Lighting Continued...

After collecting and evaluating the results from the gel lighting used, I then experimented with the lighting i thought would be best against each characters face at different angles, evidenced below:

From this I found that I wanted a more directs light on the suspect to create the atmosphere of a stereotypical interrogation scene where the lighting in mainly focused on that character.

 I also wanted a more natural lighting on the cop/investigator character which in the end our location provided.

Lighting

To decide which lighting to use, I tested different gels against a wall in a dark room to see if they created the desired affect, taking into account the situation in which the scene took place and the different atmosphere I wanted to surround the two characters.

Below are photos that were taken of the different lighting effects on the wall:

Script

Below is a draft script for our sequence:

Interrogator: “I hope the cuffs aren’t too uncomfortable.”

Interrogator sits down.

Interrogator: “Now, I’m going to be talking to you with my colleague, about what happened.”

Prisoner: “Ah, the good cop, bad cop, routine?”

Interrogator: “Sort of, the problem is, I’m the only one here on the job.”

Prisoner: “How can there be a good cop and a bad cop then?”

Zoom in on Interrogator’s face.

Interrogator: “I’m going to be both…”

Prisoner is confused.

Next shot, Interrogator has a moustache.

Interrogator: “I know you did it, you filth! You killed him!”

Prisoner: “No I didn’t!”

Next shot, Interrogator has no moustache.

Interrogator: “Would you like some water?”

Prisoner: “Yes please.”

Next shot, Interrogator has a moustache.

Interrogator drinks it all.

Interrogator: “Too bad! You can’t have any! Murderer!”

Prisoner is now scared.

Next shot, Interrogator has no moustache and a dress.

Interrogator: “I’m a princess! I’ll help you out and get you out of here.”

Prisoner is more confused.

Next shot, Interrogator has moustache and dark suit.

Interrogator: “I’m going to end you!”

Prisoner is terrified.

Prisoner: “Please stop!”

Next shot, Interrogator has no moustache and nice costume, and a rose.

Interrogator: “I love you.”

Prisoner: “Thank you?”

Next shot, Interrogator has a moustache and horrible costume.

Interrogator: “I HATE you.”

Prisoner is on the verge of tears.

Next shot, Interrogator has no moustache fluffy costume.

Interrogator: “Tweet tweet!”

Prisoner just doesn’t even know…

Next shot, Interrogator has the moustache black costume.

Interrogator: “WHERE’S THE TRIGGER! WHERE IS IT!?!?!?”

Prisoner: “Okay! Okay! I did it! I killed him!”

Interrogator stands up and walks away, close-up on his face.

Interrogator: “Works every time…”

Match On action

Match On action-


Match on action refers to a film editing technique where a cut is made in the middle of a movement within a sequence, the next shot must match the previous shots action. This is so not to confuse the viewer and then disturb the flow of a sequence due to the change.  By having the subject begin an action in one shot and then carry it through to completion in the next, the editor creates a visual bridge of sorts.




Match on Action doesn't always have to be two shots connected in the same place. For example, it can be used when someone is walking from one room to the next, to keep this continuous is by keeping clothing and any accessories the same, this is the same with sounds that the can continuously moving from one shot to the next instead of just stopping.


Below are two examples of match on action:
                                                                                               



Preliminary Task Layout

AS Media coursework - COURSEWORK REPRESENTS 50% OF THE AS LEVEL

What	When	Worth
Main Task	Opening to thriller film	Jan – April 2014	50%
Prelim Task	Continuity editing task	Dec 2013 – Jan 2014	You have to Complete and PASS
	Group task	Group Task

The Preliminary Task.

The specification states that this must be:

‘ A continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character with whom she/he then exchanges a couple of lines of dialogue.’ The sequence must last no longer than one minute.

 

This task should demonstrate:

 

• Match on Action
• Shot/Reverse Shot
• The 180 degree Rule

 

You will also have to incorporate Music, lighting, dialogue (recorded separately on a lapel mic and voice recorder)  and sound effects into your film

 

All filming and editing must take place on campus, using College equipment.

Each group will set up a blog onto which you will record  the entire process

Storyline + Script ideas

Our plans for the story

We have done some planning on the rough storyline for our scene.

Here is the spider diagram we made for our basic planning.

We have all contributed towards the creation of this, each providing an idea. We have chosen interrogation. The good cop/bad cop interrogation.
Therefore the storyboard and script as well as costume will all be based around this.

Post 5 - Roles

Post 5- Roles

Team Members 

Keira Slijper 
Callum Horncastle
Stephen Potter
Jacob Haynes

 Camera Operator(s)- Callum and Stephen 

Storyboard artist(s)-  Jacob and Keira

Location Scout(s)- Keira

Prop Manager- Jacob 

Casting Director- Callum

Director of Filming- Stephen 

Costume- Jacob

Lighting-Keira

Video/Sound editor-Callum

 Online manager- Stephen

 During the overall editing process the entire team will be getting involved.

Stephen- Seeing as Callum is an actor within our work, when Callum is on screen I will be the person recording, which may total to most of the recording. I am also the director of filming, this means will be the one who times in the actors and says when to start recording. The role of online manager also involves me making sure all the blog posts are made correctly.                                          

Jacob - As I am choosing the costumes I will have to go through possible options of clothing that will fit with the theme chosen.The same is applied to props. I am also halfing the storyboard art with Keira, although everyone from the group are contributing towards the decision of techniques and shot sizes.

Keira - As previously stated by Jacob, I am halving the drawing of the storyboard. Location scout involves finding the most appropriate area of the college in which to film. I will also have to take in consideration of room sizes ect.. As I have to make sure a lighting system can be made.

Callum - I am taking on the recording of the sound a proportion of video editing using Final Cut pro. Casting director also involves me choosing who else to have in the sequence from outside of our group. I am also helping to film the sequence.

The 180 Degree Rule

The 180 Degree Rule

In filming, the 180 degree rule is a basic guideline with the on-screen relationship between a character and another character or object within a scene.
The idea of the rule is that an invisible line is created through both characters /objects, that the angle of the camera cannot cross, this is because a scene with camera shots over the line would cause confusion, as it could appear as if the characters are facing the same direction.

Something that is integrated within the 180 degree rule would be the use of an eye line match. The eye-line match is necessary to maintain the spectators in a state of believability towards the content they are watching. The meaning of this is that when a character is established to be on the left, it is assumed he is looking towards the character on the right. So if the character on left is then cut to be on the right side of the shot it is wrong as it would look the the characters are talking in the same direction and not towards each other. Another use of an eye line match is POV like, if a character looks up then a shot of birds in the sky is revealed, this is another use of an eye line match.

It is unlikely for these rules to be broken within filming due to the negative effects onto the film from them, but there are times when this has been proven useful and has added to the film immersion by creating the scene of the scene being surreal and odd. The rule can be broken when promoting a certain idea within the film, one example in which the 180 degree rule is broken is within The Shining (1980, Stanley Kubrick).  This is used within a crucial part of the film regarding the psyche of a character.

Example of an eye-line match

Screenshot of scene from The Shining, (1980, Stanley Kubrick)