J. Arzt, Silver Screen Film Terms Silver Screen Comes to the Local Scene

  • View
    214

  • Download
    0

Embed Size (px)

Text of J. Arzt, Silver Screen Film Terms Silver Screen Comes to the Local Scene

  • Slide 1

J. Arzt, Silver Screen Film Terms Silver Screen Comes to the Local Scene Slide 2 J. Arzt, Silver Screen Terms Related to Filming Shot composition Editing Special Effects Slide 3 J. Arzt, Silver Screen Settings Set: a constructed place used for filming Location: a real place that is not built expressly for filmmakers Phillips, pp. 9 and 11 Slide 4 J. Arzt, Silver Screen Sets in Mystic Pizza A set was built to look like the inside of Mystic Pizza Shots inside of Daisys and Kats house Dinner dining room scene at Charlies house Shots inside of JoJos house Slide 5 J. Arzt, Silver Screen Location Settings in Mystic Pizza Shots outside of the pizzeria Shot of Mystic Drawbridge Shot of church Shot at lobster yard Shots at the docks Slide 6 J. Arzt, Silver Screen Sets in GWH Therapists offices Skylars dorm room Dining room of Chuckies house Slide 7 J. Arzt, Silver Screen Location Sets in GWH L Street Tavern Shots of Southie (South Boston) Shots of exterior of MIT, Harvard, and Bunker Hill CC Shots at the coffee caf in Harvard Square Slide 8 J. Arzt, Silver Screen Establishing Shot When a film begins or when it shifts to a new setting, filmmakers often use an extreme long shot to present an establishing shot, a view of the surroundings. Once viewers are oriented, the camera normally moves in closer to the subject. p. 76 Phillips Slide 9 J. Arzt, Silver Screen Establishing Shots in Mystic Pizza Opening shot of church looking up West Main Street Long shots that open the dock scenes Opening shot of Kat at the lobster dock Slide 10 J. Arzt, Silver Screen Establishing Shots in GWH Shot of MIT Shots of Southie streets Shot of Bunker Hill Community College Shot of red brick buildings at Harvardy Shots of river between Boston and Cambridge Slide 11 J. Arzt, Silver Screen Extreme Long Shot Image in which the subject appears to be far from the camera. If a person is a subject, the entire body will be visible (if not obstructed by some intervening object) but very small in the frame, and much of the surroundings will be visible. The camera is often used to show the layout and expanse of a setting. Usually used only outdoors, often to establish the setting of the following action. Phillips, pp. 77 and 545 Slide 12 J. Arzt, Silver Screen Extreme Long Shots in Mystic Pizza 1 2 3 Slide 13 J. Arzt, Silver Screen Extreme Long Shots in GWH 1 2 3 Slide 14 J. Arzt, Silver Screen Long Shot Usually the subject is seen in its entirety, and much of its surroundings is visible. This camera distance has many possible usesfor example, to stress how small a human subject is in relationship to its environment. Phillips, p. 77 Slide 15 J. Arzt, Silver Screen Long Shots in Mystic Pizza 1 2 3 Slide 16 J. Arzt, Silver Screen Long Shots in GWH 1 2 3 Slide 17 J. Arzt, Silver Screen Medium Shot This camera distance Shot in which Phillips, pp. 77 and 550 Slide 18 J. Arzt, Silver Screen Medium Shots in Mystic Pizza 1 2 3 Slide 19 J. Arzt, Silver Screen Medium Shots in GWH 1 2 3 Slide 20 J. Arzt, Silver Screen Medium Close-up Phillips, pp. 78 and 550 Slide 21 J. Arzt, Silver Screen Medium Close-ups in Mystic Pizza 1 2 3 Slide 22 J. Arzt, Silver Screen Medium Close-ups