What is happening visually?
Framing and editing are creating a busy, chaotic scene. Showing minor interactions like the two boys fighting over the bathroom shows that the family tries to manage with multiple people living in a single home.
How does continuity editing help narrate the family dynamics?
The continuity editing following the main character and then the behavior from the rest of the family members shows the roles they all play. Following the main character and the tasks she is doing shows that she is the main caretaker of the family. Showing the rest of the family members gathering at the dining table eating breakfast together shows there is no one else that has an equal role to the main character. Showing the box for electric bill money being passed around to all of the kids and them handing over cash with no question shows that they all have a means of making their own money and pitching in to the bills of the home.
What are the visual anchors within the chaos of movements?
The anchors in this scene changes at different points in the scene, but they are the main character, the electric bill and the milk jug. In the beginning it is the main character as we follow her as she gets ready and wakes everyone else up, as well as taking care of tasks. The electric bill money box comes from the main character and moves through the rest of the characters as well as the milk jug.
Category: framing
Framing: Before the Stage
Framing
Framing assignment
Framing Post
Hey class,
Here’s my framing video, it’s over the assignment length so apologies on that front.
Week 2 Blog Post
Hey everyone,
I’ve chosen to take some clips from Bladerunner 2049 and discuss how the shots I’ve taken carry the scene’s momentum.
Here’s the clip itself:
^Extreme close-up (ECU).
^Extreme close-up (ECU).
^Extreme long-shot (ELS).
^Extreme long-shot (ELS).
^POV shot from inside the car.
^Medium close-up (MCU).
^Still-pan downward for the previous three frames.
^Medium / medium close-up.
^Pan downward with focus on water reflection.
^Long shot (LS).
^Medium shot with potential focus on long shot object.
^Long shot (LS).
^Extreme long shot (ELS).
^Close-up / medium close-up (CU or MCU).
The editing of this opening sequence sets the tone for the film. A close up of an eye, not only referencing the original Bladerunner, acts as a signal for the audience to prepare themseleves the complexities of a futuristic world. The grandeousness of the next few scenes shows off this new world and allows ample time for the audience to take it all in.
We cut to a POV shot inside the car which then cuts to the the backside of the main character, K. The audience gets the cue that they are traveling somewhere with K as they’ve now seen the inside of the car and are actively moving.
We then cut to another character as they are shown working before acknowledging the car the audience was just in. We see K leave his car in a foggy long shot, K walking toward the camera which then cuts to an extreme long shot of the building.
Here K enters, and we are finally shown a clear close-up of our main character for all the audience to see.
Immersion is the goal of this opening sequence and it succeeds at doing just that through intuitive frameing.
Thanks for reading!
Framing: The Cranes Are Flying
The 1960 film The Cranes Are Flying is filled with striking and compelling scenes. The director, Mikhail Kalatozov, is notably intentional with his use of the camera and framing, both of which enhance the storytelling and accentuate the performances. This Soviet film is set during WWII and tells the story of Veronika and Boris, who are recently engaged. Boris volunteers to join the Soviet fight against the Germans, deeply affecting Veronika. The Cranes Are Flying portrays the profound grief experienced when a loved one is sent to war.
Medium close up (MCU)
Medium close up (MCU)
Medium close up (MCU)
Medium close up (MCU)
Medium close up (MCU)
Medium long shot (MLS)
Long shot (LS)
Medium close up (MCU)
Medium close up (MCU)
Medium close up (MCU)
Medium (M)
Extreme long shot (ELS)
Extreme long shot (ELS)
Extreme long shot (ELS)
Extreme long shot (ELS)
Veronika is late for Boris’ farewell, her last chance to see him before he goes to war. The framing in this scene captures the frantic and urgent emotions that Veronika feels and reflects in her movements. Starting with the medium close-ups on the bus, Veronika is peeking her head in and out of the window, suggesting that something lies ahead. This framing allows the audience to focus on her while still grasping her surroundings. The camera follows her as she runs off the bus and continues with a medium close-up as she searches for the quickest way out of the crowd. The medium close-up allows the audience to see her thought process as she navigates the disorderly environment.
