Dexter Title Sequence Re-Edit Evaluation (DYM)

 Question 1 

For this task we had to re-edit the text titles for the Dexter title sequence, without watching the sequence beforehand. It was crucial that we took into account

• The unusual visuals
• The text style we used (font, colour, size position)
• The timing of our credits in relation to the shot changes
• Billing orders for credits
• The genre and themes of Dexter

All of these had to work together to make the title sequence seamless and look professional. 

Question 2
First of all we watched the sequence through so that we could get a general idea of what would work and what would not.

We then listed all of the different credits that we thought were necessary to include. After this we tried to put these in an appropriate order for a title sequence. We decided at this point that we would reveal the actor that plays Dexter as the final credit when Dexter's face is finally revealed. 

After this we decided where to place our credits in each shot; we eventually decided on the bottom left hand corner because it consistently fitted the first few shots and we didn't want to move it around in each shot.
When then decided on how our credits should actually look; this involved choosing the colour, font and size of the text. We also decided to include a red shadow on our text.
For each shot we then individually decided where they should come, and we made these decisions according to the action in and transitions of the shots. 

Question 3

• We chose a rather simple font because we felt the visuals were eyecatching enough in themselves and we did not want to distract from them. 
• We went with a dark red-orange colour because this is deeply symbolic of blood, and this is a central theme of Dexter. 
• This shadow matched in the colour of the text; we did this because we felt it resembled blood smears. 
• The text did not take up too much of the screen, but was large enough to ensure the credits were readable. 
• They were placed at the bottom left of the shots because it consistently worked with the visuals.
• A fade out was used so that the entrance of the text could be shocking and sudden; similar to the editing style of the visuals. 
• We placed the credits in an order we thought to be quite conventional, but we decided to reveal the name of the actor who plays Dexter when Dexter's face is finally revealed, because this adds suspense. 

We made our choices considering how best to represent the Dexter brand and keep all of our creative choices in synergy with each other. 

Question 4
Overall our titles were fairly similar to those in the original. The colours and size we chose were similar, as was the simplistic font. Both ours and the original credits appeared suddenly on screen, however ours faded out whereas the originals sometimes moved a little on the screen and then suddenly disappeared. We consistently placed our text in the same place, whereas the original differs from credit to credit. Our credits had the role of the cast/crew and then the name (e.g. Chris Bayliss as Dexter) whereas the original just states the name. Our re-edit had less credits than the original, partly because we ran out of time (this is why there is a large gap until the final credit). On the whole however, I am pleased with the similarities between our version and the original, but I will take the reasons for the differences into account when creating our own film opening.

Prelim Evalution

Ella and Alice Group 3C Boyfriend Bonanza

This is our final sequence for 'Boyfriend Bonanza'. In total we had 1 hour to plan, 1 hour to shoot, and 1 hour to edit. Below is my evaluation of the project and the sequence.

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

I worked in a group with 3 classmates: Rakhi, Alice, Alicia. We needed two actors, a director and a cameraman. Nobody in our group was great at acting, but in the end Alice and I volunteered. We acted for the majority of the shoot, and Alicia worked on camera and Rakhi directed. However Alice and I also had the chance to film some shots that we were not in, so that we could practice our camera skills.

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

To start with we brainstormed ideas. We explored different genres to see which would work given our constraints and decided to go for a chick-flick because we were a group of all girls in a school setting. We then generated ideas for the storyline and characters in our sequence. At this time we also considered what continuity techniques we should use and how. We scripted our sequence and then made a storyboard so that we would have each shot clearly presented. We then made a shot list and a shoot schedule planned according to the different set-ups, and the times that we were able to use different settings.

We took various theories into account when making our sequence. Firstly we took into account narrative theory. There is a clear beginning and equilibrium (Carla is writing in her diary about Tom), a middle and disruption (Alice breaks the news to Ella about Tom) and an ending (Ella drops the book in horror). This makes the sequence seem logical and enables the audience We do not see Alice's reaction to this so we do not know how the situation will end, this creates enigma and a cliff hanger. We also took into accoutn Barthes' Five Codes. An example of cultural code is the clothing that Alice and I are wearing, this suggests that we are quite girly and immature. It also connotes genre, as do the props and action in the sequence.

