The rig used for “Bullet Time” in The Matrix CNM 190inst.eecs.berkeley.edu/~cs194-8/Fa06Sp07/lectures/... · cinematography & editing Why study classical techniques? Film & Editing

CNM 190CNM 190Advanced Digital AnimationAdvanced Digital Animation

Lec Lec 08 : Cinematography & Editing Techniques08 : Cinematography & Editing TechniquesDan GarciaDan Garcia, EECS (co-instructor), EECS (co-instructor)

Greg Niemeyer, Art (co-instructor)Greg Niemeyer, Art (co-instructor)Jeremy Huddleston, EECS (TA)Jeremy Huddleston, EECS (TA)

The rig used forThe rig used for ““Bullet TimeBullet Time”” in in TheThe MatrixMatrix

2/30Cinematography & Editing Techniqueshttp://inst.eecs.berkeley.edu/~selfpace/

C10 Hearst Field Annex; 642-9920

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OverviewOverview

What you know alreadyWhat you know already Basic cinematographyBasic cinematography Distance of shotDistance of shot

Extreme close upExtreme close up close up (CU)close up (CU) Medium close up (MCU)Medium close up (MCU) Medium shot (MS)Medium shot (MS) Long shotLong shot Point of view (POV) shotPoint of view (POV) shot Birds eye view shotBirds eye view shot

Camera AnglesCamera Angles Low angle (fear)Low angle (fear) High angle (weakness)High angle (weakness) Straight AngleStraight Angle

What youWhat you’’ll learn todayll learn today CClassic lassic techniques oftechniques of

cinematography & editingcinematography & editing Why study classical techniques?Why study classical techniques? Film & Editing ResourcesFilm & Editing Resources ReviewReview ContinuityContinuity EditingEditing DurationDuration Camera DirectionCamera Direction

Procedural techniques ofProcedural techniques ofcinematography & editingcinematography & editing Motion InterpolationMotion Interpolation Quaternions Quaternions & & SlerpingSlerping SplinesSplines



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Why Study Classic Techniques?Why Study Classic Techniques?

Those who cannotThose who cannotremember the past areremember the past arecondemned to repeat it. -condemned to repeat it. -SantayanaSantayana

You donYou don’’t wantt want youryourcamera and editing tocamera and editing toobstructobstruct your storytelling your storytelling

Instead, use them as toolsInstead, use them as toolsto to advance narrativeadvance narrative!!

If you want to break theIf you want to break therules, you need to knowrules, you need to knowwhat they are first!what they are first! Do it for a good, artisticDo it for a good, artistic

reason, not ignorance!reason, not ignorance!



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Film & Editing ResourcesFilm & Editing Resources

Film Art : An IntroductionFilm Art : An Introduction by David by David Bordwell Bordwell & Kristin Thompson& Kristin Thompson McGraw-Hill, 2003McGraw-Hill, 2003 $38 on Amazon$38 on Amazon

In the Blink of an Eye (2nd Edition)In the Blink of an Eye (2nd Edition) Walter Walter MurchMurch Silman-James Silman-James Press, 2001Press, 2001 $11 on Amazon$11 on Amazon



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Six Main Criteria of Film EditingSix Main Criteria of Film Editing

Walter Walter MurchMurch Four Academy nominationsFour Academy nominations

for films edited on differentfor films edited on differentsystemssystems

Film editing Pioneer!Film editing Pioneer!

He He ranks 6 editing criteriaranks 6 editing criteria1.1. EmotionEmotion2.2. StoryStory3.3. RhythmRhythm4.4. Eye traceEye trace5.5. 2D place of the screen2D place of the screen6.6. 3D space of action3D space of action

MI:2 (2000) John Woo comes to Hollywood

en.wikipedia.org/wiki/{Film_editing,Walter_Murch}



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Continuity Editing (CE)Continuity Editing (CE)

GoalGoal Make the editor asMake the editor as

invisible as possibleinvisible as possible The viewer should notThe viewer should not

notice the cutsnotice the cuts Shots should flowShots should flow

together naturallytogether naturally(direction, position, time)(direction, position, time)

Sequence of shots shouldSequence of shots shouldappear to be appear to be continuouscontinuousin time and space toin time and space toadvance narrativeadvance narrative

If you notice (editor,If you notice (editor,temperature in a room),temperature in a room),something is wrong.something is wrong.

