Unit 22 SCT Assignment Results

Roopa A	Merit/P	Pass/Merit Descriptive and knowledge, but lesser understanding or application	Pass/Merit mainly descriptive but some ability to explain not sustained though - cover editing in one and the Format/Nar & Genre)
Calvin A	Pass	Pass	Pass/Merit mainly descriptive SOME EXPLANATION BUT NOT SUSTAINED, NOTHING ON PACE Etc
Kenny A	Merit/Pass	merit/pass some exam as to why, genres and format gives examples but is less detailed	Merit
Lawrence A	Merit	Merit	Merit/D
Nigel C	Pass	Pass Format & Narrative is an earlier H/W piece Merit No Genre or SCTvs Multi – but refers to genre in Short Film	Merit/Pass 2 films only, 1 has no editing, only 180 deg rule referred to as review once. Does not refer to format or narrative. Film 2 is more detailed
Jordan C	Pass	Pass	Pass/Merit Minimal editing and 2x NYAs
Ashley D	Merit	Merit	Merit Only 2 films covered out of 3 on the brief High Merit level analysis is here, but not complete as only 2 films, does not refer to Narrative techniques or Format and Editing is only referred to once:
Ugonna E	Merit	Merit/P No formats discussed earlier H/W	Merit/P no editing so far and no narrative or format pass/m descriptive of techniques rather than full explanation m/p at best
Deniesha F	Pass	Merit/D	Merit X 2, 1 x NYA – little or absence of reference to editing or terms. Otherwise complete & includes detailed analysis
Eunice G	Merit/P SCT Portfolio Pass/Merit	Merit/P	Merit 1x NYA, 2xP/M, 3xM/P. Some reference to editing, but only once or twice and uses 'switches' is not editing terminology. Some corrections not addressed.
Luke G	Merit/P	NYA No Narrative No Formats Only Genres Pass/M	Pass/M Borderline, 1xNYA, 2xP, 3xP/M. Only 2 references to editing across the 3. Limited references to sound and incorrect terminology ‘switches’
Dejhanea G	Merit/D	Merit/D	Merit/D A confident and sustained analysis across all technical areas to discuss meaning using terminology. Editing covers pace, continuity, transitions combined across all 3
Tommy G	Pass	Merit/D	Merit/D thorough, less strong on edit some pace and continuity referred to, overall tho merit
Kiera G	Merit	Merit/Pass Narrative is Pass Format M	Merit/D Complete but editing is less confident, references continuity and transitions.
Rosie H	Merit	WT Merit on narrative Merit for genres Pass Format	Merit/D MERIT/D on 1 short film 2 were WT Merit
Tamaira L	Merit/D	Merit/D for SCT MC genres Merit for format Merit/D for Narrative applied to own work	Merit/D overall some on editing and specific in porcelain but weaker and some confusion around closed endings etc
Micheal O	Merit/D	Merit Narrative needs more (P)	Merit - little editing discussed at times confused adrenaline and mixed quality in reports
Tim O	Pass	Merit/P Genre is limited Pass	Merit/Pass no editing referred to except in 1, inconsistent analysis with description hence pass
Ese O	Distinction/Merit	Distinction	Merit/D Needs more on editing, format and narrative
Maya S	Merit	Merit/P	Merit/P no editing
Shanee S	Merit	Merit Genres Pass/M Format & Narr M/D	Merit/D editing discussed pace in 2/3 films and editing shot decisions for emotion
Dan S	Merit	Merit/D Need to identify genres	Merit/D More on editing but all 3 complete
Dan T	Pass	NYA Format M/P Genres P No Narrative	Pass
James W	Merit/D	Merit/D	Merit/D some pace of editing and analysis here - no narrative or format yet? Not much in 2nd film he chose

SCT Report 3 Short Film Analysis Session Notes & Resources

6.1 SCT Task 1 c Resources: Lighting Analysis

Media lighting from AlanaFormanMedia

Lighting in Film from shanovitz

6.1 SCT Task 1c Resources: Sound Analysis

Sound Analysis

Sound overview from ctkmedia

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Sound lesson from reigatemedia

Sound and Meaning from slayas

Objective: To consolidate understanding of how sound and images create meaning



Analysis: 
Pass: Describe the Meaning the sound adds to the film?

• Genre
• Mood/atmosphere - effect on audience
• Character

Merit: How does the sound work together with the images and use of editing?

• Sound and what is onscreen
• Rhythm or Pace of the music and the cuts/transitions

Explain why it has been constructed this way?

Distinction: Analyse meaning and how it overlap with the meaning constructed by the Mise-en-scene (Costume, Props, Location, Lighting, Colours), Camera and Editing?

Pass: What Sounds do you hear - Diegetic or Non-Diegetic? How does it change?

Merit: What is the purpose - mood, atmosphere, reasons?

