1. Match on Action (MOA) 2. Fight Scene

Total Page:16

File Type:pdf, Size:1020Kb

1. Match on Action (MOA) 2. Fight Scene Below is a set of projects that focus on specific filming, editing and story development skill sets. Read through each of the project outlines then watch the sample or instructional video that is supplied in the Shared Folder. Then, plan, shoot and edit the video that is outlined in the project. You are to create ONE Project file with each Skill Set listed below having it’s own sequence. The final sequence, which will be handed-in will include all of the nested sequences. 1. Match on Action (MOA) Watch the video “Cutting on the Action” MOA definition: a cut in which 2 or more shots are joined to each other so that the action or the space itself appears to be continuous. Create a short piece that Plan a simple idea first. includes a minimum of 3 Keep your “story” or idea or concept simple. MOA’s (remember each MOA Do a shot list of your planned video. Include is a minimum of 2 shots) under not only the camera angles but the action in the theme of “Watch Where front of the camera as well (what the actors are You Step”. The video should doing) be 60 seconds in length. Keep the camera stable and on a tripod all the time. Keep the camera level and always white balanced. Use a microphone if any dialogue is used. 2. Fight Scene Watch video: “How to Shoot a Fight Scene” Fight scenes are used in Action Genre videos that use physical style to tell the story rather than the use of dialogue. It is important to emphasize certain actions through multiple camera angles and various cuts on the action. In this next assignment, you are to create a 30 to 60 second fight sequence. The completed assignment should demonstrated your understanding of the following concepts: Editing with action The power of cutaways Foley sound Plan a simple idea first. It can BUT doesn’t have to have a storyline. You need to write up a project proposal. It needs to highlight different set-ups for one action. (i.e. if someone is falling down the story board can highlight shots such as a Master Long shot of the person falling, a medium shot of the person falling, a close-up of the person’s face as they fall, a cutaway of their eyes widening in fear, a cut-away of their hand grasping the hopes of holding onto something, a cut-away of their head hitting the floor….. Etc.) ALL OF THESE SHOTS ARE NEEDED FOR ONE ACTION! 3. Lighting to Create Mood Watch the video “Lighting” You are to design a set and lighting Plan a simple idea first. plot for a 60 to 90 second video clip It can BUT doesn’t have to include a under the theme: “Living in Terror”. storyline. You need to write up a project You are to create the mood purely proposal that includes the camera angles, through the lighting. The acting, character actions AND the lighting effects sound foley and audio will be used to going to be used. You will have access to enhance the theme portrayed by the the lighting kits available in the media class lighting. in addition to any other “guerilla” lighting available to you. (flashlights; cardboard cutouts; overhead projectors; lcd projectors; cell phones; etc). 4. Forced Perspective Watch the video: “Forced Perspective” Forced Perspective: is a technique that employs optical illusion to make an object appear farther away, closer, larger or smaller than it actually is. It is done through manipulation of the placement of the camera in relation to the two subjects. Plan two simple forced perspective scenarios. Each should be about 10 seconds long. No editing is needed BUT the footage will be captured onto Final Cut so that it can be included in the final sequence created for these projects. 5. Editing – Split Screen Watch the video: “Split Screen” Split Screen is the visible division of the screen, traditionally in half, but also in several simultaneous images, rupturing the illusion that the screen's frame is a seamless view of reality, similar to that of the human eye. It can be used to “duplicate” one character; create a mirror image; provide opportunity to include several shots in one frame; for interactive scenes. You are to film a video clip, Plan a simple idea first. which requires some type of The clip must incorporate at least one form of the use of split screen scenario. It can the split screen during the editing process. It can BUT be any of the above type. doesn’t have to have a storyline. Plan carefully. Write up a The clip is to be between 30 project proposal that includes all the camera angles and to 60 seconds in length. actions needed for the clips used for the split screen. 6. Conflict in Story Development Watch the video: “Jack Must Die” When a story is developed, it must have the following components: i. Beginning: An introduction to the protagonist and the conflict – what does he want. The antagonist is also introduced. This is the person who either prevents OR helps the protagonist get what he wants. ii. Middle: How does the protagonist get what he wants OR is prevented from getting what he wants. This includes the list of actions or incidents that occur. iii. End: This is the resolution to the conflict. Hollywood ending: the protagonist gets what he wants. Dramatic ending; he doesn’t and the antagonist “wins”. Your film needs to include but need not be limited to the following: It is a narrative film. It is to be a minimum of 1 minute completed, plus credits. There need not be a literal traditional devil character. There needs to be a protagonist wanting something so badly he would do almost anything for it. There needs to be an antagonist (whom we might really like!) able to give the protagonist what he/she wants – OR NOT!!!! Stylistic Elements Narrative Elements Swish zooms. Describe: Pull focus. What your character wants. Unique editing vision befitting the Prince of The “devil” and his shtick. Darkness. The main character. A special look befitting the Prince of Darkness. The game. Pro Score Music (music to set the scene The consequence of losing without any dialogue) (by either parties) .
