Film notes.pdf

8/20/2019 Film notes.pdf

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EDITING

1. Contrast

One feel at one place

Completely different setting in

different place

2. Parallelism

Jumping forward in time

Screaming to yawning, train

coming

feet of strangers to feet of

some friends

Different things on same

action

3. SymbolismMatch box - sun light

septic hole - eye

4. Simultaneously

Cross cutting

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Back and forth - silence of

lambs

5. Leit motif

music way

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COMPOSITIONDepth

adding perspective

very flat only for dull moments.

alone thingsforeground - mid ground -

background

Size ( within the frame )

how important is that one

Size of the character changing

p l a c e a n d s p a ce - a s p e r

importance

Contrast

Different color

Size of color, shape, height, every type

of contrast that differs from rest

Choice could be made whether

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Shot Type

key shot

Balance

1/3 rule

Horizon

Looking room

Distance

relationships

over the shoulder

emotional shotsHeight

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SPIELBERG

1. Horizontal graphic traveling shots

2. pans - covering fast actins

3. change in staging of actors

4. Actors moving to the forward

5. character emerging in the frame

6. Detail shots revealing whole scenes

7. same room but different shots -

different groups

8. Directional lines

9. Invisible zoom

10.Pan - stop- new action problem

11.POV shots

12.Economy of rhythm andfunctioning internal structure

13.Key frames - staging and blocking

14.Axis breaking

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EDITING TECHNIQUES

1. Jump cut

2. punch in

3. lap dissolve

4. short reverse shot

5. swish pan/ cut

6. Triple take

7. cutting on movement

8. L & T cut

- Extreme long shot - extreme close up

grave scene - Tilt up

Blocking change

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AKIRA MOVEMENT

Movement of nature

Movement of groups

Movement of individualsMovement of camera

Camera moves different for each

actor

Every camera movement has a

beginning, middle and end.

SPEILBERG

1. Horizontal - Graphic traveling

shots

2. PAN - carrying fast actions

3. Change in staging of actors

4. Actors moving to the foreground

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5. Characters emerging in the frame

6. Detail shots - revealing whole

scenes

7. Same room but different shots -

different groups

8. Directional lines

9. Invisible zoom

10.PAN - stop - new action problem

11.POV shots

12.Economy of rhythm

13.functioning internal structure

14.Key frames - staging and blocking

15.Axis break

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EDITING TECHNIQUES1. Jump cut

2. punch in

3. Lap dissolve

4. reverse shot5. Swish pan /cut

6. Triple take

7. Cutting on movement

8. L & T cut - god father

EDITING IN GOOD BAD UGLY

1. wide shot extreme - suddenly a

character entering into closeup

2. No story telling makes a good film

3. Changing blocks in a wide shot

4. All permutations of G, B, U are

made in 3 wide shot.

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5. G and U - 7 B -11 means he is more

in danger

6. Eye direction indicating ugly given

promise from hero , but bad is in

danger

7. Faster extreme close-up shots

8. wide - as the beginning in the end

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ELEMENTS IN A FRAME1. DEPTH OF FIELD

2. PERSPECTIVE

3. MOVEMENT

16mm25mm

short lens - side angle - perspective

Depth stretches - 9mm

-----

Telephoto lens 120mm - perspective

adds

and objects appear near

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SHOTS IN CINEMA

Full

Medium

Close- up shot

Depth shot

low angle

high angle

eye- level

over head

dutch angle

POV

pan shot

Tilt

dolly shot

Trucking

Tracking

Hand held

Depp focus

shallow focus

Rack focus

wide angle lens

Telephoto lens

Normal lens

Zoom shot

Boom shot

Shoulder

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AKIRA KUROSAWA - MOVEMENT

Movement of nature

Movement of groups

Movement of individuals

Blocking stand straight up

Movement of camera

Ending a scene - static

Camera movement has different -

beginning, middle and end

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LYND RAMSAY POETRY

Details

Narration

Poetry

similar toys by actor

Sharing character point of view

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MARTIN SCORSCELoudest moment is followed by silence

