The document analyzes the cinematography in the opening car crash scene of a film. It discusses 8 cuts in the scene. The first few cuts are slow to establish the characters and their relationships. The pace of cuts then speeds up to emphasize the suddenness and violence of the crash, using very brief shots under a second to show the collision and metal rods smashing through the windshield. The final long crane shot allows viewers to comprehend the full extent of the crash.
The document analyzes the editing techniques used in 8 cuts of a car crash scene. Short, quick cuts are used to emphasize the speed of the crash and ensuing events. Longer shots are used before and after the crash to build tension and allow the audience to comprehend what occurred. Computer generated imagery was employed for shots involving poles piercing the car to maintain actor safety. Solid cuts without fades or wipes are used to transition between all scenes.
The document summarizes three action scenes from a James Bond film. The first scene describes a high-speed boat chase where Bond chases a woman who shot at him. The second scene shows Bond and a woman skiing and being chased by bad guys on snowmobiles, leading to an avalanche. The third scene depicts a fight between Bond and the villain Renard in an underground nuclear bomb room, with explosions and escapes.
This document summarizes three action scenes from a James Bond film. The first scene describes a high-speed boat chase between Bond and a mysterious woman. The second scene shows Bond and Elektra skiing down a mountain and being chased by bad guys on snowmobiles, culminating in an avalanche. The third scene depicts a fight between Bond and the villain Renard in an underground nuclear bomb room, with explosions and characters trying to escape.
The document discusses the structure and conventions of thriller narratives. It analyzes how a sample thriller opening fits with the typical cause-and-effect structure described by Todorov, beginning with a slight unease rather than total equilibrium. The sample thriller also ends between equilibrium and disequilibrium, with unresolved tension and a cliffhanger. A worksheet then evaluates how well the sample thriller adheres to conventions of the genre in terms of narrative, characters, themes, settings and other elements, noting it sticks closely to thriller concepts like conspiracy but subverts conventions through its atypical setting.
The Quantum of Solace opening scene uses fast-paced editing with frequent jump cuts between close-up shots of cars, guns, and drivers to depict a tense car chase, establishing it as an action film genre. The Love Actually opening scene features soft music and muted ambient sounds as it slowly introduces various stories of romance using basic continuity editing and slow motion shots of emotional airport reunions, characterizing it as a romantic comedy. Both scenes employ editing techniques and shots that reflect their respective genres.
The Quantum of Solace opening scene uses fast-paced editing with frequent jump cuts between close-up shots of cars, guns, and drivers to depict a tense car chase, establishing it as an action film genre. The Love Actually opening scene features soft music and muted ambient sounds as it slowly introduces various stories of romance using basic continuity editing and slow motion shots of emotional airport reunions, characterizing it as a romantic comedy. Analysis of the sound design and editing in each sequence provides insights into how they effectively set the tone for their respective genres.
The document provides an overview of key plot elements including conflict, climax, and the typical plot structure of introducing a conflict, building rising action towards a climax, followed by falling action and resolution. It includes examples of applying this structure to analyze the plot progression in short stories. Conflict is established, complications arise and intensify the problem, reaching a climax or high point, then tension decreases in the falling action as the problem is solved or a new conflict emerges to restart the cycle.
The document analyzes the cinematography in the opening car crash scene of a film. It discusses 8 cuts in the scene. The first few cuts are slow to establish the characters and their relationships. The pace of cuts then speeds up to emphasize the suddenness and violence of the crash, using very brief shots under a second to show the collision and metal rods smashing through the windshield. The final long crane shot allows viewers to comprehend the full extent of the crash.
The document analyzes the editing techniques used in 8 cuts of a car crash scene. Short, quick cuts are used to emphasize the speed of the crash and ensuing events. Longer shots are used before and after the crash to build tension and allow the audience to comprehend what occurred. Computer generated imagery was employed for shots involving poles piercing the car to maintain actor safety. Solid cuts without fades or wipes are used to transition between all scenes.
