Camera Angles in Media Learning Intention •To Consider How Camera Is Used in Films Success Criteria by the End of This Lesson You Will
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CTE: Get Real! Student Filmmaker Toolkit This Guide Will Teach You How to Create a Promotional Video for Your CTE Classes
CTE: Get Real! Student Filmmaker Toolkit This guide will teach you how to create a promotional video for your CTE classes. Here’s what’s included in this guide: ◦ A sample video to guide you. ◦ An overview of all the footage you will need to shoot. ◦ Best practices for setting up, interviewing, and how to get the footage you need. ◦ How to cut this footage down to your final video. 2 Career and Technical Education is hands-on learning that puts students at the center of the action! But not everyone knows how CTE: • Connects to career opportunities like employer internships and job shadows. • Puts students on a path that leads toward a career, college, and education after high school. • Delivers real world skills that make education come alive. 3 Table of Contents 1. Video Basics 6 2. How to tell your CTE story 9 3. Preparing for an interview 13 4. How to interview students, teachers, and employers 24 5. How to capture B-Roll action shots 39 6. How to edit your footage 43 7. Wrap it up! 57 5 We’ve included a sample video to help you create your own video. Click here to view it now. We will refer to specific times in this sample video. Quick Checklist ◦ Pick a CTE class or two to focus on. ◦ Interview students and teachers. ◦ Interview local employers with careers that connect to the CTE class. ◦ Shoot action shots of general classroom activity. ◦ Shoot action shots of employer, or of their employees doing work. ◦ Use a music track. Let’s get started! 4 1 Video Basics 6 Video Basics Six Basic Tips 1. -
Graphic Design and the Cinema: an Application of Graphic Design to the Art of Filmmaking
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2016 Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking Kacey B. Holifield University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Graphic Design Commons Recommended Citation Holifield, Kacey B., "Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking" (2016). Honors Theses. 403. https://aquila.usm.edu/honors_theses/403 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking by Kacey Brenn Holifield A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Fine Arts of Graphic Design in the Department of Art and Design May 2016 ii Approved by _______________________________ Jennifer Courts, Ph.D., Thesis Adviser Assistant Professor of Art History _______________________________ Howard M. Paine, Ph.D., Chair Department of Art and Design _______________________________ Ellen Weinauer, Ph.D., Dean Honors College iii Abstract When the public considers different art forms such as painting, drawing and sculpture, it is easy to understand the common elements that unite them. Each is a non- moving art form that begins at the drawing board. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
Wide Shot (Or Establishing Shot) Medium Shot Close-Up Extreme
Definitions: Wide Shot (or Establishing Shot) Medium Shot Close-up Extreme Close-up Pan –Right or left movement of the camera Tilt –Up or down movement of the camera Zoom –Change in focal length (magnification) of the lens V/O –Voice-over, narration not synchronized with video SOT –Sound on Tape, Interview audio synchronized with video B-Roll -Refers to the earlier days of film when you had two rolls of film – A and B – and you had to edit them together. A-roll is the main subject of your shot, with audio such as an interview with someone or SOT (Sound on Tape synchronized with the video). B-roll is the background video for your film, often just video over which you’ll lay an audio track (such as the person talking in the A-roll). Nat Sound (Wild Sound) –Natural sound recorded with B-Roll This is video that has some natural background noise – traffic on a street, birds chirping in a park, etc. This audio can add depth and impact to a two-dimensional video tape. 2-Shot –Shot of the interview subject and the person asking the questions Reverse Angle –Straight-on shot of the person asking the questions Use a Tripod Use a tripod to get a steady shot, particularly if you’re shooting something that is not moving or a formal interview. Shaky video, especially in close-ups, can cause the viewer to become dizzy, even nauseous. If you don’t have a tripod or you’re doing a shot where you’ll have to move quickly, then find something to steady your camera – i.e. -
Cinematic Technique Intended Effect and Purpose Film Examples Shots
WRITING A STYLE ANALYSIS ESSAY Name ___________________________________ Cinematic Techniques Due Date ________________________________ Cinematic Technique Intended Effect and Purpose Film Examples Shot: A single piece of film, uninterrupted by cuts. Establishing Shot: Often a This is used to establish setting long shot or a series of and to show transitions shots that sets the scene. between locations. Long Shot (LS): A shot from It may suggest the isolation or some distance (also called vulnerability of a character. a full shot). A long shot of a person shows the full body. Medium Shot (MS): The The effect is to ground the most common shot. The story. camera seems to be a medium distance from the object being filmed. A medium shot shows a person from the waist up. Close-up Shot (CU): The Shots and Framing Shots image being shot takes up at least 80% of the frame. Extreme Close-up Shot (ECU): The image being shot is part of the whole, such as an eye or a hand. Two Shot: A scene between two people shot exclusively from an angle that includes both characters more or less equally, it is used in scenes where interaction between the two characters is important. Cinematic Technique Intended Effect and Purpose Film Examples Eye Level: A shot taken Ninety to ninety-five percent from a normal height – that of the shots seen are eye level is, at the character’s eye because it is the most natural level. angle. High Angle: The camera is This angle usually has the above the subject. effect of making the subject look smaller than normal, giving the character the appearance of being weak, powerless, and/or trapped. -
Cinematography
CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which -
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. -