in GWH 1 2 3 Slide 23 J. Arzt, Silver Screen Close-up Phillips, pp. 78 and and 541 Slide 24 J. Arzt, Silver Screen Close-ups in Mystic Pizza 1 2 3 Slide 25 J. Arzt, Silver Screen Close-ups in GWH 1 2 3 Slide 26 J. Arzt, Silver Screen Extreme Close-up Phillips, pp. Slide 27 J. Arzt, Silver Screen Extreme Close-ups in Mystic Pizza 1 2 Slide 28 J. Arzt, Silver Screen Extreme Close-ups in GWH 1 2 Slide 29 J. Arzt, Silver Screen Two Shot Phillips, p. 7 Slide 30 J. Arzt, Silver Screen Two Shots in Mystic Pizza Slide 31 J. Arzt, Silver Screen Two Shots in GWH Slide 32 J. Arzt, Silver Screen Shot/Reverse Shots An editing pattern that cuts between individuals according to the logic of the conversation p. 176 in Corrigan, A Short Guide to Writing about Film Slide 33 J. Arzt, Silver Screen SRS in Mystic Pizza Slide 34 J. Arzt, Silver Screen SRS in GWH Slide 35 J. Arzt, Silver Screen Dollying Phillips, p. 81 Slide 36 J. Arzt, Silver Screen Dollying in Mystic Pizza 1 2 Slide 37 J. Arzt, Silver Screen Dollying in GWH Slide 38 J. Arzt, Silver Screen Zoom Slide 39 J. Arzt, Silver Screen Zooming in Mystic Pizza 1 2 Slide 40 J. Arzt, Silver Screen Zooming GWH 1 2 Slide 41 J. Arzt, Silver Screen Track Phillips, pp. 82 and 558 Slide 42 J. Arzt, Silver Screen Tracking in Mystic Pizza 1 2 Slide 43 J. Arzt, Silver Screen Tracking in GWH 1 2 Slide 44 J. Arzt, Silver Screen High Angle Phillips, p. 83 Slide 45 J. Arzt, Silver Screen High Angle Shots in Mystic Pizza 1 2 3 Slide 46 J. Arzt, Silver Screen High Angle Shots in GWH 1 2 3 Slide 47 J. Arzt, Silver Screen Low Angle Phillips, p. 84 Slide 48 J. Arzt, Silver Screen Low Angle Shots in Mystic Pizza 1 2 3 Slide 49 J. Arzt, Silver Screen Low Angle Shots in GWH 1 2 3 Slide 50 J. Arzt, Silver Screen Dutch Angle Phillips, p. 83 Slide 51 J. Arzt, Silver Screen Dutch Angle Shot in GWH Slide 52 J. Arzt, Silver Screen Birds Eye View Phillips, p. 83 Slide 53 J. Arzt, Silver Screen Birds-eye View in GWH 1 2 Slide 54 J. Arzt, Silver Screen Eye-Level Shots Phillips, p. 84 Slide 55 J. Arzt, Silver Screen Eye-level shots in Mystic Pizza Slide 56 J. Arzt, Silver Screen Eye-level shots in GWH Slide 57 J. Arzt, Silver Screen Panning Phillips, pp. 86 and 552 Slide 58 J. Arzt, Silver Screen Panning in Mystic Pizza Slide 59 J. Arzt, Silver Screen Panning in GWH Slide 60 J. Arzt, Silver Screen Swish Pan Phillips, p. 87 Slide 61 J. Arzt, Silver Screen Swish Pan in GWH Slide 62 J. Arzt, Silver Screen Montage Phillips, pp. 128-133, p. 139 Glossary Slide 63 J. Arzt, Silver Screen Montage in Mystic Pizza 1 2 Slide 64 J. Arzt, Silver Screen Montage in GWH 1 2 Slide 65 J. Arzt, Silver Screen Parallel Editing/Crossutting Phillips, pp. 139, 542, 552 Slide 66 J. Arzt, Silver Screen Parallel Editing in Mystic Pizza Slide 67 J. Arzt, Silver Screen Parallel Editing in GWH Slide 68 J. Arzt, Silver Screen Point of View (Subjective Camera) Slide 69 J. Arzt, Silver Screen POV in Mystic Pizza 1 2 3 Slide 70 J. Arzt, Silver Screen POV in GWH 1 2 3 Slide 71 J. Arzt, Silver Screen Dissolve or Lap Dissolve Slide 72 J. Arzt, Silver Screen Lap Dissolve in GWH Slide 73 J. Arzt, Silver Screen Match Cut Slide 74 J. Arzt, Silver Screen Example of Match Cut in GWH Slide 75 J. Arzt, Silver Screen Slow Motion Slide 76 J. Arzt, Silver Screen Slow Motion in GWH Slide 77 J. Arzt, Silver Screen Superimposition Slide 78 J. Arzt, Silver Screen Superimposition in GWH