Codes & Conventions and Filming - Research

Codes and Conventions Research - Sara Avramovska (SA)

NOTICE : Prior to Melissa Sebata (MS) leaving school in preference of attending college instead, Ella Ponting (EP) was welcome to join our group along with myself (SA) and  Monisha Roy (MR). Due to Ella Ponting  being a new member, we have insisted of arising with a new topic for our short film therefore Ella is enabled to equally contribute within it. After all we must all agree on the film topic as it is the starting point of the most fundamental aspects of our A2 Media Course: Research and Construction Tasks dominant concerning our final product and Evaluation Task.

 As the new formation of our group, we had decided to neglect the idea of the typical ''Romance Genre'' alternatively focusing on the ''Psychological Thriller Genre''. This was due to a number of reasons some consisting of concerns and uncertainty of the capability to discover actors that will be permitted and willing to and be pleased by acting out the romantic leads as well as the incapability of emerging the theme of blindness into a Romantic field.

Due to this our new topic for our film is Sleep Paralysis.


OUR CHOSEN GENRE - By Sara AVramovska (SA)




Previously, before we even had the idea of our film topic,sleep paralysis, as a group we listed all the movie genres we could possibly think of as shown on the image above; we spent up to half an hour discussing and deciding on which genre we intended to focus our ideas on. The genres we have chosen were Documentary, Thriller and Horror. We had discussed some film topic ideas all together, however we did not believe they were as original and due to this we set ourselves homework which lead me to the idea of sleep paralysis that as a group we all agreed on. ( more on: http://saramonishaella.blogspot.co.uk/ ) 

  Furthermore, we have indeed noticed that our idea falls under all the movie genres circled. Brief examples include Documentary prior to the idea of flash back sequences and voiceovers we intend to include and mystery and horror simply due to the sleep paralysis topic overall and the reactions we intended to receive by our film audience we'd like to address! 

However, we have chosen to incorporate our film topic of sleep paralysis into the Thriller sub genre Psychological Thriller or Semi- Biopic as it best suited our initial ideas. We were set the task to find more information based on our movie genre in order to gain more knowledge and an insight view as to which codes and conventions we would desire to embody and consolidate within out short film, as well as the Psychological Thriller's history and it's target audience. I found that the Psychological Thriller genre is splendid prior to epitomizing its aspects within due to the following reasons as shown within my PowePoint presentation below.


Alferd Hitchcock History!








Codes and divided into two categories:

Technical: the equipment used to tell the story, An example of this includes

Symbolic:

Codes and Conventions - Ella Ponting (EP)

As part of the research for our psychological thriller piece, I delved into the genre, codes and conventions behind this illusive, often idiosyncratic category of film. I used examples of film I had seen in real life such as the renowned semi-biopic thriller 'Thirteen' a low-budget independent psychological thriller directed by Catherine Harwicke who notably directed Twilight before it became the box-office hit it is today. In this analysis, I discussed how this genre is indicative of our genre, with elements of realism and paranoia prominent throughout our film, similar to the film 'Thirteen'. We wanted to include these elements to make our film seem more relatable to the audience and sufferers of sleep paralysis and for the plot-line to seem as authentic as possible. I also discussed the iconography/codes of the psychological thriller genre and how things like props can create a large sense of panic and disorder within this genre, as discussed on slide three of my PowerPoint, where I relate the use of props to the iconic 'knife scene' in Hitchcock's 1960's film 'Psycho'. I then discussed the use of shadows in this genre, a stereotypical code used to convey a sense of unease and to add a supernatural unearthly element to a film. I discussed the use of this in the 1932 film 'Vampyr', one of the first distinguished psychological thrillers in film history, which allowed the silhouette to become a key feature in psychological thriller following this. The use of confinement was another key code used in psychological thrillers that I found, I used the example of this for the 2001 film 'Panic Room' with the central themes of film revolving round confinement, claustrophobia and, inevitably, panic. Films shot in a small space such as in this film create a sense of entrapment and those enclosed in these surroundings being held from a much wider realm of being, adding to the sense of dreariness and desperation. Woods and Vast Landscapes are used frequently in the horror/thriller genres to create a sense of loneliness and paranoia, evoking the sense of being watched as the audience watches their live unravel on-screen. I used the example here of the film 'The Lovely Bones' based on the unnerving novel about a young girl who is raped then brutally murdered yet wavers, still a part of the world watching her family and loved one's lives unravel before her. The use of vast landscapes in this circumstance reinforced the young girl's isolation and dislocation from reality and her loved ones. Another of code that we plan to use in our film is running water, running water such as the dripping of the tap are frequently used in psychological thrillers as they are often indicative of blood and death with dark undertones. I used the example of the film 'Double Identity' (2009) in which the dripping tap acts as a foreboding symbol indicating the protagonist's eventual peril.

