Questions and Expectations

Setting up questions and expectations in the audiences mine.

How? - Manipulating the shots - Manipulating the sequences *refer note.

Why?

- Keep the audiences involved

Altering Viewers Perception - Arrangement of shots (combination of shot -a good ratio to shoot for (literally) is 50 percent closeups and extreme closeups, 25 percent medium shots, and 25 percent wide shots. - Change the position from which we see the scene (pov 1st or 3rd person) - Isolate certain parts of the scene / moment - Move from one isolated part to another - Move the view higher or lower (camera placement) - Change the perception of depth focus/field.

 Depth: The ability for an image element to have distance from the camera. Brian Arnold & Brendan Eddy

The illusion of three dimensions photographic depth is created by a geometric design of placing people and props, breaking up the set into several planes, and the proper distribution of lights and shadows. John Alton

FILM SPACE

 method of separating the three-dimensional reality into pieces and showing them to the audience in an arranged order. is a means of using visual manipulation to take real space and real objects and look at them, perceive them and feel about them in many different ways ways that we can command. Brown, Blain.

 Subjective & Objective POV - Subjective (1st person) - Objective (3rd person) - Derived from literature.

P.O.V
Point of view is one of those terms that we cant seem to do without, but its rather vague. The clearest application of the term would be to shots that conform more or less to what a character sees, presenting what we might call optical point of view. But sometimes were given access to what a character sees, hears, and knows less narrowly. Without any optical pov shots, we might still be restricted to a characters range of knowledge. This happens in detective films like The Big Sleep, which confines us almost completely to what Philip Marlowe knows. We follow him into scenes, stay with him as the action plays out, and then leave the scene when he does. Were with him, but not via optical point of view. David Bordwell.net

In his book Engaging Characters, Murray Smith calls this sort of restriction to character knowledge alignment. He points out that it has both objective and subjective sides. Objectively, were spatially attached to a character in the course of a scene or several scenes. Subjectively, we may get access to the characters thoughts, memories, dreams, or immediate perceptions (as with a POV shot). Spatial attachment refers to the limited range of our knowledge; subjective access refers to the depth of knowledge about the characters inner experience.

The Building Blocks Of Scenes

Types of Shots As many film terms, the definitions are somewhat loose and different people have slight variations in how they apply them; they are just general guidelines. Brown, Blain.

Film Grammar
A frame is a single still image. It is analogous to a letter. A shot is a single continuous recording made by a camera. It is analogous to a word. A scene is a series of related shots. It is analogous to a sentence. The study of transitions between scenes is described in film punctuation. A sequence is a series of scenes which together tell a major part of an entire story, such as that contained in a complete movie. It is analogous to a paragraph.

 Wide Shot - a big panoramic scene done with a short focal length lens taking in all the eye can see.

 Establishing Shots - a scene which tells us where we are.

Laying Out The Scene - Establishing the geography is most important within the scene it is very helpful to the audience to know the lay of the land within a scene

Lots shot.

Full Shot - a shot which includes all of the subject

Medium Shot - obviously, it is closer than a wide shot

Full shot

Mid Shot

Two Shot - inter-action between two characters in a scene is one of the most fundamental pieces of storytelling

2 shot

Character Shots
Terms for different shots of a single character.

Close-Ups - CU - BCU/Choker - ECU

Close Up

Big close up

Extreme Close Up

OTS - It ties the two characters together and helps put us in the position of the person being addressed.

Reaction Shot - reacting to what happened, safety cutaway for the editor

OTS

Reaction shot

Insert - isolated, self-contained piece of shot. i. Practical inserts (clock, headlines, file name) ii. Emphasis inserts (tires skid, windows rattle) iii. Atmosphere inserts (contribute to the mood or tone of a scene)