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FILMMAKING

ACT ONE. FILMMAKING. FOUNDATIONS OF. Aesthetic Theory & Communication Application. L4. Basic Screen Theory Mise -en-Scène , “ What’s in the frame?”. Mise -en-scène is a French theatre term meaning, " put in the scene .”

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FILMMAKING

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  1. ACT ONE FILMMAKING FOUNDATIONS OF Aesthetic Theory & Communication Application

  2. L4.Basic Screen Theory Mise-en-Scène, “What’s in the frame?” • Mise-en-scène is a French theatre term meaning, "put in the scene.” • Transposed to film It refers to the entire composition and exposition of a shot, sequence and scene! • In the film sense, it refers to the articulation of aesthetic structure within the cinematic experience in relation to the story. • Mix of camera, characters, lighting, set design, etc.

  3. FILM STORYShot, Sequence & Scene • Frame: a still image within a moving picture or a shot per se; one of many still images which compose the complete moving picture. • Shot: in the film sense, a series of frames that runs for an uninterrupted period of time; a camera which captures the motion of a single event without stopping, and thus, gives the illusion of continuous motion while in actuality it’s a series of seamless connecting still images. • Film: 24 frames per second, Video: 30fps

  4. FILM STORYShot, Sequence & Scene Sequence: a series of connecting shots. Scene: a shot, sequence or a series of sequences that form a story. The method in which one creates, conducts and coordinates shots within a sequential composition in relation to the story is called, Shot Chemistry.

  5. Spatial Dimensions of the Camera View: X – Y – Z • X-Axis, Y-Axis and the Z-Axis • We, the audience, are the Fourth Wall of the Z-Axis • how do we utilize the z-axis?

  6. CameraFraming: Basic Camera Composition • Placement spatial distance between camera and subject - effects the viewers perception of the story XWS, XLS, WS, LS, FS, MS, MCU, CU, XCU • Angle the level of the y-axis from the subjects normal perspective to the camera view of the subject - effects the viewers perception of the subject Normal, Highand Low • Movement a change in camera view through placement and/or angle - effects the momentum and energy level Pan, Tilt, Dolly, Crane & Zoom

  7. Camera PlacementExtremeWide Shot (XWS) Leads the viewers eye more so across the x-axis

  8. Camera PlacementExtremeLong Shot (XLS) Leads the viewers eye more so across the y/z-axis

  9. Camera PlacementExtremeFull Shot (XFS) Leads the viewers eye across both x and y-axis

  10. Camera PlacementWide Shot (WS) leads

  11. Camera PlacementLong Shot (LS)

  12. Camera PlacementFull Shot (FS)

  13. Camera FramingWS vs. LS vs. FS • Similar • Plenty of space between the camera and subject • All shots require the z-axis • Difference • Wide Shot: the focal point runs horizontally along the x-axis • Long Shot: the focal point runs vertically along the y-axis • Extends further through the z-axis over WS/FS • Full Shot: the frame is full and the focal point can be relative; uses both the x and y-axis • *Contains the shortest distance between the camera and subject for a full body shot of the subject, with little room between the subject and the edge of the screen.

  14. Camera PlacementMedium Shot (MS) Less camera-subject distance along the z-axis

  15. Camera PlacementMedium Close-Up (MCU) Viewers eye has little room along the z-axis

  16. Camera PlacementClose-Up (CU) Viewers eye holts on the z-axis

  17. Camera PlacementExtreme Close-Up (XCU) No space along the z-axis (compressed)

  18. Camera AngleNormal, High&Low • High Angle: the camera lens aims downward • Low Angle: the camera lens aims upward • Normal Angle: human perspective (eye-to-eye) • Normal high angle; “looking down” (taller person) • Normal low angle; “looking up” (shorter person)

  19. Camera AngleHigh View

  20. Camera AngleLow View

  21. Camera AngleNormal View

  22. Camera MovementPan, Tilt, Dolly, Crane& Zoom Pan: camera remains stationary as the camera view rotates along the x-axis or horizontal plane. Tilt: camera remains stationary as the camera view rotates along the y-axis or vertical plane. Dolly: camera placement moves and changes position through the z-axis on the horizontal plane; referred to as a Tracking Shot (includes Steadicam). Crane: camera placement moves and changes position through the z-axis on the vertical plane. Zoom: camera remains stationary as the camera view moves within the z-axis; gives the illusion of moving through space.

