My name is Gabriel Meytanis (candidate number 8560). I completed Brief 1:Music Industry, working in Group 2 with Georgina Harper-Dennett (8720) and Phoebe Hung (8017). Our group photo can be seen on the right of the page. To access my portfolio evidence, please click on the labels to the right named A2 Research and Planning, A2 Construction and A2 Evaluation.
GiGi - Sit Still, Look Pretty (Group 2 Music Video)
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-fans of the thriller/psychological thriller genres
-men & women between 15 and 24 years old.
We decided to target both males and females by
including characters of both gender, in the film, and though the only visible
character in the opening sequence is the female antagonist, we ensured other
characters would be introduced through photographs (as a prop) and sound
bridges. Despite having predominantly female characters in the film through the
stalker and victim, which could potentially alienate the male audience, the
thriller genre is often considered an archetypal genre enjoyed by men.
A representation of our target audience
Because our film is based around the themes of
cyber-stalking & social media and involves characters who are young adults,
we decided to target this age group, who typically tend to have more
involvement with social media. As a result this enables the core target
audience to relate to the characters and plot much more. We therefore took
inspiration from films with similar themes, target audiences and
certifications, including Cyberbully, Stalked at 17 and Unfriended,
and used this to influence our own decisions on which sections of the audience
to target and how to do so, such as also having a 15 certificate and including
enough violence and extremity to sustain the audience's interest.
We took inspiration from these films in particular
Secondary & Tertiary Audiences
Our alternative audiences are made up of:
-fans of the horror genre
-fans of British indie films
We decided that a possible secondary audience could
be made up of horror fans. The films that we referenced, like One Hour
Photo, also often included elements of horror films such as violence
and voyeurism and so we thought our film should also contain similar.
With One Hour Photo in particular, we drew inspiration from its use
of jealousy in influencing the actions of the antagonist. The victim's
continuous struggle to ignore or evade the villain throughout the story also
parallels the storylines of numerous horror films.
One Hour Photo influenced our decisions on storyline
Additionally, the accents, culture and settings
within the film connote its British nationality, whilst its lack of star
billing & large studios and targeting of a relatively exclusive audience in
British young people indicates it as an independent film. This could
potentially create a tertiary audience as they could either be fans/regular
viewers of British indies in general and/or could be drawn to the film as they
relate to the ideas and references included.
We intend to work and cooperate as a group in a number
of ways. For instance, in our first session we planned regular meetings twice a
week during free periods and after school, in order to discuss ideas and
further our project. We also agreed on certain rules which we would all follow in
these meetings and during the project, such as arriving on time, discussing
ideas as a whole group and keeping in contact if anything went wrong.
Additionally, we set up a Facebook Messenger group to help with communication and
the sharing of ideas and important information.
Our clip, "Yes, Actually" involves a geeky boy trying to ask a popular girl to prom.
Who did you work with and how did you manage the task between you?
During the project, I worked with Josh Oranu-Noah, Prudence Carter-Phillips and Georgina
Harper-Dennett. We held a group meeting to assign each person an individual role to act, direct or shoot. As a group we also produced planning sheets such as storyboards and costume & prop lists, and decided how to manage the setting and camera position. Josh and Pru helped to direct and shoot the sequence, whilst mine and Georgina's role was to act. I was also responsible for creating the costume & prop list.
Our group Georgina and I acting
How did you plan your sequence? What processes did you use? What theories did you try to take into account?
To help plan our sequence, we created paperwork such as:
- storyboard: this enabled us to plan our shots and framing, and to check whether the sequence had narrative flow and made sense.
- script: outlined what the actors would say on set.
- top-down plan: helped us to visualise the shoot and plan around the 180° rule.
- costume & prop list: reminded the actors of what to wear and which props to bring to add to the characters' representation.
- shot list: detailed the order of our shots and was a useful reminder during editing.
