#shotflow

As we continue to explore variations on the hook-exposition-story-resolution formula, we find more and more deviant variations. Today's shot flow has something unprecedented: both of the first two shots are hooks. They both tease information but never paint a full picture. We first learn that Kaji is speaking. Then only that he's speaking to Gendo and Fuyutsuki. During neither of these shots do we have enough context to make us feel like we know what's going on. It is not until the third shot that the exposition kicks in, giving us the context we desperately needed - the larger setting in which this interaction is taking place. This third shot being the vastly longest shot of the scene is also responsible for the story portion of the 3-act structure. Finally, the last shot wraps us up - the punchline resolution. Building on top of the story set up previously, it punctuates this scene and propels us into the next. Anno has a knack for writing these lines that leave you wondering how the interaction proceeded afterwards. With a relatively challenging line from Kaji, we're made to wonder how Gendo and Fuyutsuki reacted to it. Yet we're not able to find out, as the editing moves us right along to the next scene. Despite the theoretical dissonance created here and whenever else Anno deploys the technique, it astonishingly always works cinematically. I also love the minimalism with the overall shot flow, with the punchline shot being the same shot as the initial hook shot. #shotflow #庵野秀明 #hideakianno (at Radio City Music Hall) https://www.instagram.com/p/Bp2EvY8nka0/?utm_source=ig_tumblr_share&igshid=ewy217uokx7k

What are you #editing tonight? I'm working on my next #actuality #film #edit assignment. Breaking down and organizing #footage. Did my #syncpull and #broll pull. Now I'm making my first pass at trimming up the handles and organizing #sync #shotflow. @insidetheedit @RavensbourneUK

So far in our investigation of 4-shot shot flows, we've gotten accustomed to the basic formula of hook-exposition-story-resolution. We're going to switch that up today. In scene 5 of NGE2, we'll first notice that the order of these first two shots is flipped, with us getting exposition on the location before we're shown a hook. The initial shot here is an extreme wide shot on the aftermath of the battle with the 3rd Angel, setting up the location. We're then shown a tight shot of a television with no context. Visually, this hook forces us to ask, "What kind of camp site is this? Who's flipping channels on the TV?" Further, the dialogue also hooks us to ask, "What is the government doing exactly? What is public scenario B-22?" All of these mysteries, whether visual or dialogue-based, are left unresolved until the next shot. This next shot is visually a re-establishing shot. It serves as exposition once again for the interior of the camp site. We are shown the layout of the interior and who was watching TV all along; and through dialogue, we are given the answers to the plot mysteries previously set up. As the longest shot in the scene, this third shot also follows up with its usual responsibility of story, expressed through a conversation between Misato and Ritsuko. As for our last shot, we have a return to formula with our usual punchline resolution shot, with Misato delivering in sudden earnestness. #hideakianno #neongenesisevangelion #庵野秀明 #shotflow (at Manhattan, New York) https://www.instagram.com/p/Bprr2uOHbl-/?utm_source=ig_tumblr_share&igshid=wse7842c16p4