Preliminary task Evaluation

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

In my group was Mathew Smith, Daniel Sheldon and myself, there is a picture of our team below:

We planned the sequence as a group, brainstorming ideas for a theme to the sequence in discussion. We then decided to go for the simple idea of bully verses nerd. From this we created a solid story board of the sequence for clarity on shot order and what shots were taken (meanwhile taking continuity into account).

The method in which we drew the story board involved me physically planning shot by shot in the location, pretending I had a camera whilst in discussion of how the shots should be taken with my team mates. Meanwhile they wrote down the camera directions and sketching rough images for each shot which were then improved after. Daniel and Matt produced the shooting schedule whilst I wrote up the script, all of us using the storyboard as our guideline.

When it came to shooting, most of the cinematography came down to Daniel being the only non actor in the sequence of our three man group however we all had a say in how the shots were taken. Between each shot we discussed problems and if needed rearranged small aspects of the individual shots for the best effect. In the sequence I am the bully and Matt is the nerd.

Post production was split into thirds. Despite technical difficulties the team worked quickly and efficiently. Whilst capturing all the footage (which we did in one go to save time) we pointed out the best individual shots and Matt wrote them down on the script below:

Script and Editing Notes (click to enlarge)

This was done to save time and make the editing process run a lot smoother. Our individual tasks when editing were:

• Adam: Cut the best shots and order them roughly according to the time line and storyboard.
• Daniel: Cut the shots further, removing clapper board and director commentary etc. and put them together for the best narrative effect (i.e. shot reverse shot and match on action)
• Matt: Fine cut the sequence (no irrelevant pauses or jumpy transitions or cuts), check continuity and add titles.

While doing this we were continuously making suggestions and commenting on the process, as well as aiding eachother in our individual jobs. Despite the technical difficulties we had prior to capturing, the team worked well and we produced a simple sequence that we hope was pretty much textbook.

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

We used a storyboard, shooting schedule, and script in order to plan our sequence, some of which are shown below:

Storyboard (click to enlarge)

This is our storyboard. In comparison to the final sequence there are a few changes with shots 3 and 7 but with the same action and dialogue. We used the storyboard in order to plan a shot by shot structure of our continuity sequence. It was fallowed as a guideline when shooting and we pretty much stuck to it, following the right shot angle and framing in most cases. It was then used for editing, however here our shooting schedule also played a major role.

Shooting Schedule (click to enlarge)

We followed our shooting schedule intensely which we had designed in order to save time and ease the filming process. Shots 1 and 8 were shot consecutively as one maser-shot  of the entire scene which when edited were completely separated by the dialogue in the middle. This is the long shot of me entering the room and then at the end of the sequence when Matt leaves the room. For shot 2 we needed a change in set up for the extreme close up of me opening the door. Shots 3/5/7 were shot as the entire sequence also from the perspective on the nerd and then separated out in editing and  the same applied to shots 4 and 6 but from the bullies perspective. 

All the above processes we used helped us with keeping to our main theory off continuity in order to create succesful, flowing narrative. There is more information on how we applied this theory in question 4.

We tried to apply various theories to or filming in order to maintain successful narrative and apply various skills (even if the sequence was only 20 seconds). The first theory we applied was that of Todorov. Basically his theory is this: equilibrium in the narrative, disruption of that equilibrium, disequilibrium and a return to equilibrium. From watching our film you can see that this theory can be applied. The equilibrium is when Matt (the nerd) is just working in the room but this is disrupted by the entry of the myself (the bully) and me being in the room is the disequilibrium, shouting at the nerd and throwing his folders on the phone. The equilibrium is restored with the nerd standing up for himself and leaving the room.   

Levi- Strauss's theory of binary opposites can also be applied to some extent. The binary opposits that feature in our short sequence are bully verses nerd, made obvious by the attitude of the protagonist boy with the hoody and the tone ofhis voice. The nerd is obviously the nerd being called a nerd by the antagonist. Other opposites include hooded verses non hooded, aggression/ violence verses innocence and big verses small.

We also tried to apply Barthes theory (5 narrative codes) to our sequence the first of the codes being enigma.Questions such as 'what happened prior to the event?', 'why is he being bullied?', 'why is the boy so angry' and 'what happened next?' could be raised by the audience. Then there is the action code. Actions such as the aggression of the bully opening the door, him sitting down, his tone of voice indicate that he is not happy with something. The fact that the bully throws the nerds things on the floor signifies he wants him to leave and the slamming of the door indicates that he is satisfied that the nerd has left. The fact that the nerd storms out shows that he is displeased by the other boy. This is all done to create narrative.

The semiotic code is not all too well covered however from the equipment in the rooms and the stationary you can tell the setting is a school and from facial expressions there is tension between the boys. The cultural code can be applied through knowledge of school and bullies as well as school work and teachers, so the audience can most likely relate to the event in some way or another. There is not much in terms of symbolic code due to the shortness of the film and the simplicity of the plot.

Propp's theory is one that can be applied to a longer narrative than ourself, it was hard to follow this theory due to lack of time, rules on the sequence length, budget,  actors and story.