Distinction: What is it telling us about the character, his situation?

5.3 Induction Assignment Completion Deadline Webisode

Webisode Individual Edit Deadline Countdown

wk 5 Building a Sequence of Shots - Master Shots and Coverage (and Blocking)

Starter: How many Single Camera set ups - which position/shot would you start with as your Master Shot

Task: 10 mins recreate the sequence demonstrating Master Shot and Coverage continuity 

Complete your worksheets whilst watching the demonstration in the Studio

Sct practical assign l3 worksheet from ctkmedia

Master Shot

"A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view. It is often a long shot and can sometimes perform a double function as an establishing shot. Usually, the master shot is the first shot checked off during the shooting of a scene—it is the foundation of what is called camera coverage, other shots that reveal different aspects of the action, groupings of two or three of the actors at crucial moments, close-ups of individuals, insert shots of various props, and so on."

References:

https://en.wikipedia.org/wiki/Master_shot

The initial recording of a scene is usually done with a master shot, a shot wide enough to capture the action in its entirety. But screening the whole scene from a single wide shot would be boring, not to mention all the detail that would be missed.

Crafting a film involves recording a scene from different camera angles using different shot sizes to emphasize important elements of the film, such as a gun in someone’s hand or a tear in someone’s eye. This use of subsequent camera setups is known as coverage. Coverage is important not only to keep things dynamic and exciting within the scene, but also to ease the editing process of the movie.

Observe the example of coverage below from The Thomas Crown Affair (1968). All the shots combined together make the scene very interesting, especially as it contains very elaborate compositions and as it focuses on character’s facial expressions.

Among the several types of shots, we find in the example above long shots, medium shots, close-ups, ECUs, high-angles, inserts, and reactions. In the movie, the scene is practically silent. Yet the amazing coverage is able to convey emotions and tensions.

It is one of the director’s tasks to create a shot list, and thus define how the coverage will be. Before principal photography starts, the director should know where the camera will be and what or who it will shoot. A movie with poor coverage always feels awkward, for it usually impedes the editor from accomplishing the much praised invisible editing.

Coverage (expressing character, creating mood, visually using the camera to tell the story)

The term “coverage” refers to the variety of shots you use to visually tell your story. Think of it not just as covering your scene, but covering your butt in editing. Apart from just breaking up the monotony of a single, long camera shot, getting more shots or additional coverage will provide plenty of opportunities to cut away from your main shot in the editing room. This makes it easy to condense time and work around problem shots. With good coverage an editor can easily condense interviews, events, and demonstrations down to a smooth few minutes to tell a story that’s visually dynamic and one that conveys more info using the visual language of filmmaking. Freestyle and experiment as much as you want when shooting and editing, but know that the filmmakers that get the best results from breaking the rules of screen grammar already know the rules inside and out. Here then, are just a few of the rules.

Establishing Shots

These are often wider exterior shots. An office tower, a subject entering the room, street signs on a city corner, the room the interview is taking place all are examples of typical establishing shots. However, establishing shots can also be as tight as a street sign, a colorful taxi, or any other shot that gives your audience some sense of the flavor of the location. You can use a single shot or show a brief sequence of shots that establishes the atmosphere and activity of a location. Generally, you’d start with your widest shot, then bring the audience into the scene with progressively more intimate shots.

Wide Shots (WS)

Wide shots or master shots are your conservative “safety” shots that will save your scene if that funky creative framing you tried doesn’t work out. It’s the one shot that you can always count on to cover all the action. No matter who’s speaking or what happens—it’s in the master shot. Looking at a master shot we should get some sense of the setting and a full sense of the scale of the main action whether it’s children playing in a stream or simply a subject talking on the phone. If two or more subjects are interacting, try to get an angle that includes all the participants. Until you fully understand the visual language of docs (and probably even after that) you should make it a habit to get a good master shot first. Then go in for tighter and more creative angles as the scene dictates. Ask yourself this question on location: “If I had to communicate this whole scene to an audience with only one shot—what would that shot be?” Whatever you frame up in your monitor in response to that question will probably make for a good master shot.

Medium Shots (MS)

Medium shots are basically framed from the waist up. Medium shots bring the audience in closer to further inform them of what people are wearing or doing. Most notably, medium shots show us a subject’s gestures and body language. You should never underestimate the incredible power of body language in storytelling. Body language and gestures communicate more information in a matter of seconds than speech alone ever could. (That’s why us New Yorkers always gesture to other drivers with

Close Ups (CU)

Now that you’ve told the audience where you are with the establishing shot, and you gave them a medium shot to show them your subject’s dress, action, and gestures, it’s time to get intimate with some close-ups. Close-up shots range from the chest or shoulders up and are often used to capture dialogue, show expression, and otherwise bring your audience close to the character or object on screen. Apart from intimacy, close-ups draw our attention to specific details onscreen.