Media Studies
Heat Shootout Scene - Camera Shots
Heat Shootout Video
Heat Shootout Video
Here the director has chosen to
use a tracking/big close up shot to show the emotion (serious) of the armed
robber and to show what he is looking at. Here the armed robber is infiltrating
the bank, observing the surroundings, very calm.
This is a low angle shot, a low
angle shot is shot to make an effect to emphasise a person or an object to be
bigger, more terrifying, from the situation, the director is trying to show
that the robbers are in control of the situation, and civilians are panicking.
This is a high angle tracking
shot, the director here is tracking the armed robber while he is intimidating
the civilians to settle down and be quiet, it gives also gives an effect that
the robber is in control of the situation, and the interior of the bank.
This is an panning extreme long shots, show 2
police running. It is showing a police chase down with a sense of urgency and
distress, the camera panning helps set up the environment of the city before
the firefight starts
This is a very high angle long
shot, after the first shot has been fired, the scene has cut into civilians
fleeing in distress, it gives the firefight more of an hectic atmosphere while
the robbers and the cops are firing.
A Canted Close up shot, this shot
shows that the police car is under fire, a canted shot is used to portrays
madness and a desperate action for the police force that are taking fire, it
helps builds up the tensions in the firefight.
This is a close up two shot + a
shot reverse shot. The robber going to to save his comrades, this shows trust
between the 2 of the robbers, portrays the relationship between the 2 as
comrades. Close up is also to express the pain from the injured robber.
Here is a normal close up shot but
adding a shallow depth of field, here the police aims down his sight, the
background is blurred out isolating him, while he focuses on the robber, it is
like everything depends on this one shot, it builds up tension and adrenaline.
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