MY NINE KEY FRAMES FOR MY AS FOUNDATION PORTFOLIO

1. 9 Key Frames
BY DANIEL ROTHERY AND HARRY WHITE

2. Mise-en-scene
A poorly lit briefing room (a mixture
of low key and high key lighting,
binary opposition) there is also the
light being projected from the
projector. There are two agents,
Luke and Mccoy in the foreground
of the shot and they are wearing
black smart dress shirts along with
black trousers. Mike, the sergeant is
in the background and is the main
focus of the shot, he is wearing a
black t-shirt, black jeans and a suit
jacket that is too tight for him. Mike
is also eating a piece of fried
chicken.
Also in the mise-en-scene there will
be little office items such as
papers, pens, pencils and staplers.
Sound
Diegetic sound – the dialogue
between Luke, Mccoy and
Mike.
The sound of Mike eating fried
chicken.
Ambient sound – the sound of
the overhead projector can be
heard.
Cinematography
The main focus of the shot is of
Mike but there is a shallow
depth of field in the shot with
one of the agents agents sat
at the front not in focus.
This is an over the shoulder shot
from over both the agent’s
shoulders.
Before this shot happens the
camera will pan round from
the focus being on the back of
Mike’s chairs to the back of the
agents shoulders where Mike
will then turn round on his chair
throwing the fried chicken at
the agents.
Editing
At the start of the sequence there
will be fade in transition from the
scene before.
It will then cut from the focus being
on Mike to a medium close up of
the two agents showing their
reaction to what Mike has just said.
Cut to Luke drawing on his
notepad then a shot reverse shot
and eye line match with Mike
looking angrily down on Luke and
his notepad.

3. Mise-en-scene-
High Key lighting. Mike
wearing a suit jacket and
Simon is wearing a short
sleeve white shirt and tie. The
agents are staring at the
door to see what the fuss is
about.
Simon then hands over the
CCTV VHS over to Mike, who
snatches it off him
Sound-
Diegetic sound, Simon says
‘Sargent you might want to
see this’ dialogue finishes
with mike saying ‘Shut the
fuck up fool, you do as I
say’
Diegetic and ambient
sound of the buzz from the
overhead projector.
Diegetic sound when
Simon breaks in the door,
sound of the door
slamming against the wall
Asynchronous sound of the
door being burst open.
Cinematography-
This shot is a close up of
the VHS tape being
handed over from Simon
to Mike.
There will be a medium
close up of mike walking
over to Simon near the
door.
Editing-
Sharp cut from close-up of
mikes face to the door
where Simon bursts in.
Cut from a medium close up
of both Mike and Simon
walking to a close up of the
VHS tape.

4. Mise-en-scene
This is the scene were the agents
and Mike watch the CCTV
footage. The shot is from the
footage itself.
In the shot there is a man
threatening to shoot what the
agents believe to be the missing
Agent sharp.
In this room there is only a single
chair in the middle of the room
and “Agent Sharp” is tied to the
chair with the bag over his head.
The lighting is low key because the
footage is rather distorted and is in
black and white.
Everyone in the scene is wearing
casual clothing apart from agent
Sharp, he is in a suit and the person
threatening “Agent Sharp” has his
back turned to the camera.
In this Key Frame, the action is near
the end of the footage where the
Sound
There isn’t really any sound in this
scene because there is dialogue
in the CCTV footage . The
dialogue is distorted and this
becomes sort of an ambient
sound.
Dialogue in the scene:
Terrorist: So you think you can try
to bust us eh, Agent! Would you
like it if I busted you?
Agent Sharp is mumbling and
trying to say something but he is
gagged.
Other sounds that can be heard
are footsteps and the loading of
a gun off screen at the end.
Editing:
When the tape is inserted into the
VCR there is a one second
moment where the audience are
watching it over the shoulders of
the agents, then it cuts into the
footage that fills up the whole
screen, just like the audience are
watching it like the agents at
home/cinema.
At the end it cuts straight to a
medium close up of McCoy who
says his line, then the scene
continues back in the office.
Cinematography:
It is a high angle shot and during
the scene it stays in the same
place, there is no movement of
the camera only the occasional
shake because of its
unsteadiness.