I also mentioned the film 'Thirteen' once again as it displays the low key lighting convention very effectively and is indicative of the dark plot-line as everything spirals out of control for the protagonist. This film incorporates slightly desaturated colour in certain parts of the film to illustrate key moments in the plot-line as gradually the protagonist becomes more self-destructive and uncontrollable. The use of mirrors and reflections add a sense of warped identity or disordered personality which adds a sense of instability and volatility to the character; this is reminiscent of the film 'Black Swan' who play on the theme of multiple personalities indicative of the Black and White swan whom her personality seems to revolve around. As shown on slide 9, the picture shows a frighten looking 'white swan' juxtaposing to the menacing stare of the 'black swan' in the reflection behind her. Costume is also an important factor in psychological thrillers, often the characters in this genre wear inconspicuous outfits with monochromatic colours to reflect something being semi-concealed and reflects some form of secret in the plot-line. 'Silence of the Lambs' (1991) is indicative of this, the protagonist Hannibal Lecter, the cannibalistic serial killer wears very bland clothing to add to the dark, twisted plot-line as well as to make the bright red colour the sole focus from the audience. 'Requiem for a Dream' (2000) incorporates obtrusive editing, a popular convention of psychological thrillers, used to create short jump cuts echoing a sense of chaos and unpredictability. The scene where the character Sara Goldfarb abuses prescripted diet pills is indicative of this, using a series of close-ups and match-on-action shots in a jump-cut sequence mimics the mental instability of the character. I then conducted a brief piece of research on Todorov's narrative theory following: a state of equilibrium, a disruption to the equilibrium, recognition of the disruption, an attempt to resolve or repair the damage and an establishment of a new equilibrium/ return to the original equilibrium. I paired this structure with the 2011 film 'The Resident' and outlined briefly how the plot-line of this film matches his theory.

I then discussed the significance of the 'Psychological Thriller' in film history in relation to world renowned directors such as Hitchcock who produced the first psychological thriller in 1927 called 'The Lodger'. I then went on to discuss Hitchcock's other prominent thriller films such as the 1929 film 'Blackmail' and notably one of the most well-known psychological thrillers of all times: 'Psycho' (1960). Following this I discussed psychological thrillers in the present day such as 'Black Swan' (2010) receiving critical acclaim worldwide for it's unusual haunting themes and the high standards of acting from the two main actresses Natalie Portman and Mila Kunis. I discussed the film's plot-line as well as how the director drew upon older psychological thrillers such as 'Repulsion' (1965) and 'The Tenant' (1976) to construct this film. The slides succeeding this discuss the stereotypical audience this genre would draw in, which normally would be somewhere in the age bracket of 18-25 and wouldn't normally be seen as appropriate for an audience younger than this as often adult-themes are covered in these films such as murder, rape and psychological/mental disorders. Unlike the stereotypical target audience of a psychological thriller, we would want people aged 15 and above to be able to watch and enjoy our film, targeted at those who experienced/ have a curiosity about sleep paralysis as well as other viewers who simply are fans of the psychological thriller genre. I then made a list of some of my favourite psychological thrillers which myself, and team mates have drawn upon for inspiration, most notably 'Black Swan' (2010), 'Thirteen' (2003) and 'Psycho' (1960).



CODES AND CONVENTIONS - BY SARA AVRAMOVSKA (SA)

        

         


(Personal Interest Research) Thriller and Horror Comparison - Sara Avramovska (SA)

NOTICE: OUR MAIN GENRE IS PSYCHOLOGICAL THRILLER HOWEVER I HAVE ALSO DECIDED TO LOOK INTO THE DIFFERENCE BETWEEN PSYCHOLOGICAL THRILLERS AND  HORROR AS PERSONAL INTEREST.
While Horror can be thrilling, Thriller can be horrifying,

