The Preliminary Task:

Preliminary task:

Continuity task involving filming and editing a character opening the door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of a dialogue. This task should demonstrate match on action, shot reverse shot and the 180-degree rule.

In this post I am going to go through in detail, how exactly we as a group, pre-produced, filmed and edited the preliminary task.

Pre-production:

Initially, we began to devise a narrative to fit the preliminary. As the genre we had to undertake was Thriller, we could then begin to add structure and spark ideas from our own knowledge and experience. We knew some key thriller elements and possible plot lines that we could incorporate into one short film. It was also made clear to us that this task 'so important, it was just so we had some necesarry experience in using the camera shots and techniques we had been asked to use (the 180 degree-rule, match-on-action and shot-reverse-shot), and so we also had experience working as a group. Therefore, we decided to create it during school hours, using the college facilities available to us.

The setting:

We went into the media suite (editing room) and began to base and expand ideas from what we have available. The room was very small and oddly bare with clutter around it, so this wasn't bad at all. We also decided to use the foyer right before the media suite, now we had chose a fair setting, we moved forward with our ideas that could allow us to use the techniques we had to. Here are some pictures I collected of the area we used:

Our idea:

We created an idea all together in the space of the hour we had in lesson, it meant we could discuss and compare ideas quickly for a final idea we all liked, that simply included the necesarry features and even other codes and conventions of a thriller.

The main idea we came up with was weirdly sparked off from the window in the editing room- we imaged a powerful figure standing there, arms perched on the window sill, as the character dramatically stared out into the distance. We then realised that we could also make this narrative into a thriller parody, for comedy elements, considering this task wasn't that serious. So we decided to have the blinds shut as the powerful figure stood closely to them, staring right at them instead of looking outside. This would make the figure appear less threatening, but actually quite loopy, therefore it could be perceived as humorous. This would contrast with the serious and suspenseful feelings of the scene, creating a roller-coaster-like effect on the audiences emotions, which is generic feature of a thriller film.Even though the closed blind can be seen as an error, it was completely intended. The closed blinds also helped create a darker setting. As low key lighting was used, this effectively created a deep mood, that suggested darkness, secrecy and fear, which is also a common convention. 

Casting for development of ideas:

 We allocated our group member, Lizzie, this role of a powerful figure. We were aware that strong female roles were becoming more popular in recent years, therefore, Lizzie fitted this role. Around this idea of an authoritative figure, we designed the costume to fit Lizzie. We then created another character, who would come visit her, where Lizzie would offer some business... Next, we thought about the identity of this character, which lead us to think, how about a secret identity? The idea of an assassin came to mind. We developed this character to be a male, therefore the group allocated me as the assassin. Also i usually look very tired and i have clothes that would fit the role of a young, modern day assassin. The idea of an assassin connoted death, corresponded with the low key lighting, and further allowed us to expand the narrative, regarding the conversation. An assassin was perfect for the thriller genre. To support the conveying of Lizzie's power and success, we finally allocated Iain the minor character that played the role of Lizzie's  assistant. 

Final idea:
The basic plot idea was that I would walk in the foyer (Assistants office leading to the bosses office) where Iain the assistant would tell me to go through into Lizzie's office. When I go through, Lizzie is waiting for me. We then exchange a couple of lines about my business, then it would end after Lizzie orders me to assassinate someone... It was short, snappy and right for us. We all liked it, and agreed on producing this narrative idea.So we started planning further, especially in planning the camera shots, making sure we used each technique effectively- which I will come onto talk about later.

Story boarding:

After we fully knew what we wanted to create, we went into the rooms we were shooting in, and planned the shots, frames and angles that would capture the film the best we could in the space we had. We done parts of the story board on other bits of scrap paper to help plan and develop the narrative as it unfolds. We all contributed fairly in the drawings of the story board, (so we were all a story board artist).

But here is the final story board we made, with it fully explained and annotated:

Shot No.1
To begin we used an over the shoulder shot long shot, that focused on the assassin walking behind but towards the secretary. This helped represent how he is a secretive and devious character, that might strike at any time, taking lives, without anyone knowing... The camera was placed close to the keyboard which emphasised the ambient typing sound, this outlined the working enviroment as the setting scene.

