Establishing Shot - Kris Sonny The scene starts off with a medium shot at eye level of a hospital’s waiting room, the camera pans from left to right across the lobby. The scene uses ambient lighting. It is filled with green seats in rows, all vacant but one. There is classical piano Chopin’s (nocturne op. 27 No. 2, etude op10 no3) playing in the background. There is one person sitting down with her hands in her laps, fingers intertwined twiddling her thumbs back and forth. Her clothes appear to be tighter, and her belly is swollen. The sound of sirens echo throughout the lobby breaking the calmness of the piano, the lady stands and looks outside the window to see flashing red lights. From a medium shot two men dressed in scrubs pull a man from a stretcher …show more content…
into the emergency operation room. A tracking shot follows the woman as she runs up to the stretcher. The camera tilts so that the stretcher and woman are both visible. The woman has tears in her eyes gasping for breath trying to take in reality. The lady screams at the top of her lungs and the camera closes up to the tears dripping down her face “NO NO NO this can’t be real JOHN JOHN PLEASE WAKE UP NO NO NO. OUR BABY GIRL NEEDS YOU.” The camera zooms out and men with medical mask shove her aside, “please step aside.” A filler light shines over the stretcher that enters the emergency operation room, and the light signaling no entry turns a deep red. The lady stands frozen with a defeated look and the scene fades out. The scene then cuts off to a medium shot of the lobby again, the lighting in the lobby is dimmed. The camera focuses on the middle-aged woman with a plaid shirt and swollen belly pacing back and forth anxiously. The sound of Chopin’s classical piano starts to play again. A full body shot of the as she lady stares at the clock 10:00PM. She takes a few steps back looks outside the window, hands clutching onto the shining silver cross that she holds up against her chest looking as if god was the only one who could save her. (PHOTO). A fade out to a black screen and fade in to signal a time-lapse has happened. She’s been pacing back and forth for hours, the clock indicates its 3:00 AM, and the loud beep breaks the silence of the lobby. An upper body shot of both the woman and the man in the surgical mask can be seen, their face expressions visible. The man says in an exhausted voice “I’m sorry there was nothing we could do, it was too late.” The lady still holding on to her cross necklace falls down to her knees, hands over her face and starts to sob loudly. A fade out into a black screen appears “1 Year later.” An extreme longshot of a worn down apartment with bricks falling apart, and a few windows broken.
A sidewalk with trash aligned to it can be seen. The whole neighborhood is lit up, and the morning sun rise can be seen from the background. A lady wearing ragged clothing is carrying a baby and has her backpack on. A tracking shot of the lady continues from behind, she’s struts down the sidewalk until she reaches a door with yellow and blue letters “Daycare.” She rings the doorbell “It’s Maria.” A sound of a click and a door opens. The lady enters into a room filled with baby cribs and toys of stars and rockets attached to the sealing. One crib is three-point lighted. A close up of the baby’s sleeping face is shown in the mother’s arms and the camera zooms out a little. Both the mom’s face with eye bags and baby’s sleeping face is visible. The mom gently places the baby into the crib and says “sleep well.” A low angle camera shot from the baby’s crib shows the mother leaving, and closing the door. The baby starts to cry, and the mother opens the door, and from a POV of the baby the mother’s face is completely visible again. The camera cuts to a mid-angle medium shot and the mother begins to sing a melodic
voice. “sweet dreams, sweet dreams all the things that you’ve seen all day long, little baby, making new memories sweet dreams, sweet dreams counting sheep, 1, 2, 3 rest your head, little baby fall asleep, fall asleep" The woman kisses the babies forehead, and gently places the baby back into the crib.
She returns to her grandmother’s house with the baby, and since there are no kids allowed where her grandma lives, she has to be extra careful that the baby doesn’t cry. The reason that she went to her grandmother’s house is because that’s where she lives. Her mother left her a long time ago. Anyway, she spends the whole night taking care of the baby by feeding it with the formula provided in the bag, and changing its diapers. She soon gets really sick of it.
