The Rock- Camera movement sequence analysis

In this task we had to identify the different types of camera movement in the car chase sequence of 'The Rock'. From this I was able to establish why the different types of shots and movement had been used; for example. the use of pan from long shots to mid shots of cars driving past the camera creates a sense of danger and urgency, in turn making the audience feel apart of the film world. From this task I have the understanding of different types of camera movements that I can use in my opening sequence. I have also learnt the importance of these movements and how they can create atmosphere, tension and emotion in a scene.

1.	The action is still at first and focuses on the owner of the Humvee, but as his car is stolen 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; this is when the car is stolen and driving off. The use of close- up allows the audience to focus on an important detail in the screen, which in this case is the chase.
2.	The camera is right in the action, whereby the police chasing the stolen car is right in front of the camera. This makes the audience feel involved but safe knowing they will not be touched by the chase on the screen. There is then a close up framing of the characters face and upper torso with tracking that quickly moves towards us creating an increasing sense of urgency. This also allows the audience to identify with the character by knowing what they look like allowing them to base a judgement on them. Similarly the audience are able to see his facial expressions and therefore can read his emotion which adds to the realism of the scene.
3.	The camera is placed low down, almost at a worm’s eye view shot, which gives a different dimension to the scene. Similarly the camera is rapidly cutting between different angles and positions, which heightens the sense of action, danger and urgency. This is shown through the various different angles and shots of the high performance Ferrari. In addition to this, the fact the car is a Ferrari suggests action and speed, which parallels the genre and images on screen. The action moves away from the camera position but the camera does not follow, emphasising the speed of the car and the fast paced action.
4.	As Nicholas Cage’s character is in the car, the audience gains a view of his character rapidly changing gears, however it is from an unrealistic angle but gives a sense of urgency to the situation. There is a close-up framing of Sean Connery’s character, which allows the audience to identify with him by knowing what he look like, in turn allowing them to base a judgement on him. Similarly they’re able to see his facial expression and therefore read his emotions, which adds to the realism. As the scene progresses the camera drops from a higher level to mid level where the Humvee smashes through crates of produce. This increases the sense of urgency to the scene and also puts the audience in a powerful position as they see the action or consequence of action take place before it happens. The camera is again, rapidly cutting between different angles and positions, which heightens the sense of danger and urgency of the chase. The sequence ends with a car spinning away which fits in with the genre of action.
5.	As the police cars drive down the alley way, the camera cuts from the action coming towards the camera to the action going away from the camera from the next shot from the side street on looking the alley way and chase. The action/chase moves away from the camera in the side street, however the camera does not follow. This gives the audience the effect of being in the scene, however shielding from the action in the side street. There is then a quick pan of the police car and it then crashes into a civilian car. Following this there is parallel editing of the crash to give different angles and content to the scene. This allows the audience to feel like they’re actually right in the action as the cars get nearer and more intense.
6.	In this sequence the camera is placed in the car giving the audience the feel of being in the car where the action is taking place. Furthermore, the audience can hear what is being said even though the action on screen is moving fast, adding to this sense of realism. Similarly the camera movement seems wobbly which adds to the sense of realism, as it could be a hand-held shot from the passenger in the car. The camera moves to close up framing of the drivers face which allows the audience to see their facial expression therefore read his emotion, which seems to be intense.
7.	The camera is placed low down on the road and is a slightly canted angle. The action of the police cars comes towards the camera, however the camera is stationary. There is then close up framing of the characters face, which shows anger and urgency for objects in his path to “get out the way”. Throughout this scene the camera is rapidly cutting between different positions and angles allowing the audience to make links between the police and the stolen car. Due to this rapid cutting it may also make the audience feel a sense of disorientation are there is a lot of movement in the scene. The cars are then moving away from the audience with a slow pan of the camera.
8.	There is close up framing of the policeman and again the camera movement is wobbly which indicates they’re in a high-speed chase and are constantly moving. The audience can hear what is being said even though the action is moving fast, which gives them a sense that they’re in the car next to the policeman. There is also a close up shot of Sean Connery’s character, which allows the audience to directly compare the two situations. For example, the urgency of the policeman’s voice and the face of steal concentration of Sean Connery’s characters face.

Harry Potter sound exercise and evaluation

Evaluation: 

In the opening credit sequence I used sound that was mystical and mysterious, which drew parallel to the dark, misty credit image. This gives a sense of foreboding and a feel of fear, as it is a deep repetitive sound. It then moves on to become more intense and quicker paced as the image goes through the Warner Bros logo, taking the audience into the next part of the sequence. Following this I added ominous yet harmonious sound with an orchestral feel, as the image is dark with mist adding to the sense of mystery. It is also synonymous with death and foreboding due to the sound of the dark violins. However, amongst the dark and mysterious sound, when the image moves through the ‘Harry Potter’ titles I changed the tone of the music to more light and hopeful which parallels the image as the mist and dark begins to fade into light. I did this to show that within the film there are both good and evil aspects.

