Film Scene

Dr. Carala Garcia – Ta. Mario Ramzy

Module code: 21FMS031
Module Name: Cinematography

Names and ID:Yasmin Mostafa

(196104) – Rizan Khalid (195823)
link:

https://drive.google.com/file/d/1OMWuKJKZ9nU5vWWXBDmLr8CgQRNyVlIO/view?

usp=sharing

Commentary:

The first establishing shots of the film place the action in a bedroom. A

woman sleeps on her bed, her gaze fixed on her phone screen. A slight

zoom toward her face indicates that she is a significant character, and the

cut to a point-of-view shot of her mobile screen confirms this. When she

scrolls through her phone, one of many in the shot, the camera focuses

on her. The light began to shake after that, and fear appeared on her face.

When the light shakes, the camera cuts to a strange body that appears

behind the woman. The woman then begins to sense that there is

someone in the room with her. The rest of the sequence alternates

between shots and reaction shots of her face as she begins to suspect that

someone else is sleeping on the bed with her. Shocked, she looks around

to see who else is there. In a medium close-up, she discovers no one on

her bed. She tries to relax and return to her original position. She notices

the ghost above her. Without any sound interaction or traditional clunky
exposition setup of the major cast, this opening sequence prepares the

audience to make sense of the film's many visual elements and its

adventure of how technology can both enhance and limit interpersonal

interactions. The decision to make the interaction silent implies that in-

person dialogues are unimportant. People's conversations are most

efficient in this pattern when they are influenced by new tech. The

cinematography of this opening scenes adds to the eerie atmosphere

created by the muted humans and electronic theme tune. The influential

use of simplistic focus to depict a working space made of glass internal

walls makes it difficult to determine how large the space truly is. As a

result, the viewer becomes spatially disoriented in each different

situation. We use eyeline angle Characters and show hosts must be

cautious about where they appear. A broadcaster – or an actor in an

interpretive shot – should face the camera directly. They should take a

gander at the interviewer (who should be close to the camera) rather than

at the lens during a basic discussion. Most drama shots require actors to

look close to the lens but never straightforwardly at it (this is known as

spiking). Eye movements should be very subtle. Knowledgeable film

actors maintain their gaze within a small circle around the camera lens.

And use medium shots a medium shot, also known as a corset, shot, was

taken at a mid-fade from the theme. It is frequently used for rear

discussion within a scene because it provides the viewer with a clear

picture of each character in a film. And stablishing shot Getting a long

shot one step even farther, the extreme long shot, or ultra-wide angle

shot, is when the view is so far from the matter that he/ she isn’t

essentially the focus much anymore, but rather the entire neighborhood

is. The extreme long shot, which is also used as an establishing shot in a

film, is intended to show the audience where the action is taking place.

Moreover, an ultra-long shot can be used to show the impact of what is

happening in a scene.