In this image, a sewage worker is seen cleaning the drainage system, with his bear hands, without the use of either any equipment’s or protection. On the first glace, the image depicts the idea of health risk, because the man is exposed to such contaminants, which for him is work. He is looking up from a dirty drain, covered in filth, which shows that he is clearly used as the subject of this image, whom we are engaged to more as he is making eye contact with its viewers. This picture only includes one person into the frame, as the other man’s face isn’t available to see in this picture, which is man that is holding the bucket. Holding a bucket either emphasise the idea that he is helping the sewage worker, either to get the dirt out or to put the dirt in the drainage system.
Ms. Phillips met us in the waiting area and walked us through the very spacious building to the elevator, taking us to her office on the third floor. She explained to us that the building was once a hospital (W. Phillips, personal communication, October 4th, 2013). This explained the wide doorways, spacious halls, drab atmosphere, and considerable amount of walking it takes to get from one place to the next. Ms. Phillips’ office had very welcoming in décor. Pictures of her child and what seemed to be his artwork, and the work of other children, decorated almost every available wall space. Because the room was once a hospital room, the layout was very strange for an office. Visitors have to sit perpendicular to Ms. Phillips’ desk. Because Ms. Phillips provides in home services, I do not believe this would aff...
The opening scene fades into a girl rolling along a wheelbarrow. A horse is trotting along in front of her. Both of these indicate that she is in a rural area or on a farm. The camera is behind her and we don’t see her face. It is lit naturally and demonstrates deep space (it focuses on the breadth of the entire view of the camera). The camera then cuts to a shot of a boy on a bicycle, in a similar setting as the girl. The sun is facing the camera, creating a natural glare. He rides towards us and then goes out of view. We cut again to the girl, this time closer up. We see her face for the first time. She is probably around 8 years old. The music is a soft, playful piano piece that goes along with her footsteps as she is playing. There are a series of cuts between the boy and the...
... like Szpilman is gradually getting into that becoming a pianist phase and how the film overall has increased his confidence. The camera then zooms into his hand playing the piano showing the audience what to focus on. One hand has a lot of light towards it whilst the other hand is dark, which could mean that maybe his other hand will be in the light as he continues to play the piano, which is his lifelong dream. Then the camera zooms out showing us what else is in the frame. The director does this to show the audience that we should focus on where the light is coming from. The curtains have quite a detailed pattern on them which suggests that the room might have belonged to a professional and wealthy pianist. This might suggest that Szpilman is almost as if he is bringing the room back to life. This is shown with the different parts of the room covered with light.
The background image is a sunrise over a small village. The sun stands out from the earthy tones of the rest of the background. It looks as if it was colored in with a pink highlighter. The pure radiance of the sunrise captures the attention of bystander. The luminosity of the sun is surrounded by a yellow skyline with brown houses of the rural community below it. Surrounding the houses is a field of green grass, but as you follow the path that the girl is on the lush carpet of healthy grass turns into a withered field. This shows that the crops where the girl works have not produced enough food for that season, making the girl short on income. The ...
silent entrance, so as not to disturb the child, scares the mother violently and she
Our scene aims to create mystery and suspense. The producer has created this anxiety by beginning the scene in the night. There is darkness and besides the ominous background music and the narration of the protagonist there is mostly silence. Flapping of birds wings in response to a door opening makes the heart beat faster. The birds are startled, so was the viewer. The protagonist is exploring a mansion. The mansion is heritage in comparison to the date of the production however, clothing worn by characters and costumes of those in photographs show that this is set to be a period film dating into the past. There are sheets on furniture, dust and vines on the building’s interior that show that the mansion is old still in comparison to the characters. A period setting and the dark of the night make the scene feel eerie. It is too dark to see properly and this works to create mystery. Crying can be heard and the source is unknown, there is tension as the protagonist is unable to locate the source as they are forbidden by another character with greater dominance. Forbidden territory creates conflict and the viewer is left eager to find out whether the protagonist will obey orders or disobey to solve the mystery. As the viewer one is left tense for conflict
A woman was huddled in the corner of a house, a knife in one hand and a baby in another. The baby was crying, and there was a look of terror on the woman's face. Suddenly, a banging sound made the woman's head jerk up. An inhuman scream followed, causing the woman to grip the knife tighter.
