Editing blog task

Hot Fuzz Sea Mine

This classic scene from the 2007 film Hot Fuzz starring Simon Pegg and Nick Frost is ridden with many clever editing  techniques. So let's get into the details:

There is a clear straight cut at around 0:03 where it features an establishing shot transitioning to a medium shot. This, along with the clear police liveried car, showcases the farm that looks to be an offset and isolated location which is blurred in the background.

It then switches to a close mid shot where we are met with the faces of everyone in the car. The two main protagonists are sat at the front who are looking rather worried. The choice to put the dog very close to the protagonist's face is significant as this is used to emphasise how awkward and new he is to his new police/duty post.

We are then treated to a mid closeup where we meet the cause of the call, that the person, of which we are very uncomfortably close to him, is cutting other peoples hedges. We then immediately, through a straight cut, see the central character visibly perplexed about what he has just said.
There is also an example of an eyeline match and a match on action as the characters are exactly in the same position with the same angle of tilt towards the central character.

The director has made a deliberate choice to momentarily cut to show us the side profile of this conversation. This is done to emphasise the vastness of their surroundings. We also see a correctly executed example of shot/reverse shot. This makes the conversation feel more natural and does allow us to focus on the comedic elements of their conversation.

The conversation continues to use straight cuts to communicate that this is JUST a normal police-citizen conversation. The camera then zooms in onto Simon's face and then straight cuts to the door opening, this is used to evoke a sense of curiosity as we are intrigued to find out what he has in his shed.

The camera then cuts to the hand turning on the lights to emphasise that something big or exciting is coming - our satisfactions are then immediately quenched. The camera then shows a series of rapid straight shots in which we see what 'other guns' he is talking about.

This shot in itself is quiet funny as we as the audience only expect to see around 3 shots to show his collection but it's the fact that the shots carry on for so long makes us laugh at the almost unbelievable extent of his firearms. I think that the director is playing upon a classic Hollywood cliche where it's: switch, lights and then object. This parody of this technique communicate to the audience that we are in for a funny movie and a funny scene just from the few frames in the shed.

It then cuts to the character's expression being understandably shocked and amazed as he is from the city and rarely sees any guns or weapons bar knives. It then straight cuts into a slow pan where we start to see the vastness of his collection as the officer walk through this leading us up to the main focus of this scene which is the Sea Mine.

It then cuts to this high angle shot which shows us how quickly this comedic scene has escalated into a situation of mild panic. It then cuts to a few more shots where they start talking about the mine. The farmer then bangs the mine where it tips over and makes a ticking sound, indicating to us that an explosion is imminent. This whole mine scene is reinforced with convincing eyeline match as well as match on action shots. You could also pick out the shot/reverse shot use from the mine to the characters.

The fast pace of this scene is communicated through a few rapid shots where it switches from the mine to the expression of the characters. The next shot cuts to an outdoor location located just outside of the shed. The initial wide shot quickly switches to a mid shot as the characters rush out of the barn to find cover to evade the explosion. This mid shot then uses a tracking shot where the two main characters run from the door to the hedge directly in front of them.

This wide shot of the barn exists with  the characters out of shot and just us focusing on the door stays on screen for a good 10 seconds which not only builds suspense but also comedic effect. The mine then fails to explode leaving the officers feeling embarrassed. The wipe/sudden cut shows Simon Pegg making a radio call which emphasises how time has passed as well as his disappointment in not finding anything. The last shot in this clip is when the camera cuts straight top a mid shot with the farmer in the background hitting the mine with the butt of his shotgun. This adds comedic effect as well as a sense of denouement as we are provided with a half empty catharsis at the end. 

Editing Practical

Kevin and Julie - An End

Link to video is above!

