Storyboard with Help

Total Page:16

File Type:pdf, Size:1020Kb

Storyboard with Help Produc�on: _________________ Student Name: _________________ Period: ________________ Date: _______________ Bird’s-Eye View (aka Top Shot) A high-angle shot that’s taken from SHOT HELP directly overhead and from a distance. Dutch Angle/Tilt Shot in which the camera is set at an angle. Extreme Close Up. For people, maybe just the eyes. Eye-Level is when the camera is positioned at a human’s eye level. Close-up. The subject lls the frame. Emphasizes ANGLES: High Angle Subject is photographed from above eye level. This can have detail. A head shot. 2 the eect of making the subject seem vulnerable, weak, or frightened. Choker A variant of a Close-Up, this shot frames Low Angle Subject is photographed from below eye level. This can have the subject’s face from above the eyebrows to the eect of making the subject look powerful, heroic, or dangerous. below the mouth. SHOT TYPES: SHOT Over-the-Shoulder Shot (OTS) A popular shot where a subject is shot Medium Long Shot (aka 3/4 Shot) Intermediate from behind the shoulder of another between Full Shot and Medium Shot. Shows 1 Point of View Shot (POV) Shot intended to mimic what a particular subject from the knees up. character in a scene is seeing. Medium Shot. The subject seen from the chest up. Reverse Angle Shot A shot taken from an angle roughly 180 degrees Full Shot. The subject seen from head to toe. opposite of the previous shot. Wide Shot or (Long Shot) The subject seen within the larger environment just beyond head to toe. Very Wide Shot. The subject seen smaller to show Establishing Shot Used to establish the location and environment. Cutaway A shot of something other than the subject and away from the o more of the scene too. ETC: Extreme Long Shot (aka Extreme Wide Shot) Used main scene. to show the subject from a far o distance to Cut-In Shows a Close-Up shot of something visible in the main scene. capture the setting too. Reaction Shot Shows a character’s reaction to the shot 3 COMPOSITION Rule of Thirds Filling the Frame Leading Lines Vantage Point Rule of Odds Simplication Leaving Space Framing 4 LIGHTING Front/Flat Diused Reected Back Side Produc�on: _________________ Student Name: _________________ Period: ________________ Date: _______________ .
Recommended publications
  • DIGITAL Filmmaking an Introduction Pete Shaner
    DIGITAL FILMMAKING An Introduction LICENSE, DISCLAIMER OF LIABILITY, AND LIMITED WARRANTY By purchasing or using this book (the “Work”), you agree that this license grants permission to use the contents contained herein, but does not give you the right of ownership to any of the textual content in the book or ownership to any of the information or products contained in it. This license does not permit uploading of the Work onto the Internet or on a network (of any kind) without the written consent of the Publisher. Duplication or dissemination of any text, code, simulations, images, etc. contained herein is limited to and subject to licensing terms for the respective products, and permission must be obtained from the Publisher or the owner of the content, etc., in order to reproduce or network any portion of the textual material (in any media) that is contained in the Work. MERCURY LEARNING AND INFORMATION (“MLI” or “the Publisher”) and anyone involved in the creation, writing, or production of the companion disc, accompanying algorithms, code, or computer programs (“the software”), and any accompanying Web site or software of the Work, cannot and do not warrant the performance or results that might be obtained by using the contents of the Work. The author, developers, and the Publisher have used their best efforts to insure the accuracy and functionality of the textual material and/or programs contained in this package; we, however, make no warranty of any kind, express or implied, regarding the performance of these contents or programs. The Work is sold “as is” without warranty (except for defective materials used in manufacturing the book or due to faulty workmanship).
    [Show full text]
  • 3. Master the Camera
    mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included.
