Short Film Analysis : BBC Student Work

Clip 1- Coming Of Age

A boy suddenly finds himself facing huge responsibilities in a dangerous, dystopian world set in 2035 Britain. He must overcome his fears and face his enemies to save the people he loves. Coming of Age was shot on a micro budget of just £150 with a tiny crew of just four people. The main character is about 16 years old and he has to look after his sister who is sick. The boy has lot of flashbacks of the troubles he has had to cope with whilst trying to survive. The camera uses lots of techniques, a dominant one being a close up to express depressive facial expressions and does really well in representing sheer emotion. Some of the locations are very effective to the video; long shots are used over hills to show his responsibility against the huge scenery he is surrounded by. With the shots being so personal you really feel like you are the main character and can identify with his struggles. The violence is put into tension rather than horror, the quiet music and lack of dialogue makes it a lot more meaningful and less artificial. When running the cutting edits make the pace seem a lot faster and also uses the blackout edit which increases its theme throughout.

Clip 2- Two & Two

In a drab, anonymous grey school governed by a strict authoritarian regime, an apparently unremarkable day is turned on its head following a seemingly ridiculous announcement.

Disbelieving at first, the all-male, identically uniformed pupils are informed that what they had always been taught as fact is no longer true. When the incredulous students speak out, what initially seems laughably absurd becomes desperately real as they are forced to question how far they will go to stand up for their beliefs. Two & Two is an allegory for the absurdness of dictatorship and tyranny - and the resilience of the human spirit. The editing cuts are hardly noticeable, the scene is shot in one classroom so have few diverse angle shots, one being from the back of the room to display the whole scene. When the main characters emerge they have medium-close ups to display emotion such as anger and confusion.

Clip 3 - The Last Regal Kingsize

On the day of a militant religious gathering, Stewy, a disturbed Protestant boy seizes his chance to join a gang of local delinquents. For the prize of a packet cigarettes he entices a young boy out from the safety of his home. The result is devastating. While their fathers march through the decaying streets of Glasgow their sons take a sinister journey into the dark heart of modern Britain. Duty, Service, Glory - The Last Regal Kingsize reveals the reality behind belonging... is betrayal. A ground-breaking synthesis of ethnographic study, real-life characters and hypnotic music and photography, this poetic but unsentimental short is the first drama from acclaimed documentary-maker Simon Hipkins. The video tried to demonstrate modern social realism. As it starts off with a young boy we instantly know he is the main character, and we begin to feel sympathetic towards his character as we see his perspective. The music is mellow and it plays as background music to the strong Scottish dialogue. The cuts are invisible which would be expected in social realism type movies. The camera angles are very basic, no creative camera movement is used as they don’t want to over complicate the message of the film, or create forced opinions on the audience through creating irony etc.

Feed The fish

Feed the Fish Evaluation

Me and my group discussed themes for the feed the fish film, and eventually decided on British Gangster with the use of irony. We use inside and outside when filming, we felt this would make it more mundane and widespread. The kitchen scene was the prime example of when we wanted to include irony where 'feed the fish' meant edible fish fingers. However to give it variety would put a story line behind it with impressionable dialogue that made the film more complex and less comedic. We all brought in suitable clothing on the days of filming, mostly being formal to fit the 'gangsters' role.

We had to ensure that we all were available through certain days of the week such as lunch times and after school. Rosie brought inn her own camera with good lens to make sure the film was high quality, and I think this really benefited the film after editing; as it made it look more professional. We all worked well in a group, almost everyone took part as characters or through filming, so the morale was fairly good when the task came along. Everyone had opinions on what they thought it should include and luckily we were all very appreciative of each others ideas.

Before shooting each clip we verbally planned the camera angles we wanted to use, however when it came to filming we had a few jump cuts from where the acting needed to be cut. We used the computer to display a rainbow fish at the end of the film, this was with the aim to make it humerous and also use some sort of visual technology to make it seem less simple. Furthermore, we filmed a scene after school one day with Rosie's car, filming inside and outside and zooming up on details to cause tension and excitement. However when it came to the editing we didn't feel the scene was relevant or compulsory for the film, other factors also included the weather change from mid day to dark which didn't fit in with the time frame planned, so we decided not to use it.

During peer assessment when the class had to watch each others film, we received lots of constructive criticism. They felt there was one or two jump cuts which should have been prevented, they also thought that the part with dialogue in it was not steady and appeared to be shaking. Furthermore the lighting was far too bright in most scenes and it gave it less high quality, although it was very hard to avoid in the time scale we were given. It was also noticeable that the frames were cut, however we explained that during editing we could not flip the shot without it being cut.