Steenbeck film editing machine rollers

en.wikipedia.org/wiki/Continuity_editing

Neighbors, 1920



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CE : (Re)Establishing ShotCE : (Re)Establishing Shot

As the name implies,As the name implies,it it ““establishesestablishes”” the thescene and/or itsscene and/or itsparticipantsparticipants

E.g., SeinfeldE.g., Seinfeld’’ssrestaurant exteriorrestaurant exteriorshot beforeshot before ananinterior sceneinterior scene

What is What is youryourestablishing shot?establishing shot?

en.wikipedia.org/wiki/Establishing_shot

Exterior of “Monk’s” restaurant from Seinfeld



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CE : 180 degree ruleCE : 180 degree rule

Often called Often called The LineThe Line or or Line ofLine ofActionAction, it allows the camera to, it allows the camera tostay in the stay in the greengreen area area

If the camera violates thisIf the camera violates this((crossing the linecrossing the line into the into the redred),),the the chararacters chararacters will swapwill swapplaces on screen!places on screen!

Subjects should be spatiallySubjects should be spatiallyconsistent, with consistent consistent, with consistent axisaxisof actionof action

You You cancan cross the line with cross the line withintermediate head-on shot,intermediate head-on shot,POV or reestablishing shot, butPOV or reestablishing shot, buttry to avoid this if possibletry to avoid this if possible

en.wikipedia.org/wiki/180_degree_rule

The green camera preserves Left/Right positions

Saturday Night Fever



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CE : Shot/Reverse Shot & CE : Shot/Reverse Shot & Eyeline Eyeline MatchesMatches

A shot fromA shot from the opposite sidethe opposite sideof the green 180º areaof the green 180º area Often used as establishingOften used as establishing 30º rule : Camera moves at30º rule : Camera moves at

least that much between shotsleast that much between shots

An An eyeline eyeline matchmatch is one that is one thatassociates what a characterassociates what a characteris looking atis looking at You see what they sawYou see what they saw It often associates matchingIt often associates matching

close-upsclose-ups

In film, characters donIn film, characters don’’t event evenhave to be in same room!have to be in same room!

classes.yale.edu/film-analysis/htmfiles/editing.htm

Scenes from The Stendhal Syndrome, 1996

Scenes from Peking Opera Blues, 1986



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CE : Graphic MatchCE : Graphic Match

Two successive shots joined soTwo successive shots joined soas to suggest aas to suggest a similaritysimilarity ColorColor ShapeShape LocationLocation

Some feel they are Some feel they are ““heavy-heavy-handedhanded””, not subtle, not subtle

KubrickKubrick’’s s classic classic 20012001 A SpaceA SpaceOdyssey:Odyssey: bone bone spaceshipspaceship


Scenes from Women on the Vergeof a Nervous Breakdown, 1988

Finding Nemo Main Titles



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CE : Match/Cut on Action (MOA)CE : Match/Cut on Action (MOA)

Cuts between shots are moreCuts between shots are moreseamless if they occur on actionseamless if they occur on action

Definition: A cut which splicesDefinition: A cut which splicestwo different views of the sametwo different views of the sameaction together at the sameaction together at the samemoment in the movementmoment in the movement

E.g., if A is getting up and walksE.g., if A is getting up and walksto the window, cut AS heto the window, cut AS he’’ssgetting up, not before.getting up, not before. Cutting after could be Cutting after could be eyeline eyeline matchmatch

MOA can help with a jumpy cutMOA can help with a jumpy cut MOAMOA can be a subtle motion toocan be a subtle motion too


Scenes from Traffic, 2000

Traffic



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CE : Cut-in, Cut awayCE : Cut-in, Cut away

Cut-inCut-in Instantaneous cut to a close-up ofInstantaneous cut to a close-up of

something already in something already in frameframe

Cut awayCut away Close-upClose-up to something in to something in scenescene but but

not in the frame (usually)not in the frame (usually)

E.g., if you had a characterE.g., if you had a charactergetting up to answer the door,getting up to answer the door,you might cut away to a knock.you might cut away to a knock.

classes.yale.edu/film-analysis/htmfiles/editing.htmwww.filmclass.com/flm222/continuity.pdf

Scenes from Dancer in the Dark, 2000

Dancer in the Dark



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CE : Cross-cuttingCE : Cross-cutting A series of cutaways & cutbacksA series of cutaways & cutbacks Also known as Also known as Parallel Editing Parallel Editing oror

Parallel MontageParallel Montage Alternating shots of Alternating shots of ““two or moretwo or more lineslines

of action occurring in different places,of action occurring in different places,usually simultaneouslyusually simultaneously””

E.g., a chase scene. First theE.g., a chase scene. First the cops, thencops, thenthe robbers, then the copsthe robbers, then the cops……

Can also be used symbolicallyCan also be used symbolically Show a 1930s man in line for bread,Show a 1930s man in line for bread,

then a rich man getting into athen a rich man getting into a RollsRolls In film, this can be used to cheatIn film, this can be used to cheat

A man running from a train doesnA man running from a train doesn’’t havet haveto be anywhere near it!to be anywhere near it!

