Media Studies presentation

1.  Brief Project Explanation
 In this preliminary assignment, we will plan to shoot and edit a continuous sequence to
create a conflicting climax. We will maintain the continuity of time and space through
pictures. Along the way, we demonstrate specific continuity footage and editing
techniques. We'll start by planning, shooting and editing a sequence to showcase the
different elements in a continuous edit. After that, we'll use the editing technique and
predict how successful it was and what we could have done better.
 The clip exhibits our comprehension of the following 5 media techniques:
 Match on action Eyeline match Cross cutting Shot/reverse shot The 180-degree rule

2. FURTHER
EXPLANATION OF
THE SHOTS USED
MATCH ON ACTION
A MATCH ON ACTION CUT
(ALSO REFERRED TO AS
CUTTING ON ACTION) IS A
TYPE OF FILM TRANSITION
THAT CUTS FROM ONE SHOT
TO A CLOSER SHOT IN
ORDER TO EMPHASIZE AN
ACTION. MATCH ON ACTION
CUTS ARE USED BY
FILMMAKERS TO GENERATE
SEAMLESS FLOW IN EDITING.

3. FURTHER
EXPLANATION OF THE
SHOTS USED
EYELINE MATCH
EYELINE MATCH IS A
FILM EDITING
TECHNIQUE TO
INDICATE TO THE
AUDIENCE WHAT A
CHARACTER IS
SEEING. EYELINE
MATCH ALLOWS THE
AUDIENCE TO BELIEVE
THAT THEY'RE
LOOKING AT
SOMETHING THROUGH
THE EYES OF THE

4. EXPLANATION OF
THE SHOTS USED
CROSS CUTTING
CROSSCUTTING IS A FILM
EDITING TECHNIQUE IN
WHICH A SEQUENCE IS
EDITED IN POST-
PRODUCTION TO COMBINE
TWO OR MORE SEPARATE
SCENES. A SCENE THAT
HAS BEEN CROSSCUT WILL
CUT AWAY FROM ONE
SCENE TO ANOTHER,

5. FURTHER EXPLANATION
OF THE SHOTS USED
SHOT/REVERSE SHOT
A SHOT-REVERSE SHOT STARTS
WITH A SHOT OF A CHARACTER,
AND THEN CUTS TO A SHOT OF
WHAT OR WHO THAT
CHARACTER IS LOOKING AT (THE
REVERSE OF THE ANGLE FROM
THE FIRST SHOT), AND FINALLY
CUTS BACK TO THE INITIAL SHOT
TO SHOW THE CHARACTER'S
REACTION.

6. FURTHER EXPLANATION OF THE SHOTS
THE 180-DEGREE RULE
THE 180-DEGREE RULE STATES
THAT TWO CHARACTERS (OR
MORE) IN A SCENE SHOULD
ALWAYS HAVE THE SAME
LEFT/RIGHT RELATIONSHIP WITH
EACH OTHER. – FILMMAKING
GODS. THE RULE DICTATES THAT
YOU DRAW AN IMAGINARY LINE
BETWEEN THESE TWO
CHARACTERS (OR SUBJECTS)
AND TRY TO KEEP YOUR
CAMERA(S) ON THE SAME SIDE
OF THIS 180-DEGREE LINE

7. 180 DEGREE RULE
THE RULE STATES THAT THE CAMERA
SHOULD STAY ON ONE SIDE OF AN
IMAGINARY LINE BETWEEN TWO
CHARACTERS SO THAT EACH
CHARACTER ALWAYS APPEARS TO BE
FACING THE SAME DIRECTION,
REGARDLESS OF WHERE THE
CAMERA IS POSITIONED.

8. PRELIMINARY TASK SYNOPSIS
The story takes place in a school classroom. The
story begins. A sent a text message to her mother
in the classroom to complain. B walks into the
classroom and asked A what wrong. A said sadly
that we were caught cheating and my mother was
very angry. B wanted to comfort A but was rejected
by A. At this time, the teacher came in and asked
what you were doing.

9. SCRIPT
CONTINVITY TASK
CHARACTER 1 TALKS TO HIS MOTHER ON HIS CELL PHONE. ANOTHER CHARACTER WALKS INTO THE
CLOSSROOM AND SITS DOWN IN FRONT OF THE CHARACTER
SCENE 1(EXT-SCHOOL CLASSROM-DAY)
CHARACTER 1
(LOKING VERY DEPRESSED, HESIGHED,SAID HIS LINES TO MOTHER ON THE PHONE)
[ MOM. I'M SORY.I…]
CHARACTER 2
(COME IN FROM THE ONTSIDE, OPEN THE CLASSROOM DOOR. GO TO CHARACHER I AND SIT DOWN.TAKE
A LOOK AND SAY)
[WHAT'S WRONG]
CHARACTER 1
[ WE WERE CAUGHT CHEATING ON THE EXAM YESTERDAY MY MOM IS VERY ANGRY ]
CHARACTER 2
(REACH OUT AND GET CLOSE TO HER HAND)
[ I'M SORRY. I WILL REMEDY IT ]
CHARACTER 1
(THROWING HIS HAND AWAY.STOOD UP AND KNOCKED ON THE TABLE ANGRILY)
[NO IT'S TOO LATE]
TEACHER
[WHAT HAPPENED TO YOU GUYS]

10. STORY BOARD

12. LOCATION SEARCH

13. EQUIPMENT LIST AND PROPS
 Equipment:
 Phone
 Props:
 Chairs(2)

14. CALL SHEET
 Actors:
 Leo chen-Character B
 Ella lee-Character A
Location:
Chartwell International School
School Ict room
Stairs

15. ACTORS
Leo chen
17years old
boy

16. ACTORS
Ella lee
17years old
girl

17. PRELIMINARY TASK EVALUTION
Our video expresses different types of movement and the
ability to create continuity videos where we can demonstrate
our understanding of these media technologies and illustrate
how two characters in the same scene should relate to each
other.

18.  When making this video work, I learned that the 180-degree rule is used so that the audience can see
through the lens which two characters are talking and capture the characters' facial expressions, which
can convey information about the characters to the audience, allowing us to Understand the whole story
more deeply. The rule is that a certain type of atmosphere is expressed through the character's
reactions before and after dialogue. Often combined with this are reverse shots, which are used for
dialogue or simply characters looking at each other or objects. Maintain continuity by not distorting the
viewer's sense of the location of the characters in the shot.
 Action cuts refer to switching back and forth between two shots to create an impression of continuity -
the through-action creates a "visual bridge" that draws the audience's attention away from minor cuts or
continuity issues. Move away. It depicts a sense of continuity of the same action rather than matching
two separate things

19.  Once we completed the preparation and conceptualization of the framework, we began the pre-
production phase to create a video that achieved all of the above requirements.
 We believe this video is an appropriate blend of visual and technical requirements.
 The first step in pre-production is to write the framework. We make sure to write it in a short and easy to
understand form. Set a clear direction and theme, and then simulate what actions and words you would
use in a real situation to determine the best way.
 Once the script was completed, we evaluated it and sketched it out in individual shots that could be
visually translated into individual storyboard panels.
 When shooting, we fully considered the scene location and object settings, as well as the actors
appearing in the shot, as well as the shooting type, angle, and action. In the subsequent work, we used
editing to integrate the fragments together more naturally.

20. EDITING PROCESS

22. THE END