This is the link to a clip from the movie, 'The Butterfly Effects 2' and following is the analysis of how the camera has been used by the director to give the movie, it's desired effect.
In this clip from 3:33 to 3:42, the camera slightly zooms in on the character while there is no camera movement. A shot has been taken of the location and the character in it and as the camera zooms in and as the character moves closer to the camera, the shot transforms from a wide angle shot of the location to a cowboy shot of the character. In the third image, it is noticeable that the character has been captured in an anticipatory framing with sufficient lead rooms on both ends and a head room to prevent any uncomfortable shot.
This clip from 4:03 to 4:05 shows the camera panning left while tilting upwards along the character like as if trying to follow the movement. The shot begins with a close up of the hand and ends at the characters face from a low angle.
This clip from 4:15 to 4:19 shows how the camera pans right very steadily in a static shot to avoid any jerkiness; the shot is very steady and neat, as can be seen.
In this clip
from 2:59 to 3:02 we see the camera moving in a full 360 degree angle starting
from the characters face till the camera is right over his shoulder, establishing an opening sequence. A mid-shot has been taken while sufficient
lead room gives the room a very spacious look.
This is a series of static shots (from 3:04 to 3:25) of the characters that are deep in conversation with one another, signifying a shot reverse shot whereby two people talking to one another can be shown from each other’s point of view. It is noticeable that both the shots have been confined to a mid-shot.
In this clip from 3:33 to 3:42, the camera slightly zooms in on the character while there is no camera movement. A shot has been taken of the location and the character in it and as the camera zooms in and as the character moves closer to the camera, the shot transforms from a wide angle shot of the location to a cowboy shot of the character. In the third image, it is noticeable that the character has been captured in an anticipatory framing with sufficient lead rooms on both ends and a head room to prevent any uncomfortable shot.
This shot at 3:58 is a long shot of the character and his location. This shot forms the basis of leading lines via the trees in the background and the painted pathway on the road.
This clip from 4:03 to 4:05 shows the camera panning left while tilting upwards along the character like as if trying to follow the movement. The shot begins with a close up of the hand and ends at the characters face from a low angle.
This clip from 4:15 to 4:19 shows how the camera pans right very steadily in a static shot to avoid any jerkiness; the shot is very steady and neat, as can be seen.
This shot at 4:19 shows a close shot of the character, shot in such a
manner that ample head room and lead room has been assigned to the shot. Sitting
in a car, this head and lead room helps create a comfortable space in the car
which might not exist otherwise.
This shot at 4:54 is a mid shot of the character and shows the lead
room, signifying something the character is looking ahead at. The clip from
4:55 to 5:05 shows the camera panning right from the characters back giving a
full shot of the place the character has just entered. It also increases a
person’s curiosity as to what is the character looking at, in the far right of
the shot as sufficient lead room is again assigned to the shot.
This clip from 5:17 to 5:21 shows the camera as it dollies out, tracking outwards as the character moves in. A cowboy shot has been used for this scene.
The first shot at 5:38 shows a full shot of the character in a wide
angle shot which shows the whole world down there, hence a vista shot take from a high angle to give a powerful impact.
The shot at 5:46 shows a vista shot of the character on the bed.
This is a close shot of the hands of various characters holding wine glasses in a static shot.
These two simultaneous, over the shoulder shots work a 180 degree rule whereby the camera is in the middle of the two characters and is following the axis-line that is leading to the affronting characters.
These two shots are close up shots of the character as the camera the character in the background and the foreground is de-focused by the camera settings. This static shot usually focuses on the character that the director wants to focus on.
These are two different shots whereby shot 1 is an extreme close-up highlighting the characters expression to capture his peculiar emotion. The cut-off forehead gives an uncomfortable shrug to the audience as it is, while shot 2 is a mid-close up of the character whereby the background has been blurred which is somehow giving a comfortable feel to the environment while the sufficient head room and lead room allows the shot to create a relaxed ambiance all around.
This diagonal over-the-shoulder, mid shot of the characters in the front while sufficient room for lead room and head room gives the shot a very comfortable feeling which is felt by the audience as the tension disperses, filled in by appreciation and wonderment.
No comments:
Post a Comment