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> Mse63.Blog.Ir Mse63@Chmail.Ir Mse63@Chmail.Ir اﺻﻄﻼﺣﺎت ﺳﻴﻨﻤﺎﻳﻲ : ﻣﺤ ﺗ ﻤ ﺪ ﺪو ﻳ ﻦﺻﺎد ق اﺑﺮاﻫﻴﻤ ﻲ Mse63.blog.ir [email protected] [email protected] ١ ﻟﺎﻔﺒ اﺻﻼﻄح ﻻﻦﺗﻴ ﺗﻮتﺿﻴﺎﺤ اﻟﻒ آﭘﺎراﺗﭽﻲ Projectionist ﻓﺮدي ﻛﻪ ﻣﺴﺌﻮل راه اﻧﺪازي دﺳﺘﮕﺎه ﻧﻤﺎﻳﺶ ﺑﺮاي ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ اﺳﺖ. او ﻫﻤﭽﻨﻴﻦ ﺑﺎﻳﺪ ﺗﺠﻬﻴﺰات دﻳﮕﺮ ﻣﺮﺑﻮط ﺑﻪ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻣﺎﻧﻨﺪ ﺻﺪا و ﻧﻮر را ﻧﻴﺰ ﺑﻪ راه اﻧﺪازد و ﺗﻨﻈﻴﻢ ﻛﻨﺪ اﻟﻒ آروﻣﺎراﻣﺎ Aromarama ﻓﺮاﻳﻨﺪي ﻛﻪ ﻃﻲ آن ، ﻫﻢ زﻣﺎن ﺑﺎ ﭘﺨﺶ ﻓﻴﻠﻢ در ﺳﺎﻟﻦ ﺳﻴﻨﻤﺎ ، ﺑﻮﻳﻲ ﻣﺘﻨﺎﺳﺐ ﺑﺎ ﺗﺼﻮﻳﺮ در ﺳﺎﻟﻦ ﭘﺨﺶ ﻣﻲ ﺷﻮد اﻟﻒ از ﭘﻴﺶ دﻳﺪن ﺻﺤﻨﻪ Animatics ﺻﺤﻨﻪ ﻫﺎﻳﻲ ﻛﻪ ﺑﺎ ﺗﻜﻨﻴﻚ ﻫﺎي ﻧﻘﺎﺳﻲ ﻣﺘﺤﺮك ﻳﺎ وﻳﺪﺋﻮ ﺳﺎﺧﺘﻪ ﻣﻲ ﺷﻮﻧﺪ ، ﺗﺎ دﺳﺖ اﻧﺪرﻛﺎران ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺑﺘﻮاﻧﻨﺪ ﻧﺤﻮه ﻋﻤﻠﻜﺮد ﺻﺤﻨﻪ واﻗﻌﻲ را ﻛﻪ ﺑﻌﺪﺗﺮ ﺧﻠﻖ ﺧﻮاﻫﻨﺪ ﻛﺮدﺑﻨﺪﺒﻨﻴ اﻳﻦ .روش ﺑﻪ وﻳﮋه ﺑﺮاي ﭘﻴﺶ ﺑﻴﻨﻲ ﺻﺤﻨﻪ ﻫﺎﻳﻲ ﻛﻪ از ﺟﻠﻮه ﻫﺎي وﻳﮋه در آﻧﻬﺎ اﺳﺘﻔﺎده ﺧﻮاﻫﺪ ﺷﺪ ﻛﺎرﺑﺮد دارد اﻟﻒ اﺳﺘﺪﻳﻜﻢ Steadicam ﻧﺎم ﺗﺠﺎري وﺳﻴﻠﻪ اي ﻛﻪ در ﺳﺎل ﻫﺎي اﺧﻴﺮ ﺑﺴﻴﺎر ﻣﻮرد اﺳﺘﻔﺎده ﻗﺮار ﮔﺮﻓﺘﻪ و ﺑﻪ ﻓﻴﻠﻢ ﺑﺮدار اﺟﺎزه ﻣﻲ دﻫﺪ ﺗﺎ در ﻧﻤﺎﻫﺎﻳﻲ ﻛﻪ ﺑﺎ دورﺑﻴﻦ روي دﺳﺖ ﻛﺎر ﻣﻲ ﻛﻨﺪ ، دورﺑﻴﻦ را در وﺿﻌﻴﺘﻲ ﻧﺴﺒﺘﺎ ﺛﺎﺑﺖ ﻧﮕﻪ دارد. اﺳﺘﺪﻳﻜﻢ ، ﭘﺎﻳﻪ اي اﺳﺖ ﻛﻪ ﺑﻪ ﻛﻤﺮﺑﻨﺪ ﻣﺘﺼﻞ ﻣﻲ ﺷﻮد و روي ﺳﻴﻨﻪ و ﭘﺸﺖ ﻓﻴﻠﻢ ﺑﺮدار ﻗﺮار ﻣﻲ ﮔﻴﺮد و ﺑﻪ ﻓﻴﻠﻢ ﺑﺮدار اﺟﺎزه ﻣﻲ دﻫﺪ ﺗﺎ ﺑﺎ ﺳﻬﻮﻟﺖ ﺑﻪ ﻛﺎر ﺧﻮد ﺑﭙﺮدازد اﻟﻒ اﺳﺘﺮوﺑﻮﺳﻜﻮپ Stroboscope وﺳﻴﻠﻪ اي ﻛﻪ در ﺳﺎل 1833 در وﻳﻦ اﺧﺘﺮاع ﺷﺪ و ﺗﻮﻫﻢ ﺣﺮﻛﺖ را ﺑﺎ ﺻﻔﺤﻪ ﻣﺪوري ﻛﻪ درون آن ، ﻣﺠﻤﻮﻋﻪ اي از ﻃﺮح ﻫﺎ ﻗﺮار داﺷﺖ اﻳﺠﺎد ﻣﻲ ﻛﺮد. ﺑﺮاي اﺳﺘﻔﺎده از اﻳﻦ وﺳﻴﻠﻪ ، ﺗﻤﺎﺷﺎﮔﺮ ﺻﻔﺤﻪ را ﺑﻪ دوران در ﻣﻲ آورد و از ﺧﻼل ﺷﻜﺎﻓﻲ در اﻳﻦ ﺻﻔﺤﻪ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﺎزﺗﺎﺑﻴﺪه ﻃﺮح ﻫﺎ در ﻳﻚ آﻳﻨﻪ ﻧﮕﺎه ﻣﻲ ﻛﺮد اﻟﻒ اﺳﻼﻳﺪ Diapositive ﺻﻔﺤﻪ ﺷﻴﺸﻪ اي ﻛﻪ ﺑﺮ ﺑﺨﺸﻲ از آن ﺗﺼﻮﻳﺮي ﻧﻘﺶ ﺑﺴﺘﻪ و دورﺑﻴﻦ از ﻗﺴﻤﺖ ﺷﻔﺎف آن ، ﺻﺤﻨﻪ اي را ﻓﻴﻠﻢ ﺑﺮداري ﻣﻲ ﻛﻨﺪ و از