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

We used a digital SLR Sony HD camcorder, a shotgun microphone, headphones, a tripod, a clapper-board, and a clip board in the process of filming the sequence, all of which are pictured below. 

Tripod, Clapperboard, Camcoder with Mic and Headphones

The most important of all the equipment we used was the camcorder, as without is there would be no film what so ever. With this we captured the footage on tape ready for post-production.This was accompanied but the shotgun mic which directly captured sound directly to the camera. I had 3 settings on it which each could be used for different types of shots in order to get the right effect. We filmed solely on the shotgun and 1st settings to only capture direct speech and to eradicate background noise.

This sound was checked by headphones which were plugged directly into the camera. We could clearly hear any unwanted noise/ sound through listening through the headphones and eradicate. If there was unwanted sound in the background of a shot we would then retake that shot and we needed to do that 2 times when shooting this sequence. Next we have the tripod on which the camera is attached to. We used the tripod for the entire sequence for successful and well positioned still shots. The tripod also has steady tilt and pan uses and we took advantage of these when shooting. Lastly when shooting we had the clapper-board  for conventional use and to display which shot was which when in post production and refer to our storyboard with this. The last piece of equipment we used was the editing software Adobe Premier Pro which gave us a little hassle when capturing however worked like a charm when editing, where we cut and moved shots into order and for desired effect.

Here are some shots of the equipment in action:

Daniel filming whilst I introduce the shot with the clapper board.

Me using the pan on the camera with Matt introducing the shot with the clapper-board.

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

Adobe Premier Editing Software

We had to take into account many factors when producing this sequence. One of which was time. When planning we had to make sure we would be able to film the planned sequence within the 1 hour time limit. The shooting schedule was a major part of reducing time taken to shoot, making sure certain set ups were shot together as one.


Also when shooting we had to work quickly while making sure we got all the shots we wanted which we managed well. Then when editing we also had to work quickly, however we had a few problems when capturing which set us back a bit but we planned efficiently whilst the entire footage was captured in one to make up that lost time, which we also successfully managed.

Location was also a factor when planning. We planned and moulded our script and narrative around the fact we could only shoot in school, so we took advantage of the facilities and planned a sequence to do with media work but with a nerd and a bully involved for a more interesting story. Sound on location also had to be take into account and we had a couple off problems with buzzing background noise but were able to eradicate them.

Continuity was a factor that we had to take into account during the entire production process. When planning we had to make sure we were going to keep within the 180 degree margin for the entire sequence and the 30 degree margin between certain shots. Then when filming we had to make sure we were keeping within these margins in order to prevent the confusion of the audience.

Match on action was taken into account during planning for effect and emphasis on action (for example the pan to the extreme close up of me opening the door) and then when shooting we needed to make sure positioning was correct from the previous shots so that when editing there would be a successful match on action. When editing this was then fine tuned to make the action and shot changes seamless. This involved a lot of fiddling with cuts so that the movement between shots made sense and wasn't jumpy. Editing techniques were used throughout the post production process to eradicate anything out of place or distracted the audience from the narrative etc.

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

There are many upsides and downsides to our sequence. Most of the following points are personal opinion, opinions of group members and analysis by fellow class mates. The advantages were that it was a quick bog standard film which in terms of continuity was pretty much textbook with good matches on action, shot reverse shots and the entire thing keeping within the 180 degree margin which is all accompanied by believable acting. It was also incredibly simple whilst keeping to the rules of the task.

The downside to our film was it was possibly too simple and not exciting for the viewer. The narrative also lacked originality and bog standard may also be a downside with lack of flare. Also it was too short to be interesting and the narrative could have been developed further with more ambitious and imaginative shots.

In hindsight I would improve the over all sequence by making the narrative longer and more interesting, with a larger variety of shots including more ambitious ones. I however would not change how my team worked. Over the course of the task we were very productive and worked quickly with each member acknowledging  what the other members were doing. I was also impressed by the way we though on our feet to overcome problems quickly and successfully.    

6) 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 this task I have a learnt a number of useful film techniques for example different ways to frame shots in order to inflict the right narrative and this has inspired creativity when shooting any other sequence, including that of the film opening. I have also learnt all of the major principles of continuity and am now more aware of them when filming as they are key to if a film sequence makes sense and if the story is understood by the audience. My editing techniques have also been improved in terms of working quickly while maintaining high standard editing and the only way I could have learnt this through experience with the software.

I also have more incite into the pre shooting preparation process's for example the routine before shooting which makes sure shooting is done correctly and so post-production can be clued up on different shots. I have realised how important this process is, checking the sound in order to eradicate any unwanted background noise and checking the lighting to get the best effect in shot etc. I have also learnt how to create a good narrative via taking into account all the other process's I have learnt which i can then apply further on in the course. Also from this task I have acquired the skills in order to work efficiently and productively in a group when creating and producing a film sequence which I can also put into practice for the rest of my Latymer media career.

Roland Bartes' Five Codes: Forest Gump

1.  Identify the key actions within the opening - what kinds of actions are included and how is the narrative moved forward?


