This week, based on George’s feedback, I added camera shake when the police cars fly by and a delayed tracking effect when the protagonist is flying. I also adjusted the length of some shots.
Problems:
I realized that if every shot is just the police cars chasing and the protagonist running, it will feel repetitive and might bore the audience. So, I thought about how to make the scene more engaging and add more interaction between the protagonist and the police cars.
Solution:
I came up with an idea where the protagonist, after spotting the police cars, leaves a bomb on the crane she’s standing on. When the police cars get close, she detonates it, blocking some of them. This way, the number of police cars keeps decreasing. So, I added this shot:
But in later feedback, this scene of running, stopping, and pressing a button made the audience confused about what the character was doing, so I removed it.
George suggested that I look for movement inspiration in Arcane Season 2, such as having two police cars crash toward the protagonist while she dodges.
So I went to watch the shot in Arcane Season 2, I learned some key poses for characters steering a flying vehicle and how the camera follows the protagonist during flight.
I mainly reference some of Ekko’s dynamics and shots. I noticed there were some great shots.
This shot transitions between the puppet, Ekko, and Viktor, but the cuts are logically connected.
The first scene is a close-up of Ekko flying past a puppet, lasting about 1.5 seconds.
And then, the shot shows the overall scene (front view), with the puppets neatly lined up while Ekko flies in from the distance.
The shot focuses on Ekko’s blade, smoothly transitioning into the next battle scene.
The shot continue to show the overall scene, but in side view.
I think this shot is very good, it shows a dynamic curve and unexpectedly pulls from far to near, the previous shots seem to follow this logic. And Ekko’s transition from far to near is very fast, after about 3 frames. and the whole shot lasts about 1.5 seconds.
Since Ekko’s action is to the right and Ekko is already very close to the camera, it’s natural for the next shot to switch to Ekko’s point of view：
The camera is given to Ekko flying past a golem, and then the golem looks back at him after Ekko has completely flown away.
Top version show the dynamic curve.
Front version:
Side version:
I wanted to go for a scene where the protagonist brushes up against two police cars and it moves in a circle.