Shot type notes

Ariel shot-  Camera from an overhead position to establish a shot
Close up-  Shot of the head and shoulder of a character to often show emotions
Medium Shot- Camera shot from the waist up of a character
Long shot- A shot taken from a long distance often to show the location
Dutch tilt- Tilt in the camera which is used to confuse the audience
Establishing shot- Used at the beginning of scenes to give information about the location
High angle shot-  Camera looks down upon a subject or object
Extreme close up- The image fills the whole screen
Eye Level-  Camera is eyelevel with the audiences eyes
Two person- A shot including two people
Dirty shot- When something is obstructing the camera
Deep focus- The shot allows the audience to see everything near and far
Over the shoulder- Looking from behind the characters shoulder to see actions of other characters
Shot reverse shot- Camera switches back and forth between the characters
POV- A shot which is from a point of view of one character.
Cowboy Shot- A shot from mid thigh up.
Pan-  The camera follows someone or something.
Whip Pan-  a camera movement which moves fast enough so it will create so blurred image.
Track- Where the camera tracks something.
Contra Zoom- Where the camera moves closer or further away from something while keeping the thing in the shot the same size.
Follow- when the camera follows an objects movement.
Dolly- A shot where a dolly is used to follow an object.
Pedestal- a camera movement which moves vertically with respect for the object.
Hand held/ Steadicam- The camera is hand held
Crane- the camera is on a crane while shooting
Arc- A camera movement around an object

Editing notes

Continuity Editing- In order for the audience to enjoy the film they have to understand the order of the narrative. In this editing style it is essential that the shots flow smoothly without showing cuts.

Shot size- The use a variety of shot sizes allows us to maintain interest in the film, and avoiding repetition. Close up’s can highlight certain objects  or symbols to focus the audiences understanding.

Cross cutting- A technique used for building suspense by editing together shots of events in different locations which link with one another.

Eye line match- Interactions between characters require an eye-line match. This is where the camera demonstrates to the audience who or what they are looking at.

Match on action- Editing together two different shots or angles to give the audience a slightly different perspective and providing more detail into the scene.

Match cut-  Two objects of the same size are edited  together. These shots graphically match.

Shot reverse shot- Two shots are edited together from different angles to explain a scene further, this is often used in a conversation.

Jump Cut- Two shots of the same thing are taken
from camera positions that are slightly different. This type of edit gives the effect of jumping forwards in time.

Montage- A series of shots edited together to give a condensed period of time, space or information.

Preliminary film- Evaluation

The purpose of this preliminary task is to understand and become familiar with continuity editing and to successfully use it in creating a short production. While also learning how to use and film shots correctly in a scene, these include match on action (which we used in our production where the character enters a room) and the 180 degree rule which we clearly abided by throughout the sequence, to not confuse the audience.

We faced many difficulties when producing our short film, our main problem was in the editing were the footage was not continuous, demonstrated when the character had there hood down in one scene and up in the next, disrupting the flow and possibly confusing the audience. We also struggled to match up the shot correctly as they had been filmed multiple times and in alternative ways, this therefore made it more challenging to order the scenes correctly. Furthermore, we found the editing programme limited what we could do with the clips as it was too advanced, therefore we were unable to achieve what we wanted, for example changing the footage into black and white to create a sad and atmospheric mood. Following on from this, due to the advanced programme we found the audio very hard to make flow when fading out the non-diegetic music and introducing the dialogue from the character, disrupting the continuity.

To plan out the shots we created a storyboard before we began shooting to clearly structure our ideas and make sure we all knew what to be filming, rather than wasting time aimlessly filming irrelevant clips. However, when filming the storyboarded shots were not always kept too and things were adapted for convenience. We also took the shots several times, for example the POV shot down the corridor, to ensure that when it came to the editing there was plenty of different shots to chose the best and most fitting in the scene to improve continuity.

When shooting and editing this preliminary film I learnt many things to help improve my production next time. One of which was to check that all the shots are accurate and there is nothing obviously out of place, before editing to save time trying to make the images connect through the editing. I also discovered that it is important to have invisible editing, meaning there are no harsh or obvious scene changes which the audience may become aware of. To achieve this is would cut out any pauses at the beginning of scenes, where the actors begin a new action, which may disrupt the flow. 

