Archive for the ‘frame by frame’ tag
INT. OFFICE – DAY
FIRE and SMOKE.
A computer EXPLODES as a MAN, 40s, JUMPS OUT THE WINDOW.
He crashes through, headfirst, as a fireball chases behind.
EXT. SKY – CONTINUOUS
The man, airborne, looks behind at the fireball.
Suddenly – gravity wins and he DROPS.
EXT. OFFICE – CONTINUOS
PEOPLE race out of the building. Scream.
The Man SLAMS down. His body splatters on the concrete.
A computer monitor smashes to pieces on the ground next to him.
An EXEC, 50s, walks past the dead Man. Looks down, kicks his body.
Yep, it works! This is going to be great for my next Frame by Frame so I’ll be able to include sections of the script.
Say what you will about Michael Bay, the guy knows action and how to blow things up. We are going to examine, frame by frame, the below scene. I was going to do it all at once, but after spending 2 hours on 30 seconds I realized I’ll have to break this up.
We will start with the pre action sequence action sequence where Will Smith has been shot and Martin Lawrence and the woman (Blanking on her name right now) have to get him out.
Watch the scene here (Just the first 43 seconds)
Note: I say ‘we’ all the time because that’s how I tend to write. I was 14 when Bad Boys came out so, unfortunately, had nothing to do with its production.
In this 43 second scene we cut between Smith / smaller explosions in the hanger / Martin Lawrence / woman in the Porsche saying a variation of ‘get in the car’ .
Before we look at each cut, lets check out the two major camera setups. I can’t draw to save my life, but this gives an idea of whats going on.
This is the setup for when the car enters. There are 4 camera angles used, marked 1,2,3,4 in order of appearance. Note that at the end of the interior sequence (shots 23 and 24) cameras 4 and 3 are used again. 3 is used for when they drag Smith into the car, and camera 4 is used when the car reversed out. The same follow pan is used for the cars exit as was used for its entrance.
This is the basic setup for the shots of Smith, Lawrence and the woman (S, L and W respectively. Yes that is an S and not a 5!) Note that there is one other shot, frame 18, that is a fourth setup not diagramed here.
Read the rest of this entry »