Depth of Field in Photography
Instructor: N. David King Page 1 DEPTH OF FIELD IN PHOTOGRAPHY Handout for Photography Students N. David King, Instructor WWWHAT IS DDDEPTH OF FFFIELD ??? Photographers generally have to deal with one of two main optical issues for any given photograph: Motion (relative to the film plane) and Depth of Field. This handout is about Depth of Field. But what is it? Depth of Field is a major compositional tool used by photographers to direct attention to specific areas of a print or, at the other extreme, to allow the viewer’s eye to travel in focus over the entire print’s surface, as it appears to do in reality. Here are two example images. Depth of Field Examples Shallow Depth of Field Deep Depth of Field using wide aperture using small aperture and close focal distance and greater focal distance Depth of Field in PhotogPhotography:raphy: Student Handout © N. DavDavidid King 2004, Rev 2010 Instructor: N. David King Page 2 SSSURPRISE !!! The first image (the garden flowers on the left) was shot IIITTT’’’S AAALL AN ILLUSION with a wide aperture and is focused on the flower closest to the viewer. The second image (on the right) was shot with a smaller aperture and is focused on a yellow flower near the rear of that group of flowers. Though it looks as if we are really increasing the area that is in focus from the first image to the second, that apparent increase is actually an optical illusion. In the second image there is still only one plane where the lens is critically focused. -
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. -
BASIC FILM TERMINOLOGY Aerial Shot a Shot Taken from a Crane
BASIC FILM TERMINOLOGY Aerial Shot A shot taken from a crane, plane, or helicopter. Not necessarily a moving shot. Backlighting The main source of light is behind the subject, silhouetting it, and directed toward the camera. Bridging Shot A shot used to cover a jump in time or place or other discontinuity. Examples are falling calendar pages railroad wheels newspaper headlines seasonal changes Camera Angle The angle at which the camera is pointed at the subject: Low High Tilt Cut The splicing of 2 shots together. this cut is made by the film editor at the editing stage of a film. Between sequences the cut marks a rapid transition between one time and space and another, but depending on the nature of the cut it will have different meanings. Cross-cutting Literally, cutting between different sets of action that can be occuring simultaneously or at different times, (this term is used synonomously but somewhat incorrectly with parallel editing.) Cross-cutting is used to build suspense, or to show the relationship between the different sets of action. Jump cut Cut where there is no match between the 2 spliced shots. Within a sequence, or more particularly a scene, jump cuts give the effect of bad editing. The opposite of a match cut, the jump cut is an abrupt cut between 2 shots that calls attention to itself because it does not match the shots BASIC FILM TERMINOLOGY seamlessly. It marks a transition in time and space but is called a jump cut because it jars the sensibilities; it makes the spectator jump and wonder where the narrative has got to. -
The Effect of Motion Dynamics and POV Shots on Film Viewers’
The Effect of Motion Dynamics and POV shots on Film Viewers’ Narrative Engagement, Empathy and Arousal Lennart Jungbauer ANR: 834468 Bachelor thesis Communication and Information Science Specialization: Human Aspects of Information Technology Tilburg University, Tilburg Supervisor: dr. K.E. Bálint Second reader: dr. N.T. Cohn June 2018 2 Abstract Previous research has indicated that formal features of films can affect film viewers’ cognition and emotion. This study explores the effect of motion dynamics and point of view shots on narrative engagement, empathy and arousal in film viewers. To test these effects, an online experiment with a between-subject design was conducted among 194 respondents. Participants viewed one of 14 different scenes from Quentin Tarantino films. After viewing one of the scenes, participants answered items on narrative engagement, state empathy and arousal. Levels of motion dynamics and point of view shots were extracted from the film scene through computational analysis. Results show that higher levels of point of view shots increase film viewers’ emotional engagement but also decrease their narrative understanding. However motion dynamics and point of view shots did not significantly affect viewers’ narrative engagement, state empathy or arousal. These findings accentuate the effects of formal features on film viewers’ cognitive and emotional responses found in earlier studies. However, results also imply that these effects may be more limited than previously thought. Keywords: motion dynamics, point of view -
Glossary of Terms
Virtual Programming 2.0 Glossary of Terms Angle- The relative angle and position between the subject being filmed and the camera lens. Also see Dutch-angle, eye-level angle. One of the key aspects of a shot. Aperture- the iris of a camera lens. Opening and closing this iris control how much light hits the image sensor. Aperture is one of the three settings that control your exposure, along with ISO and Shutter Speed. Aspect Ratio- the height and width of a video frame, typically measured in pixels. Today, 16:9 and 2.35:1 are common video aspect ratios. Colloquially, aspect ratio is sometimes broken down into “portrait” and “landscape” modes when filming on a tablet or phone camera. Blocking- the stage in video production when the director walks the performers and cameraperson through all the action, camera movement, and light cues a shot. Blocking is done before a scene is filmed. Camera Movement- when a camera or camera lens moves during filming in order to change the shot distance or angle mid-filming. Some examples of common camera movements include pan, track, tilt, and zoom. Dynamic Shot- A shot with one or more types of camera movements Static Shot- A shot without any camera movements Chroma-Keying- the process in which a solid-colored backdrop (often a blue or green screen) is replaced digitally with the desired background during post-production. Close Up- See Distance Codec- A type of software designed to compress audio or video footage in a way that makes the file format easily readable to other computer programs.