The main focus of the title sequence at the beginning of the film is on this white feather which is falling from the sky into a town below. This is captured like a journey. During this journey the feather has to contend with the wind which sends it shooting upwards, the shoulder of a man who is crossing the road, go over one car and then contend with the wind and exhaust from another car before landing at, who we can presume is the hero's, feet. This suggest that the film is one of a journey through life as the feather is presented as a symbol of a journey. Our hero then picks up the feather, seems to analyse it and then puts it inside a book which he reveals from his suitcase, this signifies that the feathers journey has been turned into a story. The page that he puts the feather into has a large illustration of the sky on it so it couldn't be more relevant. He seems to be sitting on the bench waiting for something and doesn't get up as the bus stops to get on it.

2.  Identify the enigma codes within the opening - what kinds of questions are posed and how is the audience meant to read these codes?


Questions such as why is there a feather in the title sequence and what is its relevance to the film are posed when watching the opening to this film. These questions are posed straight away by the audience which then lead to branch of questions such as is the feather there just to introduce the main character? does it show what is to come in this film? or is it just there as a nice filming technique so that titles can be put in before introducing the character and making time? Also many questions such as why is this man just sitting there with a suitcase? what is he waiting for? who is the present of chocolates for? why are his shoes so dirty but he's wearing a clean suit? what is the relevance of him putting the feather in his book? is it a scrapbook? and what is in his suitcase? This engages the audience into the story which will hopefully explain these questions. 


3.  Identify key characters and think about what they represent in the opening


There is only one character of relevance or attention at the beginning of this film. Forest Gump. I think that the feather however is supposed to represent him, show that he has been on a journey, that he is a free spirit and maybe even that he is a simple person with a big story to tell. We can tell that this character has been on a journey by seeing his muddy shoes and the possible souvenirs in his suitcase. He is indicated at being the main focus of the story especially with the title 'Forest Gump'.

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.


1) We can tell this is small-town America due to the amount of trees churches, the clothing styles of the pedestrians, the style of the cars and the styles of the buildings. This tells the audience that this is possibly the main characters home town.
2) We can guess that the beginning of the film is set in the early nineties or late eighties due to the style of clothing and cars. This may indicate to the viewer that the film is about the times before this one.
3) The feather is used to represent freedom to some extent as well as a journey with the music which complements it in the background and the feathers movement, which is graceful and random, going where the wind takes it :)  

5.  Identify key themes and analyse how they are presented visually/technically.


Freedom: Represented by the feather, moving with the breeze, falling at the feat of our hero and into the book, as if it were meant to be. The music helps to back this movement being free and peaceful as well as quite emotional.
A Journey/ story, the life of this man: Also represented by the feather dodging obstacles to reach its destination like every narrative, obstacles must be passed to reach an end to a story, in this case as the story of the feather falling comes to an end the tale of Forest Gump's story begins.


It's amazing what you can suggest about a film by just using a feather!

Continuity Sequence Analysis: Sunshine

This is an incredibly emotional sequence from the film Sunshine. There are a lot of special effects in this sequence however continuity to create narrative plays a predominant part in this scene. This is the scene (spoiler alert) of the death of Keneda and I think that the continuity here really helps to covey the emotion of the sequence.

We firstly see the golden space suit in a mid close up where the man in the suit (Cappa) is turning to look at the light coming behind him, then we have a match on action to an extreme long shot of Cappa continuing this action (matched cut). This shot could also be thought as an establishing shot of the environment he is in. We hear a voice over a radio in this shot of communication with Cappa and the captain which leads into the next shot where the conversation (shot reverse shot) continues in a close up from inside Cappa's space suit which is eye-line matched. We can see that he's looking at something or someone and in the next shot we see another character Keneda who is repairing something in a long shot. The radio transmission continues but more muffled in this shot, indicating that they are a distance away from each other.

It then returns to the close up on Cappa who is urging him to leave what he is doing. In this shot Cappa is to the left of the screen in the suit and the next shot is the exact same shot of Keneda (focusing) on the right to indicate conversation even though they may not be looking at each other or even that near to each other. We then see a long shot continuation of the repairing shot where Keneda is leaving the thing he's been fixing. We then see another inside space suit left close up of Cappa shouting at him and then a cut back to Keneda in suit CU on the right (which indicated they are looking at each other, once again eye-lined matched)who is speechless with Cappa's shouting continuing through the radio (shot reverse shot).

We then completely leave the setting from a shot presumably inside the space ship. We can tell that there is parallel cutting here as the man in the space ship is commenting on the action unfolding outside. We then see another shot of who we can presume is Keneda as he looks in a spot of bother with a little explosion. This a mid shot, low angle tilt, to show the action of the cosmic rays behind him. We can tell that he is looking at Cappa as in the next extreme long shot of Cappa the rays are moving in the right direction.  