ﺗﺮﻛﻴﺐ آن ﺻﺤﻨﻪ و ﺗﺼﻮﻳﺮ روي ﺷﻴﺸﻪ ، ﺗﺼﻮﻳﺮي ﺗﺮﻛﻴﺒﻲ ﺑﻪ دﺳﺖ ﻣﻲ آﻳﺪ. ﻣﻌﻤﻮﻻ از اﻳﻦ ﺗﻤﻬﻴﺪ ﺑﺮاي اﻓﺰودن ﺗﺼﻮﻳﺮ اﺑﺮ ﻳﺎ ﺟﻠﻮه ﻫﺎي ﻣﺸﺎﺑﻪ ﺑﻪ ﺗﺼﻮﻳﺮ اﺻﻠﻲ اﺳﺘﻔﺎده ﻣﻲ ﻛﻨﻨﺪ اﻟﻒ اﻓﻜﺖ ، ﺟﻠﻮه ﻫﺎ ، اﻓﻪ ﻫﺎ Effects ﺑﻪ ﻃﻮر ﻛﻠﻲ ﻫﺮ ﻧﻮع ﻋﻨﺼﺮ ﺗﺨﻴﻠﻲ ﻳﺎ ﻣﺼﻨﻮﻋﻲ ﻛﻪ ﺟﺰء ﻃﺒﻴﻌﻲ ﺻﺤﻨﻪ ﻧﺒﺎﺷﺪ و ﺑﺎ روش ﻫﺎي ﺗﻜﻨﻴﻜﻲ ﺑﻪ آن اﺿﺎﻓﻪ ﺷﻮد را ﮔﻮﻳﻨﺪ. اﻳﻦ ﺧﻠﻖ ﺟﻠﻮه ﺑﻪ ﻃﻮر ﻣﺸﺨﺺ ، ﻣﺘﺮادف ﻣﻮارد زﻳﺮ اﺳﺖ: 1 -ﺟﻠﻮه ﻫﺎي اﻧﺘﻘﺎﻟﻲ در ﻓﻴﻠﻢ ﻣﺎﻧﻨﺪ ﻫﻤﮕﺬاري ، ﻣﺤﻮ ﺗﺪرﻳﺠﻲ و.... 2 -ﺟﻠﻮه ﻫﺎي وﻳﮋه ، ﭼﻪ آﻧﻬﺎ ﻛﻪ ﺑﻪ ﻃﻮر ﻣﻜﺎﻧﻴﻜﻲ ﺟﻠﻮي دورﺑﻴﻦ اﻧﺠﺎم ﻣﻲ ﺷﻮد ، ﺑﺮاي ﻣﺜﺎل اﻳﺠﺎد ﺻﺤﻨﻪ اﻧﻔﺠﺎر ﻳﺎ آﻧﻬﺎ ﻛﻪ ﻧﻴﺎزﻣﻨﺪ ﺷﻴﻮه ﻫﺎي دﻗﻴﻖ و ﻇﺮﻳﻒ ﻓﻴﻠﻢ ﺑﺮداري اﻧﺪ ﻣﺎﻧﻨﺪ ﻓﺮاﻳﻨﺪ ﻧﻘﺎب .ﻣﺘﺤﺮك 3 - اﻓﺰودن ﺻﺪا ﺑﻌﺪ از ﻓﻴﻠﻢ ﺑﺮداري ، از ﺟﻤﻠﻪ اﻓﺰودن ﺻﺪاي ﻃﻮﻓﺎن ، ﺗﻴﺮاﻧﺪازي ، ﻗﺪم زدن و. ... اﻟﻒ اﻗﺘﺒﺎس Adaptation در ﺣﺎﻟﺖ ﻛﻠﻲ ﻫﺮ اﺛﺮي در ﻗﺎﻟﺐ ﻳﻚ رﺳﺎﻧﻪ ﺧﺎص ﻛﻪ ﺑﺮ اﺳﺎس اﺛﺮي در رﺳﺎﻧﻪ اي ﻣﺘﻔﺎوت ﺷﻜﻞ ﻣﻲ ﮔﻴﺮد را اﻗﺘﺒﺎس ﮔﻮﻳﻨﺪ. اﻗﺘﺒﺎس ﻫﺎي ﺳﻴﻨﻤﺎﻳﻲ را ﻣﻲ ﺗﻮان ﺑﺮ اﺳﺎس ﻧﻤﺎﻳﺶ ﻧﺎﻣﻪ ، رﻣﺎن ، داﺳﺘﺎن ﻛﻮﺗﺎه ، وﻗﺎﻳﻊ ﺗﺎرﻳﺨﻲ ، زﻧﺪﮔﻲ ﻧﺎﻣﻪ ﻫﺎ و ﮔﺎه ﺣﺘﻲ ﺷﻌﺮ ﻳﺎ ﺗﺼﻨﻴﻒ .ﺳﺎﺧﺖ اﻗﺘﺒﺎس ﻫﻢ ﻣﻲ ﺗﻮاﻧﺪ آزاد ﺑﺎﺷﺪ ( Loose Adaptation ) و در آن ﺣﺎل و ﻫﻮاي ﻛﻠﻲ اﺛﺮ ، ﺑﺨﺸﻲ از آن ، ﺷﺨﺼﻴﺘﻲ ، ﻳﺎ ﺣﺘﻲ ﻳﻚ ﻋﻨﻮان ﺣﻔﻆ ﮔﺮدد و ﻫﻢ ﻣﻲ ﺗﻮاﻧﺪ ﻛﺎﻣﻼ وﻓﺎداراﻧﻪ ﺑﺎﺷﺪ و در آن داﺳﺘﺎن اﺻﻠﻲ ، ﺷﺨﺼﻴﺖ ﻫﺎ و ﺣﺘﻲ ﮔﻔﺖ و ﮔﻮﻫﺎ را ﺗﺎ ﺣﺪ ﻣﻤﻜﻦ ﺣﻔﻆ .ﻛﺮد آﺛﺎر ﺳﻴﻨﻤﺎﻳﻲ درﺧﺸﺎﻧﻲ از روي آﺛﺎر ادﺑﻲ ﺑﻪ وﻳﮋه رﻣﺎن ﻫﺎي ﻣﺤﺒﻮب و ﭘﺮ ﻓﺮوش ﺳﺎﺧﺘﻪ ﺷﺪه اﻧﺪ ، از ﻫﻤﻴﻦ رو ﺑﺮﺧﻲ ﺟﺸﻨﻮاره ﻫﺎي ﺳﻴﻨﻤﺎﻳﻲ ﺟﺎﻳﺰه ﻣﺘﻔﺎوﺗﻲ را ﺑﺮاي ﻓﻴﻠﻢ ﻧﺎﻣﻪ ﻫﺎي اﻗﺘﺒﺎﺳﻲ در ﻧﻈﺮ ﮔﺮﻓﺘﻪ اﻧﺪ. ﺑﺴﻴﺎري از ﻣﺤﺒﻮب ﺗﺮﻳﻦ ﻓﻴﻠﻢ ﻫﺎي ﺗﺎرﻳﺦ ﺳﻴﻨﻤﺎ ﺑﺮ اﺳﺎس رﻣﺎن ﻫﺎي ﭘﺮ ﻓﺮوش ﺳﺎﺧﺘﻪ ﺷﺪه اﻧﺪ ، آﺛﺎري ﻣﺎﻧﻨﺪ ﺑﺮ ﺑﺎد( رﻓﺘﻪ Gone With The )1939 -ﺑﺮ اﺳﺎس رﻣﺎﻧﻲ از ﻣﺎرﮔﺎرت ﻣﻴﭽﻞ ( Margaret Mitchell )ﺪهﻧﻮاﺧ ﺪرﭘو ( 1972- ٢ ( Godfatherﺑﺮ اﺳﺎس رﻣﺎﻧﻲ از ﻣﺎرﻳﻮ ﭘﻮزو .