1) Who did you work with and how did you manage the task between you?
Group 1E consists of Frank (me), James, Narishma and Olivia. Me and James were the actors in the sequence, while Narishma was the director and Olivia was on camera and sound. Prior to shooting, much of the preparation work was done by Narishma and me. Narishma organised everything and took notes, whilst I was the one who drew the storyboard. James and Olivia pitched in with ideas. During editing, we all did approximately a quarter of editing each, with the others chipping in during the process. In preparation for this evaluation, James created the shot list, Narishma typed up the shooting schedule, Olivia typed up the script and I scanned in the storyboards and checklist.
From left to right: James, the baby, Olivia, Narishma, Me (Frank)
2) How did you plan your sequence? What processes did you use? What theories did you take into account?
We planned our sequence initially by discussing and brainstorming ideas for the plot we wanted in our group, while I drew our planned shots into our storyboard, which consisted of pink post-its on paper. We used the post-its so that we could move around our storyboard in case we changed our minds about the shot order. Then when we finalised our storyboard, I redrew the post its onto a proper storyboard.
During shooting, we also used a shooting schedule to organise our time accordingly, so that we did all related shots together, for example, all the indoor shots in the same area together so as to save time. Doing this ensured that we finished within the hour we had to shoot the sequence.
We also applied Todorov's theory of equilibrium to our sequence.
Initial Equilibrium -> Disruption -> Disequilibrium -> Final Equilibrium Man inside alone with baby toy -> Arrival of second guy -> Second guy arrives too late -> First man upset.
Shot reverse shot and 180 rule
However, the theory we focused on the most was the theory of continuity editing, since that was the basis of our sequence, to create a short sequence that complied with the rules of continuity. The main facets of continuity we followed were the 180 degree rule, where we made sure that we didn't go over the invisible line between actors, so as to ensure that the audience wouldn't get confused by a sudden jump in perspective.
Match on action
Additionally, we also employed quite a lot of match-on-action to create a seamless feel, to make it smooth and flow properly. Match-on-action is where action from the previous shot matches what happens in the next shot, so the sequence appears to be in real time. For example, opening a door, you would cut from someone starting to push the door, to a close up of the hand on the door handle and then cut to the door opening from the other side. We also tried to stick to the 30 degree rule, where every cut has to move the camera more than 30 degrees, otherwise the audiences experiences a slight jump in angle, which feels strange and can often confuse the audience. Finally, we applied a shot-reverse shot in our sequence, to exaggerate the awkward silence and also make sure that it flowed well. The consistent cuts ensured that the audience understood what was happening, that the silence was in the same time period and that we hadn't progressed in the narrative yet.
3) What technology did you use to complete the task and how did you use it?
Shooting the outdoor scene
with camera and shotgun mic
We used a standard video camera on a tripod to film the sequence, but for this task, we also were given a shotgun microphone attachment to use as well. With the shotgun mic, we had 3 settings, but only used two of them, the shotgun setting and the ambient 1 setting. The shotgun setting is supposed to be used for interviews or things directly in front of the camera whereas the ambient 1 setting turns on the mic on the back of the attachment to pick up more of the background sounds. We used this function to create the ambience of a school, using the ambient setting when shooting outside to pick up the background noise. This background noise was cut out by the doors so there wasn't any noise when shooting indoors. Unfortunately, the shotgun mic also recorded the quietest sounds there, so it picked up another group speaking next door and a lot of static as well, so our sequence is riddled with static.
Our editing station
In addition to the camera equipment, we also worked with Adobe Premiere Pro CS3, the editing software of choice. With this, we used several tools, mainly the razor tool. Razor cuts up a film clip into two seperate clips where you click. This is used when you want to remove unneeded bits of video, for example, removing all other takes of a sequence except the one you want. Using the razor tool, we were able to precisely cut our sequence so it matched up exactly as we wanted it to, which required liberal use of the zoom tool and a lot of discussion between the group about what looked best. As we were able to match each shot to each other, we were able to create match-on-action, which was crucial for the continuity of our sequence.
4) What factors did you have to take into account when planning, shooting and editing?
