Dexter Title Sequence Evaluation

1. Summarise the conventions of title sequences that were most important to this task.

It was important that we included the starring actors and significant people tasked with production as this is not only a convention, but is also often a term in a contract and therefore a legal obligation. We also followed some basic conventions of title sequences, including:

• Showcasing the name of the Show
• Varying the placement of the titles
• Keeping a consistent style throughout
• Using suitable typography and font colour for the genre

2. How did your group plan to edit the title sequence (consider timings, industry requirements etc).

My group, consisting of Vivian and I, decided we wanted to use the dynamic elements of the background action in an attempt to integrate the titles into the sequence effectively. Unfortunately, this forced us to place each title in one shot only and no longer, which was not ideal. We planned to follow industry requirements by including a variety of names in the title sequence, including actors, the director, produce etc. We also planned to adhere to Dexter's style through our choice of typography.

3. Explain the creative decisions made by your group.

We used a red font colour to ensure they style was consistent from the main title 'Dexter' to smaller titles of actor names. The colour also has connotations of blood and danger, themes featured strongly in the TV show. The simple typography prevented the titles from dominating the screen, allowing the audience's attention to firmly focus upon the action. Including dynamic elements within the title sequence (such as the rotating title over the coffee-maker) creates interactivity and is visually engaging for the audience. We attempted to place titles where there was a light, consistent background (allowing for contrast) that did not overly distract from the action. 

4. How did your re-edit compare with the original.

In terms of the font used, our re-edit has a striking resemblance to that of the original. The placement of our titles was reasonably similar to the original, as we attempted to place the titles over the blankest of backdrops. This gives the audience a chance to read them, while remaining relatively subtle. Where our title sequences differed greatly was in the timings of each title. Vivian and I decided to place each title over only a single shot. In hindsight, we should have given the audience more time to absorb the information from each title. Another difference was the sheer number of titles showcased by the original compared to the four titles in our re-edit. However, this was not out of choice but due to the restricted time in which we were tasked to create the sequence.

Sweded Films

The orginis of Sweding: In the Michel Gondry film Be Kind, Rewind (2008), the character Jerry (Jack Black) accidentally erase the videotapes at Mos Def's video rental store, and the pair remake all the films themselves. These versions become popular with customers, who are told they take longer to arrive and cost more because they come from Sweden, hence the term 'sweded'.

Since the release of 'Be Kind Rewind', sweded films have become extremely popular for prosumers, as they require only a small (and often non-existant) budget and can be created humorously within a short time span with little post-production and no special effects.
The following Matrix swede was by far my favourite

 
The swede is very effective as main plot points are covered concisely; there is creative use of the camera; costumes/props are utilised effectively and (most importantly), the film retains a witty edge throughout  (note: 'bang, bang , bang...').

My group (Seb, Louis and I) plan to swede King Kong as it is well known, contains iconic scenes and we have the necessary props and costumes to hand.

Prelim activity

The Brief: 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. This task should demonstrate match on action, shot/reverse shot and the 180° rule.


 1) Who did you work with and how did you manage the task between you?

 My group included Matt, Ellie, Georgie and myself. When deciding the roles, we considered previous experience as well as strengths and weaknesses. Despite our seemingly limiting roles, all four group members contributed to the sequence. I personally believe that I was responsible for the majority of the narrative and also had a large part in camera positioning as well as continuity techniques.
Georgie and I took equal responsibility while editing the sequence.

Matt Romo- Director and Cameraman
Matt has had much experience as an actor and wanted to take this opportunity to better his directing and camera-work skills.

Ellie Brackpool- Assistant director, sound and lighting technician
Ellie is experienced in both the acting and production sides of Media. Despite being given the role as 'Assistant' Director, she was highly influential with regards to shot types and framing.

Georgie Thoupos- Actress
As Georgie did not take GCSE Media, she has little experience with cameras and we therefore decided to ease her into the subject by acting. Nevertheless, she did take a few shots when not if frame, including the Tarentino-esque finale, in order to gain some more experience behind the camera.

Me- Actor
In previous projects, I have directed and therefore wanted to give others the chance. Therefore, I took the role of the Interrogator.

2) How did you plan your sequence? What processes did you use? What theories did you try to take into account?

Planning was quite possible the weakest aspect of our shoot. We mapped out the beginning of our sequence using a storyboard, but were unable to finish due to poor organisation. I personally wrote a script which was altered on set. Location was also a problem as our first-choice setting was unable for use as permissions were not granted. Instead, we shot our sequence in the Media block which was far from ideal as around 20 chairs had to be moved. Props were the only part of planning that was done effectively. I brought in my costume and we got a gun from the arsenal owned by Media.

The overriding theory throughout our sequence was continuity. We adhered to continuity conventions by including and following:

• Match on action (shots 2 & 3, 10-13, 17 & 18)
• Shot reverse Shot (shots )
• The 180 and 30 degree rules (throughout)
• Eyeline Match (shot 27)
• Cross cutting (shots 1-10)
• Diegetic Sound (shot 11)

By using continuity techniques, we encourage the audience to suspend their disbelief. The diegetic sound and match-on-action in shots 17 & 18 were particularly effective. The diegetic sound gave the audience the opportunity to see the girl's reaction without breaking continuity. I also feel that shots 17 & 18 display seamless match-on-action, contributing greatly to continuity.