The The Simpsons Simpsons used to do this a lot untilused to do this a lot untilFamily Guy started too, then they quit!Family Guy started too, then they quit!


Scenes from Yi Yi, 2000The father and daughter are bothon first dates (different countries)

Yi Yi



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CE Rule #1 : Avoid Jump/Elliptical Cuts!CE Rule #1 : Avoid Jump/Elliptical Cuts!

A shot transition thatA shot transition that omits parts ofomits parts ofan event, as if had ellipses (an event, as if had ellipses (……) in plot) in plot Also a cut with too-similar framingAlso a cut with too-similar framing Or with straight angle but differentOr with straight angle but different

people (they look like they morph!)people (they look like they morph!) ItIt’’s what you would do if you had nos what you would do if you had no

training in editing and just cut piecestraining in editing and just cut piecesof a story togetherof a story together It usually looks like a mistake!It usually looks like a mistake! This is what This is what iTunes iTunes does when itdoes when it

summarizes asummarizes a game into 10 min!game into 10 min! In the sixties, there was a wave of itIn the sixties, there was a wave of it

To avoidTo avoid Zoom instead of cutZoom instead of cut Make the framing more differentMake the framing more different Use the match techniquesUse the match techniques


A better cut (wide / mid / medium close-up)

A jump cut from wide shot to semi-wide

Dancer in the Dark



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CE SuggestionsCE Suggestions

Avoid home video styleAvoid home video style Move subjectsMove subjects away fromaway from

center of the frame;center of the frame;dondon’’t shoot frontallyt shoot frontally

Thus avoiding Thus avoiding ““charactercharactermorphmorph”” jump cuts jump cuts

This is a good idea in general,This is a good idea in general,even from a photographereven from a photographer’’ssstandpointstandpoint

Have a smooth camera!!Have a smooth camera!! Use a variety ofUse a variety of shots and CE!shots and CE!

““The single most commonThe single most commonmistake in beginning studentmistake in beginning studentproductions is that they haveproductions is that they haveno, or not enough close-upsno, or not enough close-ups””

www.filmclass.com/flm222/continuity.pdf

Headshots from The Apprentice, 2004



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Alternatives to CEAlternatives to CE

Elliptical editing (jump-cuts)Elliptical editing (jump-cuts) MontageMontage

Montage:French for Montage:French for ““editingediting”” In this context, we mean disparateIn this context, we mean disparate

images/shots that tell a storyimages/shots that tell a story Developed by 1920s Soviet theorists,Developed by 1920s Soviet theorists,

e.g., e.g., Sergei Sergei EisensteinEisenstein Five varieties of montage:Five varieties of montage:

MetricMetric (# of frames) (# of frames) rhythmicrhythmic (rhythm) (rhythm) tonaltonal (light-dark (light-dark contrastscontrasts),),

overtonalovertonal (emotions)(emotions) intellectualintellectual (all 4 but for meaning) (all 4 but for meaning)

classes.yale.edu/film-analysis/htmfiles/editing.htmen.wikipedia.org/wiki/Montage_%28film%29

Godfather (1973) Montage, Michaelshowing his duty to his two “families”

Traffic, Godfather

Traffic (2000) Elliptical Editing



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classes.yale.edu/film-analysis/htmfiles/editing.htmDurationDuration

Thanks to editing, timeThanks to editing, timeis completely in youris completely in yourcontrol. You cancontrol. You can…… have a very long takehave a very long take cut boring events outcut boring events out

(compress time)(compress time) Extend one event to theExtend one event to the

whole film! (24)whole film! (24) revisit it over and overrevisit it over and over change the rhythmchange the rhythm explore theexplore the

space-time continuum!space-time continuum!