All in all, we had 3 hours to do this task. 1 to plan, one to shoot and one to edit. In that time, we had to create an entire sequence and edit it to make it flow properly and correctly. So time was one of our biggest problems. Before shooting we had to use our shooting schedule to make sure that we saved as much time as possible so that if anything went wrong, we could redo the shot. We also had to plan ahead for human memory. Originally we were going to use a stuffed bear as the prop instead of the doll, but the person who was meant to bring it in forgot. We had planned beforehand to use the doll instead, so we didn't hit too big a roadblock. In addition, we had planned to have the room in darkness, and then James would turn the light on, but we eventually decided that this would complicate matters and make the editing process much more complicated. It would also mean that we would have to play with the lighting, since the room would have been too dark otherwise, so in the end, we decided to forgo this.
The offending Media block. From our establishing shot.
During shooting, we had to take into consideration several things. Firstly, since we were filming in a school, we had to make sure that we didn't get any random students in the background. As it happened, we started filming just as the bell went, so there was a large influx of students walking to their classes. Luckily, there were relatively few around the Media block so the problem passed fairly quickly. However, a more significant problem was the sound. As mentioned earlier, the shotgun mic was quite possibly too effective. We picked up a lot of static and another group speaking in the room behind us. We decided to let it go, seeing as "it's a school, there's supposed to be noise". With regards to the shooting, we had to ensure that continuity was kept in mind. When doing each take, I had to make sure that I turned around at the same speed, that I said my lines at the right time. James had to keep his walking consistent and his facial expressions as bemused as the last. That way we ensured that the continuity remained as it should be.
The only factors during editing were time and continuity, which we didn't have much of a problem with, we just got on with it. There was a slight discrepancy when I was turning around, as we had cut between two shots where the 30 degree rule was broken, leading to a slight jump in perspective. We all thought it looked a bit peculiar, but no one could put their finger on it. That was quickly solved by intervention from our teacher. We removed a clip and re-edited it and the end result flowed much better than it did initially.
5) How successful was your sequence? Please identify what worked well and with hindsight, what would you improve/do differently?
I believe that our sequence fulfilled the terms of the brief successfully, as we had several techniques of continuity and completed all the actions to do. We have a match-on-action, a character opening a door, sitting down and having a conversation with another character. We have also followed the 180 and 30 degree rules, ensuring that the audience never loses track of the narrative flow.
Whoops. We broke the fourth wall
In addition, we have also successfully applied our genre, which was comedy, to the sequence. This is made as such by the stroking of the doll, the awkward silence, which is amplified by the sudden cut to the doll's face and the abruptness of the crying. The silence builds up the tension, as well as the expression on the scarfed character's face implying that he's getting more and more irritated. You expect an explosion of anger, as opposed to bursting out crying. To top it off, at the end of the sequence, we break the fourth wall when James looks at the camera with a bemused expression.
However, our sequence isn't good either. Given the time to go back and revisit it, we would have done several things differently. Sound is a significant issue. As mentioned before, the sequence was absolutely full of static. If we had time to remove the soundtracks of each clip and record our voices on a professional microphone to remove the static. If a microphone was out of the question, I could have run the sound clip through a filter on Audacity (a music editing program) to remove the static.
Whoops.
We dun goofed
We also have a slight jump cut at about 0:41 in the sequence, which is caused by an audio jump and a breaking of the 30 degree rule. This disorientates the audience and it breaks them out of the narrative. Since we were running short on time, what might have been okay isn't, since the audio jumps and the shots jump as well. We matched the action, but the audience is still disorientated. This is where we messed up during filming. We didn't get enough shots of me swivelling around in the chair and the ones we did have had me doing different things. In one of them, I just leaned down and cried, but on the other I was rocking back and forth. So if we could redo this, we would have made sure that all our shots had enough takes and also made sure they matched action properly so that our sequence flowed perfectly.
6) What have you learnt from completing this task? Looking ahead, how will this learning be significant when completing the rest of your foundation coursework, do you think?
By doing this task and successfully completing it, I have learned several new things. I have learned that during the planning, shooting and editing processes, it is always important to plan ahead to prevent potential disasters and also consider continuity, because the loss of continuity means the loss of audience comprehension and understanding and quite possibly interest. We must always apply these continuity rules, lest our sequence be a failure.
Also, I have learned the specific manner in which we must progress prior to filming. We must check sound and camera, only filming when there are no problems with either. In case of a problem, we cannot continue filming, since we would damage either the equipment or the quality of the final sequence.