Shot No.2 

The secretary then swiveled around to face the assassin that walked into the shot, then walked out towards the bosses office door. First Iain said 'just go straight in' as this heightens the tension and mystery and, in a way, the parody aspect. We used this to make the audience think something dramatic is going to occur and to ask questions. The assassin continued silently, which subtly made him appear quite unconfident in his actions

Shot No.3

The next shot was framed so that the assassin walked towards the camera. The camera was on the other side of the door, looking through the grilled wires in the glass window, at the assassin. This was done deliberately, to be suggestive of how the assassin is tapped in the dangerous business. This makes the audience sympathize with this character, especially with his age.

Shot No.4

This close up of the door handle moving, where the side of the door slides across out of the frame, as the door opens, begins match-on-action and set the pace for the subject in the next shot. We used this shot to ensure we used this camera technique. The close up exaggerated the feeling of a mystery unfolding so quickly before the audiences eyes. This would help maximise any shocks that weren't anticipated too early on.

Shot No.5

Continuing the match-on-action, as the door slips out the frame in the previous shot, the assassin smoothly falls back into the shot and takes a seat at the same pace the door opened, where an over the shoulder shot is established. We then concentrate on a mid shot of the stiff figure stood with her back to the camera. Her threatening pose, her clothes and the lighting instantly portrays her as dramatic, powerful and dark. She turned her head, showing only one side. Then the firsts words that came out of her mouth were 'I've been expecting you...' although this can be quite intimidating, it also adds a slight bit of humor, with a few weird/sexualised connotations. We did this to help outline the parodical side, as did the closed blind that the boss was staring right at. We done this to make her look silly for trying to act so dramatic. 

Shot No.6

To really ensure we had a range of shots for different effects, the next shot was an extreme close up of the boss scrunching a picture up of the victim, after the assassin enters and she greets him. This emphasised the feeling of anger and frustration, as well as representing her as emotionally unstable; as you would imaging that someone with such a high status would keep them self under control when meeting someone for business. The quick crunch and heavy breathing adds to the emotions, and can also symbolise how she wants to destroy the victim quick and easy, therefore, hired an assassin... The diagetic sound is effectively much louder and crisper, which can send shivers down the audiences spine, preparing them for something...

Shot No.7

The boss then turned and took a seat opposite the assassin, and placing a number of photographs of the victim, face down on the table between them. Now she has sat down, the audience know she is ready to start discussing business, revealing the any answers to questions they may have. As they are both sat down now, they appear more equal now, it shows that the boss has to be on the same level as the assassin to talk, which is implicit of him being the more powerful one... but is he?

Shot No.8

This is a quick close up shot shows the assassins hand reaching over to flip a picture over take a glance at his next target. However the shot cuts right before it the audience see anyone, keeping the identity hidden, teasing the audience that bit more. This conforms to the thriller convention of hidden identity.

Shot No.9

Another over the shoulder shot, from the boss's side, is taken. The dialogue properly begin, where the assassin asked 'so how shall I do it?' which hints at an assassination, and makes him seem uncertain and unconfident in his own actions, so he asks how it should be undertaken. This could be seen as cooperative too; friendliness can be seen as a weakness in this corrupt business, as it shows he doesn't have his guard up. A slight high angle shot was also used to show his lack of power in this meeting.

Shot No.10

A shot reverse shot is established next, as the camera switches to the assassins side, over the shoulder shot. This shows dialogue in the use of camera techniques, therefore the boss then answered 'I don't care, as long as it's done.' we added this dialogue so that the boss would appear very cold and unpleasant. We especially liked her deadly stare and body language, sitting up straight, looking stiff, arranging something evil.

Shot No.11

Returning back to the assassin, he curiously asked 'any reason why?' which seemed a bit cheeky and perhaps too personal to discuss. He looked far too comfortable compared to the boss, as if he wasn't threatened by her. We made this seem to be battle for power here; the assassin asked all the questions to control the conversation, whereas the boss acted very unwelcoming and threatening, telling things straight with anger. As soon as the question was asked, the boss begins to stand up in this frame, where we sharply cut to the next shot.