In the playground sequence I used sound, which was more uplifting and rolling to signify the transition from dark and evil to light and good. Similarly this parallels the image as it is bright and clear; the sun is shining and the sky is blue, which usually denotes a happy scene. However, as the sequence progresses we see Harry’s shadow and him looking towards a family. His shadow represents his reflection in a mental and physical sense. The family signifies his reflection on what could have been if his parents weren’t dead. For this part of the sequence I used sound, which is stirring in order for the audience to empathise with Harry.

(Sound is then cut but continues when Harry challenges Dudley physically as sound for sequence is incomplete (2:14)).

As Harry challenges Dudley I used sound that was ominous to draw parallel to the feeling of evil and foreboding in the opening credit sequence.  Similarly I used sound to parallel the images on scene, for example thunder when the light in the sky closed up, and wind when paper and litter swirls around the characters.

(Sound is then cut, as sequence is incomplete (2:41)).

In the Dementor sequence when Harry and Dudley are running away I would have used a dark rhythmic sound to emulate their pace. As the action moves from them to the scenery I would add menacing sounds of thunder, rain and howling in a discordant way to enhance the sense of danger. As the sequence returns to the characters in the underpass, I would add tremulous and eerie sounds to depict how they’re out of the exposed danger of the field, however in the unknown of the underpass. As the lights flicker in the sequence I would use realistic sound of lights flickering to create realism to the scene. As the characters attention is distracted from the lights, I would add sound again which is pacier to heighten the tension of the scene before you can see the source of the danger.  As the source of danger becomes apparent I would use piercing sound, which cuts through and takes over the character, scene and audience. As the scene then cuts to Dudley and his escape I would use pacy menacing sound to clearly show the urgency and danger. When the Dementors are focused on one character, all other sound would stop and only the piercing noise would be heard to reinforce the evil, urgency and danger.

Overall, for the whole sequence I am pleased with the sound and I feel it shows the clear difference between good and evil. I feel the use of realistic sounds like the thunder and wind adds a sense of realism to the sequence, which is effective as the audience can relate and feel apart of the film world. From this task I have learnt that by matching the types of sound with the action of screen it creates a seamless sequence. Following this, if the sound matches perfectly it makes the sequence feels like one, as oppose to two separate entities, that being the sound and the visual. Furthermore it makes the audience feel like even though the sound is not part of the film world, that it actually is as it fits so perfectly. In my opening sequence I aim to recreate something similar, obviously fitting to the genre, but using the same method of integrating the music perfectly with the visual on screen, creating a seamless sequence.

Use of Mise En Scene and sound in the opening to Phantom of the Opera

Use of Mise en Scene and sound in the opening to Phantom of the Opera:

At the beginning of the opening scene there is off-screen diegetic sound, which continues to a sound bridge when the first image of a candle appears. In regards to mise en scene the candle is key to the setting as it is the only source of light, showing that the period of the film is a long time ago before electricity. The picture that the candle is illuminating is then the main focus to the scene as it carries the viewer into the story. The picture is in black and white and as it begins to move in to become the story it continues in black and white, which could signify that the setting of the film was in a time previous to colour. Throughout this part of the clip the sound is orchestral as well as pensive. This adds to the idea of the setting of the film being before high technology as there are no computerised sounds of synths. As the scene progresses through the picture there is on-screen diegetic sound from the cars and people in the street. There is a close up shot of a figure in a wheelchair, and their costume is very official and smart. This signals the status of the character as he has the money to buy suits. In the following scene the figure goes into a grand building, however on the inside it is decrepit, possibly giving context to the film if there were an economic downfall for example. As the figures continue through the building into a hall there is top lighting that beams down on items covered in white sheets. As they’re at an auction this may be symbolic of all the amazing purchases available. The link between nature of the auction and the decrepit building may gives hints to the context of the film and may set the premise for what is to come. There is on-screen diegetic sound which is the voice of the auctioneer. This gives a feel of realism to the scene. The scene then focuses less on the auction but on the figure and a woman. This change is significant as the sound is harmonious and rolling. Following this the main feature of the auction is revealed through a birds-eye camera shot; a chandelier is revealed with great important as the light/scene changes to colour with rich reds and gold’s, as well as uplifting majestic yet mysterious sound. This creates a strong atmosphere of life being powered into the building as well as being the connection to the new story. Life is ignited into the building and rejuvenated. There is a large contrast as people now flurry around the building in costumes suggesting that the building once was a theatre. Similarly there are large crowds dressed in attire of the day the film was set in and the set and scene is exactly the same with a man getting out a carriage however this time there is less of an air of mystery around his character. This suggests that the first initial scene was the future and this is the past, when one the man was young, and the theatre was thriving. During these scenes the sound is majestic, rising and searing which adds to the idea of the theatre being regal and of importance; these sounds are off-screen diegetic however give the scene atmosphere. The theatre is busy and thriving with people, actors, actresses, costumes and props, suggesting it was very successful and also showing the contrast to the future of how much it has changed and gone into disrepair; this adds to the idea of the context to the film that there may have been some sort of economic depression which led to this disrepair. These two different scenes of the same place mainly show the contrast of the past and future, this is done through the different uses of light, setting and colour, which create the atmosphere and premise for the film. 