We then go back to a shot inside the space ship showing more crew members who seem to be also surveying the action happening outside, with worried looks on thier faces and the fact that on we of them says 'its too far'. The continuity is good in the next shot as Cappa is looking in the same direction as he was in the extreme long shot 2 shots before. He is sweating and shaking in his suit. We then see a tilt up zoom in long shot of Keneda turning away from looking at Kappa towards the cosmic rays. In the next shot the action is continued (30 degree rule can be applied) but with a shot inside the space suit where we can see the light on Keneda's eyes. The next shot is quite interesting with a reflection of  Keneda's face on his visor which shows shock and emotion and also helps the narrative flow.

We one again get a parallel shot to the ship with a shot reverse shot from the last 'reflection' shot, however the setting is slightly different with a different character in a mid shot on a radio mic talking to Keneda. We then get a mid over the shoulder shot of Keneda looking at the cosmic rays and then back to a slightly more zoomed in shot of the man on the radio mic (CU) which adds effect and drama. He says 'Keneda, what do you see' and in the following shot we see the same suit shot but on the right hand side where the main focus is on Keneda's eyes and the light coming through the visor.

The next shot is an extreme long shot with Keneda looking in the same direction at the cosmic rays that look like huge waves. We then see an over the shoulder shot, back on the ship of someone watching a monitor and on that monitor the inside suit cameras are reveal to be actual footage being taken of the even (helmet cam). The is then a shot of the person on the mic who is watching the screen within the 180 degree rule who reacts with a desperate shout. We then go back to the shot of Keneda and the wave at the same angle but in less extreme long shot and then an extreme close up on his eyes. There are then many short cuts of the light and his eyes which picks up the tempo a lot and indicates a lot of action in a short space of time with Keneda's screams in the background. In the same long shot as before Keneda is swallowed  by the wave which is a match on action and then once again an extreme close up of Keneda's eyes and a very shaky shot indeed which incredibly intense light.

Returning to the man on the radio we then see monitors of the helmet cams which show a shot reverse shot between them but in the right the screen turns white and flickers, indicating Keneda's death. There is then a reaction shot of the crew members, one in particular begins to cry so we can see that she has been observing the entire event unfold. There is then an extreme long shot tilt correction on the camera moving with the light towards Cappa. The an exact 180 degree tilt up shot is used to show Cappa is looking at the light (shot reverse shot) and he turns away from it. In the helmet cam again he screams and in the next shot Cappa jumps down, out of the way which is a match on action. The cutting is very quick as the light moves over Cappa which then leads to a very extreme shot of the situation to show how big it actually is. Then we go back to Cappa in a long shot who is facing right as the light passes over and then a helmet cam shot of his reaction to the event also facing the right. He is breathing extremely heavily and sweating.

In this sequence i can deduce that the cutting between shots and the variety of shots really helps to establish narrative and drama in the scene, which helps to convey emotion and gain a complete understanding by the audience. This is a great film and I highly recommend it .

Levi-Strauss's theory on Cool Runnings

This is the light hearted Disney classic Cool Runnings, based on a true story it is about when one Jamaican  man's dreams of running are broken and he ends up looking for another sport, Bob-sleighing. The story is of him and his team trying to make it big in the wonderful new world (for them) of winter Olympic sport.


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


The film is a light hearted drama with a lot of comedy implements. There are many genre signifiers in this opening sequence. Straight away the title sequence begins with an upbeat happy reggae/techno 80's song, indicating light heartedness. This also fits in with the titles themselves which are colourful, informal and have a Jamaican feel about them. The introduction of the sprinter is also light hearted and in the tilt up from his prepared to sprint hands to a close up on his face where he smiles to the sound of children's play and laughter. Believe it or not the children are revealed in an extreme long shot at the end of the make shift running track in the field jumping and laughing. The children end his race with toilet paper which shows fun imagination. 


The runner celebrates and continues running in many long shots where he greats people on his way through the Jamaican countryside. We get a good idea that where he is is a Caribbean island from the scenes of the sea and the tropical environment. He passes to ladies carrying fruit on their heads in a medium long shot. This women help to bring across a genre with there sarcastic and funny comments 'faster boy faster', 'come on child you have an Olympics to get to' and 'handsome as a lion that one, I could watch that backside all day!' followed by laughter.       


Colour is also a give away of genre, there is an incredible amount of colour in the opening sequence, all bright and vibrant, helping to give off that light hearted vibe (especially at the beginning of the 'box car race). The conversation in the opening sequence is so happy and pleasant between characters also helping to promote the genre to the audience. Also the amount off children in the opening sequence gives about a sense of fun and innocence. The element of slapstick comedy during the push car race also promote the genre and Sanka's  upbeat funny character.  


A sense of drama is brought about after the push car race, when Derice (the runner) is talking to his with. In the background there is emotional music and the speech he makes is very dramatic and inspirational. Also there is a lot of emotion when Star looses the race when he falls and the music and use of slow motion emphasise that.     

2. Who are the main characters and how are they opposed?


The main characters are Derice, Sanka, Junior, Yul and their trainer Irving who are the heroes who aim to beat all thier bob sleighing opponents, especially thier new sworn enemies 'The Swiss' who the fall out with further along the line. In this opening sequence Derice and Sanka are introduced to the audience as heroes, both racing for their dreams (however Sanka is quite unorthodox in his methods). Junior is introduced as a friendly pollute character but a little clumsy, tripping the runners so that Yul and Derice lose the race. The dark horse is Yul is is brought across, at the beginning of the race, as a little mad and violent but he is seen more as a pleasant character further on in the film.  

