A match on action is a cut made showing action or movement between two shots; the action gets overlapped either by repetition or by the use of more than one camera. This is usually done during editing, where shots are overlapped to make it flow.
Shot reverse shots are frequently used when two subjects are conversing to convey the change in speaker; since the characters are facing opposite directions, it implies they are looking at one another, emphasising the use within conversations. This is an example of an eyeline match.
An eyeline match is an editing technique which is based on the premise that the audience will want to see the view of the subject. This is usually followed by a cut to show the audience exactly what is being looked at.
To execute the task set we used a HD hand held cameras, and tripods. We got into pairs/three's - I worked with Kiran Paul and Abbie Price. We thought through our story, and decided we wanted to set the piece outside as it establishes the scene as an edgy, dodgy place, and automatically adds tension to the piece. We decided we'd keep the mysterious theme throughout our work by ending on 'I'll be back' to intrigue the viewers and leave it open to interpretation - for the same reason we also never gave too much away with what the key is for when it's handed over. We used our match on action to pass the key between the two subjects within the piece; we did this within our shot reverse shot when we are conversing about the object itself.
Opening our scene with a subjective point of view shot from Kiran meant that the first thing that would be saw would be myself waiting impatiently, automatically adding suspense to the piece as it implies the menace to come. Following Kiran with a horizontal tracking emphasizes the tension, as it conveys the importance of what she's representing within the piece. We then go into medium shot reverse shots as we converse before a low angle of Kiran is shot to portray her dominance, and power within the short scene when she speaks: 'that's not good enough'. The object is then swapped between the two subjects, before a cutaway to show my reaction to the received article. We then ended on an eye line match onto Kiran for her to conclude with 'I'll be back'.
We then went back into the Media suite, and put our shots onto iMovie. We then cut the shots and put them into place, before editing the lighting to make it more dingy to fit with the atmosphere. We looked at sound effects and found the perfect piece to use as incidental background music for the scene; we overlapped it twice from the opening credits into the actual shots. The ambient sounds of the wind worked well within our work as made it more naturalistic and deepened the rough, edginess we were going for.
I think that our shots worked well within the piece - especially our match on action as I believe it to be very realistic; our music made the finished article even better for us as it really emphasized the atmosphere. Our title articulated the ambiguity from the start which I believe also is a good aspect to have. However, I thought that we needed a more in depth story line, as ours was quite vague even though we wanted to keep it mystifying. We also needed to shoot on a less windy day, as although the dingy weather conveyed the secrecy, it participated in the projection of our dialogue as we were required to speak louder to overcome the rustling on the recordings, which we couldn't fully remove. Next time I would like to use a more diverse range of shots, which would be a major improvement for me.
Below is our finished piece.
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