This document provides an introduction and instructions for a foundation film portfolio project. It outlines a preliminary task of filming a character opening a door and sitting down. The main task is to create a 2 minute film title sequence. It also describes essential film techniques like shot types, continuity editing, and the 180 degree rule to establish spatial and temporal coherence. Students must demonstrate understanding of these techniques in their planning, research, and evaluations.

1. Introduction to Foundation Portfolio This unit is worth 50% of your AS grade.

2. Preliminary Task A short task that will help you to complete the main task. To be completed this half term – OT only. The Task: Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.

3. Main Task To be completed by Feb half term. To be carried out in both all lessons. The task: The titles and opening of a new fiction film, to last a maximum of two minutes. You will plan, construct and evaluate the work with regard to the form and style of the productions and their intended audiences. Your research, planning & evaluation must be presented in the form of any one, or a combination of 2 or more of: a blog or website; a podcast ; a DVD with ‘extras’.

4. Filming and Editing Techniques

5. Shot types Watch http://www.youtube.com/watch?v= 3VS2iNhz180 to revise shot types.

6. Continuity Editing The predominant style of editing in narrative cinema and television. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots, focusing on time (temporal continuity) and space (spatial continuity).

7. The Grammar of Editing When watching television programmes and films, we often take for granted that we can follow the action without any confusion, even though it is extremely unlikely that the footage has been recorded continuously. In order to achieve this, editor must stick to the grammar of editing.

8. The Rules The 180 ° rule Match-on-action Shot/ reverse shot The eyeline match

9. The 180 ° Rule states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. Watch: http:// www.youtube.com/watch?v =HdyyuqmCW14&feature=related

10. Match-on-action Cutting from one shot to another view that matches the first shot's action and energy. Gives the impression of continuous time when watching the edited film. By having a subject begin an action in one shot and carry it through to completion in the next, the editor creates a visual bridge which distracts the viewer from noticing the cut or noticing any slight continuity error between the two shots.

11. 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 in opposite directions, the viewer unconsciously assumes that they are looking at each other.

12. Eyeline match It is based on the premise that the audience will want to see what the character on-screen is seeing. The eyeline match begins with a character looking at something off-screen, there will then be a cut to the object or person at which he is looking. For example, a man is looking off-screen to his left, and then the film cuts to a television that he is watching.

13. “ That’s the way to do it…” www .youtube.com/watch?v =TtljKx31MJg

14. Discontinuity Editing Of course, rules are there to be broken! Only break the rules if there is a good reason for doing do so! These include in a montage or to create confusion and disorientation. BUT only break rules when you are confident on how to stick to them – so not in this piece of coursework!