Continuity Techniques

No Country for Old Men (2007, Coen Brothers)

The scene above illustrates how continuity techniques can be used simplisticly to be made unnoticable. In this particular scene the use of shot reverse shot shows the viewer everything while being seamless and unintrusive on the scene. The shot reverse shot technique is partnered with a master shot, which is improtant to keep the viewer understandng. The camera does get closer up at points to show more emotion (as little as Javier Bardem shows) but essentially the same shots are used throughout. There is one match on action shot at 1.38 to show a wrapper get put down. I think the style of the continuity in this scene is clinically effiecient, like most high budget films. In order to attain these high standards no errors must be made, because the key to good continuity is for the viewer to not notice it at all. This allows them to get more immersed in the film.

Infernal Affairs (2002, Andrew Mau and Alan Mak)

(Spoiler Alert - Final scene)

Just watching this scene up to 2.33 I think that it shows enough continuity techniques. I think that the camera work in particular is amazing, and even though I am concentrating on continuity rather than camera work I thought it was worth a mention. The camera is slowly introduced towards the character ina way that allows the audience to see the setting, and the character. This is done though a VLS, to LS, to VLS, to MS, to CU. While jumps are actually quite big they are in series enough to keep audiences attention. The opening conversation has an obvious master shot and mixes this with lots of shot reverse shot, for particular speech sections. This is simple enough but is mixed in with lots of matches on action and some eyeline matching. The directors also put in a couple of insert shots and buffer shots to mix thing up. The 180 degree rule is never broken. I think that the way that they have not made big jumps in shots makes the scene easy to follow. While the camera often jumps out to show more of the setting, it always systematically jumps back in in about 3 shots, to make things easy to follow. The audience is made to see important things, with the use of focus shots, and the reaction shots add to the emotion which is shared with the audience. I think the scene is very well directed, because it is really impressively shot, while sticking to continuity rules.

Opening Sequence Analysis

Trainspotting (Danny Boyle, 1996)

The opening low angle CU immediately puts the viewer in the action, as the fleeing person steps right over the camera. This is short and then the shot switches to a tracking CU now at headheight, which makes it clear the narration is of this man. He is running desperately and the switch back to his feet and then back up to his face shows the speed. The switch from low angle to high angle is repeated three times. This involves the viewer and makes for a very fast paced sequence of shots, some taking up as little as 3 seconds. After a break up shot at 0.12 the original style returns. At 0.16 however the shot switches in front of the man running. This is to make the viewer think about the corner ahead and its importance. A car pulls out and at 0.19 the viewer gets a POV shot from the car driver of the man rolling over the bonet. This sequence leading up to the shot and the POV shot itself makes the viewer watch the ongoings, instead of completely immersing them the director has chosen to put the viewer as a passer by style of view. After this the opening moves towards intoducing the main characters. It does this by putting the viewer right in the middle of a football match they are playing (0.36). Through low angles and CUs of the ball The viewer is immersed. This actaully also switches between the match and Renton (introduced through a subtitle of his name) doing drugs. This is to introduce the viewer to the distinct two sides of Rentons life. The two sequences start to merge at 1.12 to almost symbolise how the drugs take over. The drug sequence uses an arch shot at 1.16 to show Renton.

Taxi (Gerard Pires, 1998)

I wanted to include this opening sequence because I think it uses tracking shots to great affect. The shooting style is steadycam but sometimes jumps about. I think this style of filming is used to portray the speed of this sequence, so the shakes add to that. The camera also moves between distances from the bike, from ECUs to LVSsm, I think the director wanted some parts to be very in your face and to vary distances to keep things exciting. An example of an ECU is at 0.35. I think the director has also chosen to put the camera close to the road to make the viewer closer to the action and more involved. The road lines demonstrate the speed and it gives a lowe angle of the biker. The face is never shown in the sequence, which leaves the viewer wondering if its a chase till the end, where all is revealed. This adds mystery.

Horror Still

My Horror still depicts a young man who is scared by something approaching him, this is shown in the form of a shadow of a hand. This gives the audience a feeling of tension as there is the theme of impending danger. Low key lighting is used to add mystery and to add a darklook to the shot. The posture and expression of the actor shows the terror that he is experiencing. This also makes it more personal with the audience due to the human emotion. The shot can be used by the audience to assume a bit of backstory, and to work out theme of the movie, and this is entrapment.

To achieve the shot my group and I found a secluded dark spot with some stairs for our set. We then used multiple light sources to achieve a powerful shadow and a backlight. This was done by using two lighting angles.

The shot is successful because it gives the right feeling to the audience. I think the composition is outstanding, as the dutch angle disorientates and the framing is tight. Also the shot allows for lots of writing to anchor it, this is because there is lots of space surroundi9ng the subject.

In hindsight I would have wanted more time to toy around with angles and lighting, I would have wanted even more lights just for my group. I think we could have tried other angles. I would also have liked to try using female subjects for the shot. The last thing I would experiment more with would be the shadow cast across the wall.