( Mario Puzo ) در ﻫﺮ دو ﻣﻮرد ﻛﺘﺎب ﻫﺎﻳﻲ ﻧﻪ ﭼﻨﺪان ﻗﻮي ، اﻣﺎ داراي ﺧﻂ داﺳﺘﺎﻧﻲ ﺟﺬاب ﺑﻪ دﺳﺖ ﻓﻴﻠﻢ ﺳﺎزاﻧﻲ ﺗﻮاﻧﻤﻨﺪ ﺑﻪ ﻓﻴﻠﻢ ﻫﺎﻳﻲ ﻣﻬﻢ و ﻣﻄﺮح و ﺑﺎ ﻋﻤﻘﻲ ﺑﻴﺶ ﺗﺮ از اﺻﻞ ﻛﺘﺎب ﺑﺪل ﺷﺪه اﻧﺪ. ﺑﺎ ﻫﺮ ﭼﻪ ﺑﻴﺸﺘﺮ رﻳﺸﻪ دار ﺷﺪن اﻗﺘﺒﺎس ﻫﺎي ادﺑﻲ در ﺳﻴﻨﻤﺎ راﺑﻄﻪ ﺗﻨﮕﺎﺗﻨﮕﻲ ﺑﻴﻦ ﺳﻴﻨﻤﺎ و ادﺑﻴﺎت در ﺣﺎل ﺷﻜﻞ ﮔﻴﺮي اﺳﺖ. اﻟﻒ اﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ Expressionism ﻣﻜﺘﺒﻲ ﺳﻴﻨﻤﺎﻳﻲ ﻛﻪ از 1919 ﺗﺎ ﺣﺪود 1933 در آﻟﻤﺎن ﺷﻜﻞ ﮔﺮﻓﺖ. اﻳﻦ ﻣﻜﺘﺐ اﺳﺎﺳﺎ ﻳﻚ ﻣﻜﺘﺐ ﻫﻨﺮي اﺳﺖ ﻛﻪ ﭘﻴﺶ از اﻳﻦ در ﻋﺮﺻﻪ ﻧﻘﺎﺷﻲ ، ادﺑﻴﺎت ، ﺗﺌﺎﺗﺮ و ﻣﻮﺳﻴﻘﻲ ﻓﻌﺎل ﺷﺪه ﺑﻮد. اﻳﻦ ﻣﻜﺘﺐ در ﺳﻴﻨﻤﺎ ﻣﻲ ﻛﻮﺷﺪ واﻗﻌﻴﺖ ﻣﺎدي را ﺑﻪ ﺻﻮرت ﺑﺎزﺗﺎب ذﻫﻨﻲ ﺟﻬﺎن از ﻧﻈﺮ ﺷﺨﺼﻴﺘﻲ در ﻓﻴﻠﻢ اراﺋﻪ د ﻫﺪ . اﻳﻦ ﻛﺎر . ﻫﺪ از ﻃﺮﻳﻖ ﺻﺤﻨﻪ ﭘﺮدازي ﭘﻴﭽﻴﺪه و اﻏﺮاق ﺷﺪه ، ﺳﺎﻳﻪ ﻫﺎي ﺳﻨﮕﻴﻦ ، ﻓﻀﺎﺳﺎزي ﻏﺮﻳﺐ ، زواﻳﺎي ارﻳﺐ و ﻛﺞ و ﻣﻌﻮج ، ﺧﻄﻮط ﺷﻜﺴﺘﻪ ، ﻟﺒﺎس و آراﻳﺶ ﻏﻴﺮ ﻣﺘﻌﺎرف و ﺳﺒﻚ ﺧﺎص ﺑﺎزﻳﮕﺮي اﻧﺠﺎم ﻣﻲ ﮔﺮﻓﺖ. از ﺟﻤﻠﻪ ﻓﻴﻠﻢ ﻫﺎي ﻣﻄﺮح اﻳﻦ ﻣﻜﺘﺐ ﻣﻲ ﺗﻮان ﺑﻪ ﻛﺎﺑﻴﻨﻪ دﻛﺘﺮ ﻛﺎﻟﻴﮕﺎري The Cabinet Of )1918 - (Dr. Caligari، ﻧﻮﺳﻔﺮاﺗﻮ ، ﻳﻚ ﺳﻤﻔﻮﻧﻲ ﺗﺮﺳﻨﺎك 1922( ﻛﺮد) اﺷﺎره . »ﻧﻤﺎﻳﻲ از ﻓﻴﻠﻢ ﻛﺎﺑﻴﻨﻪ دﻛﺘﺮ ﻛﺎﻟﻴﮕﺎري ، ﺳﺎﺧﺘﻪ روﺑﺮت وﻳﻨﻪ«.( Robert Wiene ) اﻟﻒ اﻛﻮﺳﺘﻴﻚ ، ﻋﻠﻢ ﺻﺪا Acoustics ﻋﻮاﻣﻞ ﻣﺤﻴﻄﻲ ﻫﺮ ﻧﺎﺣﻴﻪ اي ﻛﻪ ﺑﺮ ﺻﺪا اﺛﺮ ﺑﮕﺬارﻧﺪ. ﻫﺮ ﺻﺪاﺑﺮداي ﺑﺎﻳﺪ ، ﺑﺎ اﻳﻦ ﻋﻮاﻣﻞ آﺷﻨﺎ ﺑﺎﺷﺪ. اﻳﻦ ﻋﻮاﻣﻞ ﭼﻪ در ﻫﻨﮕﺎم ﺿﺒﻂ و ﭼﻪ در ﻫﻨﮕﺎم ﭘﺨﺶ داراي اﻫﻤﻴﺖ ﻫﺴﺘﻨﺪ اﻟﻒ آﻟﻔﻜﺲ Allefex دﺳﺘﮕﺎﻫﻲ ﻛﻪ ﻣﻲ ﺗﻮاﻧﺪ در ﻫﻨﮕﺎم ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺻﺎﻣﺖ ، ﺗﺎ ﭘﻨﺠﺎه ﺟﻠﻮه ﺻﻮﺗﻲ ﻣﺨﺘﻠﻒ را اراﺋﻪ دﻫﺪ اﻟﻒ اﻣﭙﺮﺳﻴﻮﻧﻴﺴﻢ Impressionism اﻣﭙﺮﺳﻴﻮﻧﻴﺴﻢ اﻳﺘﺪا ﺟﻨﺒﺸﻲ در ﻧﻘﺎﺷﻲ ﺑﻮد ، ﻛﻪ در ﺑﻴﻦ ﻧﻘﺎﺷﺎن ﻓﺮاﻧﺴﻮي در اواﺧﺮ ﻗﺮن ﻧﻮزدﻫﻢ ﻣﻴﻼدي راﻳﺞ ﺑﻮد و در اواﻳﻞ دﻫﻪ 1920 ﺑﻪ ﺳﻴﻨﻤﺎ راه ﻳﺎﻓﺖ. در اﻳﻦ ﺟﻨﺒﺶ ﻫﺪف آن اﺳﺖ ﺗﺎ ﺑﺎ اﺳﺘﻔﺎده از ﻧﻮر ، ﺳﺎﻳﻪ ، رﻧﮓ ، ﺣﺎﻟﺖ ﻛﺎﻧﻮﻧﻲ ، ﺑﺎﻓﺖ ﺗﺼﻮﻳﺮ ، زاوﻳﻪ دورﺑﻴﻦ و ﺗﺪوﻳﻦ ، از ﺿﺒﻂ رﺋﺎﻟﻴﺴﺘﻲ روﻳﺪادﻫﺎ و ﺻﺤﻨﻪ ﻫﺎي واﻗﻌﻲ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺘﻪ ﺷﻮد و ﺗﺎﺛﻴﺮي ذﻫﻨﻲ ﺧﻠﻖ ﻛﻨﺪ. در واﻗﻊ ﻓﻴﻠﻢ ﺳﺎزان اﻣﭙﺮﺳﻴﻮﻧﻴﺴﺖ ﻣﻲ ﻛﻮﺷﻴﺪﻧﺪ ﺗﺎ ﻫﻤﺘﺎي ﻧﻘﺎﺷﺎن اﻣﭙﺮﺳﻴﻮﻧﻴﺴﺖ ، ﺟﻠﻮه ﻫﺎي ذﻫﻨﻲ ﺧﺎﺻﻲ را ﺑﺎ دورﺑﻴﻦ در آﺛﺎر رواﻳﻲ ﺧﻮد ﺧﻠﻖ ﻛﻨﻨﺪ. از ﭼﻬﺮه ﻫﺎي ﻣﻬﻢ اﻳﻦ ﻣﻜﺘﺐ ﻣﻲ ﺗﻮان ﺑﻪ ﻟﻮﻳﻲ دﻟﻮك ( Louis Delluc ) ، ژرﻣﻦ دوﻻك ) ( Germaine Dulac، ژان اﭘﺴﺘﺎﻳﻦ ( Jean Epstein ) و آﺑﻞ ﮔﺎﻧﺲ( Abel Gance ) اﺷﺎره ﻛﺮد. از ﻓﻴﻠﻢ ﻫﺎي ﻣﻬﻢ اﻳﻦ ﻣﻜﺘﺐ ﻧﻴﺰ ﻣﻲ ﺗﻮان ﺑﻪ ﺗﺐ Fever ) )1921 -ﺳﺎﺧﺘﻪ دﻟﻮك ، ﻗﻠﺐ وﻓﺎدار Faithful Heart ) )1923 -ﺳﺎﺧﺘﻪ اﭘﺴﺘﺎﻳﻦ و ﭼﺮخ The Wheel ) )1923 -ﺳﺎﺧﺘﻪ ﮔﺎﻧﺲ اﺷﺎره ﻛﺮد اﻟﻒ اﻧﺒﺎر ﻓﻴﻠﻢ Vault اﻧﺒﺎري ﺿﺪ آﺗﺶ ، ﺑﺮاي ﺣﻔﻆ و ﻧﮕﻪ داري ﻓﻴﻠﻢ ﻫﺎ ﺑﺮاي ﻣﺪت ﻃﻮﻻﻧﻲ. در اﻳﻦ اﻧﺒﺎر ﻫﺎ ، دﻣﺎ و رﻃﻮﺑﺖ ﻫﻤﻮاره ﺗﺤﺖ ﻛﻨﺘﺮل اﺳﺖ ﺗﺎ ﻓﻴﻠﻢ ﻫﺎي ﻣﻮﺟﻮد در آن ﺧﺮاب ﻧﺸﻮﻧﺪ. اﺳﺘﻮدﻳﻮﻫﺎي ﻓﻴﻠﻢ ﺳﺎزي ، ﻓﻴﻠﻢ ﺧﺎﻧﻪ ﻫﺎ و ﻻﺑﺮاﺗﻮارﻫﺎ ﻣﻌﻤﻮﻻ ﭼﻨﻴﻦ اﻧﺒﺎرﻫﺎﻳﻲ دارﻧﺪ اﻟﻒ آﻧﺘﺎﮔﻮﻧﻴﺴﺖ ، Antagonist ﺷﺨﺼﻴﺖ ﻣﻘﺎﺑﻞ ﻗﻬﺮﻣﺎن ﻓﻴﻠﻢ ﻛﻪ ﻣﻌﻤﻮﻻ آدم ﺑﺪي اﺳﺖ . ﺷﺨﺼﻴﺖ ﺧﺒﻴﺚ ﻫﻤﭽﻨﻴﻦ ﺑﺒﻴﻨﻴﺪ : ﺷﺨﺼﻴﺖ ﭘﺮدازي اﻟﻒ اﻧﻴﻤﺎﺳﻜﻮپ Animascope روﺷﻲ ﻛﻪ در آن ، از ﺑﺎزﻳﮕﺮان زﻧﺪه ﻃﻮري ﻓﻴﻠﻢ ﺑﺮداري ﻣﻲ ﺷﻮد ﻛﻪ ﺧﻄﻮط ﺣﺎﺷﻴﻪ اي ﺑﺪﻧﺸﺎن ﭘﺮ رﻧﮓ ﺑﻪ ﻧﻈﺮ ﻣﻲ آﻳﺪ و در ﻧﺘﻴﺠﻪ ﺑﻪ ﺷﺨﺼﻴﺖ ﻫﺎي ﻧﻘﺎﺷﻲ ﻫﺎي ﻣﺘﺤﺮك ﺷﺒﺎﻫﺖ ﻣﻲ ﻳﺎﺑﻨﺪ. اﻳﻦ روش راه ﺑﺴﻴﺎر ارزان ﺗﺮ و آﺳﺎن ﺗﺮي ﺑﺮاي ﺳﺎﺧﺘﻦ ﻓﻴﻠﻢ ﻧﻘﺎﺷﻲ ﻣﺘﺤﺮك ، ﻧﺴﺒﺖ ﺑﻪ ﺗﺮﺳﻴﻢ اﺷﻜﺎل روي ﻃﻠﻖ و ﺧﻠﻖ ﺣﺮﻛﺖ اﺳﺖ ٣ ب ﺑﺎران ﺳﺎز Rain Cluster ﻣﺠﻤﻮﻋﻪ اي از آﺑﭙﺎش ﻫﺎي آوﻳﺰان در ﺑﺎﻻي ﺻﺤﻨﻪ ﻛﻪ از آﻧﻬﺎ آب ﭘﺎﺷﻴﺪه ﻣﻲ ﺷﻮد ، ﺗﺎ در ﻣﻨﻄﻘﻪ وﺳﻴﻌﻲ از ﺻﺤﻨﻪ ، ﺣﺎﻟﺖ ﺑﺎرش ﺑﺎران ﭘﺪﻳﺪ آﻳﺪ ب ﺑﺪاﻫﻪ ﭘﺮدازي Improvise ﻛﺎري ﻛﻪ ﺑﺪون ﺗﻤﺮﻳﻦ ﻳﺎ ﺑﺪون اﻳﻨﻜﻪ در ﻓﻴﻠﻢ ﻧﺎﻣﻪ ﻗﻴﺪ ﺷﺪه ﺑﺎﺷﺪ ﻋﻤﺪﺗﺎ از ﺳﻮي ﺑﺎزﻳﮕﺮان اﻧﺠﺎم ﻣﻲ ﺷﻮد. ﮔﺎه ، ﺑﺮﺧﻲ از ﻓﻴﻠﻢ ﺳﺎزان از ﺑﺎزﮔﺮ ﻳﺎ ﺑﺎزﻳﮕﺮاﻧﺸﺎن ﻣﻲ ﺧﻮاﻫﻨﺪ اﮔﺮ ﮔﻔﺘﻪ ﻳﺎ ﺣﺮﻛﺘﻲ ﺑﻪ ذﻫﻨﺸﺎن ﻣﻲ رﺳﺪ ﻛﻪ ﺟﻠﻮه ﺑﻴﺸﺘﺮي ﺑﻪ اﺛﺮ ﻣﻲ ﺑﺨﺸﺪ ، ان را ادا ﻛﻨﻨﺪ ب ﺑﺪل Double ﻓﺮدي ﻛﻪ در ﺻﺤﻨﻪ ﻫﺎي ﺧﻴﻠﻲ ﺧﻄﺮﻧﺎك ، ﻳﺎ در ﻧﻤﺎﻫﺎي دور ﻛﻪ ﭼﻬﺮه ﺑﺎزﻳﮕﺮ ﻣﺸﺨﺺ ﻧﻴﺴﺖ و در ﻧﺘﻴﺠﻪ ﻫﻮﻳﺘﺶ آﺷﻜﺎر ﻧﻤﻲ ﺷﻮد ، ﺑﻪ ﺟﺎي ﺑﺎزﻳﮕﺮ زن ﻳﺎ ﻣﺮد ﻇﺎﻫﺮ ﻣﻲ ﺷﻮد. ﺑﺪل ﻛﺎراﻧﻲ ﻛﻪ ﺑﺎﻳﺪ ﺻﺤﻨﻪ ﻫﺎي ﺧﻄﺮﻧﺎك را اﺟﺮا ﻛﻨﻨﺪ ، آﻣﻮزش ﻫﺎي وﻳﮋه اي ﻣﻲ ﺑﻴﻨﻨﺪ. اﻣﺮوزه ﻛﻼس ﻫﺎي آﻣﻮزﺷﻲ ﺑﺮاي ﺑﺪل ﻛﺎري در ﻛﺸﻮرﻫﺎﻳﻲ ﻛﻪ ﺻﻨﻌﺖ ﺳﻴﻨﻤﺎي ﻗﻮي دارﻧﺪ داﻳﺮ اﺳﺖ ب ﺑﺮداﺷﺖ ﺳﻪ ﮔﺎﻧﻪ Triple Take ﻓﻴﻠﻢ ﺑﺮداري از ﻣﺎﺟﺮاﻳﻲ در ﺳﻪ ﻣﺮﺗﺒﻪ ﻣﺨﺘﻠﻒ ، ﺑﻪ ﺗﺮﺗﻴﺐ از ﻧﻤﺎي دور ، ﻧﻤﺎي ﻣﺘﻮﺳﻂ و ﻧﻤﺎي