To check the sequence and shoot would make sense we ran through the script, blocking the action and referring to the top-down plan for camera positioning. We also had to take into account various factors and continuity techniques stated in the brief, including master shots, match-on action and the 180° rule, and we incorporated these into our storyboard.
We drew up paperwork during planning, including a storyboard and script
As well as this, we were aware of representation, and used stereotypical clothing and props like the geeky boy's glasses & pens and the popular girl's phone to clearly convey the characters. This also helped to indicate the romcom genre which we were trying to portray.
What technology did you use to complete the task,and how did you use it?
Technology used while shooting:
Some of the equipment used, including the Canon camera and Sennheiser headphones
We used the tripod to keep our shots steady, using the handle to create smooth pans when filming. We kept our camera on manual settings and were aware of safety precautions & distractions such as background noise, which was picked up by the shotgun microphone. The mic also allowed us to pick up the diegetic sound of our shots much more effectively than the camera's mic. We used a clapperboard with shot & take numbers to identify which shots to use during editing.
Technology used while editing:
- Dual-monitor PCs - Adobe Premiere Pro
Me and Josh during editing
In Premiere Pro, we renamed our rushes to help identify which shots we were going to use, before marking rough in & out points to edit with. We used linear editing techniques and referred to the storyboard to check the order of our shots, using the drag and drop tool to transfer them to the timeline. We then used the razor tool to precisely cut shots in order to achieve continuity. A good example is the match-on action between shots 5 and 6, where the character's hand seems fluid between both shots. The razor tool was also used to separate and cut down larger shots, such as the master shot. This helped us to achieve the shot/reverse shot outlined in the brief.
What factors did you have to take into account when planning, shooting and editing?
Our top down plan helped us to manage the setup of our shoot.
During planning, shooting and editing we had to take into account many factors to ensure the shoot worked – especially adhering to the brief. This was difficult, particularly as we had to shoot in the media block, so there were various distractions and issues with the location.
Planning:
- We had to shoot in the media block, so we drew up a top-down plan to incorporate continuity (such as the 180° rule) into our shoot, and worked out how to set up the classroom to aid this.
- Time constraints meant we had to clearly draw up the order in which we would shoot our sequence and also divide the workload between ourselves to combat this.
- Certain shots involved windows and reflective surfaces, which we had to be aware of so as not to film the reflection of the camera.
Shooting:
- We had to be aware of the camera's positioning so as to create continuity by shooting from different angles to create a smooth sequence whilst including a shot/reverse shot and varying shot types. We also took the 180° rule into account and didn't position the camera over an imaginary line dissecting the room.
- Due to small group numbers, at least one person had to operate the camera and so we couldn't realistically include more than a couple of characters.
- We only had 80 minutes to shoot all the necessary rushes, so had to be conscious of time when shooting.
Editing:
- We cut down shots precisely and divided the longer shots in order to incorporate continuity principles including match on action & shot/reverse shot.
- Time was again a limiting factor, and we could not spend large amounts of it cutting one shot to perfection.
- We had to be prepared to adjust the final sequence from that in our storyboard, as we realised some original shots did not look correct or didn't work.
How successful was your sequence? Please identify what worked well, and with hindsight, what would you improve/do differently?
- I think that overall our sequence was successful. Despite some errors in narrative flow and editing, it followed the brief well through the action and inclusion of continuity principles such as match-on action and the 180° rule.
What worked well:
- Match on action was well-demonstrated throughout. Examples include opening the door between shots 1 and 2, Character A's hand movement between 5 and 6, and pulling in his chair between shots 6 and 7.
- Shots 3 and 8-10 use eyeline match well, to position the viewer in the characters' shoes.
- We used a shot/reverse shot for shots 7 and 8.
- We cut away to the mastershot in shots 6 and 12, to establish the space between both characters.
- We adhered to the 180° rule in the sequence, and the camera did not cross the line of vision.
- The storyline was plausible, and the action within it followed the brief. The characters also distinctly indicated the romcom genre.