During this exercise, I have also learned that the key to a sequence is simplicity. Many students will, on their first attempts, try to create the flashiest sequence possible, to show off their talents and skills. Doing so could very well result in a very high quality, entertaining sequence, but most of the time just means more work and more complications. Time is precious during a shoot. It can't be wasted messing around trying to get the perfect shot angle, or getting that one object to fall exactly right. By keeping it simple, we reduce the time needed for each shot, we reduce the strain on resources and we make our jobs much much easier. Simplicity also helps in the planning stages, as the simpler the ideas, the more you can brainstorm during the initial phase, meaning you have more options to try out, so if one idea turns out to be a dead end, you can try another.
Thus, what I have learned will be important to future tasks as it will have helped me with my organisational and planning skills, so that come a significant project, I'll have no problem brainstorming and planning time. All these skills will result in a high quality, entertaining sequence that never breaks continuity.
Enigma Code
Who's speaking? Why does he need to focus? Who is the main protaganist? Is the guy we're following the good guy or the bad guy? Why do Lightning and Hicks want to win so badly? Why does Lightning show off so much? What's the significance of the lightning bolt sticker?
Action Code At the beginning, Lightning is talking to himself about focussing for the big race. Of course, we don't know he's a racing car so this creates a bit of suspense as we listen to him speaking. Then he comes out and we see that he's a race car. But then we are taken to the race, where Lightning is rapidly gaining ground on the lead and the audience doesn't know whether he's going to win or not. However, this is the only bit of information that is not shown to the audience, much of the opening suspense and questions are answered by the two presenters, who explain all about the Pistol Cup and the 3 top racers.
Semiotic Code Initially, during Lightning's monologue, we see the scene cut to race cars flashing by, which suggests that this film is based around racing, as opposed to something rather more mundane. When we are introduced to Lightning, we are given the idea almost immediately that he is flashy, arrogant and confident, garnered from his constant smirk and himself showing off his lightning sticker and revving his engine. He also then performs his catchphrase, "Ktch-ow", which mimics the sound of a car passing by at high speed, as well as flashing his lightning bolt, implying that he's a very fast race car. The huge amount of cheering and camera flashes going off suggest that he is famous, which is enforced by the fact that he is shown on the big screen. Despite his confidence, Lightning IS an excellent racer, as he is shown to be easily weaving in and around his fellow competitors.
However, Chick Hicks, the number 2 racer, is shown to be selfish and greedy, who doesn't care about the rules as he ruthlessly performs a PIT manoeuvre on another racer, causing him to spin out of control as Chick laughs. We get the feeling that he is this film's antagonist, or at least one of them. Cultural Code Beginning part has the Walt Disney and Pixar logo. All the characters are anthropomorphic cars (or mobile homes in some cases), some of which are readily recognisable, others of which are somewhat unknown, but take their designs from many well known cars. In addition, the opening is based around the "Piston Cup", which references real life endurance racing. The huge mass of cars in the stands shows that this is an event that everyone is interested in.
Symbolic Code
Symbolically, Lightning's arrogance is an aspect of his personality that is predictably going to be torn down and reformed, it foreshadows the events of the film. In addition, Chick's greediness is also predictably going to be his downfall, his hubris, that he gets what he wants at the cost of everything else.
Some very good application of film theory, Frank. Well done. However, from the evidence of your first HW, you must resist the urge to describe what you see. Use your detailed knowledge (and you have provided some excellent detail) to answer the specific how/why questions.
The scene begins with Amy and Rory hugging after the revelation from the Doctor. River comes up to them from the right and addresses Amy. The scene cuts to a 3 shot of Amy and Rory with River's back facing the audience, which cuts to a close up of River's face (capturing her expressions) with Amy's hair in the background. The scene then cuts between them several times. Many of the cuts are bridged by audio, which helps the continuity, so that the audience understands that what's happening is one continuous narrative.
The scene then pans behind River's head to follow Amy going to the Doctor. It then cuts to a midshot of her walking, which matches the action from the previous shot, further adding to the continuity. The midshot continues until the back of the Doctor's head appears. It then cuts to a close up of the Doctor smiling tiredly with Amy's arm on the left, which helps the audience understand that they're still in the same place. The scene cuts between the two, with sound bridges. As the scene is in real time, the cuts help add to the pacing of the scene.