 The two movie genres, Horror and Thriller do overlap and they often attain confusion within its audience; due to their similar qualities in codes and conventions, audiences regularly and repeatedly mistake them to be the same genre. Because of  this, I believe it is necessary to acknowledge the differences and similarities between the two genres in order to reach an in depth understanding of what our short psychological thriller needs to contain in order to address the right target audience.
(however to possibly still keep the effect that horror films have on its audience)

Similarities and Differences 

While the supernatural and macabre (''disturbing because concerned with or causing a fear of death'') themes and most common, they overlap not only with Psychological Thrillers but also Fantasy and Supernatural fiction. One of the factors that differentiates this emergence of the Horror to Psychological Thrillers genre, is simply the fact that Horror movies are many focused around the idea of blood and violence, creating an intense feeling or attack of fear within its audience while Psychological Thriller require much more thought and explanation, its a story in which emphasis is focused of the characters of the film and their unstable emotional states.

 While both genres aim to frighten its viewers, they aim to do it in different ways. While Psychological Thrillers aim to mentally disorientate the viewer as they become directly engaged with the thinking and the internal emotions of he protagonist within the movie. Psychological Thrillers aim for the viewer to bond with the protagonist while the antagonist heads up against him or her. This means that the target audience is of both genders, however because Psychological thrillers are conflicts of the mind, female audiences are usually more attracted simply due to the more emotional rather then physical struggles that men are more likely to enjoy.

 In contrast, Horror movies directly center at the dark side of life; on the forbidden and alarming events evoking one's imagination and fears including our terror of the unknown such as ghosts,beasts witches, the fear of death (macabre) etc. that have been around since antiquity inspired by the works of literature by authors such as Edger Allan Poe, Marry Shelley's Dr Henry Frankenstein and Bram Stoker.Similarly to the audiences of Psychological Thrillers, Horror consists of young adults aged  18 to 25,  The graphic images within horror may put off some viewers, stereotypeclly seen as female however many are actually drawn towards them. In contrast to Psychological Thrillers, Horror movies are stereotypically aimed more towards the male audience then female due to the graphic images as I've stated before; young males are seen as more immature which means that they are increasingly susceptible to blood,gore and guts in the horror films.
 Thrillers are designed to keep you interested by triggering suspense and uncertainty creating an anxious atmosphere to furthermore provoke terror within its audience. A high level of anticipation is bought into the Thriller Genres by the uttermost common/conventional theme involving a faultless victim negotiating or dealing with an undesirable or delirious situation. Likewise, speaking on behalf of my AS Media group, this is what we intend to achieve,with the innocent victim suffering from an unwanted psychological condition called Sleeping Paralysis. A perfect movie example of these conventions is seen in the movie Rebecca in the 1940's by Hitchcock.

 Moreover, both Horror and Psychological Thriller film posters consist of dark color schemes with a strong use of  black, red and white  to highlight the intensity of the movie. However while  Psychological Thriller movie posters may contain a weapon, commonly a gun, contrasts with Horror movie posters as they contain weapons such as a blade to illustrate the gradual and passive, painful and distasteful death where as using a gun helps to keep the action of the movie at a fast pase.


...A Tale of two sisters (2003) - Example Scene (Psychological Thriller) 


(from 0:00 - 1:17)


28 Weeks Later (2007) - Example Scene (Horror)



Camera Shot Types - Ella Ponting (EP)

Prior to starting our blog I conducted some researched based on the different camera shot types there were to use and discovered more about the effect these shots would have both on the characters on-screen and the audience. I looked at the emotions these shots may evoke and discussed their positioning in the frame and how this emphasises the character's persona. These were analysed in-depth alongside examples from films and TV shows that have used these shots and briefly discussed what theses shots specifically indicated to us. For example, The first shot I analysed was a Close-Up from the film 'The Master' (2012), some may consider this shot a Mid Close-Up as part of the character's forehead has been concealed, however despite this the intensity of the character and clear characteristics we can depict from her facial expression. I also discussed what this may evoke for the audience in terms of how her relatability and the amount of empathy they feel towards the character. I then discussed the effect of using an Extreme Close-Up in film, in this circumstance (on slide 2)
from the film 'Equilibrium' (2002) I particularly took into account the partially concealed face, revealed through the reflection in the Extreme Close-Up and how the use of this intricate shot reveals the relationship between the eye of the beholder and the woman in the reflection. I also discussed what generally Extreme Close-Up shots tend to evoke from the audience and the intimate, and often unnerving effect they create. I then discussed the use of Mid-Shots in the 2013 film 'Man Of Steel' and how both the positioning of the character in the frame, and his body language reinforce his powerful alpha-male stance. I also briefly discussed more broadly how the use of Mid-Shots can reveal certain aspects about characters and their surroundings on screen whilst still keeping an element of mystery.

