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. 

Induction photographs

Here, we were trying to convey loneliness. A long shot of a boy standing alone, looking glum and staring at the ground. We filtered it to make it particularly dull and have a bland, washed out feel in order for people to relate to the person portrayed.

This picture is supposed to portray desire. We took the picture from a low angle to show the power the food has over the person in the shot. It's blurred slightly, and she's looking down at it with a tempting look on her face. 

Here we were trying to show friendship. An over the shoulder shot from the perspective of a young man waving at his friend gives it a casual, inviting feel. Over the shoulder shots are usually used in conversations, and by doing so gives the people more of a friendly feel. 

The many cards and money overlapped over one another exaggerates a feeling of overwhelming wealth. With them being so freely dispersed upon a table it gives the impression that the person who owns them doesn't care for them much as they are not placed in an orderly fashion.

Here, we tried to capture purity. His skin is white, pale and his eyes are directed right into the lens in order to give the feeling of 'baring all' on his part. The filter over it makes it look white-washed and light, and the natural background enforces the idea of pureness.

Strength: an low angled shot of a boy in his sporting gear makes him look particularly big against a large, metal structure in the background. The use of the colour black against his pale white skin and blonde hair makes it look even more dark and stubborn, exemplifying his strength. Long shots also show the whole body, which gives the person a lack on inhibitions and a sense of courage of his own self. 

Danger: the metallic structure looks harsh, and when presented at a low angle looking up at it's enormity, presents a threat of danger too. The building is marked off, disallowing people to go near it, and the bright yellow and black colours striped down the bottom gives a sense of oncoming danger.The building stretches to the outermost edges of the picture.

Greed: an over the shoulder shot of a girl looking down onto food and a voucher for food gives the girl power over what she is holding; her greed allowing her to eat what she wants, when she wants. The particularly  unhealthy combination of Mcdonalds and NikNaks also implies the person enjoying them has a greedy side.