The document summarizes three action scenes from a James Bond film. The first scene describes a high-speed boat chase where Bond chases a woman who shot at him. The second scene shows Bond and a woman skiing and being chased by bad guys on snowmobiles, leading to an avalanche. The third scene depicts a fight between Bond and the villain Renard in an underground nuclear bomb room, with explosions and escapes.
This document summarizes three action scenes from a James Bond film. The first scene describes a high-speed boat chase between Bond and a mysterious woman. The second scene shows Bond and Elektra skiing down a mountain and being chased by bad guys on snowmobiles, culminating in an avalanche. The third scene depicts a fight between Bond and the villain Renard in an underground nuclear bomb room, with explosions and characters trying to escape.
The document discusses the structure and conventions of thriller narratives. It analyzes how a sample thriller opening fits with the typical cause-and-effect structure described by Todorov, beginning with a slight unease rather than total equilibrium. The sample thriller also ends between equilibrium and disequilibrium, with unresolved tension and a cliffhanger. A worksheet then evaluates how well the sample thriller adheres to conventions of the genre in terms of narrative, characters, themes, settings and other elements, noting it sticks closely to thriller concepts like conspiracy but subverts conventions through its atypical setting.
The Quantum of Solace opening scene uses fast-paced editing with frequent jump cuts between close-up shots of cars, guns, and drivers to depict a tense car chase, establishing it as an action film genre. The Love Actually opening scene features soft music and muted ambient sounds as it slowly introduces various stories of romance using basic continuity editing and slow motion shots of emotional airport reunions, characterizing it as a romantic comedy. Both scenes employ editing techniques and shots that reflect their respective genres.
The Quantum of Solace opening scene uses fast-paced editing with frequent jump cuts between close-up shots of cars, guns, and drivers to depict a tense car chase, establishing it as an action film genre. The Love Actually opening scene features soft music and muted ambient sounds as it slowly introduces various stories of romance using basic continuity editing and slow motion shots of emotional airport reunions, characterizing it as a romantic comedy. Analysis of the sound design and editing in each sequence provides insights into how they effectively set the tone for their respective genres.
The document provides an overview of key plot elements including conflict, climax, and the typical plot structure of introducing a conflict, building rising action towards a climax, followed by falling action and resolution. It includes examples of applying this structure to analyze the plot progression in short stories. Conflict is established, complications arise and intensify the problem, reaching a climax or high point, then tension decreases in the falling action as the problem is solved or a new conflict emerges to restart the cycle.
The document provides an analysis of the opening scene of the 2006 film Casino Royale. It describes the shots used in the opening sequence, including establishing shots of a building and lift, following shots of the main character walking and entering a room, and close-ups of his reactions. While he has a conversation, it cuts to a fight scene where Bond kills his connection. When the man pulls his gun, Bond has already taken the clip, and Bond then shoots him. The writer says they enjoy this opening and wants to incorporate elements like the black and white filming and establishing shots with movement.
Eames briefs Moriarty on a mission to take down an enemy, providing documents in a folder. Moriarty accepts the mission and loads his gun. He is then shown running downstairs and reloading. The enemy realizes something is wrong while on the phone. Moriarty confronts the enemy with his gun pointed at his head. The storyboard ends with the gunshot and the title "OPERATION CROAK".
Eames briefs Moriarty on an assassination mission, throwing a folder on a table. Moriarty accepts the mission and loads his gun. Moriarty is then shown running downstairs and reloading. The target, DeGaulle, is shown talking on the phone looking nervous. Pictures then show Moriarty confronting DeGaulle at gunpoint with intense facial expressions. The storyboard ends with the gun firing and "Operation Croak" appearing, concluding the assassination mission.