She then runs into the crowd, with variations in how she, the subject, is framed. Both the long shot and medium long shot capture her disoriented thoughts, manifested in her movement as she weaves through the crowd. At several moments as she runs, she is obstructed from view by surrounding objects and people, which helps to set the scene and convey her anxious state. The film then returns to several more medium close-ups, where her distraught state of mind is evident, while tanks roll along in the background. She runs away from the camera to enter the road where the tanks are rolling. The cameraman steps onto a lift, creating a high angle. The high angle, combined with the extreme long shot, makes Veronika appear small and insignificant, yet her actions remain distinct. The extreme long shots of her running through the path of the tanks also convey that her objections to Boris going to war are part of an issue much larger than herself.
The broad set of framing choices in this scene communicate several things. The medium close-ups and medium shot not only emphasize how crucial it is for her to reach Boris’ farewell dinner on time but also reveal how the situation has put her in a state of distress. While still conveying a sense of urgency, the long shots and extreme long shots also shows the chaotic situation that has caused her distress, thereby contextualizing her actions. This scene is executed without cuts, relying entirely on the cameraman’s work. The framing and camera movement masterfully elevate Veronika’s emotions and actions.
Wonka – Screen Grab Shots
Movie: Wonka
Scene: Ending Sequence
It’s four-ish minutes since it has both the part with Noodle and her mom reuniting and the beginning of the Factory. I started grabbing shots at the 3:20 minute mark since there was more variety in shots after that.
1 & 2- Medium Shot
3- Low Medium Shot
4 & 5- Wide Angle Shot
6- Medium Shot
7 & 8- Long shot
9 & 10- Extreme Long Shot
11- Long Shot
12- Medium Long Shot
13, 14, 15- Long Shot
16- Extreme Long Shot
17- Long Shot
18- Medium Shot
19 & 20- Close-Up Shot
21 & 22- Medium Close-Up Shot
23- Low Medium Shot
24- Extreme Long Shot
25- Long Shot
There is around 5-7 different shots that I could name. The scene goes back and forth between just the characters and the surroundings/backgrounds. It’s like a showcase of what’s possible between the two characters.
The wide, long, and extreme long shots all show more of the surroundings and background as to where the characters are and what is going on around them.
The medium shots are showing more of what the character is doing in the scene instead of focusing on what is going on around them.
There are a few close-up shots that are giving more of the characters emotions and their interaction between each other. Willy and the Oompa-Loompa are in the process of creating a partnership. The low medium shot captures their shake on the deal before the extreme long shot takes us outside the factory which leads right into the closing long shot where we get the movie title.
Poor Things – Screen Grab Shots
Movie: Poor Things
Scene: Dancing scene
This is a bit of a long scene so I will be reviewing starting at the 0:40s mark.
Frame 1: Long Shot
Frame 2: Medium Long Shot
Frame 3: Extreme Long Shot
Frame 4: Extreme Long Shot
Frame 5: Long Shot
Frame 6: Medium Long Shot
Frame 7: Medium Shot – bit of an upward view
Frame 8: Long Shot – bit of an upward view
Frame 9: Medium Shot – bit of an upward view
Frame 10: Medium Shot
Frame 11: Extreme Long Shot
Frame 12: Medium Shot
Frame 13: Extreme – Extreme Long Shot
Frame 14: Medium Long Shot
Frame 15: Long Shot
Frame 16: Long Shot
Frame 17: Long Shot
Frame 18: Long Shot
Frame 19: Long Shot
Frame 20: Medium Shot
Frame 21: Long Shot
Frame 22: Long Shot
While this scene only uses about 4 different types of frames, the editing and back and forth is effective in showcasing an unspoken relationship between the two characters.
The extreme long shots showcase the “norms” of society and comparison between the behaviors of the two characters. The cuts to these shots highlight the characters existence amongst a society.
The long shots show the characters body taking up space in their surroundings and the distinction between the two characters behaviors. The female protagonist’s (Bella) behavior is as if she is letting the rhythm of the music set her behavior rather than the surrounding dancers. She is not conforming to the norms of the surrounding characters, but she is eager to join them. The scenes when she is the main subject in the shot is most obvious of this behavior. The scenes when the male antagonist (Duncan) is dancing with her shows his efforts in trying to conform her behaviors to those around her. The scenes when he comes and takes her as a partner are most obvious of this behavior.
The medium long shots are used as another perspective, although a bit more personal, of comparing the two characters to the rest of the dancers. These shots help with continuing the scene and flow between frames.
The medium shots are used to highlight what seems to be a fight between the two characters for control. This is a closer view isolates the two characters from the rest of the dancers. Bella wants to continue her independent behavior while Duncan wants to control her to conform.