Scene 1: In 1900, the Sims kid was born on Independence Day, and Dad thought his son would be known to the world.
Highlights of the pull tab: Dad's excited expression standing in front of the mirror, in which the doctors and nurses are busy. Saying "I'll give him every chance"
Time lapse transitions with push to dominoes
Time stands still in 1912
The second scene: The children discussed their future ideals and careers with each other. Johnny said that he wanted to be a big man. During the conversation the ambulance came and Johnny's mother passed away.
The key points of the pull: 1. Use a dreamy panoramic composition, which just echoes the word "dream". 2. The composition of the stairs with expressionism, the time-lapse montage of the stairs that can't be completed for more than ten seconds, shows Johnny's uneasy mood, a reality that a 12-year-old child can't face.
Note the card, so did Lincoln and Washington
Look at the trees under the children's feet and in the background, so unreal and magical, like a projection in a mirror
The carriage that suddenly rushed out, the soundtrack also became rapid
Parallel montage, feeling rushing towards the children
Johnny's gate where the carriage with the cross is parked, crowded crowdd
expressionist composition
Crowd after the stretcher
It took more than ten seconds to reach the stairs, time-lapse montage
Here we understand the role of time-lapse montage, let us feel the inner world of Johnny at this time
Scene 3: 21-year-old Johnny becomes a cog in the megalopolis of New York, but he still wants to be better, despite his many ties.
Highlights of the pull tab: 1. The super-metropolis crowd is displayed with overprinting. 2. Use a camera to climb up the skyscraper and superimpose it into a small window, from thousands of workstations to the camera to Johnny's workstation.
Word card transitions, one in 7 million in New York, feel that they can't do it without them
The central axis that seems to be connected to the sky actually separates johnny from the metropolis
Overprinting crowds coming to New York
Cut to show that people have to race against the clock in the upper left corner, which is around twelve thirty-seven
Continuous use of fusion lenses to show that the streets of New York are full of people at any time
Using 'authoritarian' overprint footage, people appear to be walking in cars
The big panoramic shot, you are like ants, quickly switching between the street scene of New York and the ship on the river, even the ship is only this size
Shooting the camera upside down, the camera rotates at this time, giving people the feeling of dizziness
Cut the lens, the lens climbs up, which is the original intention of montage
Massive soundtrack, sky-high office buildings and patios
Cut the lens and shoot the small windows upwards, so depressed, the lens continues to climb
Long shot, climb to parallel position
From one of the small lit windows, the overprint enters
The camera continues to move forward
The long shot is finally pushed to Johnny's desk
Close up of his job number
Johnny at his desk scratching his head
Close-up, he continues to dream of his own success
Johnny beaming, thinking he might win the lottery
Close the book and get ready to run off work
The ants running in the panorama, the background music begins to rush
Subjective shot, following Johnny as he pushes open the door to tidy up the dressing room?
Before the camera breaks, Johnny starts to dress up, and the background music starts to rhythm cheerfully.
A very pleasant feeling of jazz
The brothers started to greet him, and a total of four groups came to talk to him
Once again it shows that everyone is the same, and no one is different
The last bro comes and asks him to meet the girls and bring out the next scene
Johnny said he had to work hard in class and not go
to take the countless elevators downstairs
Continue to the left after the crowd goes downstairs
The little fat man continued to persuade Johnny
people walking out of the building
The two who went to the appointment
Girls come out of the door, and gentlemen come out of the door
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