Editing blog task (750 words)
The scene starts at a slow pace till a voice is spoken to the character then it starts to mildly speed up in conjunction with the voice speaking. The camera zooms onto his eyes and quickly shifts to his masks hanged up on the wall and whip pans to the mirror and resumes to a more leisurely paced sequence between the character's reflection. This scene is held for a long period. They create the illusion of him talking to himself by showing the same shot from different angles and switching between them when one side starts to talk. Throughout the scene, they constantly like to switch up the pace to keep the conversation unstable.
The camera shots taken till 00:35 are all slow-paced usually taking about 5 to 10 seconds to switch to the next shot, this effectively increases the tension of the scene while giving the audience more familiar with the setting itself easily communicating to the audience what type of character is within the scene. He even fits the stereotypes of a middle/upper-class man with the first shot being of a big mansion and then we get a view inside to see it adorned with several items like masks and paintings to display his wealth.
The next scene from 00:36 to 00:44 focuses on the several masks within his house. The shots switch back and forth between the man squinting to the masks to give the viewer the perspective of him franticly searching through the myriad of masks on his shelf. The music also helps set the urgency of his search as the sound increases in pace with the shots and cuts off once he finds what he was looking for. This scene's pace escalates very quickly and comes to a halt equally just as fast. Additionally, this scene might also be demonstrating continuity editing since the shots of the character staring are directly next to the masks which are what he's looking at
From 00:45 to 01:20 the scene takes a much slower pace and takes very few cuts in comparison to the previous parts as it focuses on one long continuous shot to push its narrative. It starts with a whip pan to the mirror to begin its sluggish pace as the character ever so slowly approaches his reflection with the character practically taking caution into account when looking towards it. This continues for a while with the music being much lower than his voice but near the end, its presence is much more apparent to the audience. It also seems a bit similar to the music from the scene before but reflecting the ambiance a bit more.
Finally, 01:21 to the end it focuses more on the interaction of the characters with his reflection with the producers treating it as if it were another person (They use the 180-degree rule on the reflection to make it visually seem like a normal conversation with the shots going back and forth between the two despite the background within each shot not changing just the direction of the characters). The actor takes on two different personalities displayed by his facial expression as one of them takes on a timid and vulnerable demeanour while the other has a more vile attitude accompanied by a devilish grin. Near the end, the frightened part of him gets covered in much more harsh shadows compared to the more violent version who only gets half of his face blocked off by the shadows but enough to give the audience a clear sight of him.
Throughout the beginning of this scene, the camera usually tries to keep the character above him taking a slightly low angled shot each time he's on screen. This could be to illustrate his own personal idea of how secure his mental stability is since after the voice appears it no longer stays like this with the scene usually keeping both the reflection and him at an equal angle/height. The juxtaposition between the character and his reflection is illustrated by one side always being superior in a sense as it seems to always belittle him yet guiding him to the crimes he unconsciously committed. This voice over was turned into diagetic sound as it has a place within the narrative with the character taking notice of it and acknowledging its presence.
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