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classes.yale.edu/film-analysis/htmfiles/editing.htmLong Take (Plan-sequence)Long Take (Plan-sequence)

A shot of unusual lengthA shot of unusual length Draws attention to itself,Draws attention to itself,

very different from normvery different from norm Shots above 1 minute areShots above 1 minute are

now considered a long takenow considered a long take Extremely hard to shoot inExtremely hard to shoot in

real life, but trivial in CGreal life, but trivial in CG Depending on movement,Depending on movement,

can make film intense,can make film intense,carefree, or stagnant!carefree, or stagnant!

ExamplesExamples Orson Orson WellesWelles’’ Touch of EvilTouch of Evil Robert AltmanRobert Altman’’s s The PlayerThe Player David FincherDavid Fincher’’s s Panic RoomPanic Room

Lots of CG tricksLots of CG tricks!!

The Player (1992) 8-minute shot!

Touch of Evil, The Player, Forrest Gump, Goodfellas



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classes.yale.edu/film-analysis/htmfiles/editing.htmOverlapping EditingOverlapping Editing

Cuts that recall part of theCuts that recall part of theaction, as if instant replayaction, as if instant replay Draws attention to itself,Draws attention to itself,

again very distinctiveagain very distinctive Usually associated withUsually associated with

experimental filmmakingexperimental filmmaking Usually foundUsually found in films wherein films where

action >> plotaction >> plot Common in Hong KongCommon in Hong Kong

action films of the 80s / 90saction films of the 80s / 90sMI:2 (2000) John Woo comes to Hollywood

MI:2



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classes.yale.edu/film-analysis/htmfiles/editing.htmwww.boston.com/news/globe/ideas/articles/2006/08/13/the_lost_art_of_film_editing?mode=PF

RhythmRhythm

Rhythm is the Rhythm is the ““perceivedperceived””rate of sounds, movementsrate of sounds, movements& series of shots& series of shots Usually itUsually it’’s the cuts thats the cuts that

determines the rhythmdetermines the rhythm Just as the story has rhythm,Just as the story has rhythm,

so does the editingso does the editing #3 of #3 of MurchMurch’’s s six main criteriasix main criteria

when it comes to film editingwhen it comes to film editing ThereThere’’s a feeling that this fines a feeling that this fine

art has been lost asart has been lost as we caterwe caterto the ADD MTV generationto the ADD MTV generation

The Good, the Bad and the Ugly (1966)

The Good, the Bad and the Ugly



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en.wikipedia.org/wiki/Bullet_timeBullet TimeBullet Time

Imagine time and space asImagine time and space asa two-dimensionala two-dimensional graph:graph:

We can traverse anywhereWe can traverse anywherein this space! (easy in CG)in this space! (easy in CG)

The rig used for Bullet time in The Matrix

Making of The Matrix

space

time



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Inspired 3D Short Film ProductionCamera DirectionCamera Direction

Lock-off cameraLock-off camera Simplest form of setupSimplest form of setup Position, angle, zoom, focusPosition, angle, zoom, focus

fixed throughout the shotfixed throughout the shot A film consisting only of lock-offA film consisting only of lock-off

shots will feel dullshots will feel dull Camera moveCamera move

Rotating,Rotating, moving, zooming,moving, zooming,shifting focus or field of viewshifting focus or field of view

A film where the camera neverA film where the camera neverstops moving can be unsettling.stops moving can be unsettling.

When does this ride end?When does this ride end?

““Try not to get too carried awayTry not to get too carried awaywith camera moveswith camera moves””

Mantra : smooth camerasMantra : smooth cameras



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Rack FocusRack Focus

Changing the focus of aChanging the focus of alens so that one elementlens so that one elementgoes out and anothergoes out and anothercomes into focuscomes into focus

By default, CG imagesBy default, CG imagesare through a pinholeare through a pinholecameracamera Infinite depth of field!Infinite depth of field!

Done in Maya via aDone in Maya via achoice of choice of Depth of FieldDepth of Fieldin Camera and adjustingin Camera and adjustingthe the Focus DistanceFocus Distance Render times explode!Render times explode! Can be cheated in post byCan be cheated in post by

blurring composite layersblurring composite layers

Peking Opera Blues (1986) Racking Focus

Peking Opera Blues



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Maya Turntable DemoMaya Turntable Demo

Creating a turntable,Creating a turntable,or or ““how to rotate ahow to rotate acamera around thecamera around thecenter of the worldcenter of the world”” Select camera groupSelect camera group Set Set keyframes keyframes to theto the

start and end with 0start and end with 0degrees and 360degrees and 360degreesdegrees Y rotationY rotation



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Linear Linear vs vs Ease-in, Ease-outEase-in, Ease-out

Linear interpolation ofLinear interpolation ofmotion produces verymotion produces veryunreal motion unreal motion ((LerpingLerping)) P(t) = (1-t) PP(t) = (1-t) P00 + t P + t P11

Nothing has infiniteNothing has infiniteacceleration!acceleration!

