Induction Continuity Sequence

 As a group of 5, we planned and filmed a short sequence consisting of things given to us on a checklist.
 The piece was required to include:

• At least five close-ups
• At least one extreme close-up
• At least two matches on action
• At least one eyeline match
• At least one point of view shot
• A shot-reverse-shot sequence 
• One (but only one) camera movement 
• Some establishing shots and re-establishing shots 
• At least one non-cut transition (which was added during editing.)

 Additionally, we were disallowed from using any dialogue; from breaking the 180 degree rule; and, from having any unnecessary props in the background (things such as camera cases, planning sheets, tripods etc.)
 You can watch our video, Lois' Package, below:

 

 Evaluation:

 Our piece stuck to the continuity system quite well. It included everything on the checklist, with the only fault being that the costume is muddled up due to editing in the beginning scenes – the interviewer is wearing glasses in some, whereas in others she is not.

 Having been given a list of shots we had to include, we decided together on how we would express them during our piece. Each close-up is focused on either an important object: the package, or a reaction: the girl in black’s face once she’s discovered the contents.

 The close-up provokes extra attention from the audience, and exaggerates a certain emotion to allow people to identify with the characters on screen. By showing the package in a close-up, and pairing it with dulled lighting and a black and white filter, it implies that it holds something important and possibly negative.

 The extreme close-up emphasises the shock that the character feels, and highlights the negative connotation that the gun has upon her.

 The use of the eye-line match where the girl in black looks down at the case, and then we see the briefcase from her perspective is a representation of the detachment she feels towards the object, but the desire to know what’s within. This scene also involves a point of view shot, which means the viewers can become aware of whose perspective we are seeing this story from.

 The shot-reverse-shot was used during the 'conversation' between the two - or moreover, the lack of conversation. Due to the need to not have dialogue, we decided it would be a good opportunity to pair this shot with what comes across as an awkward and ambiguous conversation - leaving both the character on screen and the audience wondering what might happen and what might be in the briefcase. 
 The camera movements followed the character down the hallways, tracking her as she walked to make the piece seem slower, and build more tension.
 We used establishing and re-establishing shots to create the sense that the characters feel awkward: the first establishing shot being of the two sitting opposite another. One writing, one looking uncomfortable. It gave a nice inclination as to who is in control and who plays the "victim." The re-establishing shot showed the uncomfortable one leaving, whilst the girl in white stares forward blanky.
 Finally, there was a fade placed at the end. Due to the time stress and the fact we'd had little time on the editing programmes each, it was hard to get this to follow over the last few clips to make it seem longer, instead of the sharp and unannounced stop. Our prior intention was to have it fade to black during the last cuts, with the last shot being of the girl in white staring right into the camera.