After deciding to make a title sequence around genre of Action we researched a some films that include chase scenes, or chase scenes as opening titles. From this genre we learned a range of new camera techniques, angles and moves used in action sequence that would not be found in another genre. We also found the different Sounds and music that would be used to create the sequence, the high octane action, the different setups, and after much discussion decided to move away from the genre due to its complexity and the un-likeliness of creating something that was real to an audience member. However me and my group feel that doing this was not a waste of time due to what we have learnt, and the possibility that we can take something from this and incorporate it into our new genre which focuses on alternate and art house.

Continuity has been the main problem in films since Hollywood first started throwing them out of the studios. However since the industry has started to advance in technology, large precautions are taken to ensure mistakes are not made. A great example of smooth continuity in a modern film are these two shots from The Matrix.

Here we see a long shot of a character positioned on the left of the frame giving view of the room he is standing in to the right (this doubles up as an establishing shot of the room). As he begins to turn around we cut straight to a close of the character positioned in the centre, this draws the audience attention to him, and becoming the main focus. The jump cut between these two shots are almost seamless due to its simplicity, nonetheless it is an effective visual that could be easily recreated when making an amateur film.

Before Production of the exercise can take place, me and my group must plan out shot by shot how we will create our film. Our main priority when filming, are the angles and the continuity throughout. Hopefully this experiment will help me and my group achieve a greater understanding when it comes to the principle photography of our opening titles sequence. We must first begin our exercise by creating a small shot planner to work around, so that we could get the best angles possible.

Shot Planner




Medium shot of background character, camera is panning from right to left, background character approaches a corner, from the corner the main character (Daisy) appears and walks past the camera. This becomes a close up.

Cut to:

Medium shot of Daisy, Camera pans from right to left as she approaches a door.

Cut to:

Close up of door handle, Daisy’s hand comes into the left of the frame and opens the door.

Cut to:

Medium shot of Daisy from the other side of the door as she opens it. She then begins to close the door.

Cut to:

Medium shot of Daisy closing the door on the left of the frame. She begins walking towards an office and the camera tracks her movements.

Cut to:

Medium close up of an office door from the right and daisy enters the frame from the left and opens the door, someone from within the office begins to walk out.

Cut to:

Medium close up of the other person walking out, camera begins to pan to the left showing Daisy walking into the office.

Cut to:

Over the shoulder shot panning to the right as Daisy walks up to the desk where a secretary sits and begins to hand her an orange.

Cut to:

Over the shoulder shot of the secretary handing Daisy an orange.

Cut back:

Over the shoulder shot of Daisy retrieving the orange and walking out of frame to the right.

Cut to:

Two shot from the right of man (Phillip) sat in chair and Daisy sitting down in a chair next to him.

Cut to:

Two shot from the left as Daisy begins to converse about an out of work subject, and asks a question.

Cut back:

Two shot from the right as Phillip reply’s to the question and asks his own.

Cut back:

Two shot from the left as Daisy reply’s

Cut back:

Two shot from the right as they continue to converse.

Cut to:

Two shot from the front as they finish their conversation, and Phillip leaves and exit’s the frame to the right.

Cut to:

Medium shot outside the office as Phillip leaves and the camera follows his movement panning to the right slightly. He walks out of frame.

END

I feel the film demonstrates a great use of continuity and shot reverse shots. Me and my group are happy with the overall outcome, and through the experiment have found more knowledge in camera angles and their technical names. We have also agreed that we have improved a bit more in technicality and preparation since the Buffy exercise where sound did not blend well with each shot. This is just the next step to researching, preparing and creating the title sequence that will be our next film.

After deciding to make a title sequence around the genre of action we researched a some films that include chase scenes, or chase scenes as opening titles. From this genre we learned a range of new camera techniques, angles and moves used in an action film that would not be found in another genre. We also found the different Sounds and music that would be used to create the sequence, the high octane action, the different setups, and after much discussion decided to move away from the genre due to its complexity and the un-likeliness of creating something that was real to an audience member. However me and my group feel that doing this was not a waste of time due to what we have learnt, and the possibility that we can take something from this and incorporate it into our new genre.

The film starts with a tracking shot of Juno walking along the pavement keeping her in the middle of the shot.

As shown in the frame above once Juno passes the tree the backgrounds become animated with a slower looking frame rate (to emphasise the animation process to look handmade instead of picture perfect)



The start of Saving Private Ryan shows us a lockdown close-up shot of the American flag in the wind, this then cuts to the combination of tracking, craning and panning of a character walking away from the camera.