5. Mise-en-scene
Exterior, on a street and it has been
raining. The two agents Luke
(Right) and Mccoy (Left) are
walking down the street trying to
figure out which house to break
into to find Luke’s brother. They are
wearing casual clothing and
almost matching outfits this is to
resemble that they are undercover
and they are on a mission.
Outside it is dull but there is natural
lighting, they are on a little street
walking down the path with the
houses to their right (left to the
audience).
Sound
Again in this shot there isn’t
much sound, but at the end of
this shot it does break into a fast
paced track that suits the style of
the montage of them breaking
into the wrong houses. This will
be non-diegetic
Dialogue: Luke: So...
Mccoy: Shut up Sharp
Luke: Lets bust this shit!
Ambient sound: the sound of
birds and a little rustle of the
wind on the bushes.
Cinematography:
This is a long shot of the two
agents walking along a street.
The camera is tracking back at
this point revealing the houses
as the agents go past them.
It then cuts to an extreme close
up of Luke’s face as he says
“Lets bust this shit”.
Editing
The shot is cut into and the when
Luke is about to say “Lets bust this
shit’ it cuts to an extreme close up
of his face. It then cuts again to
the montage sequence.

6. Mise-en-scene
This is the montage scene were the
agents are breaking into the
houses down the street. This is the
fourth and final house that they
decide to bust open and they find
out that it is the correct one. They
find agent Sharp who is sat exactly
the same as he was in the CCTV
footage in a suit and in a dark
room with only a spotlight on him.
In this shot it is dull but still natural
high key lighting. The agents are
busting into houses in an urban sort
of area with terraced houses.
Sound
There is some fast pulsating
music that is heard over the top
of the montage sequence. But
once the agents have busted
down the fourth and final house
the music slows down and fades
away. The agents are panting
for air and then McCoy says:
Agent Sharp?
Other sounds that will be heard
are the sounds of the door been
broken into, that is a loud bang,
and the sound of the footsteps
walking on the floor into the
house.
Cinematography:
This is a medium close up. For
whole of the montage
sequence it is going to be a
medium close up of the two
agents breaking into the houses.
After the fourth house has been
broken into the shot then cuts
into a medium close up from
behind the two agents.
Editing
This is a montage sequence, that
lasts for around 30 seconds to one
minute. And because there is fast
pulsating music over the top, the
transitions are going to fit the music
with sharp cuts. Once the agents
have retrieved the man with the
bag over his head, it will then jump
cut to the next part of the scene in
which Luke shoots Teague.

7. Mise-en-scene
This shot is just after the agents
have found out that that it wasn’t
Agent Sharp that was being
tortured by the terrorists, it was in
fact someone called Teague
Coupe.
This part of the scene is set on a
grassy area just outside of the
houses they have been breaking
into.
Again the weather is dull and it is a
mixture of both high key and low
key lighting but it is natural lighting.
Sound
Diegetic sound: dialogue
between the three characters,
the ambient sound of the wind in
the leaves.
There is also going to be a soft
but urgent soundtrack that is
going to be played quietly over
the top of the scene while the
characters are talking.
There is also the the sound of
Luke’s gun being loaded and
then the bang of the shot he has
fired.
Cinematography
Low angle long shot, it is also a
point of view shot from the
perspective of Teague Coupe.
While Teague Coupe is on the
ground there is a shot reverse
shot when the characters are in
conversation. But every time
Luke is talking it will be a low
angle shot from the point of
view from Teague.
Editing
This scene has been jump cut into
from the previous scene. There isn’t
any real editing needed really only
the shot reverse shot and the gun
being fired at Teague.
The scene will then fade slowly and
then just cut into the establishing
shot of the FBI station.