The shot list describes scenes for a music video involving a main character. It includes 16 scenes shot in various locations like a lake, woods, living room, church, street, and studio. The shots involve the main character and range from long shots showing settings to close ups of objects and performances. They will use different camera movements, angles, and techniques like panning, tilts, and zooms. Cutaway shots may also be included on location if opportunities arise.
This document provides examples of different types of shots used in TV dramas and analyzes screenshots from a drama clip. It includes a medium shot of a man pointing a gun at another man suggesting potential conflict. A close up shot shows a man in a suit looking down displeased, implying a position of authority. A long shot displays thousands of missiles over land, connoting they could be used as weapons. An extreme close up focuses on a timer with 1 second left, building suspense around what will happen next.
The document discusses elements of the cinematography, editing, and comedy style used in the TV show Spaced. It notes that the camera work uses smooth transitions between shots of characters' faces during conversations. The editing employs techniques like fast forwarding the background around a character moving at normal speed. It also uses slow motion and added sound effects to make a finger gun fight seem more realistic and humorous.
The document discusses various cinematography techniques used in filmmaking such as eye line match, pan shots, match on action, point of view shots, shot reverse shot, cross cutting, and amplified diegetic sound. These techniques are used to clearly show the audience perspectives and connect sequences of action to move the story forward in a coherent way. Point of view shots in particular allow the audience to see what a character sees, while match on action and shot reverse shots help link events and dialogue between characters or subjects.
The document provides floor plans and camera instructions for shooting different scenes of a film. It describes 4 camera positions for shooting a character walking to a shop and interacting with others outdoors. It then details 4 camera positions for filming a confrontation between the main character and an aggressive group in a dark alley, alternating between close shots and long shots. Finally, it outlines 3 camera positions for shooting the main character writing lyrics indoors, including close-ups and shots from different angles.
This outside call sheet provides details for 24 shots in a film scene involving characters Tristan, Neil, Emma, and James encountering a zombie. The shots include Tristan walking with headphones on, noticing the zombie approaching Neil near a fence, Emma waving to get their attention, James pulling out a weapon as the zombie turns towards them, Tristan and James knocking the zombie to the floor with a rolling pin, and the group agreeing to get in Emma's car to escape as more zombies are spotted.
Locations & pictures the wells template 2Asuka Young
The document describes the technical codes that will be used at three different filming locations for a soap opera trailer. Location 1 is a park with a swing that will be used for establishing shots and a tracking shot. Location 2 is a street near a house that will be used for shots of a fight outside and a character sitting on a street sign. Location 3 is inside a member's house that will be used for argument scenes, close-ups, and a character receiving money. Risk assessments are provided for each location.
This document discusses the conventions of the thriller genre and how the opening of a thriller film adheres to or subverts some of these conventions. It states that the opening follows Todorov's theory of narratives being led by a cause-and-effect sequence of equilibrium, disequilibrium, and new equilibrium. However, it begins with a slightly uneasy tone rather than total calm. It also ends between equilibrium and disequilibrium with unresolved elements and a cliffhanger. The opening establishes characters of protagonist and antagonist and hints at themes of mystery and torture through flashbacks. However, it lacks a typical thriller element of death in the opening scene.
The document outlines the nine-act and three-act screenplay structures. The nine-act structure breaks a screenplay into nine sequential parts: Act 0 during opening credits, Act 1 introduces the setting, Act 2 introduces conflict, Act 3 introduces the protagonist, Act 4 is the commitment to action, Act 5 is a "dark moment" where the wrong goal is pursued, Act 6 is a reversal where the right goal is identified, Act 7 develops a new plan of action, and Act 8 wraps up loose ends. The three-act structure similarly divides a screenplay into setup, confrontation, and resolution acts.