Recommended publications
  • Tellin Your Story
    2017 TELLING YOUR STORY Using storytelling for social good and the mission of the Peace Corps WHY STORYTELLING? • Makes sense of the world around us • Connects us with people • Inspires empathy IN THE PUBLIC SECTOR Gain visibility, credibility • Important to be recognized and to be known as an organization making valuable contributions to the communities it serves. Create connections, gather support • Connect with your audience and motivate them to support your organization • A good image/reputation inspires trust in your organization which leads to a more secure future with funders Transform yourself and your work • Allows you, the storyteller, to reflect on where you came from, where you are now, and where you hope to go in the future THE PROCESS (re)discover | build | share REFLECT • Remember a time when you stepped out of your comfort zone and tackled a problem to make a positive difference in the world. • What was your “a-ha” moment? • Recall this moment using all of your senses. How did it look? Feel? Sound? Taste? • Capture the moment as best you can using written words, an audio recording, a drawing… (re)discover | build | share Big idea How To Challenge Impact The hook Call to Action (re)discover | build | share THE HOOK The opening that pulls your audience into the story • Paint the scene. Describe the when and where of your story • Introduce the protagonist. From what perspective do you want to tell your story? (re)discover | build | share THE CHALLENGE Introduction to the central problem • Describe the moment when you made a connection with the problem.
    [Show full text]
  • Comparative Look at Spectator Identification in Films and Video Games
    Comparative Look at Spectator Identification in Films and Video Games by Taylor Reiner A THESIS submitted to Oregon State University University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Computer Science (Honors Scholar) Presented March 2, 2016 Commencement June 2016 AN ABSTRACT OF THE THESIS OF Taylor Reiner for the degree of Honors Baccalaureate of Science in Computer Science presented on March 2, 2016. Title: Comparative Look at Spectator Identification in Films and Video Games. Abstract approved: ____________________________________________________________ Jon Lewis Often, characters of entertainment works, such as movies, books, or video games, display traits that people find relatable. In certain cases, a spectator of a work will develop such a strong psychological bond with a character that they identify with them. Identification with fictional characters is usually a subconscious act where the viewer or reader will empathize and project themselves onto a character in the film or book they are experiencing. Although this sense of identification is universal in entertainment mediums, films and video games have distinct ways that they cultivate this identification phenomenon. This thesis examined a variety of identification catalysts, suppressors, and theories in efforts to create a comprehensive comparative look at identification between the two mediums. With technological, interactive, and format differences, these mediums differ greatly in their effectiveness at fostering identification in the spectator. Although video games are similar to film, their interactivity pushes new boundaries of identification that film does not. Alternatively, film's character leniency allows for a range of identification possibilities that video games do not.
    [Show full text]
  • Read Book How to Use Creative Perspective Kindle
    HOW TO USE CREATIVE PERSPECTIVE PDF, EPUB, EBOOK Ernest W. Watson | 160 pages | 15 May 1993 | Dover Publications Inc. | 9780486273372 | English | New York, United States How to Use Creative Perspective PDF Book You need to place your subject in the exact spot, or else people will notice the illusion right away. This amount is subject to change until you make payment. Or they use streets and sidewalks to create an illusion of depth or height. The Elements of Drawing John Ruskin. Be the first to write a review. Notan Dorr Bothwell. Colorful water drop photography is one of the best options to do so. Learn more - opens in a new window or tab International postage and import charges paid to Pitney Bowes Inc. Other Editions 2. You can use literally anything around you to get started. Please note, the image is for illustrative purposes only, actual book cover, binding and edition may vary. Only in this way can students free themselves from the constraints of tradition and find their own imaginative paths. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab. International contributors address a broad spectrum of musical creativities in higher education, such as improvisational creativity, empathic creativity and leadership creativity, demonstrating the transformative possibilities of embedding these within higher music education teaching and learning. Need more info? Steven Brown added it Sep 05, West Sussex, United Kingdom. Chapin, Jr. Share with friends Share. There are plenty of ways to interact with them, as well. Covering a wide-range of mediums pen and ink, paint, chalk, digital art, woodwork, and more , Perspective in Action gives readers a more hands-on approach to perspective, as opposed to the usual theoretical presentations found in other books.
