BY: VRAJ PATEL

MISE EN SCENE
PRESENTATION: 22 JUMP
STREET
THE SHOT
THE DOMINANT
DOMINANT IS WHERE
WHERE OUR EYES GET
ATTRACTED FIRST
CAPTAIN DICKSON IS THE DOMINANT IN THIS SHOT BECAUSE HE IS IN
FOCUS AND HE CONTRACTS WITH THE BACKGROUND COLOR
LIGHTING KEY
THE LIGHTING IN THIS
SCREENSHOT IS HIGH KEY
LIGHTING
THE ONLY LIGHTING YOU GET FROM THIS SHOT IS THE LIGHT COMING
FROM THE CEILING. THIS IS A CLOSED BUILDING SO EVEN IF THE SUN
IS OUT THEY WON'T GET ANY SUNLIGHT.
SHOT AND CAMERA PROXEMICS
CAPTAIN DICKSON IS IN A MEDIUM BECAUSE YOU CAN ONLY SEE
FROM THE TOP OF HIS HEAD TO WHERE HIS SHIRTS ENDS AT THE
BOTTOM.
THE MEDIUM SHOT ESTABLISHES THAT HE IS THE SUBJECT IN THIS
SCREENSHOT.

CAMERA ANGLE
THE CAMERA ANGLE OF
THIS SHOT IS POV.
WHILE CAPTAIN IS STARING DOWN SCHMIDT, HE IS LOOKING AT JENKO
AND MOVES HIS EYES OVER TO CAPTAIN.
COLOR VALUES
THE DOMINANT COLOR IN THIS SCREENSHOT IS GRAY. ALMOST
EVERYTHING IN THIS PICTURE HAS A SHADE OF GRAY. FROM WHITE
TO BLACK. THE REASON MIGHT BE BECAUSE THEY ARE IN AN OFFICE.

LENS-FILTER-STOCK
THE TYPE OF LENSE BEING
USED IS A WIDE ANGLE
LENSE BECAUSE IT TAKES IN
A BROAD AREA AND
INCREASES THE ILLUSION OF
DEPTH.
THE LENSE HAS TO BE WIDE ENOUGH TO INCLUDE ALL THE LITTLE
DETAILS BESIDE DNA AROUND THE SUBJECT.
SUBSIDIARY CONTRASTS
SUBSIDIARY CONTRAST IS
WHERE THE EYES GOES
NEXT.
THE SUBSIDIARY CONTRAST HERE IS JENKO BECAUSE BEHIND THE
SUBJECT IS ANOTHER OBJECT THAT HAS A MAJOR ROLE IN THE SCENE.
HIM DANCING IN THE BACKGROUND DRAWS A LOT OF ATTENTION.
DENSITY
DENSITY IS HOW MUCH
VISUAL INFORMATION THAT IS
PACKED INTO THE IMAGE.
IN THIS SCREENSHOT THERE ARE MANY VISUAL REPRESENTATIONS
THAT HE IS REALLY MAD AT SCHMIDT BECAUSE HE IS LOOKING RIGHT
INTO HIS EYES WHILE HE IS STANDING UP WITH A GUN ON HIS DESK.
COMPOSITION
CAPTAIN DICKSON IS CENTERED IN THIS SHOT WITH STRONG
VERTICAL AND HORIZONTAL COMPOSITION. HE IS IN A VERTICAL
POSITION TO SHOW HE HAS POWER AS OF SITTING DOWN.
FORM
THE FRAME IS A CLOSED FRAME. CAPTAIN DICKSON CENTERED IN
THE FRAME AND HE IS NOT TRAPPED.
FRAMING

THE FRAMING IS VERY FREE
IN THIS SHOT
CAPTAIN DICKSON AS THE ABILITY TO MOVE AROUND IN THIS FRAME.
HE CAN ALSO PULL OUT HIS ARMS TO SHOW POWER


DEPTH OF FIELD
THE BACKGROUND TELLS US A LOT ABOUT THE SHOT. WE CAN SEE
THAT THE CAPTAIN IS MAD LOOKING AT SCHMIDT AND WE CAN ALSO
SEE THAT JENKO IS CELEBRATING IN THE BACKGROUND WITH JOY.
CHARACTER PLACEMENT
THE CAPTAIN IS PLACED IN THE CENTER OF THE SHOT AND IT SHOWS
THAT HE HAS THE POWER AGAINST SCHMIDT.
STAGING POSITION
THE CAPTAIN IS SHOT FROM A FULL POSITION. THE SUBJECT IS
LOOKING OUR DIRECTION WITH AN ATTITUDE.

STAGING POSITION IS
WHERE THE CHARACTERS
ARE PLACES.
CHARACTER PROXIMUS

CHARACTER PROXIMUS IS
HOW MUCH SPACE THERE IS
BETWEEN THE
CHARACTERS.

THIS SHOT SHOWS THE FRONT OF THE TABLE AND WE CAN REFER THAT SCHMIDT IS
SITTING RIGHT THERE. SCHMIDT IS ONLY A COUPLE FEET AWAY FROM THE CAPTAIN.
JUNKO ON THE OTHER SIDE IS IN THE BACKGROUND OUT OF THE OFFICE ROOM LOOKING
INSIDE. THE DISTANCE IS ALSO SOCIAL DISTANCE BECAUSE THEY ARE ALL WITHIN A FEET