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- PRODUCTION TIPS
- Although there are some notable exceptions, in the majority of
fiction films, not much happens in dramatic terms in the first
couple of minutes. So your job here is to establish character and
narrative context for the audience and to set up some degree of
enigma (a question that the narrative will answer in time).
- Rather than show the titles first and then some action, it is
preferable to observe the convention of cutting between
title/action, title/action. This can either be done by selecting
the over black option on the editing software you are using in the
titles menu, or by positioning the titles over the action, which is
usually preferred if actors names are to appear alongside their
characters.
- Some of the most memorable film scenes are opening/title
sequences. Some famous examples from different genres are: Once
Upon a Time in the West (in which diegetic sound is amplified with
a total lack of dialogue to create audience anticipation); a Bond
film (the Bond opening sequence has become a recurring motif; an
established convention expected by the audience); Goodfellas (in
which we hear the lead character narrate 'ever since I can
remember, I always wanted to be a gangster ', thus situating us
firmly in the mind of the anti-hero for the duration of the film);
City of God (in which music, fast edits and clever narrative
techniques introduce two inter-connected storylines and take the
audience back twenty years in the process a strategy shared with
Goodfellas); Four Weddings and a Funeral (in which the main
character, Charles (played by Hugh Grant), and a friend swear a lot
while rushing around getting dressed, thus establishing Charles as
a likeable, though chaotic figure).
- This list could go on for at least the rest of this book and
all the examples would contrast with one another as there is no
fixed approach to an opening sequence. Your sequence does, however,
need to observe the one rule that every example follows: your job
is to establish character and/or setting and to create enigma - to
help the audience understand easily where we are, who is involved
but, fundamentally, why we should be interested. It is likely that
the time and resources available to you will determine a fairly
economical approach to this.
- PRODUCTION TIPS
- Holding a shot steady is not as simple as you might think and
mostly you should be using a tripod unless a hand-held
realist/documentary effect is required. Most of your shots should
be filmed with a camera that is not moving, so movement becomes an
effective exception to the norm. Zooming is rarely used in film so
it is best to avoid it unless you want the appearance of amateur
footage.
- As you are working in the medium of film, select a widescreen
framing if you can, and remember that film uses fewer close-ups
than TV (simply because the viewing screen is much bigger). You can
select long shots, extreme long shots, mid-shots, close-ups and
extreme close-ups. For film, it is suggested that you mostly use
mid-shots and long shots, with close-ups used sparingly.
- The 'rule of thirds' principle is useful for framing your
shots. Imagine the frame is made up of nine squares (three squares
by three). The off-centre areas are where the eye is drawn to, so
it is best to avoid the central square and position objects and
people just off-centre as this aids concentration on the
image.
- Combining shot types and distances is essential to the
'language of film'. Effective combinations include going from long
shots to mid-shots and then to close-ups. This enables you to
establish action, emphasise location and then move to detail and
cutting between two-shots, over-the-shoulder shots and
point-of-view shots to situate the audience during a conversation
.
- As far as camera angle is concerned, you need to consider power
and neutrality. High-angle shots reduce the power of a character
and low-angle shots increase it. A simple principle of framing is
to ensure that characters have room above their heads and are not
made to look strange by objects behind them and have space around
them to show direction if they are moving.
- Here are some simple tips that will help you avoid 'unforced
errors': practise moving shots several times before recording,
shoot far more footage than you need to make editing easier, test
microphones are working before filming so you don't end up with a
silent movie by mistake, ensure you have switched off the date and
time on the camera, be prepared to film several takes of each shot,
be a perfectionist and re-film a shot if the camera shakes or
someone walks through the frame in error and make sure your
batteries are charged!
- PRODUCTION TIPS
- A moving image media text creates meaning for the audience
through the combination of diegetic and non-diegetic material, and
particularly sound.
- Diegetic material is that which exists in the world of the text
itself, so that the characters are aware of it. Examples are
dialogue, sound effects which are heard by characters (like
thunder), background music which is heard by characters and
dialogue between characters. Non-diegetic material is added purely
for the audience, for example, atmospheric music, soundtrack music,
voice-over or narration.
- Some types of sound are bothfor example, a character's thoughts
in a voice-over are diegetic in that the character is aware of
them, but non-diegetic in the sense that other characters are not.
A good example of this is the film Taxi Driver, in which the
non-diegetic music creates a haunting atmosphere while a voice-over
of the main protagonist's thoughts situates us in the mind of a
character losing his sanity. This technique (by the director Martin
Scorsese) makes highly effective use of diegetic and non-diegetic
elements placed deliberately in a state of confusion to
defamiliarise the audience.
- Another interesting example of the difference diegesis can make
is the film Blade Runner. The studio inserted a film-noir style
voiceover narration from Harrison Ford against the wishes of the
director Ridley Scott, and it was only years later when the
'Director's Cut' was released without the voice-over that the
audience realised the original has a less anchored, more ambiguous
narrative. In the meantime the film had become a cult classic with
the voice-over, featuring lines like 'I didn't know how long we
would have together, but then again, who does?', a major aspect of
the film's popular appeal.