ﻧﺰدﻳﻚ. ﺣﺮﻛﺖ ﺑﺎﻳﺪ ﻋﻴﻨﺎ ﺗﻜﺮار ﺷﻮد ﺗﺎ اﻣﻜﺎن ﺑﺮش ﺗﻄﺒﻴﻘﻲ ﻓﺮاﻫﻢ ﺷﻮد. اﻳﻦ روش دﺳﺖ ﺗﺪوﻳﻨﮕﺮ را ﺑﺎز ﻣﻲ ﮔﺬارد ﺗﺎ ﻓﻴﻠﻢ ﻫﺎ را ﻣﻄﺎﺑﻖ ﺳﻠﻴﻘﻪ و ﺗﻮﺻﻴﻪ ﺑﻪ ﻫﻢ ﭘﻴﻮﻧﺪ ﺑﺰﻧﺪ ب Cross-Cutting ﺑﺮش ، ﺑﻴﻦ دو ﻳﺎ ﭼﻨﺪ ﻣﺎﺟﺮا ﺑﺮاي ﻧﻤﺎﻳﺶ راﺑﻄﻪ آﻧﻬﺎ ﺑﺎ ﻳﻜﺪﻳﮕﺮ. در اﻏﻠﺐ ﻣﻮارد اﻳﻦ ﻣﺎﺟﺮاﻫﺎ ﻫﻢ زﻣﺎن رخ ﻣﻲ دﻫﻨﺪ و از ﺗﺎﺛﻴﺮ ﻣﺘﻘﺎﺑﻞ آﻧﻬﺎ ، ﺣﺎﻟﺖ ﻫﻴﺠﺎن و ﺑﺮش ﻣﻮازي ﻫﻢ زﻣﺎن ﺗﻌﻠﻴﻖ ﭘﺪﻳﺪ ﻣﻲ آﻳﺪ. ﻳﻜﻲ از ﻋﺎﻟﻲ ﺗﺮﻳﻦ ﻧﻤﻮﻧﻪ ﻫﺎي ﺑﺮش ﻣﻮازي ﻫﻢ زﻣﺎن ، ﺳﻜﺎﻧﺲ ﻣﺮﺑﻮط ﺑﻪ ﻏﺴﻞ ﺗﻌﻤﻴﺪ در ﭘﺪرﺧﻮاﻧﺪه ( Godfather ) اﺳﺖ ﻛﻪ ﻫﻢ زﻣﺎن ﺑﺎ اﻳﻦ ﻣﺮاﺳﻢ ﺗﻤﺎﻣﻲ ﻣﺨﺎﻟﻔﺎن ﻣﺎﻳﻜﻞ ﻛﻮرﻟﺌﻮﻧﻪ ﻛﺸﺘﻪ ﻣﻲ ﺷﻮﻧﺪ و ﻓﺮاﻧﺴﻴﺲ ﻓﻮرد ﻛﻮﭘﻮﻻ ﺑﻪ زﻳﺒﺎﻳﻲ اﻳﻦ ﻣﺎﺟﺮا را ﺑﻪ ﻫﻢ ﺑﺮش داده. اﻳﻦ ﻧﻮع ﺑﺮش در ﻣﻮرد روﻳﺪادﻫﺎﻳﻲ ﻛﻪ ﻫﻢ زﻣﺎن ﻧﻴﺴﺘﻨﺪ ﻫﻢ ﻣﻲ ﺗﻮاﻧﺪ رخ دﻫﺪ ﺗﺎ ﻧﺸﺎﻧﮕﺮ راﺑﻄﻪ ﺑﻴﻦ آن روﻳﺪادﻫﺎ ﺑﺎﺷﺪ. ﺑﺮاي ﻧﻤﻮﻧﻪ ﻓﻴﻠﻢ ﭘﺪر ﺧﻮاﻧﺪه دو ﻛﻪ در آن ﻛﻮﭘﻮﻻ ﺑﺎ ﺑﺮش ﻣﻮازي ، ﺻﺤﻨﻪ ﻫﺎﻳﻲ از زﻧﺪﮔﻲ ﮔﺬﺷﺘﻪ ﭘﺪر و زﻧﺪﮔﻲ ﺣﺎل ﻓﺮزﻧﺪ او را ﻧﺸﺎن ﻣﻲ داد ب ﺑﺮدﻳﺎب ، ﺗﻠﻪ ﻣﺘﺮ Rangefinder، ﻧﻈﺎم دﻳﺪ اﭘﺘﻴﻚ ﺑﺮاي ﻛﺎﻧﻮﻧﻲ ﻛﺮدن و اﻧﺪازه ﮔﻴﺮي ﻓﺎﺻﻠﻪ ﺑﻴﻦ دورﺑﻴﻦ و ﺳﻮژه. ﭼﻨﻴﻦ ﺳﻴﺴﺘﻤﻲ ﺑﻪ وﻳﮋه ﺑﺮاي ﻓﻴﻠﻢ ﺑﺮداري از ﻫﻠﻴﻜﻮﭘﺘﺮ ﻳﺎ ﻓﻴﻠﻢ ﺑﺮداري ﺑﺎ Telemeter دورﺑﻴﻦ ﻫﺎي ﻗﻄﻊ ﻛﻮﭼﻚ ﺑﻪ ﻛﺎر ﻣﻲ رود ب ﺑﺮش ﺳﺮﻳﻊ Fast Cutting ﺑﺮش ﺳﺮﻳﻊ ﻧﻤﺎﻫﺎي ﻛﻮﺗﺎه ﺑﻪ ﻫﻤﺪﻳﮕﺮ و ﺑﻪ اﻳﻦ ﺗﺮﺗﻴﺐ ﺧﻠﻖ ﻫﻴﺠﺎن در ﺗﻤﺎﺷﺎﮔﺮ. ﺑﺮش ﺳﺮﻳﻊ ﺑﺮاي اﻳﺠﺎد ﮔﻴﺠﻲ و ﺗﻮﻫﻢ ﻫﻢ ﻣﻮرد اﺳﺘﻔﺎده ﻗﺮار ﻣﻲ ﮔﻴﺮد ب ﺑﺮش ﻣﺴﺘﻘﻴﻢ Direct Cut ﺑﺮش ﻧﺎﮔﻬﺎﻧﻲ و ﺑﻲ واﺳﻄﻪ از ﺻﺤﻨﻪ اي ﺑﻪ ﺻﺤﻨﻪ دﻳﮕﺮ ، ﺑﻲ آﻧﻜﻪ ﺗﻤﻬﻴﺪي اﻧﺘﻘﺎل دﻫﻨﺪه ﻣﺎﻧﻨﺪ ﻫﻢ ﮔﺬاري ﻳﺎ ﻣﺤﻮ ﺗﺪرﻳﺠﻲ ﺻﻮرت ﮔﻴﺮد ب ﺑﺮﮔﻪ ﻳﺎد آوري Cue Cards ورﻗﻪ ﻫﺎي ﺑﺰرﮔﻲ ﻛﻪ ﮔﻔﺘﮕﻮﻫﺎي ﻣﺮﺑﻮط ﺑﻪ ﻫﺮ ﻧﻤﺎ را ﺑﺎ ﺣﺮوف درﺷﺖ روي آن ﻣﻲ ﻧﻮﻳﺴﻨﺪ و ﺧﺎرج از دﻳﺪ دورﺑﻴﻦ ﻧﮕﻪ ﻣﻲ دارﻧﺪ ، ﺗﺎ اﮔﺮ ﺑﺎزﻳﮕﺮي ﮔﻔﺘﮕﻮﻫﺎي ﺧﻮد را ﻓﺮاﻣﻮش ﻛﺮد ، ﺑﺎ ﻧﮕﺎﻫﻲ ﺑﻪ آن ﺑﻪ ﻳﺎد ﺑﻴﺎورد ب ﺑﻼك ﺑﺎﺳﺘﺮ Block Buster ﻓﻴﻠﻢ ﻫﺎي ﺑﺴﻴﺎر ﭘﺮ ﺧﺮج و ﻋﻈﻴﻢ ﻛﻪ ﻣﻌﻤﻮﻻ ﻃﻮﻻﻧﻲ ﺗﺮ از زﻣﺎن ﻓﻴﻠﻢ ﻫﺎي ﻋﺎدي ﻫﺴﺘﻨﺪ و ﭘﺮ آب و رﻧﮓ ﺳﺎﺧﺘﻪ ﻣﻲ ﺷﻮﻧﺪ و ﻣﻌﻤﻮﻻ از دﻛﻮرﻫﺎي ﻋﻈﻴﻢ اﺳﺘﻔﺎده ﻣﻲ ﻛﻨﻨﺪ.
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    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.
