Scene Analysis

1. Scene Analysis :: Assignment #6 :: Alicia Yeargin :: Professor Whitehead :: ART310, Spring 2011

2. Mass Effect 2 :: Normandy SR2 Reveal (Cutscene)

3. Introduction The window lets players know there’s something to look at, but they can’t see what; the size of the window suggests it’s something big. Characters’ attention is focused on what is beyond the window. “Bracing” posture that signals he’s ready for the surprise, which feeds into player’s anticipation Camera angle is from behind, giving players the same vantage point as their character without revealing what the surprise is. Joker (right) informs Shepard/Player (left) that there is something to see that he will like. They are at the window, ready to see it.

4. Shadow Tiny lights/windows give a size reference. Silhouette merely hints at what it could be—a ship, but there are no visible details whatsoever. Location within such vast interior architecture suggests that this is something huge, expensive, and worthwhile. Cut to dark silhouette of the subject within the unlit, large bay. No details can be seen about it.

5. Light Reveal 1 The series of lights plus the camera movement keep the player’s eyes moving along the length of the ship. Light 1 Light 2 Second SR2 Logo Light 3 Quick reveal of SR2 logo, which is significant to players who’ve played the first Mass Effect. Reveal of Cerberus logo, reminding players of their current situation. Lights reveal that the subject is indeed a ship, and gradually lights switch on, illuminating the length of the ship, letting players see the SR2 and Cerberus logos.

6. Light Reveal 2 Tiny lights/windows give size reference to the room. Tiny lights/windows give size reference to the ship. Light 2 Light 2 Light 3 Light 1 The series of lights plus the camera movement keep the player’s eyes moving along the length of the ship again. Camera switches to a side view of the ship, and another series of lights come on, lighting the ship.

7. Logo Swipe No size reference in this shot. Very shiny, attracts attention, carries the message that this is indeed a high-quality ship The way the camera zooms out as it moves to the ship’s back gives the player a feeling for its size. SR2 Logo Focus, impresses upon player the quality of the ship, also in case players didn’t catch the first quick glimpse at the logo. Camera cuts to the logo and then slides back away from the ship, revealing the backside of it. Space around ship provides size reference

8. Full Body Reveal Light/shiny focus on SR2 logo attracts attention. Volumetric lighting places focus on ship and sets it in a “reverent” light. Massive amount of space around the ship provides size reference for both location and ship. The camera finally pulls out and around to allow players to see the whole entire body of the ship for the first time.

9. Reaction Shepard is impressed, although it’s a little hard to tell. (Shown through dialog.) Cutting away from the ship and to the player’s character provides a moment for the player to feel an emotional response right along with Shepard. Camera cuts to Joker and Shepard, providing the emotional response to the surprise. Shepard wants to know the name of the ship.

10. Anticipation for Second Surprise Light and strong contrast brings the player focus here. Player focuses on the ship as it is the one recognizable object in view. Camera cuts to the huge doors of the ship bay as they gradually open, revealing the ship. At this point, the player knows what he/she is seeing, but he/she doesn’t know why or what to expect. He/she is expecting something though.

11. Name Reveal Volumetric background lighting to provide “reverent” lighting. Key lights Lights’ size provide size reference for ship and room. The name Normandy is well lit, centered, in clearly displayed, in clean lettering. Tiny/windows lights again provide size reference, which is important again to emphasize the size of the ship name. A single, still camera shot centers on the name of the ship, as this is of extreme significance and importance to the story.

12. Starting Up Camera reveals that the doors are open, players can now see the outside. The lighting is at its peak, making no shadows or particular points of interest. The camera angle plus the direction of the ship direct the player’s focus to the outside, preparing him/her emotionally that is where they are headed. Lights coming on shows life coming to the ship, showing that it’s ready to go. Camera swings to the back of the ship, showing that the bay doors are open, and that the void of space awaits outside.

13. Movement Background key lights keep the ship as the focus but do not detract attention from the front of the ship. Shiny engine lights don’t necessarily detract attention, but they look super cool. Normandy name flashes by right after. Main key light keeps focus on the front of the ship. SR2 Logo flashes by, and light shines directly on it. Camera switches to the front of the ship as it moves forward out of the ship bay.

14. Departed Tiny lights/windows provide size reference for room. Low lights, so there’s no real center of attention. Huge, empty void. There is a last lingering shot of the empty bay, expressing that the ship has now left this place.

15. Coming Out The fact that the ship is moving keeps it the center of attention since attention is almost always automatically drawn to anything that moves. Light contrast also works on ship once it reaches the lit area. Light is also slightly volumetric so “reverence” theme is continued. Bright light provides contrast so the base is visible against the dark void of space. Ship soars off into the void; ship lights eventually become similar to stars and disappear amongst them. The ship’s movement is from the light and safety of the base toward the empty, darkness of space. The ship flies out of the base and disappears into the void.

16. The Void Last shot lingers on the void of space. The ship is nowhere to be seen. The shot impresses upon the player the monumental weight of what is to come for his/her character as the game unfolds.

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