The scene I chose is from Michael Bay’s film Transformers: Revenge of the Fallen (2009).

Here’s the link to the clip:

https://drive.google.com/open?id=1zxeE7JVCVRSNnmXqW4hdyTl-jjkBknLp

This is a chase scene from Michael Bay’s Transformers: Revenge of the Fallen (2009), where Sam Witwicky (Shia LaBeouf) has a goal to escape the hunting of Decepticons, and use the ‘matrix’ (which is temporarily in dust) to revive Optimus Prime. Along with Sam, this scene also involves his girlfriend Mikaela (Megan Fox), Major Lennox (Josh Duhamel), Sergeant Epps (Tyrese Gibson) and several transformers.  

In this analysis I will discuss the characteristics of Michael Bay’s film, with examples from this scene coverage. The scene starts at 02:11:28 of the film, after one bird view extreme wide shot and an eye level wide shot of a jet then we see a crosscut to what is happening on the ground with the main characters. It is a two shot close up on Lennox and Epps, both in focus, while when the film cuts to Sam and Mikaela and back, it becomes a close up on Lennox only, and the depth of field seems shallower which results in Epps’s shoulder out of focus though still in the frame. This variation of shot setup is common in Michael Bay’s film, even if it’s a simple shot-reverse-shot, he alternates each of them, constantly feeds audiences with new information, variations to keep them hyped, draws their attention to the film. This excitement is the first and most important key to Michael Bay’s films. 

Then there is a classic Michael Bay style humor achieved by cinema techniques, more specifically, through mise en scene, When Lennox and Epps (also Mikaela but she’s not too visible) are waiting to sprint back to Optimus, Epps says he wishes the jet got good aim because he told them to shoot at the orange smoke. As they speak, the orange smoke is staged to rise at the back. This is a precise timing because if the smoke appears earlier or later, it won’t achieve the comedic effect. When Lennox looks at the smoke, which is right next to them, his expression gives out a complex mix of frustration and disappointment to Epps. It is apparent to the audience now that Epps made a mistake, and it’s confirmed immediately by Epps saying “it’s not my best toss.” Under the intense circumstance, it would be considered a disastrous accident, but Michael Bay made this shot full 10 seconds, which is very long comparing with the other shots in the scene. It temporarily relieves the tension and creates some amusement, giving the audience a break before the next intense chase–and–run. 

As they run away from the bombs and Decepticons, the chasing sequence begins. In this sequence, there are several characteristics of Michael Bay’s coverage of the scene worth talking about. First is the camera movement in this coverage, Michael Bay uses tracking shot from sideways eyelevel slightly closer to the ground to capture a wide shot of the group running out of smoke. Then a handheld shaky mid shot of Epps running towards the audience, it is the only shaky camera deployed in this coverage. Michael Bay did not exploit this immersive technique of shaky cam to follow the characters all the way. Instead, he uses another mid shot on Lennox and Mikaela, still handheld but more steady, it slightly tilts as they move, followed by two more shots of Ironhide (an Autobot) running alongside with them before Sam takes off to rescue Optimus. In the last shots, the first one is a wide shot well composed showing how small humans appear in this battle field full of giant robots and machines, their determination and courage of protecting the fate of human race is emphasized. In the same shot we see Ironhide runs out from smokescreen with his hand pressing on his burning chest. Then they cut to a narrower shot more focused on Ironhide to show some details like he dropping his cannon from his shoulders meanwhile camera tilts when Lennox and Mikaela running across, showing this dangerous, intense and life-depending situation. Michael Bay uses combination of complex camera movements, besides to keep the audience fed with new information as mentioned above, they also creates a immersive filmic experience for the audience, as if they are in the battle field, watching this happen in person instead of through a camera. Michael Bay always pay attention to small details that enhances this immersive experience. For example, later in this scene, when Megatron is targeted by heavy firepower, he transforms into a jet and retreats. During his retreat, he hits the ground several times because he is falling back in hurry and off balance. We can see the camera shakes each time Megatron is hit or falls on the ground. 

 

Another characteristic of this coverage is Michael Bay’s use of slow-motion, this is kind of his brand. When Sam is blown away by Megatron’s powerful weapon; when Mikaela runs in crossfire and throws herself at the boy she loves; and the most beautifully composed shot in this coverage: a dutch angle close up on Mikaela, her long curly hair hangs through which some sunshine dimly come through, and a red-white helicopter flies above her. Slow-motion is unrealistic in real life, but it is perfect for a dramatic moment in film. With slow motion, the audience can feel the tension when Sam’s life is hanging by a thread, or maybe just appreciate Megan Fox’s gorgeous face. Plus what Michael Bay always does with it, make the explosion look ‘super cool’. Either way, slow motion is a great tool to render a significant moment in a coverage.

 

There’s also the use of crosscut that is significant in this scene, but that is more of an editing aspect than decoupage, we won’t discuss it in this analysis. 

When people think of Michael Bay, first thing comes in mind is explosion and show motion. That is accurate to some degree, but in fact his coverage of scenes is very complex. These scenes usually have tons of designed camera movements, staging in terms of mise en scene, and each shot contains loads of information. Most importantly, his coverage gives the audience very immersive experience, and it’s the best treat in cinema with a large wide silver screen and proper sound system. Michael Bay used to represent the highest quality of blockbusters before Marvel movies invaded cinema.