    [Show full text]
  • Beginners Guide to Video - JMBS
    Beginners Guide to Video - JMBS This guide is intended for anyone who wishes to use a video camera for news gathering or documentary work. Although it is written for the complete novice there should also be something here for the more experienced. Camera Technique Books have been dedicated to this but there are a few things that are very useful to consider. • The most reliable way of getting good shots is to turn the lens to as wide an angle as possible and get as close to the subject/action as possible. • Treat the camera as if it were a stills camera. Avoid panning(left/right), tilting(up/down) and zooming unless it is absolutely necessary. Simple shots are best and they are easier to pull off. • Use a tripod or monopod wherever possible and if not try to find something to lean against. • If you have to change the camera angle do it as slowly (and smoothly) as possible. It is much better to have something briefly out of shot than to be continually/rapidly changing the camera angle. Ideally it should be done so slowly that the audience does not notice. • If you are panning over a long distance or following quick moving action generally speaking things should be in shot for at least five seconds. • When shooting without a tripod bear in mind the wider the angle you are shooting the steadier the shot. If possible move in closer rather than zooming in. To help steady the camera push the eyepiece to your eye and press your elbows against the bottom of your ribs.
    [Show full text]
  • Videography Terminology Continuity
    Videography Terminology Continuity This is an important concept to keep in mind during recording of video/audio and later in post-production. Continuity means that if something is in one position or state-of-being in one shot, it needs to be the same way in the next shot unless it has purposely been changed for storytelling purposes. Some examples of lack of continuity are changes in a subject’s clothing, hair style, body position, or position of objects on the set between two shots that are supposed to be occurring within the same time frame. Another example is when in one shot a subject is traveling in one direction, but in the next shot the movement is in the opposite direction. Continuity changes can also occur with audio if scenes are shot in different locations or at different times but are supposed to be occurring in the same location. Framing Your Shot Rule of thirds: Divide the image in the viewfinder into horizontal and vertical thirds like placing a tic-tac-toe grid over it. Place a key part of the image on one of the intersecting points. This keeps the picture interesting and creates a pleasingly balanced image. Head room: The space between the top of the head and the upper edge of the picture or television screen. Breathing room: The space in front of a person’s face when recorded in profile. Classroom Video Production: Videography Terminology © KET 2015 1 Lead room: The space in front of a moving object or person. Types of Shots Wide shot (WS): A shot taken from a distance to show a landscape, building, or large crowd, such as the view of New York City from the Ellis Island.
    [Show full text]
  • Film Analysis
    Film Analysis I Shots Extreme long shot (ELS) / panoramic shot (Panoramaeinstellung): The camera is far away from the subject, emphasising the surroundings (Umgebung) e.g. a tiny group of riders in a vast landscape in a western. Long shot (LS) (Totale): A human usually takes up less than half the height of the frame (Bild), often used to show the setting of a scene. Medium shot (MS) (Halbnah): The subject and the surroundings have about equal importance. The picture shows e.g. the upper body of a person. Close-up (CU) (Großaufnahme): The subject fills most of the frame (e.g. the entire head) and little of the surroundings is shown. Close-ups are often used to show a character’s feelings. Extreme close-up (ECU) (Detailaufnahme): For example only the eyes or a certain object (like a knife or a gun) are shown. Establishing shot (Anfangseinstellung): Usually a long shot or an extreme long shot, which “estab­ lishes”, i.e. shows the setting (Schauplatz) often at the beginning of a film. POV shot (point-of-view) (subjektive Kamera): The camera adopts (übernehmen) the per­ spective of a character. We see what a character sees and therefore often identify with him/her. Reaction shot: Someone’s face reacting to an event, for example when a villain (Bösewicht) comes into a saloon. Before we see him we see the fearful expression on the faces of some of the guests. Camera Positions Top shot: The camera looks down at a 90° angle, you can see only head and shoulders of a person.