'Scorch Trials' Opening Sequence Analysis

Another opening sequence I will be analysing is ‘The Scorch Trials’ directed by Wes Ball and starring actors such as Dylan O’Brien and Kaya Scodelario. This movie is the second in the trilogy and begins with a flashback of when the main character is a child to give the audience an insight into the story line and develop further from the first production.

There are many camera angles and movements used in the sequence which are effective and add tension into the scene, fitting with the action/ thriller genre.  Several low angled shots are used throughout, one which looks up and highlights the barbered wire above; this may represent the controlling authority figures making the characters appear inferior and vulnerable
Another low angled shot is used when looking up at the young boy, this is also a point of view shot from the mother, this is an uncommon shot used on a child as they are often looked down upon as they are inferior and younger, although in this, the child is in a superior position insinuating that he is of importance to the story.



Additionally, we can see the use of eyelevel shots amongst the crowd, with the characters having extremely close proxemics; this creates the feeling that the location is extremely crowded and establishing a feel of tension which is built upon throughout the opening. Alternatively, this shot is effective as it suggests that something is wrong due to tense and confusing atmosphere created, meaning the characters and audience are equal as they are viewing the same thing and the audience is not given an insight into the storyline.

Camera movements in this opening rely heavily on a steadicam to keep the camera still through the action in the scene in order to not confuse the audience. A track is also used to pull away from the mother, as she blends in the crowd and becomes insignificant; in this the audience are also in the point of view of the child as he is dragged away. This presents the action to the audience without plainly showing it, instead the audience becomes a part of it.

The opening to the film has been edited using jump cuts at a fast pace, this is used to ensure that tension and curiosity is built up in the scene as the audience have a limited duration to understand what’s occurring in the image.  A shot reverse shot is used between the boy and mother whom we assumed have a paternal relationship due to the use of close proxemics. It is also suggested through the emotion of sadness upon both characters faces when the boy is taken away. The shot reverse shot is key in allowing us, as an audience, to understand the relationship as we can see both characters reactions and facial expressions.

Throughout the sequence there are two prominent effects used on the visual image, one of which is a blur applied to the image on screen. This is used as another way to confuse the characters, preventing the audience from clearly seeing the image stimulating a sense of mystery. This may also imply there is information or secrets being concealed from the audience.  Furthermore, there is blue tint/effect which has been used throughout the first half of the sequence. The use of this colour connotes sadness and hopelessness and makes the scene more serious. However, this contrasts against the characters that are made brighter and highlighted. As seen in the image, the rim light around the characters head may be linked with religion, this could be seen to represent angels, therefore demonstrating the innocence of the characters.

The lighting used in this clip is consistently dark and low key suited to the location and time of day it is set. However, it connotes mystery as the images are concealed and it’s hard to decipher what is occurring in the scene. The lighting is also a common convention of the action/ thriller genre in order to keep the suspense of the scene. The importance of the lighting is shown in the scene where the young boy is travelling on the train and is looking up at the dominant characters; the lighting is both highlighting and concealing his face. This contrasts light and dark therefore making the audience question the characters intentions as these colours often connote good and evil. This is used to further implement confusion and suspense into the opening sequence to draw the audience’s interest.

There is a vast use of both diegetic and non-diegetic sound in the scene. The music in the background was the dominant and the most obvious use of sound in the whole sequence, beginning slow and atmospheric then building and becoming louder, parallel to the action on screen. The non-diegetic music was prominent in the scene due to the lack of dialogue and minimal diegetic sound. This was effective because despite the music the scene felt very empty and eerie as there were many characters on screen yet no diegetic noise could be heard, making them seem inferior and unworthy of a voice. The only diegetic sound heard was the breathing from the guards in the mask and the dog bark, both of these making the scene more intimidating and is used to create a feel of isolation which the audience experience, with the lack of dialogue or comforting background noise.