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


The main themes that are introduced in this opening sequence are the sports theme, the Jamaican vibe and the theme of friendship and they run throughout the film. The theme of friendship is brought about through the pleasant communication between characters and the visualisation of friends and family all together to watch the races take place. The Jamaican vibe is a major theme and from the opening credits to the closing credits is predominant. It is introduced with the music and talk of Jamaica ('I love Jamaica and Jamaica loves me' Sanka) and through the scenery for example the long shots of the Jamaican countryside and the big billboard behind the runners at the beginning of the 100m race which reads 'support our country, unity is strength yes, Jamaica together we can' which is purposefully put in the long shot of the runners lining up. The theme of sport is introduced with Derice's run the two races that take place after this which are all consecutive in the space of less than 9 minuets. 

4.  How is the narrative organised to show conflict?



The narrative shows conflict of the Jamaican Bob sled team and thier Swiss rivals as well as the conflict between thier coach (who was dismissed from the Olympics for cheating) and the Olympic body. This is shown through fights, arguments and confrontations as well as the passing of a few bitter looks and comments and actions that risk the dismissal of the Jamaican team.

Tzvetan Todorov's Theory on Saving Private Ryan

This is the great and well known opening to the award winning World War 2 epic Saving Private Ryan (director Steven Spielberg) . I chose this film as throughout, being a war film, it is obvious who are the heroes and who are the villains which means its a prime example of Todorov's theory in action. The film does what is says on the tin with a small group of men on a mission to save private Ryan who is brother to 3 dead brothers who were killed in war. The opening to this particular film is famous for its ability to take the audience right into the action and shock them, which in return captivates the audience into the film.

In this film the protagonist (the man who propels the narrative forward) in terms of a singular character is Captain John Miller (Tom Hanks) being the character with the most screen time. However in this situation you could also say that the allies, in this case the Americans, are against the axis. You could also so John Millers men are of an antagonist force. The axis Nazi forces are the antagonists, who hinder the heroes in their quest to save private Ryan.

The equilibrium at the beginning of saving private Ryan is short lived. The man at the beginning of the film who is James Ryan is in the equilibrium created by the film as an old man and the entire film is based on this flashback. There is a strong sense of equilibrium at the beginning of the film due to the peacefulness and beauty of the scene almost as if it were the end of the film. An equilibrium is set with a sense of peace with the translucent American flag flapping in shot. This is accompanied by war themed music which also has a feeling of peace about it.

The next few shots are of  James and the family, which are mostly mid shots and long shot which show the action at the beginning of the scene. All the characters are walking towards a destination with James out ahead as if he wants to be alone or get to his destination quickly. The viewer is given the impression that they are walking with the family as many of the shots are following shots. There is also an establishing shot  which follows the family's movement side on to capture the ceremonial looking walk, pathway, the well arranged trees and the sea in the distance. Following this there are many long shots of the war memorial to show the viewer the location the scene is set and to bring across a sense of honour and peace.    

There is an abrupt disruption of equilibrium when James Ryan collapses and begins to cry in front of a grave stone. There is then yet another couple of long shots of the many grave stones in the memorial and then a zoom from James looking down and his family who are comforting him to an extreme close up on his eyes (which shows a lot of emotion) the sound of sea is then implemented indicating a change of scene/ flashback.

This is where the equilibrium is completely trashed with what is made to seem the worst possible scenario of death and violence. The long shot of the beach seems peaceful but something isn't right as there are barrages in place and the sky is grey which is a conventional signifier of war.


The long shot of the moving attack boats, the stormy sea and the men being sick of the sides of the boats really helps to break the peace and tranquillity of the before setting. The next shot which it a close up, tilt up on John Miller who is shaking, dirty and wet which signifies discomfort which also helps to break the equilibrium. The camera then zooms out from the same shot to show the many wet and dirty men he is with who are being sick and are all looking forward in discomfort.

There is anticipation that something big and bad about to happen when you hear the sounds of mortars and the looks on the men's faces and there preparation for what we can presume is an attack. The door of the from of the boat opens in a long shot on the men, you hear a shout and there couldn't have been more of a contrasting shot here to the peace at the beginning of the film. There are many natural looking shots of men being put down instantly, like the have been hit by a wall of bullets.

There are many hints of what the heroes journey might be. One being that from our conventional knowledge of world war two that this is what U.S army soldiers war and this is what they looked like. Therefore we are immediately told if it hasn't been guessed already that this is a war and this particular war is world war 2 and therefore the journey of our hero hint to be one on fighting and violence to complete a mission or task he is put on, all the meanwhile fighting the Nazi antagonists. There are many indicators or the mission of war and here is a list that makes up a fraction of those indicators:

Overview of scene that disrupts equilibrium

Visual clues: The troopers in uniform, the attack boats, guns, bullets, barrages on the beach, explosions on the beach and in the sea, blood, the disturbed movement of the camera and natural filming.

