensive jewellery/watches on, there is a piano player and it is more of a networking event where people can set up business deals, etc. rather than a 'proper' party. After, we see the party at the Blue Banana Club which is completely different, as there is loud 'head-bopping' music and people in short skirts/vests.

Another example of binary opposites is the characters themselves. Edward is a young white male dressed in a black suit with a white shirt and he lives in a large house, but he has no-one to share it with. His 'best friend' is his lawyer which suggests that he only really has friends for convenience. When he gets lost it suggests that he is probably quite separate from the way the real world works and he has become alienated by the upper class world he lives in. On the other hand, Vivian is a young white female who has very raunchy clothing and has to fill in her boots with permanent black marker. She lives in a very small apartment which she shares with her best friend Kit. All of these factors that define both characters are completely opposite to each other which is what creates the conflict within the narrative.

Applying Todorov's Theory of Equilibrium to Click (Coraci, 2006) Opening Sequence

The opening sequence introduces us to the protagonist who is Michael. Michael is a hard working male who just wants to succeed and provide his family with the best that he can, but in order to do this he has to sacrifice almost all of his time and it is costing him his family. The main antagonist of the film appears to be Michael's boss (played by David Hasselhoff) because he keeps overloading Michael with work and doesn't take into consideration that he has a family to spend time with. Although it could be suggested that the antagonist is either Michael's work which is stopping him from being with his family or Bill (Michael's son's swimming coach) because he comes across as the person that Michael's son is closer to (as he hugs him instead of Michael)

From this clip we get an understanding that Michael's normality is very chaotic and he is never short of something to do. We learn this through dialogue, such as when the children ask him if he will ever finish the tree house and he replies "I want to but it's just i've got alot of things going on at work right now". At the start there is also a pan of the living room showing the clutter of toys on the floor and it is generally very messy which hints that life is chaotic and 'messy'.

When Michael wakes up he is wearing a white shirt and is lying face down on the couch. This represents to the audience that he was working very late the previous night and obviously did not get changed and go to bed. We also get the impression that this is normal for their household because the children don't seem alarmed to the fact that their dad is sleeping on the couch. Therefore we know that Michael is always working and hasn't really relaxed in a while. This is further demonstrated through the fact that he doesn't know the use of any of the remotes (shown to us when he tries to turn on the tv but instead opens the garage door, etc.).

We also know that Michael is desperate to move forward in his job because his boss tells him to do something and even though he is reluctant, Michael says yes. This shows us that Michael is almost the 'slave' in that relationship. His boss is very removed from the situation Michael is because he doesn't seem to care whether Michael is supposed to be spending the 4th of July with his family, the CU of his face when Michael mentions his sons' swimming competition highlights the annoyed expression that shows us that he believes that Michael's work should always come first.

I think that disruption is hinted at when Michael is late for his sons' swimming competition and this makes his son upset. Instead of hugging Michael the son turns to his swimming coach Bill, which shows us that he already is starting to believe that Michael doesn't really love him. It makes it worse because Michael promised to be there but he missed the entire race due to his work. This suggests that the cause for any disruption will most likely be his never ending work.

Throughout the first ten minutes of the film we know that the main conflict within this character's life is between his work and family. It often leaves him with little time to spend with his family and this in turn makes them feel very isolated and separate from him. There are several actions from Michael's children which suggest that this isolation that they feel may destroy their family unit forever. For example, the two shot CU of the children sitting on the couch asking him about the tree house, highlights their disappointed expressions and we know that they are longing for their father to start spending more time with them. Therefore I think that the audience are subtly told that Michael will have to start realising that he has to put his family first once in a while before they start to resent him and before he loses everything.

As I have already seen the film I know that Michael has to go on the journey that sees him loose everything that ever meant anything to him. We see him learn the lesson that putting work before his family wasn't always the right decision because they just wanted him to show that he still cared about what was important to them. After he has lost everything he comes to a realisation of all the things that he wanted to change about how he had acted. The equilibrium is restored when Michael is given another chance at his life and he goes about starting a fresh with his wife and kids.

Continuity Editing Video

http://www.youtube.com/watch?v=8xauSCz1mEk

I have posted this video because I think it is useful to show the techniques listed in my previous post (principles of continuity) in practice. The video is a visual analysis of how the techniques are used in the film 'V for Vendetta'.

The Principle of Continuity

Why is Continuity important?

Continuity is used to keep the narrative flowing logically and smoothly. It is vital that directors use it correctly while making the film because otherwise it would leave the audience confused and lost as to what is going on.

What is continuity editing?

Continuity editing is the process that most directors follow when producing mainstream film and tv fiction. It follows a set of unwritten rules that allows the footage to be shot and created in order to create a 'seamless narrative'.

From this seamless narrative a process called 'suture' is formed, this is where the audience are 'sewn' into the narrative. This means that instead of focusing on the fact that the film has been edited they focus on the narrative and the characters. This allows them to almost step into the world of fiction that the director has created.

NB. Editing is an important process of ensuring continuity but keeping the characters' costume and appearance, the set and the lighting consistent from shot to shot is also just as important.

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?

By looking at the background material on continuity editing and from my own experiences in the accident task I have learnt that it is crucial to follow the rules of continuity in order to ensure that your audience are not confused and to help the narrative flow. When making my own film in future I will keep in consideration the 180 and 30 degree rule to ensure that the viewers perspective does not change and confuse the message that is trying to be portrayed. I think that it will also be useful to use the techniques listed above in the editing process to make sure that each shot portrays meaning through the use of continuity editing, e.g through cross cutting to build up suspense and tension.