The scene then whites out to a flashback of the Doctor and Amy next to the Pandorica. The fade lets the audience know that the narrative has changed. The scene cuts between Amy and the Doctor several times, still with sound bridges. It then whites out back to the tired Doctor in the Pandorica. The scene continues on for a couple of minutes more. The constant cuts between the Doctor and Amy help to keep what would be a boring scene more lively and active. At the end of the conversation, the screen shakes and Amy is lit up with a bright glow, as River calls from off screen on the left. As the sound is coming from the left, it conforms with the fact that Amy came from the left earlier on in the scene. Amy brings up the Sonic Screwdriver and gives it a little buzz before the scene cuts to her inserting it into the Doctor's inner jacket pocket.
After a few more words, Amy steps back and the scene cuts to the Doctor's last words from a mid shot. It cuts back to Amy from the front, illuminated by the light. The Pandorica closes and the scene then cuts to Rory and River, who are standing off to the side, which then cuts to a close up of Amy's face as she steps back. River calls for her to get back and the scene cuts to a long shot of the Pandorica rising up as River shoves Amy out of the way, following on from the previous scene via a sound bridge. The scene then cuts to the Pandorica breaking out of the roof of the museum, following on from the last shot. The Pandorica flies off into the sky, which cuts to the Doctor rapidly typing out his last message on his communicator, which in turn cuts to River receiving the message back on the ground, following on the action. We then see a close up of the communicator. It says "Geronimo". Cutting back to River shaking her head, the camera pans onto Amy. The scene cuts back to the Doctor being shaken violently about in the Pandorica, breathing heavily. The scene cuts to the Pandorica flying through space debris to reach the burning TARDIS, cutting back to the Doctor for a few seconds and then cutting to the Pandorica entering the burning sphere. We finally see the sphere explode and the scene ends.
In addition to the constant cuts, throughout the whole scene, the 180 degree rule is never broken, the camera always stays pointing at them from the right hand side of the invisible line that splits the room and the 30 degree rule is adhered to, so that whenever the camera moves, it moves more than 30 degrees to prevent confusing jumps. The camera also moves between midshots to close ups, without jumping to a long shot, which helps to keep up the audience's understanding of the narrative and preventing jumps. The lack of fades or dissolves means that the scene is in real time and that no time passes, which the audience also understands. Thus the continuity of the scene is preserved and the audience reads the scene as it is meant to be.
R2-D2 & C3PO - While not the most important protagonists, much of the scene revolves around these two, as they carry the Death Star plans, which is the goal of the antagonist.
The Rebellion - They act as false heros, trying to protect the ship.
Darth Vader - The villain throughout the entire film.
The Equilibrium
As it so happens, the film starts off in disequilibrium, since there's a space battle right at the start. However, the crawling text at the beginning explains that the galaxy is at war, so that could be considered the equilibrium. The long shot of the Star Destroyer and the frigate shows the constant battle that they are waging.
The fact that the scene cuts very often helps to add to the rushed feel of the scene, that everything's happening at once.
The Disruption
First, the Star Destroyer takes out the frigate's reactor.
Then the frigate is tractored into the SD's loading bay.
Stormtroopers from the Star Destroyer invade the frigate.
Then Darth Vader himself enters and interrogates the commander.
The Journey
The droids board an escape pod bound for the planet below them (Tatooine). When Vader hears about this, he orders his commander to send a squad down to retrieve it (the plans). Since the droids have the plans, they have to evade the Empire.
The New Equilibrium
At the climax of the film, the Rebels, after receiving the Death Star plans, take it head on. Luke Skywalker, using the power of the Force, gets two proton torpedoes down the Death Star's exhaust shaft. Death Star explodes. The rebels celebrate and there is a medal ceremony. Thus, the new equilibrium is war - without the Death Star.
Children and Parents - This binary opposite helps to signify the genre. Many children are at odds with their parents, and being yelled at is nothing new to them. Seeing poor James being yelled at for accidentally hitting his window with a snowball allows them to empathise with him. In addition, the art style and plot are instantly recognisable as a family film, the soft delicate pastels and significant use of white give the film a very innocent feel.
Man and Nature - James and the Snowman are the main characters of the film. James, hurt by his mother shouting at him, dejectedly starts rolling a snowman out in the snow. The Snowman comes to life at the stroke of midnight. Much of the first half is dedicated to how nature tries to come to grips with human technology. The Snowman is utterly fascinated by James' Christmas tree and television, sitting down in his father's chair as well. It shows the huge difference between man, who takes technology for granted, and nature, which has had to adapt to man's inventions. The second half reverses their roles. James is taken by the Snowman on a magical flight around the the countryside, nature revealing its white wonders to a little boy. It is James' turn to be fascinated by that which he cannot see until he is shown it.