The Two-Shot taken from the television series 'Warehouse 13' is an ample example of a meticulously positioned shot where both the shot type and the characters' body language reinforces the sense of distance and hostility between the two as they both are facing in opposite directions, seemingly distracted. I also discussed how the two-shot often reveals the unspoken bond between the two characters in a way which is subtle yet very effective. I discussed how, in general, two-shots have similar conventions to mid-shots based on the surroundings they show and amount of the characters' bodies that are contained in the shot. and how the costume is also indicative of the characters' personal identities. The French film 'Irréversible' (2002) also succeeds in producing a shot that encapsulates the protagonist's position in relation to her surroundings. For this film I analysed the use of a Long-Shot and the effect this shot may be attempting to evoke from the audience. In Long-Shots, the character's surroundings are often equally as important, if not even more important, than the character themselves. Depending on their surroundings, Long-Shots are often incorporated into vast landscape settings to reinforce the character's sense of isolation or to potentially portray a journey. I also discussed how these shots are often used singularly with and frequently without a character in to establish the settings (this is also known as an establishing shot). The Extreme Long-Shot works in a similar way in terms of the emotions it is attempting to evoke. For example, the Extreme Long-Shot from 'To The Wonder' (2012) illuminates the key underlying themes of a journey, giving us a panoramic view of a beach/valley setting emphasizing the sense of loss and desolation. Characters placed further away from the camera indicates vulnerability and makes the characters seem weaker and possibly more insignificant in comparison to the vast landscape they are crossing. Finally, the Over-The-Shoulder shot from the infamous film 'Scott Pilgrim Vs. The World' successfully establishes the relationship between the two characters, based on their proximity to one another, and the intense gaze that the male character has fixated on the female character. I also discussed how this shot is almost always incorporated using the shot-reverse-shot technique to switch between the face of both characters engaging in the conversation to reveal both of their reactions to one another.

Camera Angles - Ella Ponting (EP)

After learning more about the different camera shots used in the film process, I decided to look into the different angles that are also used frequently in film and discovered more about the effects of them. I briefly analysed what the angle would generally intend to evoke from the audience based on the position the characters would be in on-screen and put myself in the position of a film-maker to envision where I would include these angles based on the motions and actions of the characters and tone of the scene. On the first slide I discussed the Bird's-Eye View angle in comparison to the Worm's-Eye View in film. I first examined the position the Bird's-Eye View places the audience in, as an elevated spectator watching the action unfold below. It is also important to note Bird's Eye View shots are often capture as part of nature and documentaries from high places such as a tree or a helicopter. I then explored the use of the Bird's-Eye View from the 2012 critically acclaimed film 'Les Misérables' and how it is used to reinforce the monotony and dullness of the factory workers, further emphasized through their identical monochromatic uniforms. In comparison, The Worm's-Eye View is generally used to evoke the opposite effect, creating the perspective from a tiny insect staring up into the vast world above, used in the photography displayed on slide 1, it also adds an artistic edge to the shot with the trees creating hallowing silhouettes above. Like the Bird's-Eye View this shot can be used in wildlife and nature documentaries, often done to create empathy from the audience and establish a sense of connection between the audience and the wildlife.