Central dramatic in a scene

Hide - creepy - love at first sight -

happiness to a haltChoice of the characters - take the

money, to fight or not, hide the emotion,

Don't over use the silence

Mother - Telephoto lens

Profile - strange feeling

TF profile - to hide, to tease

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SATOSHI KON

1. Match cut

2. Exact graphic cut match

3. mirror cut- Interversing two

different atmospheres

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TRANSITIONS

Rewind the film

Cross the line into a new scene

Zoom out from a Close

Use back frames to jump cut

Objects to wipe the frame

Your are show a key, you expect , but the

cut doesn't happen, in some scenes later

the key is used for the purpose

Editing faster will increase the

sharpness of the audience

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QUADRANT SYSTEM

You can show different stories in a frame

from the beginning

vertical quadrants have a different story

from the beginning

cross quadrants can show relationship

both a same quadrant indicate , both

were fighting for the same person

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CINEMATOGRAPHY - AmericanBeauty

How different two men are presented

What kind of company they work for is

indicated by a simple ugly look of officeSize of the character in the frame says

your everything about its grown

importance

SHAME

Directors say you about the film in the

first ever frame

Characters behind objects , they can

represent them

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LENSES

F/2.8 - Focus

F/9 - everything visible

28mm - 35mm Martin scorsce24mm -

85mm Cinematic

kubrick - 8.5mm

Faces in the wide

Chase scene - 15mm or TF lenses

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HITCHCOCK

Possible ways a scene can happen

Emotions on faces

Size of the image in frame is important

Wide shots- Emotional distance between

characters

Selective use of Close ups and wide shots

We should use dialogue, only when it is

impossible to do it otherwise

Eyes reveal more things about story

POV shot - walking pov

Photographic reality is not reality

If you have pro-occupied things in mind ,

you will loose control over the freenessin creation in set

Characters - running,

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Nobody should suspect a particular

villain in a movie

In a moment of silence , a person does

something trivial this adds to drama.

Information shows the character doesn't

free surpseise X

Bomb ticking - feel in beginning , do

rubbish

Macguffin - show something unwanted

to cheat audience

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KUBRICK

1. 1- point perspective

2. Profile running

3. back shot movement

4. Into perspective

5. various closeup cuts on Jesus

bleeding

6. Wide - dolly - large group

7. Zoom out

8. Long shot an

9. Jump cuts - closeup

10.Walking on side of a group

11.circles in scenes

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SHOT COMPOSITION

Leading lines - Lines in frame, that point

to the subject

Horizontal lines - Show serenity,

inactivity

Vertical Lines - strength and dignity

Diagonal lines - action, imbalance,

insecurity

Rack Focus - Focus shifting from one

object to another, shows relationship

between two objects

Lead room - space needed for objects in

actionNatural Frames - trees, Door ways

Balance - difference in number of

objects in frame

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MOVEMENT

Crane shot down - into the story

Crane shot up - obstance

high to low

- strong, fear

hand held

- danger, shaky

quick pan

- external

push in

- surprise, shock

Dolly in

- tension

Dolly out

- emotion lost

Dolly across

- emotion

zolly in

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HITCHCOCK

1. Pleasant setting

2. Casting for characters

3. Don't cut when it is not needed or

emotion is going seriously

4. Roaming cam - exploring feeling

5. Follow the eyes

6. Hands, feet and objects

7. Profile shot - hiding, suspicious

8. Sound of objects to intensify scene

9. Still shots

10.Stream of consciousness

Using the cutting

10.Leading the audience to the mindof the hero

11.Montages

12.Kelshov effect

13.Tears on camera lens

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14.Changing against the style of

actor's image

15.Character allegiance - Joining

audience

16.Mental state in set designs

17.Huerbert suspense model

a. Secret plan

b. Wait nervously

c. Delaying with comic

d. Almost caught

20. Carefully control what audience

feel every moment

21. Wavering beat sheet

22. Understatement23. Sam suspense model

a. withhold info - rage curiosity

by briefly hiding the story from viewer

b. Hero does wrong

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c. Long cover up

d. Almost caught

24. Palette of worry

a. sounds and silence

b. Stream of consciousness

c. misunderstanding facts

d. Comic energy

e. Facts of paranoia

f. Detail

g. Shot proximity and frequency

h. Malfunctions

25. The more time we spend with it,

the more we get tensed26. Music pulls from reality and adds

fantasy

27. Close to rescue , but missed

Documents

Film notes.pdf