- PRODUCTION TIPS
- Micro and macro origination
- In order to shoot material that is appropriate, you need to
adopt the micro-macro strategy. You may decide your fiction film
will follow the conventions of a particular genre or style of film,
in which case the micro elementstypes of camera work, music, style
of titles, dialogue, setting and pacewill add up to a macro theme
and set of representations. For this reason it is important not to
dive straight into filming the main task.
- Make sure you spend time with storyboarding and ideas
development first, so you can ensure that your approach to filming
is not out of step with the conventions of the type of film you are
making.
- Put simply, if you are making a romantic comedy you need to
follow a three-stage process. First, study romantic comedy
conventions using the micro-macro strategy. Second, spend time
developing a romantic comedy narrative that will be instantly
recognisable to the audience for that type of film. Third, spend
time planning to shoot and edit material which looks right for the
genre, not only in terms of what is on the screen but also how it
is filmed, edited and put together with sound and titles.
- PRODUCTION TIPS
- Working as a student without access to the expensive resources
and amounts of time that the film industry enjoy, mise en scene is
the most difficult element of production to get right, but probably
the one that reaps the greatest rewards for those that do.
- Essentially it is about detail. Carefully choose costume,
lighting, locations and props to create the kind of 'feel' and
verisimilitude (believable world of the text) that is required.
Then ensure that this is maintained shot by shot.
- Simple mistakes that lots of students make are costume changes
or haircuts mid-sequence, poor lighting or drastic contrasts in
lighting mid-sequence, poorly chosen and unconvincing props and as
performance is another element of m/se en scenebad acting. Although
not part of the assessment, poor acting skills will undermine the
overall flow of the narrative and the realism of the mise en scene,
so try to use students who are more comfortable with performance
(preferably those who are taking Drama as well as Media) for the
leading roles.
- PRODUCTION TIPS
- Most Media students do not have access to industry standard
professional lighting equipment and this can undermine their
creative intentions. However, there are a number of ways that
careful attention to detail can overcome this problem. Here are
five tips, which are informed by an article by Michael Massey
(2004) for Media Magazine.
- Use natural lightsunlight, in shadow, in mist, through
raindepending on the effect you need, and bearing in mind that you
will have to be flexible about time if you need to wait for the
right conditions.
- Use cheap and cheerful artificial lightas long as you have
carried out risk assessments, you can make use of candles,
firelight, torches, car headlights, security lights, neon signs and
street lighting.
- Create colour filtersyou can easily shine light through
coloured liquids, vases, ornaments.
- Position the light source for effectlighting a scene from
above, below or in an obscured way will create different kinds of
atmosphere (m/se en scene), so experiment with this using the kinds
of light source listed above.
- Ultimately, lighting a scene is a scientific process. Massey
describes the equation in helpful, clear terms: Once you have
explored what your light sources can provide, experiment with the
interaction of light with the objects in your frame.
- PRODUCTION TIPS
- Combining sound, image and titles
- It is harder than it might seem to put footage together with
appropriate sound and titles. You need to make very careful
decisions about titles, choosing the most appropriate font, colour
and size from the vast array that your software will present. In
addition you must, though trial and error, end up with the most
pleasing timing of titles for the audience.
- You will need to make creative decisions about where to place
each title, whether to place it over black between shots or over
the action and how long each title stays on screen. You also need
to understand what contribution each title is making to the
audience's understanding of the narrative, the genre and the
representational aspects that you need them to grasp quickly since
this is an opening sequence.
- In addition, you will be using music to add ambience to the
start of your film. Here you must think very carefully about the
semiotic function of music and ensure that what the music suggests
to the audience is in keeping with the tone and pace of the drama
you are unfolding. It is a good idea to test this out with audience
members at an early stage of post-production so you can make
changes if they do not respond as you expect.
- PRODUCTION TIPS
- The grammar of non-linear editing
- You will be using a non-linear video editing software package
for your post-production work and you will be assessed on how well
you can edit the material so that meaning is apparent to the
viewer. To achieve this you need to observe the rules of grammar
that apply to editing, creating continuity and the right rhythm and
pace. Choosing the right kinds of transition is essential and the
software you use is likely to offer an enormous range of
effects.
- Avoid choosing transitions that are exciting to use but do not
reflect the conventions of the type of film you are constructing.
Most editing is simplehard cuts. You should be using hard cuts for
at least 90 per cent of your sequence. The exception is where you
place a transition between a title and images, but you should still
be consistentdo not use a different type of transition for each
title.
- Your job is to make the editing invisible, so that the viewer
believes in the reality of the fiction that is unfolding. A fade
might be used to portray the passing of time, and if you are
establishing tension or action early on in the sequence, you may
choose to use a greater number of edits. Editing is all about the
manipulation of time and space. You will manipulate space by
editing between two simultaneous pieces of action, and manipulate
time by editing between two shots to move the narrative forward and
bypass unnecessary time that is not interesting to the story. A
standard industry technique is to cut from one shot of a subject to
a different subject and then back again, rather than moving
immediately to the same image.
- Editing allows you to do things that you can't in real life.
The careful execution of these forms of manipulation without
distracting or confusing the viewer is what we call the 'grammar of
the edit'.