Shot No.12

Finally the 180-degree rule was distinguished, the assassin and the boss are sat, with the table between them. But the boss stood right up over the assassin, looking down on him... This was done so that we could present the imbalance of power between them. The boss's power is confirmed when, she states 'that is none of your concern. Now kill him!' as she demands that he does it, and shows how shes had enough of the questions, as if she is saying who dares question me? Although it seems like she is trying to dramatise the situation, displaying pseudo-power.

Shot No.13

The final shot revealed the victims, as the camera tilted slowly down to look at the photographs. These (prop) images held all the tension for the ending, that soon showed the victims to be a cat. This shone the comedy element to our narrative, now the audience were more aware of it being a parody, everything that occurred appears more funny and dramatic, when you think back to how the characters acted. The cat act as a plot twist, obviously because the audience didn't expect the victim to be a cat. Normally the victim would be a person The silence helps the audience focus on whats happening on screen, which helped the film come to a humorous close, with no sound distractions.

Here are the story boarding sheets all together:

Costumes:

The cast each had a set costume so that ideas about us were quickly and effectively conveyed to the audience, without telling the audience any character labels, eg. A boss. Here are the costume designs and semiology behind each one:

• Lizzie- The female boss: We planned an outfit that outlined sophistication, power and authority. So she wore a blouse and skirt for a feminine touch, then a black women's blazer, as blazers are traditionally worn and associated with men, therefore giving her a masculine feel. The black blazer also had connotations of darkness and evil. Under this, a white blouse represented innocence, showing how she is kind inside (maybe at home with family) but dark on the side (at work, she needs to be a strong masculine woman to survive in her field of work- the world of work is possible a male dominated world). She also wore black laced heels, appearing taller (rank of power) formal, yet feminine. And black tights, covering her pale white skin, having the same ideas as the blazer. In the makeup department, Lizzie simply wore red lipstick, having both negative and positive connotations... although, making her appear mature and ready to deal with anything that came her way. 

• Daniel (me)- The assassin: I designed a look which appeared rough, dark and youthful. So I wore mainly very dark clothes, such as black skinny trousers, with a black jumper, joined by a dark grey denim sleeveless jacket, and black vans. The skinnies and vans skater-shoes strongly outlines the youth aspect to my character. After all,  I am a teenager, so it was best to look like one. Teenagers have negative associations in a modern world, such as criminality, so in a way i fitted the role slightly... The hood up and overall darkness of my costume added a lot of secrecy and hidden identity (an assassin wouldn't want to be known), and reflect the darkness of my personality. Black also represents evil, and to kill another living thing is obviously seen as evil; this this colour choice was perfect for the character I played. The denim jacket helped showed how rough I must be, living a gritty life, making business by killing others. I wore no makeup, though my eyes are dark enough to look like I did, they can reflect a pathway an assassin has chosen in life. 

• Iain- The male secretary: As he was the male Secretary  we thought it would be suitable to be rather plain, yet also sophisticate and stylish. From this, Iain wore a purple patterned shirt, and a simple black tie. This simple and modern look was good for Iain's role, although there was no deliberateness in choosing the outfit for any strong representations, unlike mine and Lizzie's. 

Props:

We gathered primary props, such as the printed out pictures of the victim, we got these because we all imagined that when an assassin is assigned some business to take care of, some pictures of the victim would be conveniently provided, to ensure the assassination is done and dusted, without any mess. This particular prop helps add realism to the plot, as that's what props are for. Other props included the bits of clutter that barely surrounded the editing suite, like the wires, paper and folders, etc. The computers  that were in any shots were turned on to seemingly mimic a working environment.

Production:

Practice:

After we had finished story boarding the narrative for the preliminary, we thought it was a good idea to have a fun practice run through. This meant a lot of mistakes were made, for example, we got the shots wrong for the shot reverse shot conversation(the over the shoulder shots were accidently switched over when a character spoke). But it was mainly to check the camera angles weren't too bad and worked, and just for fun really, as we had the time, and it really didn't take long. Be warned, there is a lot of laughter and shouting from Iain, who directed and recorded us throughout this practice. We filmed this using Iain's iPhone 4s, for convenience, rather than getting the video recorders out. After watching this, we noticed any major errors we made, therefore avoided them in the real take- this practice was helpful. This also helped us establish the key techniques we needed to include. Although this doesn't count for much it was still good to have for comparison and reassurance. 