Shot List

• Establishing shot, of Julie walking down the hallway
• Pan shot, of Julie walking down the hallway
• OTS shot, of Julie reaching for the door handle
• CU, of Julie grabbing the handle
• Full shot, of the door opening
• Medium shot, of Julie walking through the door as it opens
• Medium OTS shot, of Julie sitting down
• Kevin's POV shot, of Julie sitting down
• OTS shot-reverse-shots, of their conversation
• CU, of Julie taking off her ring
• OTS, of Kevin talking to Julie
• Julie's POV shot, of throwing the ring in Kevin's face
• ECU, of Kevin's teary eyes
• Kevin's POV shot, of Julie getting up and leaving
• Medium shot, of Julie leaving

Script

Int. The corridor outside DF07

Julie walks toward and opens the door.

[close-up and match-on-action of Julie turning the handle]

Julie walks into DF07 and sits down across from Kevinjeet.

[OTS and shot-reverse-shot to follow conversation]

Int. DF07

Kevinjeet

(slides hands down face, revealing sorrowful expression) So its come to this then, Julie?

Julie

(slides ring off [close-up]) You and I both know its been a long time coming.

Kevinjeet

It doesn’t mean it hurts any less… (Julie sighs) Listen, maybe we can try again? I really didn’t mean-

Julie

(scoffs, playing with ring [close-up]) Try again? Try again!? You bankrupted us and you still want me to take you back?!

Kevinjeet

I-

Julie

I’m remarrying, God you’re pathetic! (throws ring in his face before storming out)

[ECU of Kevinjeet’s face, tears starting to fall]

Shot of Julie walking away. [Jump cuts??]

Cinematography LR

Teacher comments

Beautiful depth of field. Good selection of shots. Entertaining and creative response to the brief.

No labelling of shots so cannot judge accuracy. Lack of movement. Check framing.

Student comments

WWW: Creative, good use of shots, nice voice over
EBI: Label shots and include wider range of shots

Self reflection

WWW: Good narrative, great idea/unique and nice opening shots
EBI: Use more movements, label the shots and include a more crisper voice over

Future solutions?

I have decided that I will work on smoother camera movement or ultimately switch to a tripod. I have also learnt that voice overs, if needed this summer, need to be clear and not muffled. I have observed first hand that focus is a key aspect when it comes to filming so I will work on my knowledge on how to convert that into a coursework piece that will give me an A*

Cinematography blog task

White House Down opening

The close up of the phone shows us that this person intends to call someone and that it could potentially be a protagonist. The establishing shot of the sky with the helicopters suggest that this is a highly important and secured scene. The close up of the pocket watch shows that it could be an important item later on in the narrative. The mid shot of the inside of the place introduces us to key characters as they are speaking as well as the camera zooming in on their faces. The close up of the girls face could show that she is happy to see a person or multiple people on the helicopter. A fan or a family member? The wide shot of the Capitol building with the water feature shows that this is set in the White House. The close up of the presidents face shows that he is also a key protagonist in the narrative. It pans onto the building as well as being a tracking shot of the helicopters which establishes that something important is being transported.

This slightly low angle emphasises how they are in control of a situation. The slightly wide shot shows how the setting makes the characters seem insignificant compared to their surroundings. The difference in height between characters could also suggest that maybe one is more powerful than the other.

The low shot again implies power as well as a certain sense of confidence. The use of the close mid shot suggests to us that this IS the main hero and that he is very steely as well as brave. The fact that he is emphasising his beard growth shows that he has been off screen for a long time which is correct.

This low shot AGAIN makes us realise that this is a shot that evokes power instead of weakness. The first and frontmost man is found here to be in power and in the lead and holding the only weapon in the frrame. This close wide shot also includes the guy in the background who is seen as the lesser figure when really he is the more powerful and important one. 

Cinematography practical

https://www.youtube.com/watch?v=TDzfe7FpezE&list=LLfeJttWKQCh95d-35Ioq4BQ&index=2&t=3s

The simple narrative for this is that there is an old man who has lost everything yet still retains the very essence of his joy - his car. The loss of his daughter, wife and pets are emphasised by the extreme close up for his wife and the high angle shot for his pets. His daughter seems powerful and 'strong' shown by the low shot but is tragically taken away by a 'tragic' event. The use of pan is also evident in the movement from the character to the car as well as the establishing shot for setting and action (car crash). I also used a mid shot to diversify the shots when he is talking about his losses as well as sacrifices.