3) What technology did you use to complete the task, and how did you use it?

On set, we used a Canon HV30 camera, a shotgun microphone, Mini DV Tape and Sennheiser HD 201 headphones. 

• Canon HV30- Used to record the film.
• A shotgun microphone- Used to record sound in line with the mic.
• Sennheiser HD 2013 headphones- Used by the Sound technician to check the quality of sound,
• Mini DV Tape- The tap on which the sequence was stored.

Adobe Premiere Pro was used to edit the sequence. We used tools and techniques such as:
In and Out points, the razor tool, two track editing and unlinking sound and video.

4) What factors did you have to take into account when planning, shooting and editing?

Planning-
We took into account location, permissions, the script, a storyboard, permissions and exterior sound.
Shooting-
We took into account sound quality, narrative flow, character development, continuity techniques (especially the 180 and 30 degree rules), back-up shots, varied shot types.
Editing-
We took into account effective cross-cutting, match on action and diegetic sound.

5) How successful was your sequence? Please identify what worked well, and in hindsight, what
would you improve/ do differently?

Our sequence followed the brief successfully, as one character walked through a door, sat down and exchanged dialogue. The only problem was that our script and dialogue included more than 'a couple of lines'.
From a continuity standpoint, our sequence is excellent:

• We included several match-on actions which flowed seamlessly.
• The cross-cut opening helps develop characters, displaying a more vulnerable side to both characters.
• The diegetic sound used in the cutaway shot when opening the door prevented discontinuity.
• The shot reverse shot effectively displayed character reaction.

In hindsight, I would have organised location earlier and ensured a first-choice setting was booked. In addition, I would create both a storyboard and shot list to increase efficiency on set and minimise improvisation. The storyboard would have allowed us to spot a mistake in our sequence (a shot had to be cut from the sequence), which would have improved the narrative. A master shot may also have improved continuity.

6) What have you learnt from completing the task? Looking ahead, how will this learning be significant when completing the rest of your foundation coursework, do you think?

This task has taught me to appreciate the lengths filmmakers go to in order to create continuity. The 180 degree rule especially has interested me due to it's subtle yet vital effect on scenes. I am now aware of the importance of pre-production, specifically organisation and a storyboard. When completing the rest of my coursework, I will implement all of the continuity techniques I have learnt as well as focusing more on pre-production and planning.

Art Of The Title Grid Activity

 

1) Summarise your film idea. Provide a brief synopsis and outline what happens in your film opening.


Our film, The Art of Alchemy, is predominantly a crime-thriller with elements of horror and science fiction. The protagonist, portrayed by Louis Caldwell, has an underground lab in which he practices the ancient art of Alchemy, an aspect of science banned worldwide due to it's potentially devastating power. Despite being pursued by the police, the Alchemist is able to use his skills for the betterment of Mankind. The film opening introduces a major setting (the lab) as well as the protagonist. The Alchemist is portrayed experimenting within his lab.

2) What kind of information has been included in your film opening?

The film opening informs the audience of the producer, director and starring actor. The protagonist is also introduced to the audience as well his science/chemistry-related profession. The scene ends by revealing the name of the film.

3) How do the titles link to the main film idea?

The typography we used is very sharp and distinct, reflecting the Alchemist's meticulous and academic nature. The simplicity of the font encourages the audience to focus on the actual shots.

4) Summarise the expected audience reaction. What should the audience be thinking by the end of your opening? Is your opening clear or ambiguous?

Our expected audience reaction can effectively by split into two categories: intrigue and shock.
Intrigue: Our film opening is indeed intended to be ambiguous. The majority of the shots are CUs or ECUs, preventing the audience from viewing the full picture. The protagonist is also portrayed in an intriguing manner (see question 5). The audience should be thinking about the scientist's identity by the end of the film opening as well as his motives.
Shock: Shot 4 and 6 are intended to shock the audience. The ECUs of dead animals have connotations of horror as well as adhering to the scientific theme. The shock engages the audience effectively, ensuring that they are attentive straight from the get-go.

5) Identify three things you included in your grid that are important in the construction of an opening sequence and explain their role in understanding the film.

Representation of the Alchemist- It is a common convention of thrillers to create a sense of mystery around the antihero from as early as the opening scene; a convention that we duly followed. Significantly, the audience are never able to view the Alchemist's whole body from the front, and are instead subject to several close-ups of different body parts. This enigma is kept up throughout the movie.
Framing and angles- The close up framing as well as the tilt used in shot 7 create a feeling of discomfort within the audience, typical of the thriller genre. This discomfort is replicated throughout the film.
The opening and final shot- These two shots in particular are effective within the opening scene. The opening establishing shot introduces the protagonist and the setting. The framing and camera positioning is also visually appealing. The final shot is extremely interesting and epitomises the intriguing cinematography we attempted to achieve.

