In this scene Clara starts freaking out because her husband let the kids out of the kitchen and with the help of cinematography, it helps capture it pretty well. Having the camera at a low angle makes it more realistic that this scene is at a child’s point of view. This while shot is done with what’s known as a Point-Of-View Shot meaning the camera is where the eyes of the character would normally be. The tilting of the camera also adds a nice affect to show more of how the point of view is from a child. Also, the music and Clara’s reaction do a great job in capturing just how freaked out Clara is that her kids are free.
The scale for this scene goes from a medium long shot to a medium close up as the camera gets closer to Clara with a deep focus because everything was in focus. The movement for this scene is the tilting of the camera. The framing for this scene is a low level shot and the rate for this scene is slow motion adding a more dramatic effect.
In this scene, Borg comes to Codex to talk to her about Zaboo. He doesn’t want to love with Zaboo anymore and Codex freaks out about it as you can tell when you watch the short clip. With the help of some cinematography, the scene comes together very well.
The level of framing for this scene alternates from when Borg is on the screen and when Codex is on the screen. When Borg is on the level of framing is a high-level camera so it seems like he is looking up at Codex. When Codex is on the level of framing is a low-level camera so it seems like Codex is looking down at Borg since she is standing and he is sitting. Also, When the camera is on Borg it has a deep space where everything is in focus but when the camera is on Codex, there is a shallow space where it only focuses on Codex. For scale, when Borg is on the screen it is considered as a medium long shot and when Codex is on the screen it is considered a close up. All of these features of cinematography play a part to make the scene better.