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  • 10 Tips on How to Master the Cinematic Tools And
    10 TIPS ON HOW TO MASTER THE CINEMATIC TOOLS AND ENHANCE YOUR DANCE FILM - the cinematographer point of view Your skills at the service of the movement and the choreographer - understand the language of the Dance and be able to transmute it into filmic images. 1. ​The Subject -​ ​The Dance is the Star When you film, frame and light ​the Dance​, the primary subject is the Dance and the related movement, not the dancers, not the scenography, not the music, just the Dance nothing else. The Dance is about movement not about positions: when you film the dance you are filming the movement not a sequence of positions and in order to completely comprehend this concept you must understand what movement is: like the French philosopher Gilles Deleuze said “w​ e always tend to confuse movement with traversed space…” ​1.​ The movement is the act of traversing, when you film the Dance you film an act not an aestheticizing image of a subject. At the beginning it is difficult to understand how to film something that is abstract like the movement but with practice you will start to focus on what really matters and you will start to forget about the dancers. Movement is life and the more you can capture it the more the characters are alive therefore more real in a way that you can almost touch them, almost dance with them. The Dance is a movement with a rhythm and when you film it you have to become part of the whole rhythm, like when you add an instrument to a music composition, the vocabulary of cinema is just another layer on the whole art work.
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  • 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.