    [Show full text]
  • 1. Introduction 2. Size of Shot
    Prepared by I. M. IRENEE [email protected] 0783271180/0728271180 1. Introduction Cinematographic techniques such as the choice of shot, and camera movement, can greatly influence the structure and meaning of a film. 2. Size of shot Examples of shot size (in one filmmaker's opinion) The use of different shot sizes can influence the meaning which an audience will interpret. The size of the subject in frame depends on two things: the distance the camera is away from the subject and the focal length of the camera lens. Common shot sizes: • Extreme close-up: Focuses on a single facial feature, such as lips and eyes. • Close-up: May be used to show tension. • Medium shot: Often used, but considered bad practice by many directors, as it often denies setting establishment and is generally less effective than the Close-up. • Long shot • Establishing shot: Mainly used at a new location to give the audience a sense of locality. Choice of shot size is also directly related to the size of the final display screen the audience will see. A Long shot has much more dramatic power on a large theater screen, whereas the same shot would be powerless on a small TV or computer screen. Wednesday, January 18, 2012 Prepared by I. M. IRENEE [email protected] 0783271180/0728271180 3. Mise en scène Mise en scène" refers to what is colloquially known as "the Set," but is applied more generally to refer to everything that is presented before the camera. With various techniques, film makers can use the mise en scène to produce intended effects.
    [Show full text]
  • Movies and Magic STEM Learning Activity Resources
    STEM ON SCREEN 9-11 Movies and magic STEM Learning activity resources Introduction Key information This programme has been created by STEM Learning, the largest provider of AGE RANGE: 9-11. STEM education and careers support in the UK. It has been developed in SUBJECT LINKS: science, mathematics, design and technology, computing. partnership with STEM Club leaders. DURATION: activities range from 20 to 90 minutes – at least 6 hours in total. Movies and magic FLEXIBILITY: complete the whole programme over a half term or choose individual activities to suit the needs of your Club. Sometimes what looks like magic is RESOURCES: each activity includes a list of the resources required and a actually science! In this programme, comprehensive set of Club leader and pupil notes in the form of guides. pupils will look at magic and movie tricks for inspiration and find out how IMPACT MEASUREMENT: each set of resources is designed to help evaluate it’s done. They explore how things are and assess the progress of Club-based learning on Club members. A useful set of done to make movies look realistic, and assessment tools are available at www.stem.org.uk/stem-clubs investigate whether some of the themes or technology from the movies could be ACHIEVEMENT: pupils that successfully complete an entire set of activities can be possible in real life. rewarded with the downloadable STEM Clubs certificate of achievement. Students may be able to use these resources to work towards a CREST Discovery Award. APPROPRIATE VENUES: club leaders can run most activities in general spaces e.g.
    [Show full text]
  • Sunrise: a Song of Two Humans (1927, F.W
    A Level Film Studies - Focus Film Factsheet Sunrise: A Song of Two Humans (1927, F.W. Murnau, USA) CORE STUDY AREAS 1 - STARTING Component 2: Global Filmmaking POINTS - Key Elements of Film Perspectives (AL) Form (Micro Features) Cinematography Core Study Areas: • The opening vacation montage employs Key Elements of Film Form multiple exposures and super-impositions to Meaning & Response convey summertime in an expressionist style. The Contexts of Film • The film uses light sources such as a candle on the table and light through a Specialist Study Area: window ̶ this use of single light sources Critical Debates (AL) is typical of the late silent period. • When the Man and the Wife renew their Rationale for study love in the church, they move from shadow • Sunrise is a ‘super-production, an experimental into light. The lighting is a metaphor for film and a visionary poem’ (Martin Scorsese). the renewal of their marriage vows. The film is unique in that it is a German Mise en Scene Expressionist film made with German talent for a • The film contains many visual oppositions Hollywood Studio (Fox). It reflects silent film at including: day vs. night; the city vs. the its peak as an art form, released just days before country; the dangerous Woman from the premiere of the first ‘talkie’, The Jazz Singer. the City vs. the innocent Wife. • Murnau employs ‘forced perspective’ STARTING POINTS - Useful ̶ an expressionist device where Sequences and Timings/Links objects in the foreground are large, making the background recede. • The Man meets the Woman from the City (10mins) • The mise en scene is symbolic, reflecting the characters’ psychological states.