Slide 2 then contains my comparisons to the High-Angle and Low-Angle shots, both containing completely opposite meanings. Whilst the High-Angle shots are filmed to add to the character's vulnerability, anxiety and often panic, Low-Angle shots reflect a sense of power and dominance over both the audience and their on-screen recipient. The High-Angle shots often enhance the audience's empathy towards the character and makes them feel more connected to them, and makes the character seem more likable and approachable because of this. This opposes to the Low-Angle shots where the high position of the characters on-screen makes the audience feel intimidated by them, as shown in 'Inglourious Basterds' (2009). In slide 3, I briefly discussed the use of the canted/oblique angle and the varying meanings it can have depending on the genre, and context of the film. In the example given, from 'The Dark Knight' (2008) this angle is indicative of the perversion and manipulation of the Joker and creates a sense of fear from the audience. I then talked about the use of panoramic shots, often used in nature documentaries but also used in films depicting a large, often unforeseen (such as in 'The Maze Runner' 2014) landscape. The panoramic shot often reinforces the sense of isolation of a character who is amongst this background but more often than not is used as an establishing shot, incorporated with the panning technique to set the scene and emphasise the extensiveness of the surroundings. 
Camera Techniques - Ella Ponting (EP)
As to avoid disobeying basic camera rules such as the 180 Degree Rule I decided to research three of the key rules/techniques commonly used in filming to ensure continuity and to include a variety of different techniques and make our film seem as sophisticated and professional as possible. This included finding diagrams of each rule/ shot technique to reinforce my point and provide an example that is clear and coherent. Firstly, I learned more about the 180 degree rule, this rule will be especially useful for our shooting of the counsellor's scene for the conversation between Hayle and her counsellor Mrs Audrey. We will need to make sure for shooting  that the two cameras set up do not cross the 180 degree line, to avoid this happening we will possibly need to use some marking tape to mark where our lights and cameras are to ensure the conversation seems fluid between the characters. I also discussed the few circumstances where this rule may be broken to enhance the sense of chaos and disorder in the scene and to momentarily break the connection between the audience and the characters on-screen.

The shot-reverse-shot technique was also analysed in-depth to indicate when this would be used and how it would be shot from a practical perspective. The majority of the time this technique will be used will be to illustrate a conversation/dialogue between two characters or used to show the tension/ intimacy between two characters displayed through their facial expressions and reactions to one another. We will be using both the shot reverse shot technique and the 180 degree rule in our counsellor's scene to illustrate the conversation between the two characters and to particularly highlight Hayle's reaction to the guidance the counsellor is giving her. The diagram next to the analysis displays very simply how the scene will map out using this shot, meaning we will have to make sure we have two cameras at ready over-the-shoulder of each character so that the conversation flows between the two characters and isn't interrupted by camera movement.

Lastly, I analysed the Match on Action technique (Cutting on Action) used to capture one action from two different perspectives, often used in the first shot for partial concealment and then the shot following it giving more revelations about the action and characters. Despite the cutting between these two shots may seem very swift, this technique works very effectively provided the character is doing the same action in the two shots and that they follow on from each other nicely. A prime example of our use of match on action shots in our film is when we have a close-up of the TV remote being switched off which quickly switches to an eye-level shot of the protagonist placing the remote on the surface. We also have used it in the scene where the protagonist turns the key to the door, in this scene we used a long-shot of the character placing her hand on the key, which is followed through to a close-up of the protagonist turning the key. This creates a 'visual bridge' and adds enforces continuity between shots and keeps our plot-line cohesive and more believable to the audience.

Camera Movements - Ella Ponting (EP)

Definitions and Examples:

 Tracking technique
A tracking shot refers to the technique where the camera is mounted onto a dolly (wheeled platform) that moves along a rail track to follow a subject. Whilst this is the most typical way a tracking shot is filmed, the camera can be moves in ways that do not involve a camera dolly. In this example from 'The Shining' a 'Steadicam' is used to follow the young boy on his cart. The Steadicam is a brand of camera stabilizer that 'mechanically isolates it from the operator's movement'.

Panning technique
A panning technique is incorporated by slowly turning the camera horizontally on a vertical axis. This technique is often enhanced by slowly zooming in/out to add a heightened sense of drama to the scene or to emphasise/de-emphasise a subject. A rail can also be incorporated into a panning technique simultaneously. For example, the pan shot in 'Game of Thrones' is used for approximately 44 seconds, this means that other techniques need to be added to make the shot more exciting and add to the build in tension. Thus the camera zooms in and out of different battle scenes as the action unfolds; this adds a unique perspective to the episode and allows the audience to get a real sense of the drama.

Tilt
A tilt is used to move the camera lens up and down, whilst keeping it at a constant horizontal axis. This is often referred to as a 'nod' due to it being similar to someone nodding their head to say yes. The video below is a prime example of this, the camera is kept stationary whilst tilting from a high-birds eye angle, until it eventually reaches eye-level.