Here is the video of our practice run through of the task (bloopers included):

The actual filming:

 There were a total of 82 video clips taken for the 13 shots we needed for the narrative, which just comes to show how many times we repeated the shots to get them good enough. We also had to tweak some shots and framing, this was because we used a tripod for steady clean shots, and the rooms we had were considerably too small to fit the shots we originally planned in our story board. Despite the awkward spaces, we overcame this issue, and filmed it with no major changes in the camera position; I guess we just didn't anticipate how the tripod would create space issues. As Iain played the minor role of the assistant, who was only in the first two shots, he was our camera man and set up the shots. He also directed us during the filming. We all wore our costumes on the day, ready for filming. The filming took place over a double lesson, it went well and we got it all filmed in time to avoid filming the next lesson, this meant we could quickly get onto editing it together. However, the software wasn't yet installed onto the computers, this meant we would have to do that at a later date.

Post-Production:

Now we had finished the preliminary task we were ready to edit it all together. After the software was installed on the school computers, we got on. The editing software we used was 'Adobe Premier' which was really advanced and easy to use. 

Editing:
Firstly, we selected the shots we thought were best, edited them together the smoothest we could. We wanted to meet other conventions too, so we made the production a film noir piece; the use of black and white accentuated the shadows and lighting. This helped create an idea of good and evil, and the overall low key lighting made it darker to show how it was taking over, and reflecting the people and situation accurately as evil, secretive and dark. Using this edit, outlined how we met the convention of shadows too. At the beginning we included a fade in as it was smooth and welcoming. Then we used a lot of cuts as this allowed the pace to pass through each shot easier. Before the last shot we added a dissolve to represent passing of time to slowly reveal the victim at the end for suspense. Now we had explored a range of editing styles, we felt more confident for the editing of our main task. At the end we even made some humorous credits to clarify the parody aspects. The small production as a whole is 51 seconds long, with 13 shots, excluding the rolling credits. We almost used a song called 'O verona' by Craig Armstrong, as we took inspiration from the xfactors  dramatic theme song, to highlight suspense and humor. Instead we extracted some sound from a clip of Lizzie joking, and overlayed that.
Here is the song:

The Final piece:

Changes and improvements:
From the story board to the filming, we made a number of minor changes, if what we planned didn't work properly, or if we had a different idea. Here are some examples:

Shot No.1- At first the camera was positioned so my whole body was in the frame to achieve the planned long shot, although we soon realised that as I walked closer, my head was cut off. Therefore we re positioned the camera which left my bottom half of my body cut off, but my other half untouched  This was cause the moving subject went from a long shot to a mid shot, as it got closer, and we didn't take this into account. 
Shot No.3- We ended up using a med shot instead of a close up as this would help preserve the pace and direction, if we emphasised it, it would disturb the pace and direction, therefore making the discontinuity more visible.
Shot No.12- We originally planned for lizzie to say " That is none of your concern! So are you in... or not?" but then we changed it slightly to " That is none of your concern, now kill him" as this made it very blunt and aggressive to maximise the  shock and drama for humor.

If we could remake this piece, we would have tried to make less continuity errors, for example, we would have captured the conversation scene twice from both sides to ensure smoother and finer cuts. 

Bloopers:
We took the opportunity to put together all the other shots we didn't use, because of any mistakes and retakes, for example, in the second frame we realised the door was open, so we shut it. And another example is that we noticed that in the conversation, behind me, it was best to place the camera just at the edge of the room we we could fit my head in. Here's the video:
The video refused to post on here so here is the link to it: http://www.youtube.com/watch?v=_pHlnX7yhMk

Overall, this task wasn't bad, after looking and analysing it, i thought we could have done a better job, however, we got the experience we needed which is good. We just wanted to make this task funny and enjoyable, as the next main task is supposed to be much more professional and well put together, which means less joking and more filming!