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FILMIC TECHNIQUE

FILMIC TECHNIQUE. FRAMING. Long shot Close up Medium shot. Framing/Shots: The building blocks of film. Long Shot : a shot taken from some distance; shows the full subject and perhaps surrounding scenes

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FILMIC TECHNIQUE

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  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

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