This document summarizes the opening sequence of a short film created for a preliminary media studies task. It discusses the filming, editing, sound, and concept. For the opening scene, Actor B enters in a hurry, falls on the stairs, and prepares to enter the main room. When editing, continuity was ensured between shots of Actor B walking up the stairs and entering the room. Various camera angles including point-of-view shots were used to create a realistic feel. Diegetic sound such as falling and dialogue was used. The sequence was directed to have a sarcastic tone rather than an aggressive one.

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AS MEDIA: PRELIM TASK
ANTONIA GROH & ISABELA WALTER

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TEXTUAL ANALYSIS
 SOUND [ DIEGETIC/ NON- DIEGETIC ]
 EDITING [ CONTINUITY ]
 FILMING [ CAMERA MOVEMENT/ CAMERA ANGLES ]

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THE OPENING SEQUENCE
 FOR OUR PRELIM TASK ISSA AND ALI WERE BEHIND THE CAMERA [ ALI; DIRECTOR/ ISSA;
FILMING ] AND SANTIAGO AND TONIE WERE ENROLING AS ACTORS [ TONIE ACTOR A/
SANTIAGO ACTOR B ]
 WE OPENED OUR ‘SHORT MOVIE’/ PRELIM TASK, SHOOTING THE FIRST SCENE OF
ACTOR B ENTERING THE SHOT . WE CHOSE THE FOLLOWING DIRECTING:
 SANTI ENTERS THROUGH THE DOOR-> HE FALLS BECAUSE HE DOES NOT SEE THE
STEP-> THIS SIGNIFIES THAT HE IS IN A HURRY.[ HE ALSO IS DISTRACTED BY LOOKING
AT A PAINTING ON HIS RIGHT ] -> HE IS HASTILY GOING UP THE STAIRS [ BREATHING
HEAVILY ].
 HE THEN ‘GETS READ’ BEVORE ENTERING THE ACTUAL ‘MAIN ROOM’. WHERE THE
MAIN PART OF THE ACTION IS FILMED IN.

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EDITING AND CAMERA
 WHEN EDITING THIS OPENING SEQUENCE, WE HAD TO MAKE SURE THAT THE
CONINUITY IS FLAWLESS, ESPECIALLY REGARDING HIM WALKING UP THE STAIRCASE.
 ANOTHER EXAMPLE FOR CONTINOUITY IS WHEN THE DIALOGUE FIRST STARTS WE
CUT/ MERGED TWO SCENES WITH ACTOR A, TONIE TURNING HER HEAD THIS WAY THE
TWO SHOTS WERE CONNECTED, GIVING A SENSE OF DIEGESIS.
 BY KEEPING A STATIC CAMERA, ONLY USING THE 180 DEGREE RULE [ STAYING INSIDE
THE CIRCLE ] WE CREATED A REALISTIC/ THREE DIMENSIONAL/ REAL LIFE FEEL FOR
THE AUDIENCE.
 WE COULD HAVE IMPROVED THE ‘GET READY’ SHOT THOUGH, BY FILMING THE SHOT
AS A CU OR MS, INSTEAD OF KEEPING THE CAMERA AS IT IS, AS LS, SO THAT THE
AUDIENCE WOULD HAVE HAD A MORE INTIMATE VIEW [CLOSER-> SIGNIFIES THE
AUDIENCE MEMBER IDENTIFIES MORE CLOSELY WITH THE CHARACTER ] ON THE
ACTOR/ CHARACTER.
 NEXT: WE THEN SHOT THE NEXT SEQUENCES, STARTING OF WITH ACTOR B ENTERING
THE ‘ MAIN ROOM’. WHEN EDITING/ CUTTING FROM THE PREVIOUS TO THIS
SCENE, CONTINOUITY WAS VERY IMPORTANT, AGAIN TO CREATE A REALISTIC/ THREE
DIMENSIONAL/ REAL LIFE FEEL FOR THE AUDIENCE. SO WE MERGED THE SCENES
WHEN SANTI IS ENTERING THE ROOM, ALREADY HALF WAY THROUGH THE DOOR. THIS
WAY THE SHOT FLOWS NICELY.

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 ACTOR B LEANS ON A DESK [LS], THEN SAYS HIS FIRST PART OF HIS LINE. THEN WE
REARRANGED THE CAMEA [ALTHOUGH WE SHOT THE WHOLE SEQUENCE EACH TIME]
TO SHOOT THE NEXT SHOT [OS] ACTOR B SAIS HIS LINES FILMED FROM TONIE’S POV. ->
ACTOR A REACTS, YET IS BEING FILMED IN FORM OF A ‘BEAUTY SHOT’ [CU].
 WE THEN SWITCHED TO A LS, TO SHOW THE AUDIENCE WHAT IS HAPPENING IN
RELATION TO THE WHOLE SPACE, THEN USING A OS SHOT [ A’S POV ] -> BEAUTY SHOT
OF ACTOR A-> REVERSE, CU OF ACTOR B [ INTENSIFYING THE SITUATION ] ->OS SHOT
POV OF SANTI, LS HE LEAVES-> FOLLOWED BY A ‘BEAUTY SHOT’ OF TONIE.
 SHOOTING THE SEQUENCE FROM DIFFERENT ANGLES, CREATED A REALISTIC/ THREE
DIMENSIONAL/ REAL LIFE FEEL FOR THE AUDIENCE. ALSO THE POV SHOT ADDS
INTENSITY AND MEANING TO THE SCENE.

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SOUND
 DIALOGUE [ SILENCE/ SPEAKING ]
 FALLING [SANTI]
 WALKING UP THE STAIRS/ BREATHING HEAVILY
 ALL OF THE SOUND USED IN OUR PRELIM TASK IS DIEGETIC, DUE TO THE
FACT THAT WE DID NOT HAVE ANY OPTION OD ADDING NON- DIEGETIC
SOUND/ MUSIC.
 SCREETCHING DOOR:
 ESPECIALLY WHEN SHOOTING THE SCENE, OF SANTI ENTERING THE ROOM
WHERE TONIE IS WAITING FOR HIM, WE HAD TO KEEP AN EYE OUT FOR
SOUND. AS AN EXAMPLE, THE ACTORS WERE NOT ALLOWED TO START
TALKING BEVORE THE SCREETCHING DOOR HAS PROPERLY CLOSED. IF WE
WOULD NOT HAVE DONE THAT IT WOULD HAVE BEEN HARD TO
UNDERSTAND THE DIALOGUE CLEARLY. ALSO EDITING THIS SCENE WOULD
HAVE BEEN DIFFICULT AS THERE WOULD BE BACKGROUND NOISE.

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CONCEPT
 WE WANTED TO CREATE A UNIQUE PIECE BY ‘MIXING UP’ THE ORDINARY/
STEREOTYPICAL IDEA OF THIS STORYBORD.
 SO INSTEAD OF DIRECTING THIS SEQUENCE RATHER AGRESSIVELY [ AS IF THE ACTORS
WERE IN A DANGEROUS SITUATION ] WE DECIDED TO INTRODUCE A QUITE SARCASTIC
TONE.
 THE INSPIRATION TO DO DO WAS THAT FOR EXAMPLE SANTI WANTS TONIE TO DO A
STUPID DARE, BUT SHE SAYS ‘SHE CAN’T’ HE GETS ANGRY -> THE SITUATION HEADS UP
 -> AND THEREFORE THE TONE OF VOICE CHANGES-> THIS CREATES TENSION.

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!SHOWTIME!
 https://www.youtube.com/watch?v=wmWc5jXQ4iY&feature=pla
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