Moreover, they stated that there was lots of irrelevant background noise, however this could not always be prevented as we had to use available rooms that could not drain background noise. Although at the start of one shot someone said 'cut' which should definitely have been noticed and re-shot if we had more time.They also felt that there was no symmetry in the camera angles and needed more suitable and variety shots. There is also one scene that we had to use two different characters for one person, although there was effort to avoid this being noticeable some people still noticed this error. On the other hand there was some postitive feedback from peers, some saying that the acting was at very high standard and are use of clothing and accents were very entertaining.

Overall I think the film went well, we worked well as a group and the film came out in good quality. If i had the chance to do it again I would make the actors/actresses freeze when camera angles needed to change, as it would reduce jump cuts to make it look more smoothe. All critisisms given by peers I would avoid doing again, but this task has been very useful in learning and progressing.

Rock extract

NAME: Libby  Date: 16/10/12
1.	The action moves past us but does not pan; it then drops down to mid level where the action is taking place so it seems extremely close and dangerous. The use of close- up allows the audience to focus on an important detail in the screen (the chase) The blurriness of the behind action also makes us aware of whats happening without distracting us from the character.
2.	The camera is right in the action, which makes the audience feel involved but safe knowing they will not be touched by what is happening on the screen. There is close up framing of the characters face and upper torso with tracking that quickly moves towards us creating an increasing sense of urgency. Also this effect shows us the seriousness of the chase by letting the audience see the different angles of the car whilst it quickly moves.
3.	As we are behind the car we see the action as the character gets into the car, and also what the individuals are doing manically as the chase starts. We have a good view of what is about to happen as the far away building are still in view. The close up to the wheel as it sets off exaggerates the speed.  The quick camera cuts from inside and outside the car also demonstrates the fast paced action of the character as well as the car.
4.	As the car starts to speed up we see the interior of the car. The camera is in a close up position to show what is happening in detail, doing this to the gear stick it show him changing gears telling the audience that he is speeding up.  The camera also changes to a low angle looking up to the driver, this brings significance to the driver, reminding us of the narrative.
5.	This scene is the start to the chase and the camera is facing the action as the car is wrecking through the market place, this makes us feel like it is coming towards us however we feel secure. The medium long shot of this dramatic clip gives the audience a sense of urgency on the characters part without exaggerating the action itself, which could seem rather cheap filming.  The action spins away giving us a sense of drama and diversity. The camera is still as both cars are following each other at fast pace, this increases the sense of speed.
6.	As the police are chasing the car, the camera is in the middle interior of the car facing towards the action, this makes us feel like we are part of the chase, specifically in the back seat; giving a sense of personification and edginess.  The camera is also hand held meaning the audience feel like it is real and that they are part of it. Towards the end of this clip the camera does a close up shot of the police driver showing us the emotions of the character, resulting in the audience connecting with him.
7.	The camera is in a still position as the cars jump over the hilly roads. this demonstrates the diversity of the chase and exaggerates the movement. The camera also shows a quick long shot from the peak of the hill, viewing the whole location, making the chase a much wider film. The camera cuts as the as the cars are turning desperately around the corners, the quick turns when edited through cuts gives the audience a sense of havoc and aggression.
8.	The camera has a close up of the male and his walky talky to show facial expression and the objects relevance to the scene without it being overshadowed. The camera is also hand held so it demonstrates the rough movements of the chase and creates a 3D sense. As the cars are going at fast speed in unstable conditions, the camera focuses on the slicing of the wheels from a diagonal view and a still image in front of the car as it crashes into another, this way the viewers can see the versatile movements of the car, not just on road.

Harry Potter

My Harry Potter Sequence

In my Harry Potter sequence I used dark and mysterious music for the extract because I think the theme and genre of film is very magical and threatening. The Dementors that are introduced at the beginning of the sequence made me use more of a terrestrial sound during some parts of the sequence, and highlighted the wind sounds to show darkness and an 'out of this world' experience.

I used very simple music for this part in particular because I wanted to make the action very significant. Also because the profile of Harry is very underwhelming and lonely, I felt it was a parallel sound.

I wanted to use very irregular sounds for the Dementors sequence because it creates a mystical effect and changes the whole feel of the opening to a much more hostile environment of fear and tension. I feel the sequence was a lot more horror until the Dementors sequence came on which became depressive and mystical.

I felt that the short amount of editing I did was very effective, the timing from the land shot to harry walking up to the park has accurate timing. As the Warner Brothers slowly erupted and the Harry Potter thundered in letters, I used very deep tones to highlight the darkness of the theme. Using more than one sound in this part in particular benefited the sequence as the moving image was parallel to its sound.