Ease-in, Ease-outEase-in, Ease-out P(t) = (1-f(t)) P0 + f(t) P1

With f(t) being somethingWith f(t) being somethingsmooth like the blue curvesmooth like the blue curveon the righton the right

f(t) = (sin(f(t) = (sin(ππt-t-ππ/2)+1)/2/2)+1)/2 Just one example of f(t)Just one example of f(t)

www.siggraph.org/education/materials/HyperGraph/animation/rick_parent/Full.html

Ease-in, Ease-out

Linearinter-polation



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Orientation Representation & InterpolationOrientation Representation & Interpolation

Fixed AngleFixed AngleRepresentationRepresentation Angles about fixed, globalAngles about fixed, global

axes (e.g., xyz)axes (e.g., xyz) Gimbal Gimbal lock when axeslock when axes

alignalign……singularity!singularity! Imagine plane straightImagine plane straight

up; whereup; where’’s yaw?s yaw?

Bad interpolation propertyBad interpolation property

Euler anglesEuler angles Angles of rotation fixed toAngles of rotation fixed to

object, not globalobject, not global Same problems!Same problems!



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QuaternionsQuaternions

Technique for encodingTechnique for encoding3D orientation3D orientation Lots of math involvedLots of math involved

using complex notationusing complex notation Great interpolationGreat interpolation

propertiesproperties It finds the It finds the great circle arcgreat circle arc

between two positionsbetween two positions

Interpolating betweenInterpolating betweenquaternion posesquaternion poseslinearly is called linearly is called SlerpingSlerping

en.wikipedia.org/wiki/{Quaternions_and_spatial_rotation,Slerp}



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Smooth motion : Smooth motion : Splines Splines (1)(1)

Piecewise polynomialPiecewise polynomialcurves with greatcurves with greatpropertiesproperties

Imagine interpolating lotsImagine interpolating lotsof points withof points with y=fy=f(x)(x) YouYou’’d have to have a veryd have to have a very

high-dimensional functionhigh-dimensional function But if you allowed it to beBut if you allowed it to be

broken up into pieces, youbroken up into pieces, youcould solve with manycould solve with manylower-dim functions!lower-dim functions!

Continuity of pieces?Continuity of pieces?

Prof Prof Barsky Barsky is local expert!is local expert!

Bezier interpolating spline

en.wikipedia.org/wiki/Spline_(mathematics)



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Smooth motion : Smooth motion : Splines Splines (2)(2) Two classesTwo classes

InterpolatingInterpolating (goes through (goes throughcontrol pointscontrol points))

ApproximatingApproximating (gets near the (gets near thecontrol points)control points)

Polynomial order?Polynomial order? Standard is cubic (order = 3)Standard is cubic (order = 3)

Local controlLocal control Adjusting control point onlyAdjusting control point only

affects localaffects local part of curvepart of curve Continuity (C0, C1, C2) acrossContinuity (C0, C1, C2) across

joints critically importantjoints critically important NURBS are generalizations withNURBS are generalizations with

expressive powerexpressive power Curves AND surfacesCurves AND surfaces

NURBS surface

Spline demo gif

en.wikipedia.org/wiki/Nurbs



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ConclusionConclusion

If time, look at If time, look at Pixar Pixar ShortsShorts ItIt’’s important to understands important to understand

the classical techniques ofthe classical techniques ofediting & cinematographyediting & cinematography Use them toUse them to facilitatefacilitate

your narrative!your narrative! Smooth camera motions!!!Smooth camera motions!!!

Tremendous power if you codeTremendous power if you codemotion yourselfmotion yourself…… Most SW does heavy lifting!Most SW does heavy lifting!

Next week:Next week: Animation 1 : Basics, motion,Animation 1 : Basics, motion,

sound, datasound, data

Documents

The rig used for “Bullet Time” in The Matrix CNM 190inst.eecs.berkeley.edu/~cs194-8/Fa06Sp07/lectures/... · cinematography & editing Why study classical techniques? Film & Editing