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  • How to Shoot Rich Cultural Training Videos on a Smartphone Table of Contents
    How to Shoot Rich Cultural training Videos on a Smartphone Table of contents Introduction . 3 FOUR takeaways . 3 TOOLS YOU WILL NEED . 3 OUR PHILOSOPHY . 4 SET YOURSELF UP FOR SUcCESS . 4 PRE-PRODUCTION . 5 FINAL PRE-PRODUCTION PLANNING . 6 PRODUCTION . 6 FINAL PRODUCTION CHECKLIST . 7 POST-PRODUCTION . 8 The Video Tutorial . 10 Wisetail . 10 Contact. 11 2 INTRODUCTION four takeaways you can do this No. 1 The Secret to a great story The value of creating rich, engaging cultural stories No. 2 break down the to-dos for using video is often outweighed by the time, expertise planning the shoot, and outside resources needed to produce these videos. Especially in the L&D world, video creation is the one area where content creators and instructional designers No. 3 give you shooting tips and tricks, don’t feel comfortable just giving it a shot. No. 4 give you helpful pointers on In this guide, we will take you step-by-step through what to consider while editing the proven Wisetail video production process from a your video. filmmaking novice’s point of view. We’ll give you both the insight and techniques needed to tell your cultural stories using the tools (smartphone & laptop) already at your disposal. Tools you will need - Smartphone - Tripod (Helpful but not necessary) - Hard drive - Editing software - computer To watch the full video tutorial, go online to: wisetail.com/video 3 Our Philosophy Set yourself up for success The process and techniques of how to shoot video By asking yourself these questions, you’ll put on a smartphone are both very important.