 The mise-en-scene in the scenes work well with the story line and helps to build on the tension in the sequence. For example the location provided for this is effective as being in a train station shows that the characters are attempting to leave, suggesting something may be wrong, which makes the audience question what the events where leading up to this. The location is also out in an outside environment which is caged up and barbered wire can be seen on the gates, suggesting the people are almost as unworthy as animals, caging them in a similar way as what they would do to animals in a zoo.  The costumes range from the intimidating heavily armed guards, which are intended to be intimidating to both audience and characters, wearing masks which may suggest that something is wrong. To the female character at the end that ensures everything will be okay for the young boy whom is wearing an all white costume, juxtaposing the dark background or seen as a good character in an evil society and a prominent figure in the following story line of the film.

'Love Rosie' Opening Sequence Analysis

In this analysis I will be discussing the opening for the film 'Love Rosie' starring well known actors such as Sam Claflin and Lilly Collins, both whom have previously featured in similar productions, therefore attracting a similar target audience.

Firstly, the film begins with the shot of the female main character sat alone, using a long shot to convey this to the audience and set the scene. Also using mise-en-scene in the background with the use of flowers positioned just in shot, allowing the audience to assume the scene is set at a wedding, the characters white costume further implies this. I believe the director may have decided to use the long shot to establish the scene to reflect the female’s lonely life in order for the audience to sympathise and relate to her character.  The long shot is used for a long duration of the opening scene as the voice over describes the thoughts of the character.  As the scene continues characters begin to obstruct the view of the camera, making it a dirty shot; using this shot to make the female seem inferior and not cared for as the audience has a restricted view.

There are many effective camera angles and movements used in this film opening to lay the foundations of the characters personalities and ensure the inclusion of the audience in the story. For example as the female is sat at the table the audience is eyelevel in the scene, this puts the audience in a similar position to that of the character, making them feel included in the scene. However, in this particular shot Lilly Collins’ character is looking slightly off camera which may suggest that she is attempting to conceal her emotions by averting her eyes and not clearly showing her facial expressions. Furthermore, in this shot the character has been positioned slightly to the right of the screen which, according to the rule of thirds, suggests that she may lack importance in this scene, or alternatively it conveys her feelings of being out of place at the event.  Another effective use of camera shots, throughout the opening, is the constant use of mid shots and lack of close ups used throughout the whole opening. This prevents the audience and other characters on screen from seeing and sharing the emotions of the characters, which then begins to reveal aspects of her personality and the story line from the beginning to intrigue the audience. Despite this in the flashbacks, included in the opening, the shots are closer to the characters face, showing it is more personal, the proxemics between characters is also closer which juxtaposes the current event where she sits alone, this suggests that something has happened and causes the audience to question it and want to know more.

The Editing throughout the beginning is continuous, however, as the scene progresses to the flashbacks there is a more frequent use of jump cuts, demonstrating memories from her childhood.

This is effective as it only gives the audience snapshots of her past with the male character, however still feels very personal and is edited so it gives the impression that it is being recalled by memory. There is also the use of shot reverse shot between the male and female main characters, allowing the audience to see how the other reacts to the dialogue between them and develops their relationship. The director has also chosen to edit the opening sequence using text overlaying the image on screen, the font chosen resembling handwriting which appears similar to what would be written in a diary, demonstrating how personal this scene is.

Mise-en-scene has significant importance in this opening sequence, in the use of sound, lighting and costume. To begin non-diegetic sound is used in the music played alongside the image. This music including lyrics such as “I’ll never fall in love again” which ironic and links heavily to the story line and matching the visual images.  The diegetic noises include that of a glass clinks which interrupts her thoughts and abruptly ends the music and the other noises around the room which mean the female characters dialogue cannot be heard clearly, again showing her inferiority. The sequence also uses a voiceover throughout which gives an insight to the characters feelings without there being action to convey this. The lighting throughout is prominently bright and high key, focussing on the centre of each scene to indicate to the audience what to look at. However this lighting is juxtaposed in the final section where the character is crying and the lighting changes giving the entire screen a red tint, connoting the love and heartbreak she is experiencing.

For the costume, many of the characters are in very simple smart clothing, suiting the occasion and setting. Contrasting this is the main character whose costume and hair appears quite comedic and makes it apparent that she does not fit in with the crowds as it is very large, noticeable and unfashionable, suggesting further traits about her character,  that she does not conform to society.