[Shot Reverse Shot in Close Up] The brutality, reminds us of prevention: People are stepping aside from the escalator handles.
[One Take Tracking, Gimbal work at worms angle] Brutality in Movement: Passengers are keeping a polite distance to avoid any contact in the escalator
[Jump Cuts, Time Remapping, Framing/ Crop] Brutal literally: The interior skin of Central Market is so aged, especially during this period of time, the unclean appearance gives us a sense of insecurity
[Overlapping motion, Slow Motion, Difference overlay] Brutal infrastructure: Escalator is as brutal as the virus, there’s always a known start and a (quasi) known end destination. We now come to a downfall, as literal as a descending escalator.
[Low Angle noir, Overlapping motion] Brutal, but hopeful: As we slowly head back up to the escalator, the doomed intervention’s is lightened by the sky-light introduced at the second half of the interior. The sky light juxtaposes with the interior bulbs and neons, with its natural lighting that contrasts the ink-peeled facade and wasted paints, the mood of the interior space is immediately readjusted. Then, reminds us of the idea of hope, that no matter how brutal and desperate reality may seems to be, there’s always hope as we move on.
Analyse [Shot Reverse Shot in Close Up]
The use of shot reverse shot highlights the passengers’ poetry in motion, which apparently ‘standing still’ and ‘not touching’ are the best way of protection during travel. The shot works on a close up that slowly pans down steadily over the shoulder and at the arm. The emphasise on the arm is to recalls the idea of not holding the handle from the escalator, then accompanied by the short reverse shot, full explains the scenario/ situation of the protagonist (passenger) and completes the dialogue for the viewers.
Bryan Wong Hon Ting
UID 3035574983
Great attempt in testing camera techniques and conveying your ideas analytically with adequate camera techniques. The choice of the Central wet market is a brilliant one during the time of the pandemic. Particularly love your third clip with jumpcuts of the spinning ceiling and static shots of decaying details. The fourth clip is also visually stunning while conveying the sense of movement.