The Continuity Rules: These were a vital focus in our brief so Flora and I chose to keep our narrative simple so that we could clearly demonstrate the techniques.
The 180 rule-The camera has to stay on one side of the line and if you want to cross this line you have to show the camera doing so. This is used to orient the viewer and give a sense of geography. This video clip clearly explains:
Shot reverse shot- One character is shown looking (often off- screen) at another character, and then the other character is shown looking back at the first character. Since the characters are shown facing opposite directions, the viewer assumes that they are looking at each other. This is a good example of the technique:
The eye-line match- This is based on the premis that the audience will want to see what the character on screen is seeing. The eyeline match begins with someone looking off screen, there will then be a cut to the object or person that the character is looking at. Such as in this example you see a lady looking into the distance and it then cuts to the painting that she is looking at.
Match-on-action- This is cutting from one shot to another, using a view that matches/carries on from the previous shots action and energy. This example uses the technique:
My Interpretation of the brief:
To fullfill the brief of producing a simple narrative sequence using moving image, we decided on a story line of a girls birthday where her friend surprises her with a present and they then exchange a couple of sentences.
We felt that this was simple but would still allow a lot of emotion to be shown on camera, while allowing us to explore continuity techniques. An additional reason that we chose this story line was that we didn't really want it to have a sad narrative, as we felt that this had been done many times before and perhaps is a little harder to make it look realistic if you need a character to cry on the spot.
The story boarding process:
It's advised that before you begin the filming process, you complete a story board to visualy show your ideas so that you are well organised and have thought out all aspects of the narrative. However this does not mean that your decisions are set in stone, shots and effects can easily be added or removed during the filming or editing stages .To story board we included:
- The shot number
- The shot type
- The mise-en-scene
- The camera angle
- Timings
- Sound effects and dialogue
- Possible visual/editing effects
This is our animatic showing the timings for each shot:
When it came to Flora and I Drawing up the animatic, we found that we went two shots over the 20 shot minimum to ensure that we included the contiuity techniques - The 180 degree rule, match-on-action shot reverse shot and the eye line match.
We also decided on what sound track and effects may be suitable and what parts we would want them to be played at. As can be heard above, we chose have a continual high pitched piano playing throughout to reflect their excitement and anticipation. However when there's dialogue, we have kept it quiet so that its clear and audible.
The use of continuity techniques first become apparent in shots 1-6 where we have used match-on-action when she goes to open the door, and it then cuts to the other side to see her coming into the room. And then again in shots 8-10 where she sits down.
We then used the 180 degree rule from shots 11-12 showing the present from both girls points of view and also to establish their physical relationship.
Shot reverse shot is evident in 13-14where the characters are seen (presumably) looking and each other while exchanging dialog. Followed on by eye line match to show the present exchange.
In shots 15-17 we have used match-on-action to show the present being opened, we felt that for these shots it was important to have fluid motion and to bulid up pace.
We then have further use of shot reverse shot in shots 18-20, showing the girls looking at each other again and exchanging dialog once more.
Finaly, match-on-action has been used for the last time in shots 21-22 to pickup the pace once more a she looks at what the present is.
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