6) How effective is your project as a film opening? Explain your answer.
I think our project has the potential to be very effective, held back by a few lighting and title mistakes. The titles appear rushed and incomplete. With more time, the typography and positioning of the titles would be thought out more thoroughly. In addition, the lighting of the shots was far from ideal, with our group having to resort to the night-vision effect in an effort to rectify this problem. Fortunately, the effect was not too bad and contributed to our chemical theme and mise-en-scene.
 The most effective aspects of our sequence are probably the enigma of the Alchemist as well as the creative and sometimes shocking camera-work, displayed in all nine shots.

Film continuity analysis

• The scene as a whole is important within the narrative structure as it introduces the protagonist (Bond), reveals elements of his character and gives some back-story into his history within the secret services.
• The scene begins with an extreme long shot of a building and a road. This establishes the setting (anchored by the text "Prague, Czech Republic").
• Throughout the scene, the director employs cross-cutting. This effectively portrays two of Bond's most important characteristics; both his brutality (the fight scene) and his intellect (the scene with the double agent). This gives viewers new to the Bond franchise an immediate insight into the backbone of the movies (smart, witty wordplay and thrilling action sequences). On the other hand, veteran fans of Bond are greeted with classic Bond as he clocks two kills within the first 3 minutes.
• The fight scene features an abundance of match-in-action, a customary accompaniment for and action sequence. Whether Bond is punching the enemy, smashing him through walls or drowning him in a sink; match-in-action keeps up the relentless pace necessary for the fight and allows the audience to suspend their disbelief. 
• In contrast, the cross-cut with the double agent scene uses shot-reverse-shot from 2:03 to 2:25 to create a measured, calculative pace, in which the characters weigh up their options.
• The scene also has a master shot, as seen at 1:20 and 1:43 which gives the audience a point of view reference from which the can easily comprehend any movement within the setting or from the characters.

Accident continuity scene

 What techniques did you specifically use to create continuity (narrative flow) in your accident sequence?

• Our most effective continuity technique was undoubtedly our match-on action sequence involving the watch. The second shot follows seamlessly from the first, thus allowing the audience to suspend their disbelief as the literal passing of time between taking the shots is not presented in the final sequence. 
• We also began with a long shot, cut to a mid shot and then a close-up. The opening establishing shot gives the audience a strong sense of the setting. Instead of cutting immediately to a close-up, we included a mid-shot in-between. This represents the scale of the room and prevents the audience from feeling disorientated by consecutive, contrasting shots. 
• The shot behind the brush helps establish a narrative as the audience realise it's prominence within the shot and therefore it's importance within the scene (as the girl eventually falls over it). The shot also adds framing variety and brings the audience into the action.

 In hindsight, what could you do to improve the continuity (narrative flow) of the sequence?

• The blindingly obvious mistake in our opening scene occurs between the character running and the shot of her lying on the ground. The black screen in-between leaves the audience utterly oblivious to the action between the shots. The lack of continuity exposes the film scene as exactly that and takes the audience out of the action and into disbelief. 
• Our cut from second to third shot could also have been improved as it is dangerously close to breaking the 30 degree rule. The transition from a mid-shot to a close-up somewhat justifies the transition, despite the shots looking overly similar. 

Analysis of a Film Opening Scene

Analysis of the opening scene of 'Jaws'

The opening scene of Jaws is set years before the rest of the film, when the protagonist is only a boy. It is used as an example of the danger of shark's as well as explaining the man's fear of them.

• The first nine shots of the opening scene are all establishing long shots, which effectively introduces the beach setting. Pathetic fallacy is used effectively, as the dark clouds forecast tragedy ahead. The long shots and extensive use of pans create a feeling of isolation.
• Chrissie is presented as outgoing through dialogue such as 'Come on!', However, as she undresses, the audience sense her vulnerability.
• Jaws is most famous, perhaps, for it's bone-chilling music. The slow increase of tempo increases tension dramatically, without the audience even noticing it. The audience are lulled into a false sense of security by the peaceful sea and the gentle lapping of the waves. 
• The underwater shots provide the audience with a POV shot from the perspective of the shark. This invokes intrigue within the audience who are unaware of Chrissie's danger.
• The fact that the shark is not pictured in the scene, increases the tension. The audience fears the unknown and the enigma of the shark is infinitely more frightening than any special effects.
• Throughout the opening scene, the director cross-cuts between the protagonist (whose name is currently unknown) and 'Chrissie'. The juxtaposition created by the cross-cut is extremely successful in highlighting both the danger to 'Chrissie' and the oblivious nature of the boy:

1. The sound transforms suddenly from screaming and tense music, to absolute silence, save the gentle hush of the waves.
2. The violent movements of Chrissie are in extreme contrast to the boy's relaxed pose, as he enjoys the sunset.
3. The representation of the sea also differs greatly; as it is presented both violently and peacefully.