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

To complete the task we used a variety of software and hardware. In terms of hardware we only used a tripod and a camera (with a microphone) and briefly a clapperboard. We shot all of our shots on the tripod because there was no need to use shots with particularly abstract angles. We did not have time to change lighting because we could only shoot for one hour.  We used Adobe Premier Pro to edit our sequence. Within this we often used the razor tool, the trim tool and we slowed speed/duration notably for the last shot in which the diary drops in slow motion.

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

When planning we had to take into account props and costume, especially because we needed to get across the girly chick-flick nature of the sequence. We made sure all of the props were pink and girly. We used the setting of a classroom because we knew we had access to it and it fitted the genre of our sequence. We only had a short amount of time so we had to realistically plan how many shots we could shoot and how long they would take. We also had to take into account the set ups that would be neccessary to shoot this and plan accordingly.

For our shoot we had to ensure that the framing actually worked, and we had to identify any problems there may be and add in extra shots if necessary. We also had to consider when we could use certain locations. For example, another group wanted to use the hall so we decided they should go first and we would follow after. They then needed a back up shoot there so we had to work together to identify the best way possible to do this. 

When editing we had to take into consideration our time limits, and we had to check our shots for any continuity errors. We had to cut them appropriately, and consider which shots worked best, and choose them to go into our sequence. 

5. How successful was your sequence? Please identify what worked well, and with hindsight, what would you improve/do different?

I think I sequence was reasonably successful; the genre is obvious and the event that takes place is clearly portrayed. I think the continuity also works well, we used the 180 degree rule for the conversation as well as the 30 degree rule. Our match on action also worked well with the dropping of the book, we tried our hardest to make sure that time appeared to run continuously and that there were no overlaps. We used parallel editing at the beginning, and the audience can tell this by when Ella and Alice finally interact. Overall it is quite a logical sequence, and the storyline and genre are clear.

However, there are definitely improvements that could be made. Firstly I think the acting could be improved, but this was hard as neither Alice nor I are excellent actors. I also think the conversation is slightly odd; Alice could have said something when she came into the room and the entire conversation itself could have been longer. We could have also been more precise with our match on actions especially when Alice enters the room.

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

From this task I have definitely learnt about the significance of planning. Planning shot orders according to set-ups, actors and all other impacting factors will enable our shoots to run smoothly and reduce the likelyhood that we will need a re-shoot. I also think that drawing out a detailed storyboard helps to identify any errors, such as shots that need to be added, or continuity errors, or any locations or props neccessary.

I also think that we will have to choose our actors carefully, but also not make our script too difficult, because we are not professionals and mistakes will be made. However I think that the acting will be better for our real assessment, because we will be able to select who is in it, and we will not neccessarily be able to act ourselves.

I have learnt that in a group, it is vital that everyone has there own job in order to get everything organised and done. It is also neccessary that in groups of this size that everyone has equal sizes of roles, so that everyone puts in equal effort.

Homework 7 (DYM) Sound Analysis of a Title Sequence

The opening of this title sequence establishes the location, with just city diegetic sounds that you would expect to hear in this location: nothing out of the ordinary. We then hear a train passing and suddenly the volume dramatically increases and we see the train up close, and are then therefore brought into the film and are more involved than when we were watching the establishing shot.

The Bee-Gees famous track "staying alive" starts to play and so from 40 seconds in the audience know it is a musical due to the disco track being played loudly. The first diegetic sound after this is Tony's footsteps, and he walks in time to the music, giving a sense that he can almost hear it too, even though it is non-diegetic. As we watch more, we presume he is a dancer. This is also because his outfit strongly matches the disco music. 

As the music starts to get louder at around 1 minute, we start to hear noises other than Tony's footsteps, showing that he is not alone. He is still however very central in both visuals and sound; he is in the centre of the shots and his footsteps are louder than would be expected. We hear the lyric "I'm a woman's man" and from then on we see Tony turning around to stare at them, and other related actions which make us sure this lyric is about him. 

The conversation between Tony and the Pizza Lady show that he is a local and that he is known around here. By this point the audience have a strong sense of this character. This is enforced by his conversation with the man in the phone shop, he is confident, laid-back and he knows what he wants. This is the same for most of the rest of the scene until returns to work. 

We hear the car horn go and we presume he has run across the road because he is running across the road in the shots before and after this. The music quietens down as he enters work and his footsteps no longer match. The music plays very quietly under the diegetic conversation and Tony acts less how we saw him acting in street when he is at work, so we get the idea he doesn't really belong here. However he is still in his comfort zone when he tricks the woman into thinking he is giving her "a dollar off"; he is a very confident person. 