In the final shot, the piece of paper from the previous shot disappeared.
Improvements:
-The match-on action between shots 4 and 5 didn't quite work, as the character's arm movements and positioning don't match exactly. Furthermore, the diegetic sound of the door closing in shot 4 wasn't continued in shot 5. The positioning should have been paid more attention, and we should have shot more takes.
-The camera shook slightly during shot 3. In hindsight we should have spotted this earlier and shot more takes.
-In the penultimate shot, Character A joyfully gets up with his poem in his hand, however in the next shot it vanishes. Again, more care should have been taken to fix this, and in hindsight we should have realised and shot more takes. 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?
After this task, I have realised that the shoot needs to be well-organised and extensively planned - especially to stick to time constraints. Also, I've learnt about the many techniques to achieve continuity and how to achieve them. I will hopefully incorporate them in my future coursework.
The first shot of the
snippet is an establishing shot which uses tracking. This immediately clarifies
where the action is taking place, and who the characters involved are. The use
of an arced track, or ‘dolly’, allows the audience to remain focused on the
scene, reflecting the tension of the situation. Additionally, the camera
remains on one side of the action so as not to break the 180° rule, and keep a
consistent line of vision.
Shot 2 uses an over-the-shoulder
shot of Character B, in order for the audience to empathise with Character A and view
his perspective. The matched cut also creates continuity, as it helps the
sequence appear as though in a continuous smooth flow.
The third shot is a wide shot which creates continuity by using a
cutaway to represent the parallel action taking place and establish other
characters and settings. Meanwhile the 4th shot is a CU of Character
A to emphasise his facial expression and allow the audience to clearly see his
thoughts and emotions. Shot 5 then uses a motivated cut (shot/reverse shot),
creating continuity through the action of A and the reaction from B.
The next shot then returns to the wide establishing shot seen at the
beginning of the sequence. This master shot creates continuity by signifying the
space between the two characters, and the framing creates the effect of the
audience as onlookers. At the end of this shot, the diegetic sound of the phone
ringing acts as a bridge, linking the two shots.
The next shots increase the cutting rate, creating the
effect of tension and panic as Character C frantically realises where the phone
is coming from. There is another use of shot/reverse shot to highlight the
reaction of the character, and the jump in framing to a BCU emphasises her
shocked expression and panicked action. The following shot uses an eyeline
match for continuity and to ensure the direction of Character C’s glance
remained the same. Continuity editing is used throughout the sequence to
indicate an air of realism to the audience.
There is then a handheld shot following Character C as
she races to reach her phone, giving a sense of immediacy and alarm. Shot 13
uses further crosscutting to introduce another character, Character D, which could
foreshadow a climax between the characters.
The next shots again follow a rapid cutting rate between the main action
of A & B, and that of C, contrasted with subjective time in order to
prolong the effect of panic. Continuity is then created through a further sound
bridge, as the audience gasps and Character C’s voice contrast and create a
feeling of relief. The snippet ends with the use of flashback on “My name is Latika”. This
indicates a break in the scene’s chronological order, and establishes the
significance of the relationship between Characters A and C.
The film is about a small girl who has been
detained in a mental asylum. There she becomes unstable and starts murdering other
inmates. The sequence includes a trapped victim and the girl creating a tally
of her victims. In the opening, the man character and key locations are
established, as well as the main events and genre.
Our film opening included information such as
the film’s title and actors’ names through credits. We also included the main
character and setting, and connoted the genre through the opening’s
mise-en-scene.
The titles link to the main film idea as the
font, Crimes Times Six, creates synergy between the titles and the chalk marking the tally of the victims. This image is synonymous with cells and confinement, which also connotes the horror genre.
I would expect the audience reaction at the
end of the sequence to be one of fear, unease and curiosity. The opening is
deliberately ambiguous and fails to pinpoint either the girl’s backstory or why
she has turned into a killer, in order to leave the audience fearing the
unknown and guessing & anticipating the film to follow. Meanwhile, the
narrative itself is disturbing and unusual – clearly for the purpose of
shocking and terrifying the viewer.