8. Mise-en-scene
This is an establishing shot of the
police/FBI station. It is set outside
and it is raining, this reflects the
mood of the film at the time. The
agents have just been fooled by
the terrorists and are in trouble with
Mike because they unlawfully killed
someone.
The building is a big building that
was made in the 21st century, this is
obvious by the sliding doors and
the the shape and design of the
building.
Sound
Diegetic sound and ambient
sound of the police cars coming
in and out of the station and
some background noise of
police men talking. This will then
sound bridge into the next scene
for no more than one second.
Cinematography
This is an establishing shot for the
police/FBI station. It is also a long
shot.
Editing
Because this is just an establishing
shot it is going to lost around two
seconds. Then it will cut to the next
scene.

9. Mise-en-scene
Interrogation room inside, the lighting is
very low and only the spotlight that is
on the Bearded Beast of The Middle
East is the highest lighting.
Luke and McCoy both wearing the
same clothing as before (the black
shirt and the black jeans) and they sit
down. They are constantly staring at
the Bearded Beast. Because they are
constantly staring at him and the
lighting is low key Luke trips over a
chair. He then gets back up and is still
staring at the BB.
The bearded beast is supposed to be
the comedy character in this scene, a
bit like the character Fatoush
Nakbarah (John Turturro) from the 2008
film You Don’t Mess with the Zohan.
This scene also is a bit like good cop
bad cop. But they both end up
playing ‘crap cop’.
Sound
Diegetic sound: the dialogue
between the three characters is
heard in this scene. There will
also be the ambient sound of
the quiet buzzing of the lamp
can be heard.
When the agents first walk in and
are constantly staring at each
other, there will be a non-
diegetic soundtrack that will
play the iconic music from the
film ‘The Good, The Bad and The
Ugly” (Sergio Leone, 1966). Until
Luke falls over the chair and at
that point there is the sound of
the clattering of chairs. When he
gets back up the music starts
again until we see all the faces
of the characters in the
interrogating room.
Cinematography
This shot is an extreme close up of
The Bearded Beast of The Middle
East. This extreme long shot is the
scene where the film pokes fun at
the film ‘The Good, The Bad and
The Ugly’ (Sergio Leone, 1966). Even
though this is an action parody film
and not a Western, I thought that it
would be fun to add because the
film is supposed to make people
laugh as well. Plus the extreme
close up makes it feel like we have
put our own twist on it because in
the original ‘The Good, The Bad and
The Ugly’ the shots of the faces are
in a close up.
Also in this scene whatever angle
the camera is at, the audience
never see The Bearded Beast’s face
until he is dismissed where it is
revealed that he looks nothing like
his name suggests, a bit of a
juxtaposition.
Editing;
From the previous scene where
Mike has told the agents that they
are to go and interrogate the
Bearded Beast of the Middle East,
it cuts straight to the shot of them
walking into the room. The
Bearded beast is sat on the chair
with his back towards the camera.
The editing techniques that are
used in this scene are shot reverse
shot and when the music is being
played during the ‘stare off’ the
screen cuts down to letter box and
it looks as though a blade has
sliced the screen to get that letter
box style.

10. Mise-en-scene
This scene takes place towards the end
of the film. This is where the agents are
finally going to capture the terrorist
that captured Agent Sharp. They have
found out his location and agreed to
corner him. In this shot is Agent
McShane, he is sat on a bench trying
to contact Luke Sharp about his
whereabouts and getting updates of
any possible sightings of the terrorist.
Again remember that the agents are
supposed to look like teenagers
because of the previous mission at the
start of the film, they are undercover in
a college/university environment trying
to uncover a drug problem.
Agent McShane is wearing a purple
jacket along with his black shirt. He is
holding a iPhone 5S all of these items
show that he is trying to look like 21st
century teenagers.
Again there is high key lighting and
it is natural lighting because he is
outside.
Sound
Because this scene is the climax
of the film there is again fast
pulsating music, exactly like the
music that is played over the top
of the montage sequence. This is
the non-diegetic sound.
The dialogue is over the top of
the music, but the music doesn’t
stay the same volume it goes
quieter to allow the characters
to speak.
Cinematography
This shot is somewhere in the
middle of a close up and a
medium close up. This is to show
the expression on the face of
the agent. He looks determined
to capture the terrorist.
Editing
During this scene there will be
sharp cuts from one agent to the
other. This will be parallel editing.
We don’t see the face of the
terrorist until he is finally captured
by the agents.