Aural and Verbal clues: Shouting orders, shouting in pain, explosions, the sounds of passing bullets, bullets hitting water, bullets hitting sand, bullets ricocheting, bullets hitting people.
                                                   
These all ultimately add up to a picture of what will be in the rest of the film. The fact that the men are constantly moving shows they have a job to do, and we can tell they will be doing similar jobs throughout the film. We also know that the film is called saving private Ryan and that that is probably the mission the troops will go on. We also want to go back to the sense of equilibrium that there was at the beginning of the film and we know we will go back to that memorial setting at the end otherwise the film would not make sense, not forgetting that we are viewing a flashback of sorts.

From my knowledge if the film Ryan will be saved which restores some equilibrium, however Captain Miller (the focus of the film, the hero) is killed and another equilibrium is broken which is also restored by James Ryan's peace in front of the captains grave at the end of the film.

Story Boarding: Independent Research

This website is a step by step guide to storyboading : http://accad.osu.edu/womenandtech/Storyboard%20Resource/

Also this video on how to storyboard is insightful and well as humorous, telling you a lot about how to storyboard in a light hearted and audience reflecting manor:  

Principals Of Continuity

Continuity (in terms of film) is the process of making sure that a film flows. It is done to prevent confusion or distraction from the narrative as well as to make a film aesthetically pleasing. The process of continuity is done to encourage the audience to enter the fictional world of the director and better interpret the goings on in the film.

Continuity techniques are:

• To use the full range of shot distances, where relevant, and to promote specific actions to the audience (i.e speech or movement) which also creates variety.
• Camera movement, which creates the effect of the physical movement of the audiences view, forcing there eyes on something or providing an overview of the surroundings with a panoramic shot (pan). It creates perspective and a point of view.

Continuity editing techniques:

• The 180 degree rule and constant consideration of direction. This is where from where the camera starts in a scene or location and never rotates around that location over 180 degrees. This is so that the audience is given a clear idea of the positioning of characters and of the scene and if the rule is broken then this clarity is lost with confusion.  

• The 30 degree rule. This is when the camera never moves over 30 degrees between set ups.
• Eye-line matching. This means that characters are positioned correctly in the frame as well as if they are out of frame.
• Matching cut. This is when the action in one shot is continued in the next shot.
• Match on action. This is when the last action is one shot is linked to the first action in the next shot and so on.
• Use of cuts and dissolves to construct rhythm and pace. This is when shots are either simultaneous and cut to make seamless transition and no passing of time or to signify a passing of time or location with a dissolve.
• Use of shot order. Shots are put together to make sense and create narrative as well as following the storyboard and script. This takes the audience smoothly through the narrative.
• Shot-reverse-shot. Done when characters are conversing. This is when the shots are cut between the two characters, placing the audience between them.
• Cross cutting. This is when shots are placed together from different spaces in the narrative to show that things are happening simultaneously. A good example of where this would be used is in chase scenes. 
• Parallel cutting. This is the same but shots can be independent from each other.

  Continuity is so important for creating narrative flow and creating a great film (that is assuming the script and idea behind the film are good too!) Therefore I will definitely need to incorporate these rules into my production so that audience understanding is maintained.

Storyboarding

Why is storyboarding important?

• Storyboarding shows a visual representation of the script or narrative of a film and helps all who are working on the film to know exactly what happens where and how is should be represented.

Here is an example of a storyboard:

• A story board also gives instruction to how shots are to be lit and direction to the camera as well as action and direction in the shot as well as sometimes basic dialogue.
• It also helps the director and cast to see if the ideas can work on screen.
• A storyboard illustrates how individual camera shots can be used to create narrative flow.
• In pre-production it helps the director to achieve the desired look he want on the film and individual sequences.
• It is an important means of communication between members of the film crew as it provides a common outline which everyone can work on.
• A storyboard is used as a guideline for filming
• In post production they act as a visual reminder of what has been film and what order it should be in.
• After filming shots can be judged or compared to the storyboard in case they don't meet the desired effect. This can also help when choosing shots for editing.

 Questions on Psycho storyboard

1)Q: What is happening in the opening sequence of the film?

A: From what I can see a man is up to some sort of mischief in some public men's toilets. In the first four shots his face is not seen which gives his build up mystery and suspense especially when there's blood involved. From what I can see the man has cut his hand and is washing the blood down the sink, at which point he bandages his hand. At this point a boy enters the room as the man tucks a gun into his belt. The man looks at his hand and the audience are given a glimps at his personal effects as a teaser for them to guess what sort of a person he is. The man then notices the boys and with aggression turns round and shoots the kid.

2)Q: How is narrative flow established?

A: Narrative is established firstly through various different types of shot of the subject and the action that is taking place. This is done by introducing the scene with a shot of the door of a men's toilets. Then the man (psycho) is introduced through various shots depicting parts of his body and his actions showing what he is like and then his physical appearance. Meanwhile a boy enters which adds to the suspense on the man's actions and puts him under pressure (although he doesn't know it yet). Also the psychos personal effects a shown in a pan shot, helping to give the audience an idea on what this man is like. His suspicious and bloody action also add to the mystery of the narrative as not much is given away to exactly what he's doing let alone to why he's doing it.

