The obvious eye-catcher in this episode was the exquisite motorcycle
scene. The best parts of the scene were the use of camera movement to
seamlessly transition to a cut.
In this cut the camera pushes in until the tire covers the
entire screen. This acts sort of like a fade to black. The camera then zooms
out to show the viewers a side view of the motorcycle. This sequence, due to
good camera use has a feel of a very smooth match on action cut.
This is my favorite, which was a creative way of doing a
graphic match. The camera continues to track the motorcycle until it accelerates
pass the camera and all we see are the horizontal lines on the wall. Then it cuts
to a graphic match of an extreme close-up of the line formed by Lisa’s eyelashes. The
camera then zooms out to complete the sequence.
And
here’s the entire scene for your viewing pleasure:
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Here’s a couple of interesting shots, which use foreground
framing to provide a narrower focus on the subjects. This narrow focus strongly
directs the audience’s view on the failure and vulnerability of the police
department. They were caught and deceived; the resulting humiliation is communicated
well in these shots.
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