The document outlines a shot list for a short film about a man, Chris, who receives a text that causes him urgency and stress. He quickly gets in his car to pick up his friend, Jack, who is stressed and wants cigarettes. The shot list uses close-ups, zooms, and camera movements to build a sense of disequilibrium and confusion in the audience. When Jack finally gets in the car, he shouts "Drive!" increasing the tension. However, it is later revealed that the rushed and stressful driving was all so Jack could get a pack of cigarettes, showing how addictions can control people in stressful times. The film aims to comically highlight the lengths people go to when addicted to cigarettes.
The document provides a shot list for a film or video with 22 numbered scenes. Each scene includes the scene number, a description of the shot as either a wide shot, mid shot, close up, long shot, over the shoulder shot or establishing shot, and sometimes brief additional details about the shot. The majority of the shots listed are either mid shots or close ups, with a few long shots and over the shoulder shots also included to capture the character and surroundings from different angles and distances.
The document outlines the three-act structure of films. The beginning introduces the protagonist and their situation. This is known as the equilibrium. The middle features an obstacle that disrupts the protagonist's goal, called the disequilibrium. The ending has the protagonist overcome the obstacle and achieve their goal, reinstating the initial equilibrium. Examples from The Fast and the Furious are used to illustrate each part of the three-act structure.
The document outlines the shots planned for 3 scenes of a film. Scene 1 takes place in an office and includes 6 shots showing a character's arrival at their desk and interaction with a voodoo doll. Scene 2 is set at a train station with 6 shots of the character traveling through and looking for where the doll was left. Scene 3 cuts between close-ups of a knife and doll being stabbed and damaged, along with shots of the character moving between their bedroom and kitchen.
1) The screen starts with a dark image of Earth and lights slowly turning off, representing darkness closing in on the world with fewer places to hide.
2) Police cars driving towards the camera make the environment seem dangerous and run-down, with just spots of light enticing the viewer to see more.
3) Rapid editing between shots of a military camp, helicopter fire, and building explosion maintain tension and confusion about what is happening, keeping the viewer engaged.
The document describes the editing techniques used in a scene depicting a car crash. It analyzes 8 cuts or shots in the sequence. The first few cuts establish the relationships between the family members in the car and build a sense of normalcy and safety. The cuts focus on conversations and the stressed father driving. The pace is slow to increase the shock of the later, faster cuts showing the intense crash impact and the father's quick death. The final cut slows again to show the traumatic aftermath.
This document summarizes and analyzes several shots from a film clip about a character named Sarah in a hospital.
The first two shots contrast a welcoming birthday cake with Sarah's dark, gloomy hospital room that feels unwelcoming. Shot 3 shows Sarah's heart monitor as flatlined, indicating she may be dead. Shot 4 reinforces the dark, uninviting atmosphere and shows Sarah's confusion upon waking. Shot 5 features Sarah staring fearfully into darkness, indicating something unpleasant will follow.
The document also defines diegetic and non-diegetic sound. Diegetic sound comes from visible or implied sources within the story, while non-diegetic sound like music or effects comes from outside. Both can be used to
The document analyzes several shots from a hospital scene in a film. Shot 1&2 introduce a bright yellow birthday cake but then focus on the main character Sarah who is framed in a dark, green-colored scene that feels unwelcoming. Shot 3 shows Sarah's heart monitor as a flat line, indicating she appears to be dead. Shot 4 continues the dark, green theme around Sarah as she moves in a confused manner, blending into the background as an uncertain patient. Shot 5 changes the background to black, signaling something strange and dark is about to happen as Sarah stares fearfully into the darkness.
This document analyzes 12 shots from a film. Shot 1 is a tracking shot that draws attention to a cake. Shot 2 is a static shot focused on the main girl. Shot 3 is a point-of-view shot from the mother's perspective of her dead daughter. Shot 4 is a canted angle shot showing something is different. Shot 5 reveals the main character's confusion upon waking. Shot 6 shows darkness approaching. Shot 7 shows the terror in her eyes facing the darkness. Shot 8 is from the darkness's point-of-view chasing her. Shots 9-10 use steady camera shots to show her devastation upon realizing her daughter has died. Shot 11 shows a close-up of sadness from her friend.