Freedom and Law - The beautiful pristine white wonderland and the homely, yet restricting brown house that James lives in. When James goes out with the Snowman, he sees things beyond his wildest dreams and he is utterly free and fearless. Though James' mother loves him, he balks under her rules, as most children would. James is hurt by this, which leads to the creation of the Snowman. This conflict is quite sudden and unexpected, there's no build up, it just happens. This causes us to feel sorrier for James who throws the snowball on impulse. However, soon enough they reconciliate and the film focuses on James and the Snowman. Therefore, this binary opposite helps to get the whole story in motion.
What is continuity? Continuity is the effect created when various shots are linked together in such a way that the scene flows properly and makes sense. To create continuity, directors must use various techniques and shot types.
Camera
To ensure that the audience understands what the setting is, where everything in the scene is and give them a sense of spatial awareness, the director usually uses an establishing long shot, also called a WIDE SHOT. This allows the audience to see the setting.
CLOSE UPS provide a means of conveying strong emotion, to put the audience in the action or to focus on something important.
MID SHOTS are normally used to link other shots together, or for dialogue and action.
LONG SHOTS, besides being used as establishing shots, show large scale action or distance the audience.
MOVEMENT of the camera creates an illusion of physical movement. Tracking moves the audience, zooming forces focus onto the subject, panning/crabbing/arcing allows us to survey the scene around the subject, or tilting, which creates perspective.
Editing
Although all shots will have been planned out on a storyboard before hand, editing is where the majority of the continuity is created. The ability to move, cut and position shots according to the storyboard all help to create the continuity, as we are able to place a shot exactly where we want it.
A few continuity editing techniques:
The 180 RULE is used to prevent a confusing jump in space. For example, a two shot. If the first shot is on the left of one person, the camera must be on the right of the other to prevent confusion.
SHOT ORDER is used to ensure that the audience is taken through the narrative progressively instead of all at once, e.g LS->MS->CU instead of LS->CU. Helps to prevent confusion.
A MATCH ON ACTION ensures that action from the previous shot is correctly followed through on the second shot, i.e a shot of a man walking down a corridor must be matched by the second by starting from the same place the first one ended. This shows that no time has occurred between this shot and the last.
CROSS CUTTING is when one places two shots together that are in different places in space (in relation to the narrative). The audience assumes that these events are playing simultaneously. An example is in chase scenes.
Transitions
Transitions are what link your shots and thus, what your audience perceives to be the narrative flow. Transitions can do anything from controlling the speed of your narrative to creating tension and a sense of urgency.
CUTS are your basic transition, seamlessly moving from one shot to the next. They create a pace and rhythm.
DISSOLVES (merging one shot with another) are usually used to provide a slow, relaxed link. This slows the action right down, which can give the sense of a forward movement in time or a link between two scenes.
FADING (in and out from black) is normally used to signify that a great deal of time has passed since the last shot.
A basic opening
ESTABLISHING SHOT (character one introduced in a wide shot)
CLOSE UP (character one performs action)
MATCH ON ACTION
REACTION (performed by character two, makes audience believe that characters are in same place)
LONG SHOT (shows characters' relative positioning in the setting)
The "Accident" practical
In today's lesson (29/9/10), we were given the task of creating an accident scene (relatively minor, nothing like a car crash). The kicker is that we had only 6 shots and no editing software, meaning we had to plan out all the cuts beforehand to ensure that our narrative flow was perceived correctly. Our filming went off mostly without a hitch and the end results was more than satisfactory. Although we hadn't drawn up our shot sequence onto a storyboard, we had a basic idea of the shots we would need, with much discussion on scene.
However, one issue we found with our sequence was that our second shot, which was a close up of our actor's shoelaces being undone, did not match the previous action as closely as it could have. Since the camera couldn't capture the undone state of shoelace if he was walking as fast as he was the previous shot, he had to slow down, which caused the slight disturbance in the action. Our shot order was also slightly jarring, as some of our shots jumped between close up and long shot, which also could have lead to audience confusion, though thankfully our narrative was easy enough to understand. In the future, I shall make sure that any match on action is correctly adjusted before shooting and also check the shot order to prevent any chance of audience confusion.