3)Q: If I were directing this sequence, what aspects of the storyboard would I change?

A: If I were directing this film I would probably show less of the psychos face to add more mystery and anticipation to a reveal of him. The would be more emphasis on what he is actually doing and his different body parts as well as on the scene (toilets) he's in. I would also man the transition from shot 11 to shot 12 a straight cut as a fade to black doesn't seem to give the desired affect of quick movement and shock that I think needs to be put across here.

Film Still Evaluation

Shot Description:

This is a two shot, close up with a tilted frame, depicting a teenage boy hiding behind a row of lockers from a mysterious and strange hooded oppressor, who is slightly out of focus on the right hand side. The genre I intended to depict was that of a thriller however there are many signefiers in this shot connoting possibly a horror or drama. Signefiers of a thriller are that the frame is tilted which indicates discomfort of the subject in the situation and connotes that things may not be as they seem as well as adding to the effect of anticipation which is also why this still could also represent a horror film.

The blur of the hooded figure and the fact that we can see very little of his face also make this still seem like that from a horror or thriller as it connotes mysteriousness and that something is abnormal about this character which is also shown by his body position which is somewhat zombie like. In this shot there are also a few binary opposite for example the light on the subject character and dark on the hooded figure. This helps to separate the two characters more than just the distance between them however more could have been done when taking the shot to make this difference in lighting more obvious, giving the mysterious figure a more gloomy look with less light.

How did I achieve the effect:

Firstly location was key but also limited by the fact we were in school and there were classes going on. I intended to find a location where you could get a good sense of perspective and this corridor seemed to match my needs however there was a lot of natural light which I couldn't do much about so used it to help add effect to the shot. To achieve the effect I wanted I also tilted the camera and positioned the characters so I could get both a close up of the subject and a long shot of the oppressor, making sure that the distance between them was enough to give an effect whilst ensuring both characters were in shot. Lastly I took the photograph quickly so that the camera was unable to autofocus on the background (which happens if you half press the shutter button)

What was successful about my shot?:

My team mates and I agreed that this particular shot best achieved the effect I wished to present and my intended genre, having many aspects that represented my chosen genre. The composition, characters, camera effects and mise-en-scene indicate that the still is from a thriller/horror (possibly a teenage slasher) however many of the class, on seeing the still said that it could have represented a drama which I can completely understand with conflicting characters and the lighting which seems a little too gentile for a horror or thriller.

What would I have done differently in hindsight?:

As I've already stated, lighting was an issue when trying to represent my genre, being to natural and bright for a horror or thriller. If I was given the opportunity to take the shot again I would find a location with lighting that I could adapt to connote my chosen genre, with more shadow and less natural light. I would also have looked for a location which was more rustic, such as an urban ally way with rubbish all around, or play on conventions and choose a location such as a rural village to make the shot seem way out of place.

The Godfather Opening Sequence

This is the opening ten minutes of the legendary film The Godfather. Although it is an 18 rated film, the introduction contains no bad language, violence or the like. The Godfather is a Mafia crime film and focuses mainly on the American Italiono family the Corlioni's and there involvement in the criminal underworld of the 1950's (this story isn't true but may be based on true events, but who knows, its a mafia film!) Most of the film is based in and around New York including the opening sequence.

The film opens with some mysterious and Mafia themed trumpet playing, which you hear before you even see anything, other then the slow moving introduction credits which are white on black (immediately we see binary opposites). We see the title of the film which cleverly includes a hand holding puppet strings attached to the title which instantly shows the audience there is mischief afoot which works incognito with the music. The music then stops, the screen goes black and in fades a moustached man with an Italian accent. He talks of America and his family as the camera very slowly zooms out from his head. He tells the the audience a story about his daughter and her love relationship going wrong ending in her being beaten and ending up in hospital. The man's voice then turns to one less confident, distressed (on the edge of crying) and he begins to weep as the camera zooms out to reveal a desk with a man sitting behind it. The shot is a point of view shot of this man over his shoulder.

As the man with the Italian accent is handed a drink the man we cannot yet properly see moves his hand next to his cheek in a fashion of possible irritation, impatience or to show that he is thinking. The man with the accent goes on with a more serious voice that he wants the men who harassed his wife to be 'brought to justice' and that he must go to see 'Don Corlioni' who we presume he is talking to but are not sure yet as the shadow on the mysterious man is very dark and reveals very little (only his hand and cheek). The is a pause for dramatic effect and to show the mystery man is thinking before he speaks. He then begins to speak with a very muffled accent, asking why the Italian man went to the police before him, indicating that the police are a threat to him.

