The continuity sequence I have chosen is from the film '22 Jump street' and consists of the two protagonists trying to convince a criminal gang to sell them drugs. The scene consists of 45 shots, although a large majority of the last 35 shots are the same 6 shots of characters talking from different angles.
The sequence begins with a close up of a car door opening and the foot of Jonah Hill (JH)'s character stepping out of the car. This quickly cuts to a mid-shot of the same character's full body, at the same stage of getting out of the car as the foot suggested. Because of the wide aspect ratio this also functions as a master shot, as it shows us the location of the scene through the use of a camera arc around JH and the proximity between him and Channing Tatum (CT)'s character. The next shot is a medium close-up two shot showing us both of the characters together. CT moves into the shot from the same point in his walk cycle from the previous shot. The two characters then walk together into the warehouse in a long shot. This shot also contains a small pan downwards and left to follow the characters.
The scene then shifts to the large warehouse. The first shot in here is a master shot, showing the two protagonists and two of the antagonists, as well as the truck that much of the dialogue is based around. The protagonists have moved forward a large distance, as shown by the distant entrance in shot. This has been done to move the audience straight to the dialogue between the heroes and villains. The next shot is one of several that is regularly cut to during the following conversation in between shot-reverse shots. It is a medium-long two shot of JH and CT facing slightly right of the camera. In the initial use of this shot the walking action of the two is matched from the previous shot.
The long dialogue sequence mainly uses 6 shots - A close up of JH when he's speaking, a close up of CT when he speaks, a close up of one of the drug-dealers as he speaks, the two shot of JH and CT mentioned earlier, the master shot of the conversation and a mid-long low slight low angle group shot of the antagonists to show their reactions to the dialogue. During the sequence all eyelines meet and action is matched, maintaining continuity.
The sequence begins with a close up of a car door opening and the foot of Jonah Hill (JH)'s character stepping out of the car. This quickly cuts to a mid-shot of the same character's full body, at the same stage of getting out of the car as the foot suggested. Because of the wide aspect ratio this also functions as a master shot, as it shows us the location of the scene through the use of a camera arc around JH and the proximity between him and Channing Tatum (CT)'s character. The next shot is a medium close-up two shot showing us both of the characters together. CT moves into the shot from the same point in his walk cycle from the previous shot. The two characters then walk together into the warehouse in a long shot. This shot also contains a small pan downwards and left to follow the characters.
The scene then shifts to the large warehouse. The first shot in here is a master shot, showing the two protagonists and two of the antagonists, as well as the truck that much of the dialogue is based around. The protagonists have moved forward a large distance, as shown by the distant entrance in shot. This has been done to move the audience straight to the dialogue between the heroes and villains. The next shot is one of several that is regularly cut to during the following conversation in between shot-reverse shots. It is a medium-long two shot of JH and CT facing slightly right of the camera. In the initial use of this shot the walking action of the two is matched from the previous shot.
The long dialogue sequence mainly uses 6 shots - A close up of JH when he's speaking, a close up of CT when he speaks, a close up of one of the drug-dealers as he speaks, the two shot of JH and CT mentioned earlier, the master shot of the conversation and a mid-long low slight low angle group shot of the antagonists to show their reactions to the dialogue. During the sequence all eyelines meet and action is matched, maintaining continuity.
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