Dear John Opening Title Sequence Shotlist

Dear John Opening Credits

The Process Of The Life on Mars Clip

Filming to re-enact the opening of Life on Mars was an extremely educational and enjoyable exercise.

As a class, we firstly watched the original clip from the series several times, followed by individually watching the clip. By doing this we were able to identify the particular shots used within the opening, therefore guiding us for when we re-make the clip using our own facilities and equipment. We made a note of the shots used alongside taking screenshots of them to help recognise what type they were quickly when directing. As well as classifying the type of shot, we also noted down the length and time that the shots took also making filming easier.

When coming to filming, we chose a group of 3 and decided upon our main protagonist who would act throughout the opening clip. To get the specific shots we had to create certain positions using the filming equipment, such as the tripod for when birds eye view shots are used and also to stabilise the shots preventing ‘shaking.’ Another piece of equipment used was the dolly, which allowed us to perform the final tracking tilt shot used within the clip. We had to take many shots of the same part both using equipment and hand-held camera work as when editing we needed to compare to see which clip was most effective. This allowed variation within our version of the opening, showing our multiple skills.

Throughout editing we had to choose the best clips taken to ensure it could look as precise and as similar to the main clip. We had to cut the clip at the correct point to allow transitions such as ‘dip to colour’ to look effective. It was difficult to perfectly match the audio to the clips as they often were too short and needed slowing down to enable them to fit properly. However, editing was surprisingly a quick and simple task but there were a few aspects that we could have perhaps improved on.

The several problems we faced could have been and were easy to overcome. One common issue was the length of our clips matching the original opening. Unfortunately, we as a group did not record parts for the required times needed therefore when coming to filming we did not have enough footage to cover the audio and clip needed. This meant that we could simply slow down the footage furthermore causing it to be longer or repeat the clip. We decided to slow down the clip as by repeating it, the clip often ‘jumped’, by slowing it down it was not as obvious that it was not at 100% speed. Another issue faced was the fact not all the shots required were filmed. For example, when the footage from the forest was taken, we did not acknowledge that there needed to be a clip of a female in a red coat running through the greenery. Alongside this clip, we also did not film the shots for the end of the opening where the actor sits up. This consequently affected our audio fitting with the clips resulting in slow motion having to be used. Lastly, we should have filmed the final shot of the tilt shot whilst tracking the actor spinning around them slower as it should have lasted longer compared to what we had originally filmed. If we had gone slower it could have perhaps made the clip more effective, despite this I believe our opening is rather effective and replicable of the original clip.

By taking part in this exercise it has made me realise that without recognising, there are various types of clips used within openings of films/series’. It has begun to make me think about how I can use these different shots within my film opening for my coursework. I have been able to get used to new equipment which I may not have used before, and how to edit effectively on FinalCut. This task has enabled me to think about unique shots that could be used to increase the professionalism of an opening/film extract as well as the way in which they could be portrayed by using different transitions.

In retrospect, despite the issues that were moderately overcome, the opening which we as a group created was effective in the sense that despite lacking professional equipment and lighting, what we produced was to a good standard considering the absence of facilities.

Life on Mars

Saul Bass

Continuity Exercise

Whilst filming for the continuity exercise, we had to follow a number of rules in order to make our clip look as professional as possible. These included:

• Match on match action: this rule required that when two shots come directly after each other the continuity should be kept the same. This meant all props, the setting and actors would have to remain in the same state as they did in the previous shot. When doing this first time round, we had to re-film due to the fact we did this rule incorrectly.
• Another rule we had to follow was shot reverse shot. This was when the actor is shown to be looking at the opposing protagonist, then the following shot portrays them. The audience should assume that the actors are conversing with one another and without knowing the names of the characters, the audience should identify the difference between the characters.
• Lastly, the final rule we had to follow was the 180 degree rule. This referred to the camera being positioned on the same half of the actors. By doing so, it allows the audience to not get confused between the characters further helping them to understand the story and situation.

Quantum of Solace Introduction: Why It Is Effective?

The introduction of the famous James Bond film, Quantum of Solace, is extremely gripping and intense, yet informative as to what category of film this is. Therefore, intriguing the audience to continue watching the film further attaching them to the storyline.

Throughout the introduction of the opening, the scenery is illustrated helping to locate the action within the first part of the film. It is as if the camera is 'flying' across the water by the addition of the non-diegetic sound effects helping to calm the audience before an unexpected bombardment of sound is introduced. The use of dark lighting somewhat informs the audience of the mysteriousness of the situation, as we begin to expect something is about to happen due to the fact we traditionally associate dark lighting with danger. The non-diegetic music begins subtly and perhaps unnoticeable for the viewer, this is until the music builds up to a crescendo, somewhat replicating the tension being built within the audience. Notwithstanding, this tension is released yet consequently built when the sound effects are accentuated to continuously keep the audience on the edge of their seats. Paradoxically, when the music reaches the end of the crescendo (where the action plus enhanced sound effects are introduced), the music is cut, allowing the audience to pay closer attention to the action taking place. Extreme close ups have been used to illustrate the detail of the content which are divided and separated from one another with the dark lighting flashes. A shot used a numerous number of times is one which causes the audience to feel as if they are situated within the vehicle of the protagonist in our favour. Moreover, this results in the viewer feeling as if they are involved in the action causing more attention to be paid to the film. Eventually, the characters exit the tunnel within which the majority of conflict has occurred. Here, non-diegetic music is added to reinforce the conflict and change of scenery. The majority of sound effects added are the repetitive use of gun shots and car engines to further convey the props and conflict within the scene. Tracking and panning of the cars are used to assist the audience in following the action and to keep up with the violence therefore alluring the viewers to continue watching. Nearer towards the end of the scene, the music again crescendos and speeds up as the tension is successively built as danger for the protagonist (James Bond) is increased. When the final enemy is destroyed the music immediately cuts and the speed of the shot is decreased, helping the audience to identify every detail moreover allowing them to calm themselves post the upbeat conflict. Yet again, when Bond enters another scene, the non-diegetic music changes to another track beginning calm whilst the camera tracks the protagonist's vehicle. Towards the end of the clip, the dark lighting is again introduced resulting in mystery and fear of the unknown being developed by the viewers. Throughout the opening, the consecutive use of different shots with an increased use of wipes, helps to further enhance the fast, upbeat movement moreover leading to the audience being gripped within the first 5 minutes of the film. This intrigues the audience to continue watching the film, engrossing them from start to finish.

Researching Sounds in Film and TV

 Researching Sounds in Film and TV

Diegetic Sounds:

Any sound or effect which naturally originates within the scene, for example a radio playing within the scene. 

Non-diegetic Sounds:

Sounds or effects which come from the outside of the scene – normally added, for example a voiceover added to a shot to explain the thoughts of a protagonist.

Synchronous Sounds:

Sounds which matches the certain movements occurring in the scene, for example horses galloping matching the hooves hitting the ground.

Asynchronous Sounds:

When sound does not match the movements in the scene for example, when a protagonist speaks the sound does not match the movement of the lips or a siren is heard without seeing the police car.

Contrapuntal Sounds:

Sound that does not match the theme of what you are watching, for instance, Over The Rainbow (originated from The Wizard of Oz) is used within a violent scene in the film Face/Off to contrast these two actions.

Leitmotif:

Sound or melody which accompanies the reappearance of a scene or person used repeatedly to remind the audience of the character.