This week, I need to adjust the narrative sequence of my shots to make each shot feel more connected rather than isolated.
I need to remove the close-up shot of the eyes and make the following adjustments to the sequence of shots 1-5：
The original sequence had some inconsistencies in continuity, particularly in how the protagonist reacts, the cut to the police car approaching, and then the close-up of the eyes. The transitions between these shots felt somewhat disjointed. Additionally, the sequence from a full-body shot to a long shot in the opposite direction, followed by a close-up, created a sense of visual confusion.
George suggested that I could show the reflection of the approaching police car in her eyes instead. I think this could be a great effect to add later in post-production, but for now, I will remove the close-up of the eyes in the previs。
Here are some shots I edited the order:
After adding the shot of placing the ball into the robot, it feels much more coherent. It also shows their reaction to the approaching police car, and then the camera moves down, giving the audience an expectation that they are preparing to escape.
In this shot, last week I tried having the character do a spin in place while avoiding the police car. She would stretch her arms to maintain balance, but I later realized this might feel a bit odd, as someone fleeing wouldn’t perform such flashy movements. It also felt unclear what she was doing.
So, I’ve decided to simplify this shot of her flying out：