cinematic techniques powerpoint · 2017. 11. 16. · §note examples from the mini-movie of shots...
TRANSCRIPT
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WorkingwithCinematicTechniquesEnglishIModifiedSB2.15
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FilmAnalysis§ Muchlikehowawriterusesstylisticdevicestoachievespecificeffectsin
theirwriting,directorsusecinematictechniquesintheirfilmsforspecificpurposes.
§ Inordertoanalyzeafilmthroughcriticalviewinglikeyoudoatextincriticalreading,youmustunderstandthetoolsthatfilmmakersusetocreatetheirvisualmasterpieces.
§ Followalongonpg.134– 135inyourSpringboardbookaswelookatexamplesofthevariouscinematictechniquesthatdirectorshaveattheirdisposalandalsodiscusswhattheuseofthattechniquerevealsoraddstothepiece.
§ Takeadditionalnotesasneededonthechartprovidedonpg 137tohelpyourememberthevisualsprovidedforeachofthesetechniques.
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SHOTSandFRAMING,CAMERAANGLESandCAMERAMOVEMENTS§ AllcomparetohowawriterusesPOINTOFVIEW
§ Shot:asinglepieceoffilmuninterruptedbycuts
§ Ofcourse,differentshottypes,anglesandmovementsachievedifferenteffects
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ESTABLISHINGSHOT- Oftenalongshotoraseriesofshotsthatsetsthescene;isusedtoestablishsettingandtoshowtransitionsbetweenlocations
FromtheTVShow“Seinfeld”
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LONGSHOT– ashotfromsomedistance.Iffilmingaperson,thefullbodyisshown.Itmayshowtheisolationorvulnerabilityofthecharacter
Fromthemovie“Titanic”
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MEDIUMSHOT– themostcommonshot.Thecameraseemstobeamediumdistancefromtheobjectbeingfilmed.Amediumshotshowsthepersonfromthewaistup. Theeffectistogroundthestory.
Fromthemovie“Spiderman2”
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CLOSEUP– theimagetakesupatleast80percentoftheframe
Fromthemovie“TheShining”
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EXTREMECLOSEUP– theimagebeingshotisapartofawhole,suchasaneyeorahand
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TWOSHOT– ascenebetweentwopeopleshotexclusivelyfromananglethatincludesbothcharactersmoreorlessequally.Itisusedinlovesceneswheretheinteractionbetweentwocharactersisimportant.
Fromthemovie“Tangled”
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EYELEVEL– ashottakenfromnormalheight;thatis,thecharacter’seyelevel.Ninetytoninety-fivepercentoftheshotsseenareeyelevel,becauseitisthemostnaturalangle.
Fromthemovie“Toys”
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HIGHANGLE– thecameraisabovethesubject.Thisusuallyhastheeffectofmakingthesubjectlooksmallerthannormal,givinghimorhertheappearanceofbeingweak,powerlessortrapped.
Fromthemovie“Psycho”
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LOWANGLE– thecamerafilmssubjectfrombelow.Thisusuallyhastheeffectofmakingthesubjectlooklargerthannormal,andthereforestrong,powerful,andthreatening.
Fromthemovie“AliceinWonderland”
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CAMERAMOVEMENTS§ Pan– astationarycameramovesfromsidetosideonahorizontalaxis
§ Tilt– astationarycameramovesupordownalongaverticalaxis
§ Zoom– astationarycamerawherethelensmovestomakeanobjectseemstomovecloserorfurtherawayfromthecamera.*Withthistechnique,movingintoacharacterisoftenapersonalorrevealingmovement,whilemovingawaydistancesorseparatestheaudiencefromthecharacter.
§ Dolly/Tracking– thecameraisonatrack thatallowsittomovewiththeaction.Thetermalsoreferstoanycameramountedonacar,truck,orhelicopter.
§ Boom/Crane– thecameraisonacrane overtheaction.Thisisusedtocreateoverheadshots.
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CAMERAMOVEMENTS
UseofDolly/TrackingandBoom/Cranetoshoot“Transformers”
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LIGHTING
§ Comparestohowawriterestablishestoneandmoodintheirwork
§ Lightingcreatessignificantemotionalresponsesfromtheaudiencebasedonwhatpeopleassociatewithlightanddarkness
§ Lightingeffectsclarity,realismandemotion
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HIGHKEY– thesceneisfloodedwithlight;creatingabrightandopen-lookingscene
Fromthemovie“Shawshank Redemption”
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LOWKEY– thesceneisfloodedwithshadowsanddarkness,creatingsuspenseandsuspicion
Fromthemovie“Insidious”
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BottomorSideLighting– directlightingfrombelowortheside,whichoftenmakesthesubjectappeardangerousorevil
Fromthemovie“TheBlairWitchProject”
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FrontorBackLighting– softlightingontheactor’sfaceorfrombehindwhichgivestheappearanceofinnocenceorgoodness,orahaloeffect.
Fromthemovie“ThePrincessandtheFrog”
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EditingTechniques§ Comparestohowawriterusessyntax
§ Cut– twopiecesoffilmaresplicedtogetherto“cut”toanotherimage
§ Fade– canbetoorfromblackandwhite;impliesthepassingoftimeortheendofascene§ Fade-In– darknesstobrightness
§ Fade-Out– imagegraduallygetsdarker
§ Dissolve– akindoffadeinwhichoneimageisgraduallyreplacedbyanother
§ Wipe– anewimagewipesoffthepreviousimage(quickerthanadissolve)
§ Flashback– cutordissolvetoactionthathappenedinthepast
§ Shot-Reverse-Shot– ashotofonesubject,thenanother,thanbacktothefirst;oftenusedforconversationorreactionshots
§ Cross-Cutting– cutintoactionthatishappeningsimultaneously;createstensionorsuspenseandcreatesaconnectionbetweenscenes
§ Eye-LineMatch– cuttoanobject,thentoaperson;canrevealacharacter’sthoughts
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Sound
§ Comparestohowawriterestablishestoneandmoodintheirwork
§ Diegetic– soundthatcanlogicallybeheardbythecharactersinthefilm(dialogue,backgroundnoise,soundofthingsinthescene)
§ Non-Diegetic– soundthatcannotbeheardbythecharactersbutisdesignedfortheaudiencereactiononly(ominousmusicorsounds)
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ApplyIt!§ WatchtheguidedviewingoftheclipfromRockyIV.http://www.youtube.com/watch?v=VgSMxY6asoE§ CLAPeverytimeyouseethe“cut”!§ Noteexamplesfromthemini-movieofSHOTSandFRAMING,CAMERAANGLES,CAMERAMOVEMENTS,LIGHTING,EDITINGandMUSIC/SOUNDonthechartonpg.137inyourSpringBoard book.Yourteacherwillstopthevideoasneededfordiscussion/note-making.