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  • 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.
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  • DOCUMENT RESUME CE 056 758 Central Florida Film Production Technology Training Program. Curriculum. Universal Studios Florida, O
    DOCUMENT RESUME ED 326 663 CE 056 758 TITLE Central Florida Film Production Technology Training Program. Curriculum. INSTITUTION Universal Studios Florida, Orlando.; Valencia Community Coll., Orlando, Fla. SPONS AGENCY Office of Vocational and Adult Education (ED), Washington, DC. PUB DATE 90 CONTRACT V199A90113 NOTE 182p.; For a related final report, see CE 056 759. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC08 Plus PoQtage. DESCRIPTORS Associate Degrees, Career Choice; *College Programs; Community Colleges; Cooperative Programs; Course Content; Curriculun; *Entry Workers; Film Industry; Film Production; *Film Production Specialists; Films; Institutional Cooperation; *Job Skills; *Occupational Information; On the Job Training; Photographic Equipment; *School TAisiness Relationship; Technical Education; Two Year Colleges IDENTIFIERS *Valencia Community College FL ABSTRACT The Central Florida Film Production Technology Training program provided training to prepare 134 persons for employment in the motion picture industry. Students were trained in stagecraft, sound, set construction, camera/editing, and post production. The project also developed a curriculum model that could be used for establishing an Associate in Science degree in film production technology, unique in the country. The project was conducted by a partnership of Universal Studios Florida and Valencia Community College. The course combined hands-on classroom instruction with participation in the production of a feature-length film. Curriculum development involved seminars with working professionals in the five subject areas, using the Developing a Curriculum (DACUM) process. This curriculum guide for the 15-week course outlines the course and provides information on film production careers. It is organized in three parts. Part 1 includes brief job summaries ofmany technical positions within the film industry.
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  • EDITING TECHNIQUES for FILM the Editing Process
    EDITING TECHNIQUES FOR FILM The Editing Process Shots are edited together to create scenes. Scenes can be edited together to tell a story. Editing Many regard it as the single most important creative step in determining the look an shape of the finished film Dede Allen - BONNIE AND CLYDE, REDS A good editor can save a poorly directed film A bad editor can damage the work of even the finest director Thelma Schoonmaker - RAGING BULL, THE DEPARTED Watching a film is like putting together a puzzle… Overall picture emerges when all the little pieces have been fit together Each piece is a shot When put together properly, the viewer sees the whole picture and not just the pieces Lev Kuleshov Kuleshov said that editing a film was like constructing a building. Brick-by-brick (shot- by-shot) the building (film) is erected. Just as two images joined together form a third meaning not inherent in either of the two images alone… …the way the many images making up a film are put together creates a meaning not inherent in the individual shots Viewers infer meaning based on context. The viewers didn't realize it, but the emotion and the story they felt were the result of the human need to fill in the blanks. Sample of EditingTechniques 1. Master 2. Match cut 3. Continuity editing 4. Jump Cut 5. Montage 7. Shot Reverse Shot Master shot A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view.
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  • 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.
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  • Film Basics 101: Types of Shots
    Types of Shots Film Semiotics Adventure & Environmental Filmmaking Before you shoot 1. Know your STORY! a. Story Development comes FIRST (what happens to whom and why) b. Story concept BIG PICTURE! c. Smaller story Segments: scenes, chapters, episodes, set pieces d. Make it clear to everyone in your cast & crew 2. Know your equipment: a. Media: camera, mics, lights, etc. b. Outdoor tools: ropes, bikes, kayaks, etc. 3. Know your crew: skillsets, assets, talents 4. Know your actors/athletes/talent: skillsets, assets, talents 5. Know your location(s): Shoot to Edit! • Shoot footage that you will use in the editing room! • Be INTENTIONAL about your shooting! • Purposefull Shooting: Each shot should: Add to the emotional or psychological drama Advance the plot/story Add to the character (hero) development Give a new perspective • PLAN YOUR SHOTS (Ideal and Auxiliary) Create a MASTER SHOT LIST for each scene which simply describes the shots you need to get. • Get Coverage! B-roll footage. Illustrative cut-aways. – You will want to shoot more illustrative footage than you will ultimately use. – Establish an Aesthetic style: look, feel, perspective for your film. Establishing Shot (ES) • Opening of the film AND each new scene Propels viewer into story Often situates the when and where of the story (time & place) • Sets the location, time, tone, mood for the story/drama. • Foreshadowing Camera Position Relative to the subject Low Angle (LA) High Angle (HA) Eye Level (EL) Wide Shot (WS) • Larger Perspective Shot— – an "overview" of a visual scene. – You can see the entire body of one or more people.
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  • 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 .
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  • 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.
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  • Media Studies a Level
    Media Studies A Level The below are a selection of materials designed to give you an insight and introduction to the technical and visual codes you’ll have to apply during the course. Reading them and carrying out the activities will help prepare you for studying Media A level. There are also some articles for you to read to give you a brief overview of different aspects of the course. Introduction Read this article for some reasons why Media Studies gives you invaluable skills https://www.bournemouth.ac.uk/news/2019-07-30/media-studies-should-be-made-mandatory- schools-tackle-fake-news-research-finds Technical and visual codes: Cinematography Different types of shots create different types of impact on the viewer and help guide the viewer through the story. We are shown where events happen, what is important in each location. Close-up shots on faces can help show emotion and reaction to what is happening. So the two key elements to cinematography are the framing of a shot (what is included in the cinematic space, what we see on screen) and the movement of the camera. Framing: Filmmakers define shot types in this way: extreme close-up (ECU) A small object or part of an object shown large (a speaking mouth, a telephone receiver; frame 1). This often shows a plot-relevant object - a piece of jewellery, a telephone number on an envelope, a character’s eyes at a moment of high tension. Close-up, (CU) Full view of, typically, a human face, etc.Long shot (LS) Typically this will be of a landscape, a view of a house or street.
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