    [Show full text]
  • Forced Perspective Trick Photography Forced Perspective Photography Ideas
    Forced Perspective Trick photography Forced Perspective Photography Ideas • Forced perspective is a type of optical illusion. Objects appear to be a different size or distance due to the angle they have been shot from. • You can turn tiny objects into giants, or shrink buildings. • A classic example of forced perspective is the tourist shot of a person ‘holding’ the Leaning Tower of Pisa. • Forced perspective photography is fun and straightforward. • You can try this technique anywhere you go, get creative! Check out forced perspective poses for inspiration • Popular images include people who appear like gnomes or giants. Even small toys can appear large and realistic. Plan each scene beforehand for a convincing illusion • Every visual element in your frame has to work together • Harmony is the key to a convincing forced perspective shot. • You need to think of how to set up your photos • You need to decide on the necessary props you need for your project • You’ll need to know where to place your camera, and where to position your subjects Take Test Shots • After you plan the shoot, you have to take some test shots before doing the real shoot. • See if you might need some more props or what angles work best so that when you are at your location, you are ready to get started. Try a zoom lens for perspective distortion • You can use just about any lens to create perspective distortion. Your most ideal option would be a zoom lens. • You’re playing around with perspective or false perspective, so expect to adjust your framing and composition a lot.
    [Show full text]
  • Camera and Lens
    CHAPTER 3 Camera and Lens Barbara Morgan, Martha Graham in “Letter to the World”. © Barbara Morgan, Willard & Barbara Morgan Archive/Time Inc. is the licensee. CAMERA AND LENS Modern cameras are extremely sophisticated devices, in- ways of controlling the exposure on the film and various volving computer-designed lenses, complicated electron- devices for handling film and controlling focus of the lens. ics, and construction from high-tech materials. In spite of These tasks may be performed automatically by the cam- this complexity, all cameras are basically the same, pro- era or manually by manipulation of the controls. An un- viding a light-tight container for photosensitive materi- derstanding of the basic parts and operation of the camera als—film—and a lens to form an image of the subject and lens will clarify the role that the more sophisticated matter on the film. The other parts of the camera provide electronic devices play in the functioning of the camera. The Camera Film advance Camera body Viewfinder Aperture Lens Shutter Focusing device Film Camera. This is a simple camera, but it contains all the parts necessary for complete control in making photographs. Camera Body. Light-tight enclosure Viewfinder. Shows an approximate view of Shutter. Shields the film from the image until protecting the film from unwanted exposure to the part of the subject that will appear in the the shutter release is pressed, when it opens for light. Opens to allow loading of film. image on the film and may include a method a measured amount of time (the shutter speed) Lens.
    [Show full text]
  • Tiny Spaceships Learning Objective Students Will Learn About and Apply the Concepts of Dilation, Scale Factor, and Forced Perspective Using Miniatures
    Tiny Spaceships Learning Objective Students will learn about and apply the concepts of dilation, scale factor, and forced perspective using miniatures. They will apply it on their own by making a miniature and photographing it. Common Core Connections • CCSS.MATH.CONTENT.7.RP. A.1-3 Recognize and represent proportional relationships between quantities. • CCSS.MATH. CONTENT.7. G.A.1 Solve problems involving scale drawings of geometric figures. • VA: Cr1.2.7 - Cr2.3.7 Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design. • VA: Pr4.1.7 Compare and contrast how technologies have changed the way artwork is preserved, presented, and experienced. Key terms Term Definition Filmmaking visual effects created using three-dimensional models or Practical effects figures. Practical effects are recorded directly by a camera rather than created digitally by CGI (computer-generated imagery). Models used to represent things that are too expensive or difficult to film Miniature in reality. The relationship or ratio between the measurements of an object and a Scale model of the object. Figures having the same shape; having corresponding sides proportional Similarity and corresponding angles equal. A transformation that produces an image that is the same shape as the Dilation original but is a different size. Proportional Corresponding in size or shape to something else. A technique which employs optical illusion to make an object appear Forced Perspective farther away, closer, larger, or smaller than it actually is. Composition The placement or arrangement of visual elements in a picture. Materials You Will Need A ruler or measuring tape, compass, calculator, pencil, paper, camera, paper, scissors or x-acto knife, and colored pencils, paint, or markers.