The term cinematography is interconnected with the concept of still photography, but is an integral part of motion pictures. Within this context, Russell Carpenter’s role as the cinematographer of the film Titanic is important. For instance, his attitude towards cinematography, especially his tireless effort to attain perfection contributed to the success of the film. In the film, Carpenter’s co-operation with art department and visual effects department deeply influenced his role in the film as a cinematographer. During the production of the film, Cameron’s initial idea did not clash with Carpenter’s personal idea on cinematography. To be specific, working with Cameron was helpful for Carpenter as a cinematographer because both of them were with similar taste. In addition, Cameron’s knowledge in photography and set construction was helpful for the cinematographer. So Carpenter’s craftsmanship as a cinematographer is the most important factor behind the film’s cinematic beauty and quality.
Diane is first seen sitting silently on a worn-out couch in her house. The lighting all around is dim and gray, with no bright lights or colorful lights to liven up the mood as well as the background behind Diane that depicts a dead and dull house. Already, the audience is able to sense the foreshadowing outbreak that will possibly tie the entire story together. As the camera shoots Diane in a run-down, faded pink robe, sitting off to one side of the worn-out couch with her dull house as the background is behind her, this provides the mise-en-scene for this shot. There is still extremely subtle, haunting nondiegetic sound playing in the scene as it suddenly cuts straight to a close-up of Diane’s face, which is filled with dread and looks like she has not slept at all with ruined makeup under her eyes as well as her dirty hair. Suddenly, the scene cuts back and forth, a brief shot/reverse-shot, of Diane and the blue key on her coffee table as she looks at it in horror. In addition to the horror theme going on, someone knocks loudly on her door and she turns around as the camera shoots an old couple shown in the very beginning of the movie crawling under the front door as miniature people. Possibly the old couple’s, little laughing voices are heard in a diegetic sound as the scene cuts back to an extreme close-up of Diane’s eyes, emphasizing her horror. The loud knocks
I sit in the waiting room of the local hospital, clutching my hands in a fist. There are a lot of people even at this late of an hour all shuffling about, going up to the receptionists’ desk with scowls on their faces. They speak in harsh words and point at the clock. It seems like I’m the only calm one in a state of confusion, but I’m too scared to get up or do anything. My spine grinds against the back of the chair as I shift position so I’m hunched over. My hands are white and shaking, and my throat is parched but I gulp anyway as a lady comes up to me. I see only her sneakers and don’t meet her eyes.
Photojournalism plays a critical role in the way we capture and understand the reality of a particular moment in time. As a way of documenting history, the ability to create meaning through images contributes to a transparent media through exacting the truth of a moment. By capturing the surreal world and presenting it in a narrative that is relatable to its audience, allows the image to create a fair and accurate representation of reality.
The scene begins with Joel and Clementine lying naked on a rug in the middle of the floor covered only by a repugnant quilt. The quilt has a tranquilizing effect however because of its warm colors, which is perfect for this scene. The colors of the quilt subconsciously give the feeling that everything is comfortable. As they are lying on the floor Clementine asks Joel if she is ugly. As soon as she asks the question the shot changes and it shows Joel instantly respond with an “uh huh,” in a manner saying no. The camera then goes to Clementine, but once she starts to speak, it instantly shows Joel again. Clementine tells Joel about how she remembers when she was little a little girl and she thought she was ugly, as the camera is still on a close up of Joel. Usually while someone is talking the camera would be on them, but in this scene the camera is on a close up of Joel while Clementine is talking to show his expressions and to see the sincerity of his emotions and the love he has for Clementine. The next shot is a picture of Clementine when she was little. The picture of her is a somewhat average litt...
I would like to be a video editor because I think it would be a great experience. It would help me make videos much better looking for an audience. I would love this as a lifetime job and do editing for big businesses like FOX or YouTube, things like that. I want to be a video editor because I have always fantasized of being a big person and doing a job with computers. I love working and making films better. I used to make videos better for people when I lived in Houston.