Homework 6 (BLK) Continuity Analysis

This analysis is based on an extract from Amelie (2001)

Master shot: This is used in the bar, it shows the action from a longer shot which includes all the characters. 
30 degree rule: This is used when Bretodeau enters the phone box, the MCU is at an angle to make it seem like less of a jump cut and so the audience follow more smoothly. 
Shot reverse shot: An example of this is the close-ups between Amelie and Bretodeau in the phonebox. 
180 degree rule: Used in bar between Bretodeau and bartender. The camera never crosses a 180 degree angle because this would be confusing and would seem as if the characters had moved. 
Match on Action: Shots are edited so that the action continues to flow even when the shot changes, a good example of this is when the marbes spill out of his pockets, and we then see them on the floor. 
Parallel editing: This is when shots are edited together and thus appear to happen simultaneously. An example of this is when Amelie is watching Bretodeau from the phone box, we get a sense that this is happening as he opens the box because the shots switch back and forth. 

Homework 5 (BLK) Continuity Sequence Analysis

This project was a continuity sequence designed to help us work logically when working on our film opening. We were told to shoot 6 shots depicting an accident, by only pressing stop and start on the camera; we could not cut down in the edit room or use a master-shot etc.   We chose to portray a teenage girl falling down the stairs.

Shot 1: First of all we decided to shoot an establishing shot of the stairs, to set the scene and start off the action. However, this did not go as planned: as you can see in the first shot we started filming after out actress had walked through, and this creates confusion when she then appears in Shot 2, and does not help to create continuity. When filming our opening sequence we will not have this problem; we will be sure to film before and after any action so that we when editing we are not left short of footage. 

Shot 2: The second shot is a MS of the girl walking up the stairs, and the camera is still This is successful with regards to continuity because it makes sense and isn't confusing. It is a logical shot to follow the initial establishing shot and is an example of us trying to use shot orders by going in closer steadily rather than jumping into close ups. 

Shot 3: For this shot we tried to use a close up at a different angle to the majority of our shots. We chose a close up because it shows exactly how the accident happens, and doesn't confuse the viewer. Whilst this successfully portrayed the action, we did not consider the amount of space we jumped across, and this shot comes across as quite random and we also lose continuity in the sequence. 

Shot 4: We tried to make this shot more interesting by portraying the girl's perspective while falling, and to try and use a match on action. Whilst it is clear what the shot is of, the timing was bad and there are continuity errors e.g. if it is a match on action her scream would have to continue whilst falling in this shot. There are also two close ups in a row (Shots 3 & 4), however I quite like this because I think it portrays her confusion at slipping on the stairs, but also makes the fall fast paced, so it is more believable. 

Shot 5: This shot shows the girl having fallen on the stairs. Continuity-wise I think it works well because the events and actions are clear: she has fallen and is hurt but not badly. However it is not a particularly inventive shot, we could have shot this from another angle (like the top of the stairs) to make it less dull, and/or played with camera movement; in hindsight I think a tilt would have worked well. 

Shot 6: Again we used step order of shots well, we went from a CU to a MS to a LS which was helpful for continuity, but I think we focused too much on this. Whilst I am mostly satisfied with the continuity of this sequence, if I were to do this again I would take more risks to make a more interesting sequence. In terms of achieving a story though, I feel this shot is successful because it provides a conclusion. 

Homework 4 (DYM) Roland Barthes' Five Codes

I have used the 5 codes to analyse the opening scene of the 2009 feature film "The Time Traveler's Wife". This film is based on the book by Audrey Niffenegger; it is one of my favourite films because I think it is extremely emotive and has done the book justice. 

Enigma codes

• ·         Why is Henry disappearing?
• ·         How did he disappear/ get out of the car?
• ·         Why is he naked?
• ·         Who is the man and how does he know what happened?
• ·         Why has he turned up at this time/place?

Action codes

• ·         Snowing – icy roads
• ·         Icy roads (exaggerated in shots) – skidding cars and crashes
• ·         Car crash – death of mother
• ·         Time travel from car crash – Henry will time travel in the future

• ·  Disappear from car – reappear somewhere else

Semiotic Codes

• The time travel aspect suggests a science-fiction premise
• The mother's constant gaze in the mirror connotes love and caring for Henry

Cultural codes

• The presence of Santa Claus and snow and the general style tell us that it is Christmas eve

Symbolic codes 

• Young and old
• Self development and reflection
• Fragility of life