Interviews and Podcasts Animation Podcast – Interviews with some of animation’s greatest talent by Disney animator, Clay Kaytis. Interview with Pixar Story Animator Jeff Pidgeon – Story Animator on A Bug’s Life, Toy Story and Monster’s Inc. Splinecast – Podcast interviews with artists and directors working in feature animation (including Brad Bird).
Film & animation resources (UK): 4RFV – UK Film & television directory Skillset – Animation training and education; careers advice and industry information Shooting People – Independent filmmaking network
A young white male is standing over a sink in what appears to be a school bathroom. We tilt up his body, so that he looks superior due to the low angle shot. There is an assortment of items next to him, including a watch and a photo of another white male, who is younger than this one. These items are shown to the audience for a long time, so that they remember them, as they are obviously significant. The male is bandaging up a bleeding wound, which has bled into the sink, spiralling down the drain, which leads to the audience wondering what caused the bleeding. The door then opens leading to a white male, unrelated to the picture, entering the bathroom. The bandaged man tucks a gun into his belt, and then we are presented with an extreme close up of the man's eyes, which are lit from underneath so that he looks sinister and evil. We now know that this man is definitely the bad guy, and the scene fades to black, the silence shortly followed by two gun shots.
How is the narrative flow established?
The opening sequence progresses fairly fast, as it contains several shots that are simply cut to each other and there aren't any extended sequences. However, we don't get much information from the opening sequence, only the fact that the first character we see is the bad guy, and he kills people. The opening sequence is dedicated to showing this, so the information given to us is limited.
If I were directing this scene, what would I change?
I would move shot 4 to after shot 6, so there's a sort of montage effect of him bandaging his hand and the items being displayed. In addition, I would move shot 10 to after shot 7, because it doesn't make sense for the guy to put the gun in his belt, only to pull it out again a few seconds after. I would also move 8 to after 9. This means that the man turns his head in reaction to the boy appearing, rather than the sound of the opening door. Thus, when the man turns his head, the phrase "Bad move, kid," makes more sense, as he's said it right after the boy enters.
Why is a storyboard an essential part of the film making process?
-Acts as an outline for the film -Allows you to visualise the script/screenplay -Allows you to decide on the shot sequence, lighting directions, camera directions and the movement of actors -Illustrates how the narrative progresses -Makes it easy to understand how a scene plays out -Easy to create a "flow" of images -Can discuss the "look" of the film before filming even starts -Each specific shot can be carefully modified and adjusted -Allows actors to give a more convincing performance if they know how the scene plays out -Can be given to each technician so everyone knows how what their role is and where everything goes -Acts as a visual reminder of what order the film progresses in in post-production -Film editors have to use this so they know where each effect goes and when -Allows directors to try out different shot types and the effects they have on the audience -Ensures that everyone has something to work with
Blue text on black background: "A long time ago, in a galaxy far far away." Then the main theme and title appear on the screen, a linked gold font that crawls off into space via the vanishing zone. Subsequent text is in a sans serif font that crawls across the screen for about a minute and a half. The main theme is dramatic and inspiring, a true testament to the space opera genre. The text gives a bit of context of the film, such as the events just prior to the beginning of the film. The text then disappears and the camera pans down to an extreme long shot of 3 planets, 2 in the background and a large curved horizon with a blue aura. The music at this point gets more and more tense before a deep timpani crash signals the arrival of a grey spaceship, flying towards the planet and firing lasers towards something behind them, which shows that they're on the run.
The music continues to build tension until a gigantic ship flies past the camera, with it's diamond shape taking up the majority of the top half of the screen. 3 engines emitting a blue light power the ship, the blue suggesting a futuristic setting, which amplifies the effect given already by the spaceships. The camera then cuts around to the smaller ship's POV, revealing the pursuit ship. The smaller ship flies offscreen left while they continue to trade shots. At this point, the audience has no idea who is the good guy or bad guy, as neither ship show any obvious signifiers and the lasers are green (the pursuit ship) and red (the escape ship). Red is usually associated with violence and bad guys, so at this point, the audience may believe that the larger ship is good.
Then the camera cuts to a shot of a laser hitting the smaller ship, resulting in a small explosion. It then cuts to the inside of the smaller ship, where 3 droids, a silver and gold humanoid droid and a smaller, inverted bin-like droid, are shaken by the explosion. The gold droid looks behind him, when the camera cuts to a group of soldiers holding guns running down a corridor. The scene cuts back to the droids and they are rocked by another explosion. The golden droid remarks that their main reactor has been shut down. He points out that they'll be destroyed. The little droid replies with whistles and beeps. Soldiers continue to run past them in the opposite direction. The camera then cuts to the soldiers, who set up along a corridor watching a white door.