    [Show full text]
  • Illusion of Forced Perspective
    CURIOSITY AT HOME ILLUSION OF FORCED PERSPECTIVE Have you ever seen pictures that looks like a person is squeezing a large building between their fingers? Or holding another person in their hand? We know buildings are larger than our hands and people can’t fit in our palms, so how are these pictures taken? It all has to do with a special optical illusion called forced perspective. Forced perspective is a technique that allows us to make objects look farther away, closer, larger or smaller than they really are! By putting objects closer or farther away from the camera lens, we are able to trick our vision. This is a popular technique used in movies, photography, art, and architecture! In this activity, we are going to experiment with some forced perspective of our own to make a small object look bigger than us in a photograph! PROCEDURE • Have one person hold the camera and the other person set up the object and themselves for the pictures. - If working alone, set up the camera in a place where it will stand up on its own. Make sure to have the 10 second self-timer on! MATERIALS • Start by taking 3 photographs that explore perspective. • Paper or science notebook - First Photo: You and the object are next to each other, the · Pencil, pen, or marker same distance from the camera · A camera or a device with a camera - Second Photo: You are far from the camera, about 10 feet (phone, tablet etc.) away or more, and the object is close to the camera, about · A tripod or holder for the camera 5 inches away (make sure you can see both you and the (if you are working by yourself object in the image).
    [Show full text]
  • Ross Den Otter Session 5 Recap… Metering Patterns Metering
    Intro to Photography Ross den Otter Session 5 Recap… Metering Patterns Metering Your meter sees everything as 18% or middle grey. centre weighted average spot matrix, evaluative or multi segment spotlit scenes objects on a black field Scenes that include a scenes with shadows bright light Lenses SLR Camera Lenses Fixed Lenses: Zoom Lenses: Specialty Lenses: (also called ‘prime lenses’) 28mm Wide-angle 17-35mm Wide-angle Tilt Shift Lenses 50mm Standard 28-70mm Standard Macro Lenses 85mm Portrait 70-200mm Telephoto Fisheye Lenses 200mm Telephoto 28-300mm Long Range Ultra-Wide/ Long Lenses 45mm 150mm 75mm 200mm All of the exposures were made at f5.6 from the same spot. Angle of view changes, perspective does not. 45mm 45mm cropped 200mm When you crop the photo to match the 200mm framing the images share the same perspective. The depth of field is different and so is the resolution. 20mm 100mm 45mm 150mm The camera position was changed to keep the front tree the same size from photo to photo. This is when the perspective changes. 75mm 190mm Lens Behaviour Wide Angle Telephoto Expansion Compression expansion compression Moving along from where we left off last week Perspective Vertical and horizontal lines Most straight lines are man made, except the horizon. We have expectations for straight lines; skyscrapers that don’t appear to be falling backward and rail lines that converge in the distance, and keep the horizon level. Each of these elements are controlled by camera placement and lens selection. Converging and parallel lines are governed by intersecting planes. If lines in the scene intersect with the plane of the sensor those lines in the scene will converge.
    [Show full text]
  • Coronavirus Affected Syllabus
    CTPR 423 INTRODUCTION TO SPECIAL EFFECTS IN CINEMA Units: 2 Spring 2021 — Mondays — 7:00pm – 10:00pm Coronavirus affected syllabus 100% Distance Learning Etiquette Rules for the Zoom Classroom You must turn video on and participate. Mute yourself unless you have a question or comment. Only post chat messages relevant to the lessons. While it’s important to stay hydrated, please reframe from eating during zoom sessions. Try to find a quite space and stay in an attentive sitting position. Please no reclining or multi-tasking. Consider your background and avoid sitting in front of a window which may either be too bright and distracting or properly exposed and you’ll be a silhouette. We want to create a more direct sense of engagement with each student and among students. We expect behavior during our online classes similar to what we would expect if we were in- person. This class may not be audited. Location: SCC Stage 3 Instructor: Gene Warren III, Christopher Lee Warren Office: SCA stage 3 Office Hours: (By Appointment) Contact Info: [email protected] 818-606-3087 Teaching Assistant: Jacqueline Rosenthal Contact Info: [email protected] 818-667-9211 Revised Ausgust 2018 SCA PRODUCTION DIVISION VIRTUAL PRODUCTION PROTOCOLS And BUBBLE DEFINITIONS Adopted Fall 2020 Revised Spring 2021 Due to concerns regarding the spread of COVID-19 in California and around the world, USC and the School of Cinematic Arts (SCA) have taken a strong stance regarding the need for safe and mindful behaviors among all members of the SCA community. Medical authorities agree that even the young and healthy are capable, if infected, of becoming ill, or of being non-symptomatic unconscious vectors of the disease’s spread.
    [Show full text]