1 / 48

Mastering Filmmaking Techniques: Framing, Lighting, Sound, Editing & More

Learn about essential filmmaking techniques such as framing, lighting, sound, editing, and camera movement to enhance your filmmaking skills. Explore various shots, focus types, angles, lighting styles, sound categories, camera movements, and editing methods used in film production. Gain insights into creating visually captivating and emotionally engaging films. Dive deep into the world of cinema with expert knowledge on cinematography.

ebrady
Download Presentation

Mastering Filmmaking Techniques: Framing, Lighting, Sound, Editing & More

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. FILMIC TECHNIQUE

  2. FRAMING • Long shot • Close up • Medium shot

  3. Framing/Shots: The building blocks of film • Long Shot: a shot taken from some distance; shows the full subject and perhaps surrounding scenes • A long shot often scans a wide area, providing information (literal and symbolic) including setting; it establishes parts of the narrative.

  4. Framing/Shots cont. • Close-Up: The image takes up at least 80 percent of the frame. • Directs the viewer’s attention, emphasizes facial expressions or gestures, etc.

  5. Framing/Shots cont. • Medium Shot: People are seen from the waist up • Considered a “neutral” shot

  6. Close to Medium to Longshifts in frame reveal what’s he’s afraid of/running from

  7. Go to video • Looking at Movies DVD, Chap. 4, 2.01-end • Youtube clip: (1.34 to end): https://www.youtube.com/watch?v=ZBV-3epnw5I&list=PLTUdlUAUJ1XwN64IGeTmLyayW3EjRW6aU&index=2

  8. FOCUS • Soft • Sharp • Rack • Deep

  9. Focus • Soft Focus: A director intentionally puts his or her object slightly out of focus to make the image look softer or clearer

  10. Soft focus • Intentional out-of-focus portrayal to make the image either softer or unclear • Often used in romantic comedies to lighten the mood • Also used in mystery to emphasize uncertainty about a character or situation

  11. SHARP Distinguishes an image with brilliant clarity

  12. SHARP

  13. Focus (cont.) • Rack Focus: When a director shifts the focus from one object to another in the same shot in order to direct the audience’s attention. http://vimeo.com/24761371

  14. Deep focus: when the foreground and background are equally in focus

  15. ANGLES • Low • High • Eye Level • Dutch/Canted

  16. Angles • Low Angle: Camera shoots subject from below; has the effect of making the subject look larger than normal—strong, powerful or threatening.

  17. Angles (cont.) • High Angle: Camera is above the subject; usually has the effect of making the subject look smaller than normal—weak, powerless, trapped.

  18. High Angle

  19. Angles (cont.) • Eye Level: Accounts for 90-95 percent of the shots seen because it is most natural—camera is even with the key character’s eyes.

  20. Angles (cont.) • Dutch angle—shot that is tilted sideways on the horizontal line (also called “Canted angle” used to add tension to a static frame, it creates a sinister or distorted view of a character.

  21. Go to Video • Looking at Movies DVD, Chapter 4, whole clip • Youtube clip: .57 to end: • https://www.youtube.com/watch?v=3vQNwn3A4_A&index=3&list=PLTUdlUAUJ1XwN64IGeTmLyayW3EjRW6aU

  22. LIGHTING • Low key • High key

  23. Lighting • Low-key: scene is flooded with shadows and darkness; creates suspense/suspicion.

  24. Lighting (cont.) • High-key: scene is flooded with light; creates bright and open looking scene.

  25. Lighting (cont.) • Chiaroscuro: • Gradations and subtle variations of lights AND darks within an image

  26. Go to video on lighting • https://www.youtube.com/watch?v=clBT7O3A3wI • 2.58-4:02

  27. SOUND • Diegetic • Nondiegetic

  28. Sound • Diegetic: sound that can be heard logically by the characters within the film • A character coughing or speaking • A dog barking • A radio playing • TV blaring • Traffic • Etc.