Max Payne Sound Clip Analysis

Shot number	Technical sound description		Effects on meaning/sound
1.	Off-screen non-diegetic sound (20th Century Fox theme song)		This is the company motif. It has an uplifting, royal feeling.
2.	Off-screen non-diegetic sound (wind/talking)		-Voice in silence is mysterious and ominous. -Wing is eerie in the darkness and invites the audience to picture the scene.
3.	On-screen diegetic sound (gasping/water)		-The sound and the image come together creating the scene, giving an alarming feel and an urgency as he struggles.
4.	On-screen diegetic sound (water)		-Water splashing gives an effect of urgency, panic and fear.
5.	On-screen diegetic sound (splashing/water/coughing)		- Increasing panic-making scene tense. -The character is not speaking during this, as it is clear he is struggling for his life. This adds to the sense of urgency and possibly suggests there is no one to help so no point shouting.
6.	On-screen diegetic sound (water/bubbles)		-  As coughing/splashing has stopped it creates a fearful atmosphere that he is just sinking, dying.
7.	Sound bridge (water) on-diegetic off-screen sound (voice)		- Tone of voice is ominous, possibly foreboding danger. It is also a contract to the previous scene of silence.
8.	Off-screen sound (baby crying)		-Babies cry is scary due to context of previous scene and it may signify there is something wrong. Similarly this cause of wrong may link to the man, hence why he is in the perilous situation in the water.
9.	On-screen diegetic sound (voice)		-Voice in silence is mysterious and ominous.
10.	On-screen non-diegetic sound (voice) on screen sound (bubbles/water)		-Voice is drawing you in to listen more, as we know more about the background to the characters story (the baby).
11.	Off-screen sound (clock)		-Mysterious and moving you onto the next scene/part of the story.
12.	Sound bridge (clock) off screen sound (wind-chimes)		-Wind chimes are suppose to signify taking bad dreams away, but this appears to be the opposite so it is ironic. Similarly they’re clearing in a baby’s room, and it may be showing a nightmare, which relates and centres on the baby. This nightmare replays on him and this is shown through the continual none-stopping sounds playing over and over. The use of wind chimes is effective because it is in contrast to how they’re supposed to be viewed. They’re supposed  to be good but here they show evil and creepiness.
13.	Sound bridge (wind-chimes/ clock)		-A dead women lying in the room reveal irony of the wind chimes. The baby continues to cry, as it needs its mother.
14.	Sound bridge (wind-chimes/ clock) off-screen sound (thunder/rain/voice)		-Clock significant as it shows him moving on or a time he is replying in his mind. Wind chimes are usually soothing but in this context they’re creepy, paralleling the images. This is heightened by the bad weather, which could signify bad spirits/omen/karma.
15.	Sound bridge (voice- off screen) Off screen sound (siren)		-Sirens confirm something bad has happened as you only get them in a tragedy or emergency. It either foreshadows something bad about him or the women/baby. This also contrasts the previous scene as it is completely separate and a week earlier.
16.		Sound bridge (siren- off screen) off-screen sound (talking)	-Sirens/image of scene saying ‘one week earlier’ show this has happened previously and he is recalling it in the past scenes. The film from then on will unravel the mystery of the water scene, the dead women and the baby.

Overview of sound:

Sound is ominous and mysterious which fits every scene, as what we see is eerie, and creepy yet unexplained. For example, why is there a dead woman? Why is the baby crying? Each more scenes, which unravels and is unexplained adds to the mystery and fits with the sound. From this I have learned that by using sound bridges and introducing sound before the scene has become visual adds suspense and tension to a scene. This can be more effective sometimes, as oppose to using different shots that slowly reveal something, in particular in horror films as it makes the audience focus on the sound first making them question what they are hearing. If I were to choose to create a horror opening sequence, this technique would be very useful and could be used when editing sound.