Film Grammer Index Part 2
2
7 DIALOGUE INVOLVING FOUR OR MORE PERSONS 109 Simple cases 109 1 Using a common visual axis 110 2 Using a right angle camera site 111 Groups arranged round a table 112 Subdividing the group 116 Geometrical patterns 118 Several opposed sectors 121 Handling large groups 124 A performer faces an audience 124 A crosswise change of the line of interest 127 Crowd with main player at centre 129 Actors as pivots 130 8 EDITING PATTERNS FOR STATIC DIALOGUE SCENES 135 Approaching and receding patterns 136 How a sequence begins 136 Re-establishing shots 137 Importance of silent reactions 138 Inserts and cut-aways 138 Number contrast 149 Parallel editing of master shots 149 Line of interest—changing sides 152 Pause between dialogues 152 Time compression 156 Speeding dialogue tempo 159 9 THE NATURE OF SCREEN MOTION 160 Motion broken down 162 Changing view with movement 163 Using cut-aways 164 Neutral direction 164 Performer indicates the change 164 Contrasting motions in the same half screen 172 Conditions of the cut 175 Where to cut 175 Cutting on action 176 10 CUTTING AFTER THE MOVEMENT 378
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Film Grammer Index Part 2
Transcript of Film Grammer Index Part 2
7 D IA LO G U E IN V O LV IN G F O U R O R M O R E
PERSON S 109
Simple cases 109
1 Using a com m on visual axis 110
2 Using a right angle cam era site 111
G roups arranged round a table 112
Subdividing the group 116
G eom etrical patterns 118
Several opposed sectors 121
H andling large groups 124
A perform er faces an audience 124
A crosswise change of the line o f interest 127
Crowd with main player a t centre 129
Actors as pivots 130
8 E D IT IN G PA TTER N S FO R STA TIC D IA L O G U E
SCENES 135
A pproaching and receding patterns 136
How a sequence begins 136
Re-establishing shots 137
Im portance of silent reactions 138
Inserts and cut-aways 138
N um ber contrast 149
Parallel editing o f m aster shots 149
Line o f interest—changing sides 152
Pause between dialogues 152
Tim e com pression 156
Speeding dialogue tem po 159
9 T H E N A T U R E O F SC R EEN M O T IO N 160
M otion broken down 162
Changing view with m ovem ent 163
Using cut-aways 164
N eutral direction 164
Perform er indicates the change 164
C ontrasting m otions in the same half screen 172
C onditions o f the cut 175
W here to cut 175
C utting on action 176
10 C U T T IN G A FT E R T H E M O V E M E N T 3 78
11 M O TIO N IN S ID E T H E SCR EEN 188
Turning 189
Using a com m on visual axis 213
B rief sum m ary 245
A personal preference 248
12 M O T IO N IN T O A N D O U T O F SH O T 249
M ultiple fragm ents 249
M otion in three fragm ents 250
13 PLA Y ER A M OVES TO W A R D S PLA Y ER B 261
C onverging m otion 261
R ight angle cam era sites 262
Reverse cam era angles 266
Parallel cam era sites 268
C om m on visual axis 268
A walks beyond B 274
14 U SIN G M A STER SHOTS TO C O V ER M O TIO N S
O N TH E SC R EE N 276
15 IR R E G U L A R CASES 289
Visual pause with larger groups 290
T he pause is om itted 293
Using reverse angles 294
Divergent m otions 298
C onstant screen position for one player 298
Both players move 299
16 PLA Y ER A M OVES AW AY FR O M PLA Y ER B 301
17 PLA Y ERS M OVE T O G E TH E R 322
Interm ittent m otion 339
18 SO LV IN G D IF F IC U L T E D IT IN G SITU A TIO N S 340
M ovem ent between cam era and static subject 340
M otion at the beginning o f the second shot 343
M otion beyond the static players 345
Using right angle cam era sites 346
Both players m ove 348
Hiding a moving subject in the first shot 349