Three things I included in the grid which
were important were the main character, the film’s information (title and
actors) and its genre. The character is vital, as this gives the audience a
taste of what the film is like later on. The genre must be clarified to the
audience, otherwise they would be aware of the film’s content and storyline.
The film’s information is also very important in order to make clear to the
audience the basics of the film, such as its title and actors. The film’s name
itself is also a clue to the narrative of our film.
I think my film opening was pretty effective.
It included conventions typically representative of horror films and the
mise-en-scene, character, framing and lighting helped us to achieve a plausible
storyline and a successful sequence. We also balanced clarity for the audience
with the inclusion of the Enigma Code and equivocations to keep the audience
questioning. A possible improvement would be a variation in shot types to
sustain audience attention, along with the inclusion of an establishing shot as
the setting was not immediately made clear.
I compared the title sequences of Catch Me If You Can and Up.
The two films have contrasting genres, themes and characters, made clear by the
differences in their sequences. Although both are animated, it is used for
effect in Catch Me If You Can, to deliberately withhold story information and
build audience anticipation, however in Up the animation and scrapbook effect
clearly reflects the adventure theme of the film. Whereas Catch Me If You Can
mainly uses black with pastel colours to connote mystery, Up's use of
saturation and a vivid colour scheme is continued in the film, and reflects the
conventions of a film targeted towards the younger age group.
However both also have similarities. For instance, they both use animation,
despite having differing effects. Both use credits to clarify the cast to the
audience and generate anticipation, and also establish characters and hint at
the plot through either animation or pictures.
The film's information in Catch Me If You Can is conveyed using titles and
credits to indicate the film's name and cast, whilst also foreshadowing the
characters and plot using the animation sequence. Up's story, theme and genre
are immediately connoted through the scrapbook effect and saturated colour
scheme, whilst also using credits to indicate its cast.
Although animation is used in both, the aesthetic style of both sequences
differs and is used for different purposes. Catch Me If You Can uses black and
pastel colours to create a sense of mystery, whilst Up's use of warm, saturated
colours and a scrapbook implies happiness and adventure.
I analysed 'Catch Me If You Can', an action film starring Tom
Hanks and Leonardo DiCaprio.
The story takes place across various locations and workplaces, starting in an
airport and progressing from a hospital to a library. During the animated
sequence, a figure loiters at an airport before reappearing dressed as a pilot and
fleeing as another figure, dressed in a suit and hat, chases and tries to catch
him. As the sequence progresses, the setting and outfit of the first figure
changes as he runs away from the figure pursuing him. Although no time scale is
given, the story seems recent, as it is first set in an airport.
The order of events could be significant, as it could foreshadow
what is going to happen in the rest of the film and possibly in Chronological
order, however this has deliberately not been made explicit to build audience
anticipation. The events link to each other, as the characters in the sequence
move from one event to another, and the chase portrayed within the opening
titles is almost certainly continued within the film. Additionally, the editing
is not in a montage style, suggesting that the events are continuous or
related.
The opening sequence reveals quite a lot of story information,
but also deliberately withholds some as well. While the sequence and iconic
soundtrack establish the action genre, changing settings and main characters,
no explicit time scale, character backgrounds & information or main
location is clarified, leaving the audience guessing and creating audience
anticipation and interest. The film's use of credits contrasted with blank
figures also withholds information whilst generating expectation and excitement
of the main film to follow.
At the beginning of the film, the audience need to know the
basic aspects of the film such as its title, genre and at least a sense of
character and/or setting. In my own film, I would also follow these
conventions to build audience expectation and gratify their need for
information. aware of the title of the film, the genre, the setting and the
main characters. These are conventions of opening sequences and the audience
have expectations that need to be gratified. I would ensure I establish them in
the beginning of my film so that the audience can understand the plot and any
events in the film.