I found garage band hard to use as it was very technical and detailed. They had a large variety of sound but it was very time consuming finding one specific sound as there are so many themes to choose from. I found lengthening the sound very difficult as I had to split it when there was no solution, this was a negative attribute to my sequence as it made the music jump start instead of flow. 

I thought for the first time I did well, however in comparison to others I feel it was a lot less advanced and I could have done a lot more in the time we had available. To improve it I would get dialogue for the talking scenes which would make it seem a lot more advanced and do more sounds from the swing scene on wards.  On the other hand it was a very helpful experience and a vital tool of sound editing in media.

Phantom Of The Opera

Phantom of the Opera opening

The scene starts in black and white and this masculine character (antagonist) is smartly dressed. We hear slow deathly music that sounds heavenly yet scary, the music then stops and we hear dialogue; an auction. They proceed to speak formally in old English. As the draped, sheltered chandelier is unveiled and it starts to rise, we hear the music is deep and threatening, it is repetitive and continues through the whole opening. However, the tones change depending on the mood of the scene, for example, as the camera rises and the colours change the beat increases its pace giving a sense of magic and nourishment. He stands on the second floor of the dusty and unkept theatre as the music pauses. He looks out to see a diamond chandelier layed on the floor. Echos of wind flourish around the scene, this is significant because it replicates the subliminal message in that the theatre is being washed away and is eroding itself by sheer abandonment. More characters emerge, also dressed in Victorian clothing and fresh suits, big grand hats like the businessmen of them times. A woman has dark clothing with a black hat and veil, as if it was the funeral of the theatre. 

As the scene continues the camera which was originally screened at birds eye view, gave the character a lot more power over the surroundings as he looks down upon the action. It slowly changes to a low angle. this technique makes the atmosphere a lot more tense and scary, increasing its significance. Scanning the theatrical chairs as the colour changes to a strong red; this creates a strong and powerful feel to the theatre. As the dust floats over the interior of the dead playhouse everything becomes colourful in reds and golds making us feel royal representing wealth. The lighting is bright and florescent demonstrating 'the rise of the dead' the modernization of the run-down theatre appears by a flashback.

The whole scene becomes a lot more realistic when we see the exterior of the theatre. The natural lighting is a lot less intense and creates realism, we see carriages and middle class citizens walking the streets in a busy area. We see children and adults rushing around the pockets of the theatre in a rush, creating masks and doing arts, the lighting is a lot darker then before but is feels a lot more warm to the black and white scene we saw at the start. This is a massive contrast to the middle of the opening where it seems a lot more wealthy and higher class,it almost seems magical when the chandelier rises and the theatre gradually grows richer.                                        

However seeing graft by the people when supporting the fresh opening of the theatre it gives us a completely different feel. We see workers dressed very casually, then we see dancers dressed in glowing costumes and frocks. All of these contrasts work together to show the value and importance the theatre has to the people. Its popularity towards the end with the crowding contrasts the lonely disserted theatre at the start of the opening, like its being brought back to life with intensifying passion from the people and the soul of the theatre.

Max Payne Opening

Max Payne Opening

The opening motif starts with 20th Century Fox and then we see visual darkness but we hear a voice over of deep tone, this is a soundbridge. The next scene is visual aswell as containing voice over, the diegetic sound of heavy breathing and gasping for air aswell as underwater sound, this being bubbles and the swaying sounds of the deep sea; as we get a good vision from beneath the water. It tones down as background noise while the voice over continues at the same pitch. Furthermore it continues to a quick scene change to a dark shadowed door and we hear a baby crying in distress, the visual dullness makes the sound parallel, the darkness and music confirms that the crying is bad.

In the same scene we hear a clock ticking with a repetitive beat, this builds tension and makes the audience feel on edge, highlighting the theme of time. Again the scene quickly changes to the first visual scene of Max Payne's in the underwater, with bubbles. Overlapping the scene is non-diegetic voice over. The opening changes again from panic in the sea to a relatively quiet house environment as Max Payne opens a squeeky door, this sound is commonly used in horrors to make the viewers apprehensive of what is about to occur.

Furthermore, we then hear the clock ticking again in a dark room where a woman is lying silently, the sound is repetitive and daunting outlining the negative image. It then moves on to an outside scene with Max Payne in a close up, the background is dark and silent. We continue to hear the sound bridge of the clock ticking as we see a slow image change. The image scene is of baby toys around the child's room, with a soft high pitch tapping noise from the slow clashing of the toys. Again the scene goes back to the underwater, however the sound this time is a lot more peaceful like Max when he is slowly sinking, this is an example of parallel sound. During the there is still a voice-over. Next the soundbridge from the opening is repeated with voiceover with exact tone. The last few seconds are a lot more understandable and the story practically begins as the busy street sounds of diegetic police sirens wail.