The document analyzes 8 cuts in a film sequence leading up to a car crash. The first few cuts slowly establish the relationship between the mother and daughter in the car and show the tension between the parents through long shots of the unhappy father driving. The pace of cuts is slow to create a sense of normalcy and safety for the audience before the shocking crash. The crash scene itself uses rapid cuts to depict the violent and intense impact between the two cars.
The document provides an analysis of the opening scene of the 2006 film Casino Royale. It describes the shots used in the opening sequence, including establishing shots of a building and lift, following shots of the main character walking and entering a room, and close-ups of his reactions. While he has a conversation, it cuts to a fight scene where Bond kills his connection. When the man pulls his gun, Bond has already taken the clip, and Bond then shoots him. The writer says they enjoy this opening and wants to incorporate elements like the black and white filming and establishing shots with movement.
Eames briefs Moriarty on a mission to take down an enemy, providing documents in a folder. Moriarty accepts the mission and loads his gun. He is then shown running downstairs and reloading. The enemy realizes something is wrong while on the phone. Moriarty confronts the enemy with his gun pointed at his head. The storyboard ends with the gunshot and the title "OPERATION CROAK".
Eames briefs Moriarty on an assassination mission, throwing a folder on a table. Moriarty accepts the mission and loads his gun. Moriarty is then shown running downstairs and reloading. The target, DeGaulle, is shown talking on the phone looking nervous. Pictures then show Moriarty confronting DeGaulle at gunpoint with intense facial expressions. The storyboard ends with the gun firing and "Operation Croak" appearing, concluding the assassination mission.
The shot list describes scenes for a music video involving a main character. It includes 16 scenes shot in various locations like a lake, woods, living room, church, street, and studio. The shots involve the main character and range from long shots showing settings to close ups of objects and performances. They will use different camera movements, angles, and techniques like panning, tilts, and zooms. Cutaway shots may also be included on location if opportunities arise.
This document provides examples of different types of shots used in TV dramas and analyzes screenshots from a drama clip. It includes a medium shot of a man pointing a gun at another man suggesting potential conflict. A close up shot shows a man in a suit looking down displeased, implying a position of authority. A long shot displays thousands of missiles over land, connoting they could be used as weapons. An extreme close up focuses on a timer with 1 second left, building suspense around what will happen next.
The document discusses elements of the cinematography, editing, and comedy style used in the TV show Spaced. It notes that the camera work uses smooth transitions between shots of characters' faces during conversations. The editing employs techniques like fast forwarding the background around a character moving at normal speed. It also uses slow motion and added sound effects to make a finger gun fight seem more realistic and humorous.
The document discusses various cinematography techniques used in filmmaking such as eye line match, pan shots, match on action, point of view shots, shot reverse shot, cross cutting, and amplified diegetic sound. These techniques are used to clearly show the audience perspectives and connect sequences of action to move the story forward in a coherent way. Point of view shots in particular allow the audience to see what a character sees, while match on action and shot reverse shots help link events and dialogue between characters or subjects.
The document provides floor plans and camera instructions for shooting different scenes of a film. It describes 4 camera positions for shooting a character walking to a shop and interacting with others outdoors. It then details 4 camera positions for filming a confrontation between the main character and an aggressive group in a dark alley, alternating between close shots and long shots. Finally, it outlines 3 camera positions for shooting the main character writing lyrics indoors, including close-ups and shots from different angles.
This outside call sheet provides details for 24 shots in a film scene involving characters Tristan, Neil, Emma, and James encountering a zombie. The shots include Tristan walking with headphones on, noticing the zombie approaching Neil near a fence, Emma waving to get their attention, James pulling out a weapon as the zombie turns towards them, Tristan and James knocking the zombie to the floor with a rolling pin, and the group agreeing to get in Emma's car to escape as more zombies are spotted.