Camera angles exercise - EP, SA & MR

Today, we decided to test out different camera angles by taking a picture of the same object from multiple angles. This included a close-up, mid-shot, long-shot etc. By carrying out this exercise we gained experience of the many angles we can incorporate into our film. Furthermore, the effects of these shots became more obvious, such as a low angle angle shot indicating dominance and power (of the bin hahaha) 

1. Mid-Shot

2. Long-Shot

3. Extreme Long-Shot
4. Close-Up



5. Extreme Close-Up

6. Canted Shot

7. Low-angle Shot

8. High-angle Shot

9. Bird's-Eye View

Panasonic Videocamera Research - Ella Ponting (EP)

The camcorder we used to record our film about Sleep Paralysis is the Panasonic HC-X900M. We used this videocamera due to the quality of image it provided us with 16.0 megapixels. Originally we were going to record our film on a DSLR, however these cameras are notorious for having troubles focusing. After using both the Panasonic HC-X900M camcorder and the Canon 100D DSLR we concluded that the Panasonic HC-X900M was the most effective at producing a high quality of sound, image and shutter speed. The lens ring on this camcorder allows the option to both use auto-focus and manual focus. At first we used auto-focus as this was how it was set up originally, however after watching though our footage, in particular the dark demon scene, we realised we would need to include manual focus, allowing us to adjust the lighting from within the actual camera as well as the external lighting used. The Panasonic HC-X900M also includes 32GB worth of storage, which allowed us to keep together all of our footage right from the start, including the footage we didn't want to delete but weren't necessarily going to use. Despite this, we have backed up our files- both Sara and I have saved footage to our memory sticks, we have also saved footage to the media memory stick owned by our teacher, as well as having the footage on the desktop on the computer we are using to edit our films. One flaw of this camcorder is the noticeable noise in darker environments; despite adjusting the IRIS settings on the camera, the footage shot in the darkened room was still noticeably more grainy than the footage we shot in daylight. However, this is something that hopefully can be rectified during the editing process, to ensure continuity.

Staging Exercise

Ella Ponting (EP)
For this task, we had to film the motions and actions of a character by using one specific camera technique where the camera remained stationary and didn't mimic the movements of the character. In this exercise we worked alongside another group who both acts in these films and helped us film. For the first staging exercise we filmed in the corridor of one of our school buildings, we practiced using a hand-held camera technique at eye-level. This simple staging exercise introduced us into filming and gave us room to develop this technique at a higher level, possibly using a tripod so that the camera doesn't shake and remains stationary. It showed the motions of the character moving from a long distance (Extreme LS) slowly moving closer towards the character (progression into a Close-Up). Although for our specific genre 'Psychological thriller' we are more likely to be using techniques such as jump cuts (in the editing process) more frequently to mirror a sense of panic or distortion, this exercise was useful in providing us with filming experience and allowing us to gain a better idea of the different types of camera shots and techniques that can be used whilst filming.

One thing we learnt from 'Staging Exercise' (clip 4) was that in order to keep our film looking as continuous and professional as possible next time we should use a tripod to avoid the camera moving and creating unsteadiness. A hand-held camera technique can be effective if used in the right context to deliberately indicate a sense of chaos and disorder - a technique we will definitely implement for filming in the future. Similarly with the 'Staging Exercise' (clip 5) we used a simple hand-held camera technique, where the character was positioned far away from the camera to show the character carrying out several different tasks and actions: walking over to a vending machine, walking towards a chair, picking up the chair, spinning around with the chair, placing the chair down and sitting on it.


Sync Sound Research - Ella Ponting (EP)

For this task we (as a class) produced a short scene entailing an interview between two people. We learnt that on a typical film set, rather than the producer calling out 'Lights, Camera, Action' it would map out more like this:

1st assistant director (AD): Roll sound!

Boom Operator/ Sound Mixer: Sound speed!

1st A.D.: Roll camera!

1st Assistant Camera (AC): Camera speed, hit it.

2nd AC: [Calls out scene designation]. Marker!

**Slate gets clapped, 2nd Assistant Camera moves away**

Camera Operator: Set.

Director: Action!

We also discovered more about syncing sound by matching the sound recorded through the high tech sound equipment (the boom with a microphone on the end) with the dialogue of the piece. This was done during the editing process where we matched up the visuals and the sound of the clapperboard picked up by the camera to the sound of the clapperboard picked up by the professional sound equipment. This allowed us to ensure continuity in the sound sequence in this piece and taught us the reasons behind why clapperboards are used and how to produce a film sequence with the highest sound quality possible. The video below is our final product after the sound has been adjusted accordingly. 


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