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Filmed this video for fun, thought I would share it

Continuity Video

For this assignment we were not supposed to use music but because of the process that I decided to film I felt like I needed to add just a little bit at the end to give the viewer a clear idea of what was being made in the video.

One of the most commendable traits of ‘Shameless’ is its ability to create unbelievable situations that unfold in somehow believable ways. While, realistically, the audience knows that these events cannot unfold so quickly in real life, the quick and clean editing allows for a strong, yet chaotic, continuity.

Throughout the scene, we follow a variety of objects as characters pass through the house, focusing on key objects that the characters interact with in turn (i.e. the bathroom door, the calendar, the cereal box). While items of interest are passed from character to character, the audience is introduced to each of them and part of their role in the family. The quick movement of certain objects (throwing the phone across the room) allows for the camera to change to be fast but maintain a cohesive scene.

Another interesting editing trick used is keeping more than one character in frame for most of the screen time. This allows the viewer to absorb more visual chaos as they see multiple characters completing actions at the same time, with some of these actions passing from one character to another as well. This is controlled by one of the actions being more ‘dominant’ than the other, such as one character filling out a form while others do the simpler action of pouring cereal.

Here’s the video for the continuity assignment.

The first scene in this sequence takes place in the hallway that connects the rooms of the siblings (I’m assuming their siblings). Shooting this scene in such a tight narrow space can be difficult bust also afford unique opportunities. Much like a road, a hallow is very linear, people travel up and down it. For the most part, we can get a sense of the space by following the main character with the camera as she goes back and forth to the different rooms. Here the director is using the movement of the subject to guide the camera and give the audience a sense of the space.

Then we have a nice transition to the breakfast scene. We cut from the action of the previous scene to an empty frame of the fridge door before a hand comes into the frame. Here the director tells us that we are already in the kitchen before cutting to the wide shot. Then we get a series of intercutting between wide shots and chaotic closeups. However, this works because the director has already done his job and made us familiar with the space and the placement of each character in that space. The audience is already well acquainted with the space, so the director can afford to jump back and forth across the 180-degree line without confusing the audience.

I think this sequence is a good example of how showing the audience a space early in a scene can afford you more freedom later on.

-Luca Wagner

In the opening of the show, we have our leads acting as a sort of anchor that is followed from shot to shot. A good show of the passage of time is the use of long continual shots with a lot of physical “noise” in the background, mixed with quick jump cuts to other rooms and ultimately different perspectives. We see the lead actress walk down a hall way and through cuts she makes her way to the kitchen without needing to show the entire trek, letting the audience feel as thought everything we watch is paced in a way that does not leave us jarred around but comfortably moving from place to place. Each shot is filled with actions and movement to give a sense of urgency and passing of time.

Blog: Discuss the framing and editing in the clip below (it’s an opening from an episode of the show Shameless). What is the scene communicating? What is happening visually? How does continuity editing help narrate the family dynamics? What are the visual anchors within the chaos of movements?  How can a family gather at the table, discuss plans and eat breakfast in under 2 minutes!?  No need to answer all these questions, just address what you see.

This scene captures the chaos of getting a family ready for the day, but with a twist. It opens with Fiona, the main character, wiping fog off the window. As the camera comes into focus, we’re positioned behind her, watching her reflection in the mirror. Fiona turns around, and the camera shifts to a front view, following her as she moves through the house, waking everyone up. The shot follows the 180-degree rule, and we’re now positioned behind Fiona again as she interacts with the rest of the cast. A door slams, and in a quick cut, we transition to the family sitting at the dining table for breakfast.

Breakfast is pure chaos. The electric bill is due, food and supplies are running low, and everyone is scrambling to eat. We see Fiona adding water to the milk jug, trying to make it last. The family then passes around a box, each person contributing money for the bill. Finally, there’s a match-on-action cut where Fiona catches a tossed cell phone. So much all in one!