    [Show full text]
  • The Camcorder
    TELEVISION PRODUCTION II Program Overview: The TV Production classes at Grosse Pointe North and South High Schools provide a studio setting for those students with a serious interest in pursuing a career in communications. The studio and editing room is equipped with up to date industry standard equipment, enabling students to become familiar with all aspects of broadcasting and the ability to create programs of community-wide interest. Course Description: Beginning Advanced Video Production students will be introduced students to the fundamental, technical, and creative aspects of video editing using the AVID Media Composer Non-Linear editing system. Students will learn the news field reporting, fundamentals of shooting footage in the field with a camcorder, editing footage into a news package. In addition to the editing component, our daily news broadcast will be created using skills developed in TV Production I classes. Advanced Video Production students III-V students also will collaborate with the Advanced Video Production II students in the production of GPTV News. However, they will be responsible for the execution of all the components to the program. As producers, students will insure that materials, projects, scripts, and sports and weather sections are ready prior to taping. They will function as a team leader to set program goals, creatively produce a TV product by applying their knowledge of current TV technology. This course is designed with a focus on the studio workshop & video production. It will provide students with opportunities to experience the total process of television production with a daily objective. Further, it is important for students to learn by doing, inquiring, and discovering.
    [Show full text]
  • On the Meaning of a Cut : Towards a Theory of Editing
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output On the meaning of a cut : towards a theory of editing https://eprints.bbk.ac.uk/id/eprint/40391/ Version: Full Version Citation: Dziadosz, Bartłomiej (2019) On the meaning of a cut : towards a theory of editing. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ON THE MEANING OF A CUT: TOWARDS A THEORY OF EDITING Bartłomiej Dziadosz A dissertation submitted to the Department of English and Humanities in candidacy for the degree of Doctor of Philosophy Birkbeck, University of London October 2018 Abstract I confirm that the work presented in this thesis is my own and the work of other persons is appropriately acknowledged. This thesis looks at a variety of discourses about film editing in order to explore the possibility, on the one hand, of drawing connections between them, and on the other, of addressing some of their problematic aspects. Some forms of fragmentation existed from the very beginnings of the history of the moving image, and the thesis argues that forms of editorial control were executed by early exhibitors, film pioneers, writers, and directors, as well as by a fully- fledged film editor. This historical reconstruction of how the profession of editor evolved sheds light on the specific aspects of their work. Following on from that, it is proposed that models of editing fall under two broad paradigms: of montage and continuity.
    [Show full text]
  • Redalyc.INDEXICALITY and SPECTATORSHIP in DIGITAL MEDIA
    Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Marshall, Erik INDEXICALITY AND SPECTATORSHIP IN DIGITAL MEDIA: WAKING LIFE AS HYBRID DIGITAL ARTIFACT Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 51, julio-diciembre, 2006, pp. 301-316 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348689016 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Indexicality and spectatorship in digital media ... 301 INDEXICALITY AND SPECTATORSHIP IN DIGITAL MEDIA: WAKING LIFE AS HYBRID DIGITAL ARTIFACT Erik Marshall Wayne State University Abstract This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology, images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin, and a new model of spectatorship must follow this loss of indexicality. The digital rotoscoping technique employed in Richard Linklater's /Waking Life/demonstrates this split between reality and image, in part by preserving the real beneath an entirely created artistic surface. Keywords: digital; realism; spectatorship.
    [Show full text]
  • Film Terms 1
    Film Terms 1 Film Terms Cutaway - A shot, usually a closeup of some detail, or landscape, that is used break up a matching action sequence, and is often very helpful in editing to rescue you from an impossible break in continuity or coverage. A cutaway, as the name implies, is a shot that does not focus on some detail of the shot before or after it but cuts away from the action at hand, unlike an Insert Shot . However, the two terms are sometimes used vaguely or interchangeably, although this is not always a useful practice. The best cutaways are the ones that have some logic to them, that relate to the scene. Dissolve - A transition between two shots, where one shot fades away and simultaneously another shot fades in. Dissolves are done at the lab in the printing phase, but prepared by the negative cutter, who cuts in an overlap of the two shots into the A&B rolls. Labs will only do dissolves in fixed amounts, such as 24 frames, 48 frames, etc. Dolly Shot - A dolly shot is one where the camera is placed on a dolly and is moved while filmming. Also known as a tracking shot. Edit - 1.: The cutting and arranging of shots. 2.: In the different stages, or at the completion of editing the edited film itself can be referred to as “the cut” or “the edit.” Fade - A transition from a shot to black where the image gradually becomes darker is a Fade Out ; or from black where the image gradually becomes brighter is a Fade In .