Locations & pictures the wells template 2Asuka Young
The document describes the technical codes that will be used at three different filming locations for a soap opera trailer. Location 1 is a park with a swing that will be used for establishing shots and a tracking shot. Location 2 is a street near a house that will be used for shots of a fight outside and a character sitting on a street sign. Location 3 is inside a member's house that will be used for argument scenes, close-ups, and a character receiving money. Risk assessments are provided for each location.
This document discusses the conventions of the thriller genre and how the opening of a thriller film adheres to or subverts some of these conventions. It states that the opening follows Todorov's theory of narratives being led by a cause-and-effect sequence of equilibrium, disequilibrium, and new equilibrium. However, it begins with a slightly uneasy tone rather than total calm. It also ends between equilibrium and disequilibrium with unresolved elements and a cliffhanger. The opening establishes characters of protagonist and antagonist and hints at themes of mystery and torture through flashbacks. However, it lacks a typical thriller element of death in the opening scene.
The document outlines the nine-act and three-act screenplay structures. The nine-act structure breaks a screenplay into nine sequential parts: Act 0 during opening credits, Act 1 introduces the setting, Act 2 introduces conflict, Act 3 introduces the protagonist, Act 4 is the commitment to action, Act 5 is a "dark moment" where the wrong goal is pursued, Act 6 is a reversal where the right goal is identified, Act 7 develops a new plan of action, and Act 8 wraps up loose ends. The three-act structure similarly divides a screenplay into setup, confrontation, and resolution acts.
The document outlines a shot list for a short film about a man, Chris, who receives a text that causes him urgency and stress. He quickly gets in his car to pick up his friend, Jack, who is stressed and wants cigarettes. The shot list uses close-ups, zooms, and camera movements to build a sense of disequilibrium and confusion in the audience. When Jack finally gets in the car, he shouts "Drive!" increasing the tension. However, it is later revealed that the rushed and stressful driving was all so Jack could get a pack of cigarettes, showing how addictions can control people in stressful times. The film aims to comically highlight the lengths people go to when addicted to cigarettes.
The document provides a shot list for a film or video with 22 numbered scenes. Each scene includes the scene number, a description of the shot as either a wide shot, mid shot, close up, long shot, over the shoulder shot or establishing shot, and sometimes brief additional details about the shot. The majority of the shots listed are either mid shots or close ups, with a few long shots and over the shoulder shots also included to capture the character and surroundings from different angles and distances.
The document outlines the three-act structure of films. The beginning introduces the protagonist and their situation. This is known as the equilibrium. The middle features an obstacle that disrupts the protagonist's goal, called the disequilibrium. The ending has the protagonist overcome the obstacle and achieve their goal, reinstating the initial equilibrium. Examples from The Fast and the Furious are used to illustrate each part of the three-act structure.
The document outlines the shots planned for 3 scenes of a film. Scene 1 takes place in an office and includes 6 shots showing a character's arrival at their desk and interaction with a voodoo doll. Scene 2 is set at a train station with 6 shots of the character traveling through and looking for where the doll was left. Scene 3 cuts between close-ups of a knife and doll being stabbed and damaged, along with shots of the character moving between their bedroom and kitchen.
1) The screen starts with a dark image of Earth and lights slowly turning off, representing darkness closing in on the world with fewer places to hide.
2) Police cars driving towards the camera make the environment seem dangerous and run-down, with just spots of light enticing the viewer to see more.
3) Rapid editing between shots of a military camp, helicopter fire, and building explosion maintain tension and confusion about what is happening, keeping the viewer engaged.
The document describes the editing techniques used in a scene depicting a car crash. It analyzes 8 cuts or shots in the sequence. The first few cuts establish the relationships between the family members in the car and build a sense of normalcy and safety. The cuts focus on conversations and the stressed father driving. The pace is slow to increase the shock of the later, faster cuts showing the intense crash impact and the father's quick death. The final cut slows again to show the traumatic aftermath.
