(I was unable to share or embed this video off youtube so if you click on the link below it will take you to the video I analysed for homework)
http://www.youtube.com/watch?v=JhblfL436wM&feature=related
FANTASTIC FOUR 2005 CONTINUITY SEQUENCE
(sound slightly out of time)
Up To 1 minute 35 seconds
The timings of this particular clip from Fantastic Four does not correspond with the actual start of the scene the directors intended. Thus, the first shot of the character Ben (Michael Chiklis) is not intended to be an establishing shot. However, I think the other three characters entering the empty hallway could be seen as an establishing shot, telling the audience that they are going to Ben's aid.
At the start of the clip there is limited camera movement and shots are cut into one another, signifying that there is little time to waste and that the characters are under pressure.
The shot types do not vary much at the beginning, consisting only of MCUs and CUs, making the shots flow into one another more easily and to prevent any sudden changes in angle and perspective.
The shot of Reed (Eoan Gruffudd) bending down to the bottom of the door is a LA. The fact that he bends down towards the camera makes it feel as if he is coming towards us, the audience, absorbing us into the flim without disruption. Also, the camera is focused on Reed's hand reaching up to the other side of the door- the CU of his face and hand make us every bit as informed of the situation as he is, and the cut to the other characters, Sue (Jessica Alba) and Johnny (Chris Evans) remind us that they are still part of the scene.
The cuts to the inside of the room where Ben is show us what the other characters can see from the outside of room. We are no more informed of the situation than they are. The mystery surrounding Ben's state makes us keen to find out what happens to him and engages us within the film
Fantastic Four follows all the continuity editing rule. The shots of the characters always follow the 180 and 30 degree rules, to make the scenes flow steadily and without glitches to confuse the audience. At the beginning of the clip, the conversation between Sue and Johnny show clearly the practice of the 180 degree rule- the over the shoulder shots always stay on Sue's right and Johnny's left. This conversation also shows shot-reverse-shot in use. This is so that the audience can follow both sides of the conversation without missing out on anything.
The shots at the start of the clipn are always on order, from MSs to MCUs to CUs. Ordering the shots takes the audience smoothly through the narrative steadily.
Match on action is an extremly important technique to use in continuity editing and it is shown to great effect when Reed opens the door into Ben's room. The shot when the door is opened from the outside of the room to the shot taking us inside the room, observing the three characters going in is perfectly matched with no jumps to interrupt the audience and their viewing pleasure.
Finally, the camera follows the characters into the room with a pan and also follows their line of sight to up the the hole in the wall with a tilt. These shots are used to show the audience what state the room is in and to also vary the shot type to make it more interesting to the audience. Smooth pans and tilts also make for better narrative flow.
http://www.youtube.com/watch?v=JhblfL436wM&feature=related
FANTASTIC FOUR 2005 CONTINUITY SEQUENCE
(sound slightly out of time)
Up To 1 minute 35 seconds
The timings of this particular clip from Fantastic Four does not correspond with the actual start of the scene the directors intended. Thus, the first shot of the character Ben (Michael Chiklis) is not intended to be an establishing shot. However, I think the other three characters entering the empty hallway could be seen as an establishing shot, telling the audience that they are going to Ben's aid.
At the start of the clip there is limited camera movement and shots are cut into one another, signifying that there is little time to waste and that the characters are under pressure.
The shot types do not vary much at the beginning, consisting only of MCUs and CUs, making the shots flow into one another more easily and to prevent any sudden changes in angle and perspective.
The shot of Reed (Eoan Gruffudd) bending down to the bottom of the door is a LA. The fact that he bends down towards the camera makes it feel as if he is coming towards us, the audience, absorbing us into the flim without disruption. Also, the camera is focused on Reed's hand reaching up to the other side of the door- the CU of his face and hand make us every bit as informed of the situation as he is, and the cut to the other characters, Sue (Jessica Alba) and Johnny (Chris Evans) remind us that they are still part of the scene.
The cuts to the inside of the room where Ben is show us what the other characters can see from the outside of room. We are no more informed of the situation than they are. The mystery surrounding Ben's state makes us keen to find out what happens to him and engages us within the film
Fantastic Four follows all the continuity editing rule. The shots of the characters always follow the 180 and 30 degree rules, to make the scenes flow steadily and without glitches to confuse the audience. At the beginning of the clip, the conversation between Sue and Johnny show clearly the practice of the 180 degree rule- the over the shoulder shots always stay on Sue's right and Johnny's left. This conversation also shows shot-reverse-shot in use. This is so that the audience can follow both sides of the conversation without missing out on anything.
The shots at the start of the clipn are always on order, from MSs to MCUs to CUs. Ordering the shots takes the audience smoothly through the narrative steadily.
Match on action is an extremly important technique to use in continuity editing and it is shown to great effect when Reed opens the door into Ben's room. The shot when the door is opened from the outside of the room to the shot taking us inside the room, observing the three characters going in is perfectly matched with no jumps to interrupt the audience and their viewing pleasure.
Finally, the camera follows the characters into the room with a pan and also follows their line of sight to up the the hole in the wall with a tilt. These shots are used to show the audience what state the room is in and to also vary the shot type to make it more interesting to the audience. Smooth pans and tilts also make for better narrative flow.
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