    [Show full text]
  • The Development of Loop-Based Cinematic Techniques in Twentieth Century Motion Pictures and Their Application in Early Digital C
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 The Development Of Loop-based Cinematic Techniques In Twentieth Century Motion Pictures And Their Application In Early Digital C David Scoma University of Central Florida Part of the Film Production Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Scoma, David, "The Development Of Loop-based Cinematic Techniques In Twentieth Century Motion Pictures And Their Application In Early Digital C" (2008). Electronic Theses and Dissertations, 2004-2019. 3803. https://stars.library.ucf.edu/etd/3803 THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL CINEMA DAVID SCOMA B.S. Loyola University New Orleans 1990 M.A. State University of New York at Buffalo 1994 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2008 Major Professor: Blake Scott Copyright 2008 David Scoma ii ABSTRACT For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats.
    [Show full text]
  • Camera Angles and Definitions
    Camera Angles and Definitions Framing What’s included and excluded in an individual shot. Extreme wide shot A shot in which figures appear small in the landscape. Often used at the beginning of a film or sequence as an ‘establishing shot’ to show where the action is taking place. Can also be used to make a person appear isolated or small. Wide Shot A shot in which a figure can be seen from head to toe. (tighter than an extreme wide shot) Mid Shot Shows the figure from approximately head to waist. In a mid shot, you can easily recognize an individual but you can also see what they are doing with their hands. Close-up Head and shoulders, enabling you to easily see facial expressions, which gives the audience a better impression of what your characters are thinking and feeling. Extreme close-up From just above the eyebrows to just below the mouth, or even closer: used to emphasize facial expression or to make the subject appear threatening. Over-the-Shoulder Shot A shot in which we see a character or main object over another’s shoulder, often used in interviews or dialogues. Depth of field - This refers to how much of the shot seems to be in focus, in front of and behind the subject. Two Shot Any shot with two people in it. (not necessarily the same person twice as pictured here, unless part of the plot) Point of view shot - A shot from a character’s point of view Reaction shot - A shot showing a character’s expression as they react to something Wide-angle shot (taken with a wide-angle lens) - This has the effect of seeming to exaggerate perspective.
    [Show full text]
  • Glossary Terms Aspect Ratio
    Glossary Terms Aspect Ratio - The proportions of the frame. In NTSC video, 1.33 to 1 or 4:3 (or 720 x 540 pixels). HD is 1.78:1 or 16:9. In 35mm the image is 1.85:1 in the U.S. and 1.66:1 in Europe. Backlighting - Illumination cast onto the figures in a scene from the side opposite the camera, usually creating a thin outline of light around the figures’ edge. Camera Angle - The position of the frame in relation to the subject it shows: above it, looking down (a high angle); horizontal, on the same level (a straight-on angle); looking up (a low angle). Camera Tape - Cloth tape specifically for use on film/video shoots, much like gaffer’s tape. Camera tape is typically 1 inch wide and white so that it can be used together with a sharpie for labeling magazines with the emulsion type and camera roll number. It is valid to use the terms gaffer’s tape and camera tape interchangeably (they are both really the same type of tape) depending on how the tape is being used. It is designed not to leave a sticky residue behind on the camera. Clamp Light - A type of lighting fixture designed to hold a screw-in light bulb, with a not- so-dependable spring clamp for mounting on the side of an open door, etc. Often includes an aluminum reflector dish as well. These can be purchased at any hardware store, and are relatively inexpensive. Close-up - A framing in which the scale of the object shown is relatively large.
    [Show full text]