This document summarizes and analyzes several shots from a film clip about a character named Sarah in a hospital.
The first two shots contrast a welcoming birthday cake with Sarah's dark, gloomy hospital room that feels unwelcoming. Shot 3 shows Sarah's heart monitor as flatlined, indicating she may be dead. Shot 4 reinforces the dark, uninviting atmosphere and shows Sarah's confusion upon waking. Shot 5 features Sarah staring fearfully into darkness, indicating something unpleasant will follow.
The document also defines diegetic and non-diegetic sound. Diegetic sound comes from visible or implied sources within the story, while non-diegetic sound like music or effects comes from outside. Both can be used to
The document analyzes several shots from a hospital scene in a film. Shot 1&2 introduce a bright yellow birthday cake but then focus on the main character Sarah who is framed in a dark, green-colored scene that feels unwelcoming. Shot 3 shows Sarah's heart monitor as a flat line, indicating she appears to be dead. Shot 4 continues the dark, green theme around Sarah as she moves in a confused manner, blending into the background as an uncertain patient. Shot 5 changes the background to black, signaling something strange and dark is about to happen as Sarah stares fearfully into the darkness.
This document analyzes 12 shots from a film. Shot 1 is a tracking shot that draws attention to a cake. Shot 2 is a static shot focused on the main girl. Shot 3 is a point-of-view shot from the mother's perspective of her dead daughter. Shot 4 is a canted angle shot showing something is different. Shot 5 reveals the main character's confusion upon waking. Shot 6 shows darkness approaching. Shot 7 shows the terror in her eyes facing the darkness. Shot 8 is from the darkness's point-of-view chasing her. Shots 9-10 use steady camera shots to show her devastation upon realizing her daughter has died. Shot 11 shows a close-up of sadness from her friend.
The document analyzes 8 cuts in a film sequence leading up to a car crash. The first few cuts slowly establish the relationship between the mother and daughter in the car and show the tension between the parents through long shots of the unhappy father driving. The pace of cuts is slow to create a sense of normalcy and safety for the audience before the shocking crash. The crash scene itself uses rapid cuts to depict the violent and intense impact between the two cars.
Celador Films was founded in 1983 by Jasper Carrott and Paul Smith as an independent production company, though it has since been acquired by other owners. It operates as a small company that produces films through partnerships and freelance workers. Notable films produced by Celador include Slumdog Millionaire, The Descent, and Dirty Pretty Things. While Celador has found success with some films, it faces significant competition from larger studios like Sony Pictures that have substantially higher budgets for film production and marketing.
2. Cut 1
• The First shot shows the family in the car, then cuts of to scene 2
where it shows the mother and daughter having a conversation.
This shows us the relationship between the two.
3. Cut 2
• In this shot we still see a continue of the conversation
happening between the mother and daughter. The
pace between each cuts are still slow, this makes the
crash at that the end surprising.
4. Cut 3
• The editing pace is still slow, we spend lots of time looking at the
father who is driving the car as we can tell he is not in a good mood
as everyone else in the car indicating some tension between the
two parents as the camera is focused on him for so long.
5. Cut 4
• This scene is still pretty slow, but the car crash scene is very near.
The last cut is long and makes the car crash a bigger shock. The slow
pace of scenes gives of sense of normality and make us feel safe
and apart of the family and feel secure and that makes the crash
even more unexpected and shocking.
6. Cut 5
• This is the last long cut in the sequence before the car
crash before the pace becomes more faster.
7. Cut 6
This cut scene shows the intense impact between the two cars showing the
vans equipment pierces the car and breaking the wind shield.
8. Cut 7
• This scene is very fast as it kills the father in a
matter of seconds. This scene is the fastest one.
9. Cut 8
• This scene shows the aftermath of what's
happened and is a very slow scene.