He then begs for the Don (who we can presumably confirm by now) to do what he begs him to do. Them man then gets up and whispers in the Dons ear, all this time the shot has been the same but then it changes to reveal the Don's face (mid shot close up), which once again has an expression , showing that he is thinking. He is sitting in a big chair with a black suit a bow tie and a red rose in his pocket, indicating that he is of some importance. He then says shaking his head 'That, I can not do', then once again the shot changes to a long shot that reveals the entire room and the other men in dark suits who are also listening in. The Italian then begs once again and the shot goes to the Don who is stroking a cat (which is the stereotype of a villainous character, signifiers of a crime film) and he tells the Italian off for not seeing him enough, despite the fact that his wife is godmother to the Italians only child but then says that 'you are afraid to be in my debt' which indicates that this Don maybe quite sinister.

The Don then scrutinises the Italian once again saying that he has insulted him by not calling him godfather and not wanting to be his friend and then says that the Italian has asked him to do murder for money on the day of his daughters wedding. The Italian replies that he asks for justice. The Don then replies that his daughter is still alive so the Italian asks to make the men who harassed his daughter to suffer asking how much he should pay the Don (all in a close up of the Italian who is in quite a dark environment). There is a long pause for Don Corlioni to think again and he gets up in the same long shot and so do the other two men in the room. The shot then switches to a medium long shot over the Italian's with the Don on the left. The don asks why he is being treated with disrespect saying that if the Italian had come for friendship the harassers would be dealt with the very same day.

The Italian then asks for the Dons friendship, respectively calling him Godfather in an over the shoulder shot of the Don with the face of one of the other end of the room in shot with a drink in his hand. The Italian then kisses the Dons hand and the Don grants his wish as a gift on his daughters wedding day but that he may ask of his 'services' in the future. After the Italian leaves, the then tells the second man (over the second man's shoulder shot) in the room to get reliable men for this job, saying that his establishment are not murderers and he smells his rose.

All of a sudden the mood changes as the audience is bombarded with colour and music which is a complete contrast to the atmosphere of the office, There is a wide high angle shot of a big party (wedding) with people entering from there cars. There are hundred of colourful people there all very well clothed in the next shot which pans across the large crowd who are chatting and dancing to the Italian themed music. The fact that we are at a wedding is revealed by the fact that in the next shot there is a bride in a beautiful dress and her groom with many children and women holding flowers next to them preparing to have a picture taken. The Don and the other men from the office are also there with the bride and groom for the photo. The fact that a photo is going to betaken is shown to the audience by the fact that they are all posed and aligned for a photograph even before we see the photographer.

The camera then goes to a mid shot of the Don who looks distressed and asked where Michael is and delays the photograph by talking to the photographer in Italian who immediately stands down. They then all begin to leave. There are then many shots of greeting and dancing and chatting to add atmosphere to the scene and give the audience a broad perspective on the occasion. The sound is then muffled and the shot changes a man getting out of his car in what is presumably a car park, in a suit which is none too different to that of a detective in that decade and he takes out a pen and paper and starts looking at the cars noting things down. The camera then once again turns to dancing and back to note pad detective who is looking at number plates and this process of detective to party shooting happens again. Then there is a shot of the Don meeting someone and welcoming him and then back to yet another shot of the party and more dancing and clapping of men and women who have had a bit to drink. Then are rather large man call another man to get him some wine and then commands him to look around as if to protect the party or the like.

All the shooting of the party is very natural and realistic and doesn't look staged or acted. It may as well be a real wedding. There are many shot of the different family members dancing with everyone with lots of long shots strung together making the whole thing look incredibly natural. The camera then goes to the bride who is receiving present from guests and then goes to a man who seems to be analysing the gifts from afar and says that if it were to be someone else's wedding then, he says something in Italian, indicating he would steal it. He is then thrown what is presumably food from his friend who he jokingly calls a 'Jerk' (typical 1950s language!) and that's the end of the ten minutes!

Getting to the more technical part, the story and order of events happen chronologically and are connected very strongly but not to add flow to the film but to show the contrast between the dodgy dealings of the cramped office and the big cheerful innocent wedding. Between these to places there are many obvious contrast such as the lighting, the amount of people,the space and the moods of the characters. In the office there is a lot of emotion and seriousness as well as fear but all that is lost when it swaps to the wedding scene where everyone in happy, chatty and drunk (in a cheerful manor of course!)

We are only really told the identity of the main character, the Godfather, as most of the shots are based around him and what he's doing or thinking. He is introduced by the Italian and the scene in the office at the opening but the audience is made to guess that he is the main character, which is shown a lot by his attire, the way he talks and the way he is addressed by the Italian.

Not much of the story is told to the audience other than the Italian wants some people killed, however the way in which this scene is captured, with the focus on the Godfathers point of view, indicates that the actual story wont be based on the harm done to these men and more on the Godfather himself, also indicated by the film name. The way that the men in the office are dressed and there conversations show dealings of life and death, showing the film will be about crime, however the wedding scene connotes innocents and family so we can guess we are going to see a bit off both. The fact that there is a detective at the wedding only helps to further promote that the film is about crime.

At the start of a film it is crucial that a scene is set and characters are introduced otherwise not much sense of anything can be made by the audience. As a viewer a film producer cannot presume that I already know these things. I feel that The Godfather has done this with style and gets the audience thinking straight away. The scene is set exceptionally by using contrasts and introducing characters mainly through filming techniques.

Watch it! Its awsome!