  29. Sound (cont.) • Nondiegetic: sound that could not be heard by characters; sound is given directly to audience by director. Teacher flashdrive clips: • Jaws • Stranger Than Fiction

  30. CAMERA MOVEMENT See video clip: https://www.youtube.com/watch?v=yLHNBssyuE4 • Pan: 1.30 to 2.27 • Tilt: 4.00 to 4.45 • Zoom (push): 6.28 to 7:48 • Dolly shot/tracking: 12.13-12.53

  31. EDITING • Fade • Dissolve- will see in Vertigo • Montage- Devil Wears Prada • Crosscutting Godfather clip • Eye-line match/POV shot Hitchcock clip and Vertigo clip • Flashback- Father of the Bride • Shot duration- • Shot/reverse shot- Silence of the Lambs clip; • Match-on-action: 2001: A Space Odyssey

  32. EDITING • Fade • Dissolve- • Saw in A Trip to the Moon • will see in Vertigo

  33. EDITING • Montage- • Devil Wears Prada (basic montage)https://www.youtube.com/watch?v=UD-IVdxdjyQ • More on this later! We’ll develop definition. • Crosscutting Godfather clip: https://www.youtube.com/watch?v=1CDlBLvc3YE • Eye-line match/POV shot Hitchcockclip and Vertigo clip • Hitchcock (6.21 to 7:34) https://www.youtube.com/watch?v=MJQE7Kv-9JU • Vertigo: https://www.youtube.com/watch?v=d-kcczAff40

  34. EDITING • Flashback- Father of the Bride clip: https://www.youtube.com/watch?v=VbRGmOO-Ed0 • Shot duration • Shot/reverse shot- Hunger Games (begin at .28): https://www.youtube.com/watch?v=o1Ey0a6LJRA • Match-on-action: 2001: A Space Odyssey https://www.youtube.com/watch?v=mI3s5fA7Zhk

  35. Match-on-Action and Graphic Match Cut: In Stanley Kubrick’s 2001: A Space Odyssey (1968), a match-on-action (between pictures 1 and 2) and a graphic match cut (involving all 3 images) enables humanity to rocket from prehistory into outer space. An ape-man (picture 1) rejoices in his newfound weaponry, a bone, by tossing it into the air (picture 2), at which point it becomes technology of a far more sophisticated kind (picture 3).

  36. EDITING • Go to Looking at Movies DVD, Chapter 6 • 8:53-14.52: Way Down East clips/analysis • Youtube (whole clip) https://www.youtube.com/watch?v=yUR7JxDvwtU&index=4&list=PLfDjARsCO-ObSsmHETaxFlCQ7rO7msidZ • AND youtube: start of clip to 2.34: https://www.youtube.com/watch?v=CuxeW1h8Hlg&index=5&list=PLfDjARsCO-ObSsmHETaxFlCQ7rO7msidZ • 21.40: Battleship Potemkin Odessa steps (see teacher) • Intertextuality: Untouchables • Clip: https://www.youtube.com/watch?v=QJpRSf4q-hI

  37. MISE-EN-SCENE • Refers to what appears within the frame of a shot, including the costumes, props, acting, lighting and scenery • See next slide for model, then group work to select an image and analyze

  38. medium close up of queen’s face: a feeling of fear and isolation • low angle shot: queen looks powerful, dominating the scene. • Props- Crown (Smaller than her head-faux authority) Big head (selfish,vain) not a very good queen as ego is too big for crown • Hair=red, high collar—parody of Elizabeth I? • Make-up (hyperbolic-faux authority—is she taken seriously?) • Light on the frog's face, shadow on the queen- Good and Evil

  39. MISE-EN-SCENE • Go to Looking at Movies DVD: Chapter 3: Setting and Expressionism • Youtube link: https://www.youtube.com/watch?v=HvSmokTjWF8 • Practice: Philadelphia clip: Andy seeks representation for his wrongful termination suit • Chapter 4 in DVD

  40. FOCALIZATION • Subjective • Authorial • Neutral

  41. SUBJECTIVE FOCALIZATION: • like the 1st person • shots are clearly aligned with one character’s point of view • the audience does not always get all the information because • the info is being filtered through a certain character’s • perspective • eyeline match is often used

  42. AUTHORIAL FOCALIZATION: • like 3rd person omniscient (all knowing) • the director is the “author” of the film • shots that are meaningfully constructed that do not come • through a character’s perspective • a way for the director to convey information directly to the • audience without filtering it through a character’s point of view • uses devices like the long shot and high angle

  43. NEUTRAL FOCALIZATION: • like the 3rd person • straightforward • realistic • information provided without interpretive commentary, • opinion, or specific/particular meaning • includes devices like the medium shot, even lighting, etc.

  44. Focalization Clips • Subjective Focalization: Saving Private Ryan clip: • https://www.youtube.com/watch?v=eQa--gJ412M 1.21 to 2.50 • Authorial and Subjective Focalization: The Sixth Sense clip: • https://www.youtube.com/watch?v=Vc5B-ercdKE

More Related