  23. CameraFraming Basic Camera Composition • Camera Placement: the distance between the camera and the subject can add significance to the subject and/or subject matter in relation to the story. Can enhance the intensity, emotional tension and energy density within Shot Chemistry. • Ex. WS cuts to XCU • Camera Angle: the camera can add dimension to the subject’s state (emotional, beliefs, etc.) to amplify or change the perspective of the subject and subject matter. Dependant on the degree of the angle. • Ex. Harsh vs. Normal Angle • Camera Movement: increases the energy level of the movie. Utilizes both effects of camera placement and angles. • Ex. Stationary MS vs. Tracking Shot MS

  24. Camera FramingTypes & Terms • First person: • Point of View (POV) • Third Person: • Over The Shoulder Shot (OTS)(Normal Angle: CU/MS/MLS) • Video Game Viewpoint (High Angle FS) • Establishing Shot (XWS, WS, XLS, LS, FS or CU, MS, etc.) establishes the setting • Security Camera (High Angle: WS/LS) • Stadium Shot (High Angle XWS/XLS, FS) • Montage of close-up shots

  25. Camera FramingTypes & Terms Birds Eye View and Worms Eye View Vertigo Shot (AKA Dolly Zoom) Two Shot Master Shot (One Shot Wonder) Reaction Shot Insert Shot(s) Dutch Tilt Freeze Frame

  26. Camera FramingEst. Comfort/Safe Zones • Nose Room, Head Room and Lead Room • Determined by the distance between the subject (head/nose/eyes) and the edge of the screen.

  27. Camera FramingEst. Comfort/Safe Zones • Natural Dividing Lines • Try not to cut off at the joint! • Let the viewer project the rest of the image in the Off-Screen Space!

  28. Film LanguageCamera-Subject Relationship • Breaking the Fourth Wall • Character looks directly through the camera (via the z-axis) to the audience • Why? Maybe to intensify the scenes energy level, or to send a direct message to the viewers, or for aesthetic reasons.

  29. Camera SequenceTechniques Deductive: start outside of the event, move in Inductive: start inside of the event, move out Relative: subjective to the purpose of the scene

  30. Camera SequenceDeductive • Start wide (establish setting) and move inwards to the event (details) • WS > MS > CU • Zoom, Dolly or Shot Sequences • Used as an opening sequence to a scene • Looking at an event • Classic form of storytelling • Comfortable: audience knows their locale

  31. Camera SequenceInductive • Start in close (contextual details) and move out from the event (reveal setting/general overview) • CU > MS > WS • Zoom, Dolly or Shot Sequences • Used as an opening sequence to a scene • Looking into an event • Can add tension: audience is getting details before they know the ‘bigger picture’

  32. Camera SequenceRelative • Subjective to the purpose of the scene • Shot according to what you want to achieve • Series of shots around the event • MS > XWS > CU • Both looking into and looking at an event • Usually used afteran opening sequence • Unnatural, uncomfortable or unwelcoming

  33. Camera Structure180° Rule (Guideline) Main Priority: Dialogue Shot Chemistry Safety Rule!

  34. WATCH SHORT FILM!NEVERWONDER • Observe and analyze the Camera Framing! • Placement, Angle, Movement • Types and Terminology • What Camera Sequence does the film use? • Deductive, Inductive or Relative • Is the 180° Rule broken? • If so, how and why? • Explain the Shot Chemistry!

  35. SHOT CHEMISTRY 101Questions to Keep in Mind… • Psychological Significance and Purpose • How can a single shot effect the meaning (context and subtext) of the dialogue or action? • How can a series of shots manipulate the original effect of a single shot? • How can shot chemistry change the original orientation of the story?

  36. SHOT CHEMISTRY 101 TIP Do not shoot a scene around and for the audiences knowledge Shoot around the main character and the higher purpose of the scene

  37. NEXT TIME…Changing Our Angle! • TODAY: Basic Camera Composition • Placement, Angle and Movement • NEXT TIME: Advanced Camera Composition • Aspect Ratios • Golden Mean & the Rule of Thirds • Frame Gravity & Magnetism • Depth of Field (Focus) • and much much more!

  38. -FIN-

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