Switching to the droids again, the golden droid remarks that the Princess will not be able to escape this time. There is a loud clang above them and the golden droid snaps his head up, wondering what the noise is. The camera snaps to the soldiers, who are looking up as the clangs continue. The noise is revealed to have been caused by the ship being tractored into the larger ship. The door is then blasted open and the soldiers are killed in quick succession as white armoured soldiers enter the corridor. The remaining soldiers (the original ones) quickly retreat as the two droids walk across the battlefield.
From the opened door, a giant black armoured man in a helmet enters the ship. At a great contrast to his white surroundings, everything about the man is opposite to the ship, which suggests that he's the bad guy of the film. In addition, his arrival is announced by a dark trumpet trill. His breathing is eerie and mechanical and he surveys the dead before walking off down the corridor with a troupe of white soldiers behind him.
The scene is now on the droids once again. The little droid is with a woman dressed in white (contrasting the black armoured man), which implies that she is the heroine. She is inserting some sort of chip into the little droid, as the golden droid enters the dark corridor they are in. The golden droid complains again, before following the little droid down a little hall. From these constant complaints, we see that the golden droid is annoying, however, he provides some comic relief as well. The woman in white takes her hood off and disappears behind a wall.
The remaining rebels have now been gathered up and are being brought to a central atrium. The black man from before is seen holding one of the rebels up by the neck. We now see his towering height and are certain that he is the bad guy, as he is employing a violent method of extracting information. After trying to get information as to the whereabouts of the Death Star plans (and failing), the black man murders the man by crushing his larynx and throws him against a bulkhead.
In the same room as the droids from before, a patrol of white soldiers is searching the room. The woman peers out from behind a corner with a pistol. She kills one and then is stunned by another. The camera then cuts to the droids again. The golden one is arguing with the little one about his actions, mentioning a secret mission and plans. An explosion behind the golden one stops any arguments and he enters the escape pod, which ejects down towards the planet. The operators of the large ship choose not to shoot it down, as they detect no lifesigns on board. The planet is then revealed to be red and yellow, a desert planet.
We then see that the woman is being escorted towards some place or other when the black man appears out of a side room. We then learn that his name is Darth Vader. We find out that there is a Rebellion against the Imperial Empire, and that the Princess is his only link to the rebel spies. A brief discussion with the commander has Vader learn about the jettisoned pod. He tells the commander to sent a detachment down to retrieve it. The huge spaceship then flies off.
A dark, poignant scene illuminated by a thin slit of moonlight. A fresh rose held loosely in the clutches of a cold, lifeless hand. A lover, dead at the doorstep of his beloved. Someone was murdered here, and it's our job to find out who did it.
In this photo, I've used a high angle close up, focused on the rose and the hand that held it. The surroundings are very dark, the room was completely blacked out save for the little stream of light. The rose suggests that the limp hand belongs to someone who was going to meet his girlfriend when he was killed, while the dark surroundings could connote an alleyway, or night time. These both represent the crime/detective genre as they both exclude mystery and create suspense. As a film still, we can't see the face of the victim, so we don't know who he is, or what kind of person he was, but the rose seems to imply that he was a faithful lover who cared about his girlfriend. The darkness excludes a sinister aura and the audience may be afraid of the unknowns, such as the killer and the setting.
I accomplished the effect by having my model lie down on the carpet and relax his hand, while I placed the rose in his hand so that it would look like a natural position for it to be when he 'collapsed' onto the ground. I used just a thin slit of light from the pack light, which was held low to cast a shadow from the rose across the hand and to illuminate the hand and give the illusion of night, or a back alley. I set the camera to macro and turned off the flash to make it as dark as possible.
I think that the successful things in my shot are that the model really looks dead and that the rose was placed right, so that the shot worked. The darkness really helps to give the impression that the victim was isolated and alone. The rose is in focus, so you can tell that it's the main focal point of the photo. These things all add up and the photo excludes a tangible aura of mystery and murder.
However, it's not perfect. Preferably, I'd have had the photo done on a gravel ground instead of carpet, maybe at a different angle, or showing more of the victim. I might add a few more props, for example, a ring maybe. Overall, though, I'm very pleased with this photo.
