This excerpt is set in a woodland scene. The scene begins with Max seeing his son, Tom’s, jacket in the middle of the lake. Max rushes down to the lake and at this point we hear diagetic sounds of birds and rustling leaves. As a close-up is used on Max’s face, to emphasise the panicking look on his face, non-diagetic sounds are added. These sounds are trumpets which are used to explain the emotion which Max is feeling as well as adding to the eerie atmosphere. Dialogue is also used as Max yells out “Tom!”
All sounds then cut out as Max jumps into the water after Tom’s jacket. The sounds we can then hear are sound perspective. We hear Max as he jumps into the water, the splash, and then we also only hear bubbles as he moves around in the water. As Max surfaces and Claire appears, Claire’s music motif then begins to play. Her motif is very evil and scary sounding, this displays her characteristics. The motif continues to play as Max wriggles in the water; from this we also hear the water motions. This is done using sound mixing and sound perspective, as we hear the water from Max’s position.
The motif then stops and all you can here is the ambience sounds of the birds is all you can hear other than dialogue. The camera then cuts to Tom in the car behind Claire and sound perspective is used for Claire, as Tom bangs on the window and screams. This is muffled as it would not be perfectly clear to the characters on the outside of the car. All the sounds and music stop as a few lines of dialogue is exchanged.
Slow synchronous music is then used to show the pace and emotion of the scene. Max then begins to fall under the water further as another character appears; OB. The entire ambience is gone as the synchronous music continues. OB then screams for Max and Claire tries to cover up her story. OB then pushes Claire out the way and continues running towards the lake to save Max. This music then continues to the end of the clip as OB tries to save Max.
Monday, 20 October 2008
Monday, 13 October 2008
Explain How Camerawork & Editing Are Used In This Excerpt of "Shameless"
Series 1
Episode 5
37-41minutes
The main part of this scene is a fight between Lip and his dad, Frank. Lip has just found out that his girlfriend, Karen, slept with Frank. However, Karen’s mum, Shelia – who is dating frank, doesn’t know.
The scene begins with a point of view shot from inside a car. From this shot, we can see Frank walking down a road. We then move out of the car to a centrally framed, tracking shot of Frank. The shot then cuts to round the corner and the camera pans, watching Frank, as he walks along the road. The car from before then comes into view. There is then an eye-line match. Frank looks at the car and then the car is shown. Frank then moves out the way before the car swerves and hit another car, at this point a medium shot is used of the car, followed by a low angled shot from under the car.
The shot then cuts to Karen and Shelia inside a local house. There is a close-up of Shelia’s face as she peeps through the curtain to see Lip and Frank starting a fight. This is awkward for Karen as her mother is unaware of the situation. There is then a close-up of Karen as her facial expression shows her panic and upset she is experiencing. As the two characters are exchanging conversation, the 180° rule is used. The camera then cuts back onto Frank and Lip as they begin to fight. Match on action is then used as Lip throws a punch at frank. The camera shows Franks face with Lips fist going towards him, then swaps to show Lips face as he punches Frank. At this point the camera is hand held; this shows the roughness of the fight.
The camera then cuts back to Karen in her room. A fish eye effect is used to show distress, as well as using a hand held camera. A cut is used to view Shelia as she opens the front door to go and help the fight. At this point, as the door opens a white fade out is used. This fades to show the fight outside. A few more match on action shots are used as the fight continues for a little while. The fight is then broken up by a local. A worm’s eye view is used as this happens. There is a close up of Frank to emphasise the injuries that he has, before cutting to a medium shot of Lip and the character who pulled him off Frank. Another character then walks with Frank back to the house, at this point a medium two shot is used.
In the house, the first shot used is an extreme close up of Franks face to show the blood and wounds that he’s got. This is then turned into a reverse zoom so reveal the rest of the surroundings. We can then see Shelia comforting Frank. This then cuts away to show Karen stood at the end of the sofa, where Frank is laying. This is a close up shot to show her upset emotion and look of worry as her mother and Frank are talking. A two shot close up is used to show Frank and Shelia as Shelia is comforting Frank and giving him sympathy. This is to emphasis the relationship between the two of them. It then cuts to a master shot from behind Shelia and Frank to show the whole room, including Karen. This shot is a low-angled, wide shot and is repeatedly used throughout the next minute or so. An eye-line match is used as it cuts to Frank, showing where he is looking, and then showing Karen as his view point.
Episode 5
37-41minutes
The main part of this scene is a fight between Lip and his dad, Frank. Lip has just found out that his girlfriend, Karen, slept with Frank. However, Karen’s mum, Shelia – who is dating frank, doesn’t know.
The scene begins with a point of view shot from inside a car. From this shot, we can see Frank walking down a road. We then move out of the car to a centrally framed, tracking shot of Frank. The shot then cuts to round the corner and the camera pans, watching Frank, as he walks along the road. The car from before then comes into view. There is then an eye-line match. Frank looks at the car and then the car is shown. Frank then moves out the way before the car swerves and hit another car, at this point a medium shot is used of the car, followed by a low angled shot from under the car.
The shot then cuts to Karen and Shelia inside a local house. There is a close-up of Shelia’s face as she peeps through the curtain to see Lip and Frank starting a fight. This is awkward for Karen as her mother is unaware of the situation. There is then a close-up of Karen as her facial expression shows her panic and upset she is experiencing. As the two characters are exchanging conversation, the 180° rule is used. The camera then cuts back onto Frank and Lip as they begin to fight. Match on action is then used as Lip throws a punch at frank. The camera shows Franks face with Lips fist going towards him, then swaps to show Lips face as he punches Frank. At this point the camera is hand held; this shows the roughness of the fight.
The camera then cuts back to Karen in her room. A fish eye effect is used to show distress, as well as using a hand held camera. A cut is used to view Shelia as she opens the front door to go and help the fight. At this point, as the door opens a white fade out is used. This fades to show the fight outside. A few more match on action shots are used as the fight continues for a little while. The fight is then broken up by a local. A worm’s eye view is used as this happens. There is a close up of Frank to emphasise the injuries that he has, before cutting to a medium shot of Lip and the character who pulled him off Frank. Another character then walks with Frank back to the house, at this point a medium two shot is used.
In the house, the first shot used is an extreme close up of Franks face to show the blood and wounds that he’s got. This is then turned into a reverse zoom so reveal the rest of the surroundings. We can then see Shelia comforting Frank. This then cuts away to show Karen stood at the end of the sofa, where Frank is laying. This is a close up shot to show her upset emotion and look of worry as her mother and Frank are talking. A two shot close up is used to show Frank and Shelia as Shelia is comforting Frank and giving him sympathy. This is to emphasis the relationship between the two of them. It then cuts to a master shot from behind Shelia and Frank to show the whole room, including Karen. This shot is a low-angled, wide shot and is repeatedly used throughout the next minute or so. An eye-line match is used as it cuts to Frank, showing where he is looking, and then showing Karen as his view point.
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