Blog 2 Mr Bush

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Feedback from class www: good slow motion when the character lifts up his head. digetic sound. match on action on the door. good zoom. good attempt at the jump cut. dialogue was clear. nice sound blocking when you closed the door during match on action. switch to close up when he was chasing you. good use of background sound. good ending good fade to black. ebi: focus on the camera. could have taken more shots when you were taking shots reverse shots. out of frame. abrupt slow motion. more shots of shareen speaking. Feedback from teacher grade:c- www:   match on action attempted. use of slow motion. some music. over the shoulder shot. jump cut-effective. sound editing of ambient noise ebi: planning and organisation needs to be more detailed.  the video only lasted 45 seconds. there was a camera blur. there were no reverse shots in the video. Learner Response: What were the strengths and weaknesses of your final

Medium shot of me walking to door Close up of me opening and closing the door Medium shot of her walking to her chair Over the shoulder shot of two people talking  Pan following action going on in the scene  Dissolve into black to create suspense and make it more dramatic.  S:Armani i need your help  A:what for? S:whats wrong with you?  A:nothing S: why are you acting like that?  A:acting like what? S:you're acting weird A:weird? S:yh...why you acting...you're acting strange A:weird? S:stop what are you doing? stop!you're cornering me stop

City of God   opens with the residents of the slums preparing their meal. Interestingly, the very first shot is a close up that depicts the male sharpening the knife which he intends to use to cook with. The fact that the first shot was a close-up rather than an establishing shot already creates an enigma code for the audience, as we begin to question things regarding the setting, characters and the overall narrative. The use of straight cuts at this point create an element of speed and a fast pace –which the audience will later be able to relate to the bustling nature of the Brazilian favelas. Interestingly, there is also an eye-line match at this point; however, it is from the perspective of the chicken – not a human. Although this is somewhat unusual of typical cutaways, it successfully conveys the fear that the chicken experiences. The straight cuts then continue, forming a montage of all of the things happening in this location at this point, (e.g.: the dancing, the sharpen