BLK HWK 2b: Film Intro Continuity Analysis - Mission Impossible 2

Film Intro Continuity Analysis:
Mission Impossible 2

Mission Impossible 2 Opening

Here is the opening sequence to Mission Impossible 2. I chose it not only as a fan but for it's successful, convincing continuity. It begins with an extreme wide scenic shot which zooms in at super fast motion then rapidly slows as it closes in on the subject, ending at MLS framing, all in one shot. It also features several difficult match-on-action shots as Ethan Hunt (Tom Cruise) slips, swings and jumps attempting to scale a canyon, one of the best being the series of shots where he swings to face outwards from the canyon, then back in after a CU to portray emotion and physical strain. We cut to an extreme long master-shot regularly to give perspective of the protagonist's position but also see closeups on important details such as his toes just about digging into an edge, homing in directly on the action. John Woo, the director at times does actually go from some very wide shots to quite close up, which is controversial, but the perspective of the wide shots, often arcing from the helicopter they are filmed from is excellent to the point where we know where we are in each shot. The 180 degree rule is also taken into account successfully, for example when he kneels into a crack in the rock we see it from two perspectives in a shot reverse shot before he climbs higher. The 30 degree rule is not broken either, as shots have great variety in distance and angle with no unnecessary or erroneous jumps.

BLK HWK 2a: Continuity Sequence Analysis - 'The Accident'

Continuity Sequence Analysis: 'The Accident'

12E Group 1 'Accident' Video (link)


a) What techniques did you specifically use to create continuity (narrative flow) in your accident sequence?

To create continuity in our sequence, we use match-on-action shots, cross cutting, a master-shot. We cross-cut between the narratives of the two characters, as one rushed to his destination and the other casually walked, and as the two paths converged we used a master-shot to indicate the spaces which they both had started from originally. We matched action from one shot to the next at a different angle aiming to create a seamless flowing narrative even with the cross cutting.


b) In hindsight, what could you do to improve the continuity (narrative flow) of the sequence?

It would have proved continuity in terms of the audience's perspective if we showed the master-shot earlier in the sequence, perhaps with a slight pan across the space to more obviously show where everything is. Our master-shot barely showed the edges of where one of the characters would emerge from when the cross-cut sequence converged, which may have made identifying geographical position unclear for the audience. Also, the position of the camera in the shot where the hurrying character runs away meant that he could not be in the right place to run without a continuity error - he ran to the right of the camera, but the camera would have been in the path he should have ran through. To account for this more planning would have helped; distinguishing exact positioning on set would give us better insight of where everything physically was. The brief we were assigned asked for 6 shots but due to human errors with the camera only 5 recorded, despite taking 6 shots. This disrupted the narrative flow and made it seem as if my character jumped in space between the fourth and fifth shot. To alleviate ourselves of this issue we could have familiarised ourselves better with the cameras before taking shots, ensuring all recordings are successful.

DYM HWK1: Film Intro Analysis - The Lion King

Film Intro Analysis

My film intro choice is Disney's The Lion King, 1994, a world famous animated epic musical drama. It takes place in the South of Africa, identified by the traditional Zulu singing, combined with lyrics in English for more of the audience to understand.


What happens?
We first see a beautiful red sunrise over the African Savanna, then animals waking, travelling and then ordering themselves, standing to attention of something we do not yet see, indicating an important event is about to happen. As we are shown a variety of African birds and mammals moving in harmony we, as the audience are taken through epic, encapsulating scenery of mountains, waterfalls, rivers and hills in wide angle and birds eye view shots. This takes us to a huge erratic rock which we are taken to over the shoulder of a hornbill (Zazu) to see a Lion standing tall atop it. We cut to animals bowing to a baboon (Rafiki) as he climbs the rock to embrace the 'Lion King' (Mufasa), then see the mother lion with a new born cub (Simba). Rafiki proceeds to carry Simba to the edge of the rock and present him to the audience of animals, who cry out and cheer in joy, and then bow as a scenic shot ends the opening sequence by widening until cutting to the title in red over a black background. 

The order of events is quite significant to the story telling in this film intro because it ends with a very important event; the presentation of Simba, son of the 'King' who is the film's protagonist. The structure of the intro leading up to him in this single event identifies his major importance.

We are not yet given names of the characters that we see here, but their role in 'society' in the film is instantly clear, as the introduction to The Lion King has no dialogue but is extremely visual, largely through shot composition. Rafiki the baboon is a servant of the King, a shaman, which we may be able to interpret from his staff, Mufasa is the King over all the other animals, clear to see from how he stands atop the rock looking down on everyone. Simba is the royal child, presented to all as a future King as all bow to him.

Although our protagonist is almost certainly identified, the narrative behind his life and growing up is so far withheld to anchor the audience into watching further. We do not know what problems he might face but we want to experience the story of his life.

At the start of this film the audience need to know which are the major characters, an idea of the setting, and the genre of the film, all of which I believed are conveyed well to the audience. They need to know these films for the sake of expectations, but also to find that appeal to watch on.

BLK HWK 1: Shot Reflection

Shot Analysis Homework

1) "Describe your shot and identify in what way it could be described as representing your chosen genre"

This shot is a tilted frame MS of my classmate Brandon, holding a (fake) gun towards the camera. The genre I was aiming for it to represent was an 'urban' style film, for example, the likes of Kidulthood and Shank.

2) "What did you actually do to achieve the effect?"

I used a tilted frame shot to convey an eerie, uncomfortable feel to it, as well as a garage door background, which connotes an urbanized, city backstreets environment. To add to the same effect the subject has a hood up and a hand on it, pulling it hood forward to darken and disguise his face. Along with this the sinister look in his eyes and the gun pointing menacingly outwards signifies danger, violence and crime.


3) "Identify what is successful about your shot"

Despite very few takes on this specific shot it came out quite well; I believe I achieved the genre I was aiming for and the way I wanted the character to look. The way the hand and the gun point in the camera's direction make them seem larger than they actually are, which unintentionally makes the shot more powerful, giving it a focus on the prop most important to the genre.


4) "What would you do differently in hindsight?"

In hindsight I could have been more successful in this task if I had planned my shot with more scrutiny. In terms of detail I had worked out location, prop and costume but had not decided on camera angle and distance, which meant I spent time moving around the set during the day of the shooting trying different things, but without the time to perfect I aimed for quantity, hoping to find quality within that. Also I would've tried to take the shot in a way that blocked out some of the natural light, as a lower-key lit shot would prove more effective, specifically in my intended genre.