Film notes.pdf
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Transcript of Film notes.pdf
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EDITING
1. Contrast
One feel at one place
Completely different setting in
different place
2. Parallelism
Jumping forward in time
Screaming to yawning, train
coming
feet of strangers to feet of
some friends
Different things on same
action
3. SymbolismMatch box - sun light
septic hole - eye
4. Simultaneously
Cross cutting
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Back and forth - silence of
lambs
5. Leit motif
music way
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COMPOSITIONDepth
adding perspective
very flat only for dull moments.
alone thingsforeground - mid ground -
background
Size ( within the frame )
how important is that one
Size of the character changing
p l a c e a n d s p a ce - a s p e r
importance
Contrast
Different color
Size of color, shape, height, every type
of contrast that differs from rest
Choice could be made whether
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Shot Type
key shot
Balance
1/3 rule
Horizon
Looking room
Distance
relationships
over the shoulder
emotional shotsHeight
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SPIELBERG
1. Horizontal graphic traveling shots
2. pans - covering fast actins
3. change in staging of actors
4. Actors moving to the forward
5. character emerging in the frame
6. Detail shots revealing whole scenes
7. same room but different shots -
different groups
8. Directional lines
9. Invisible zoom
10.Pan - stop- new action problem
11.POV shots
12.Economy of rhythm andfunctioning internal structure
13.Key frames - staging and blocking
14.Axis breaking
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EDITING TECHNIQUES
1. Jump cut
2. punch in
3. lap dissolve
4. short reverse shot
5. swish pan/ cut
6. Triple take
7. cutting on movement
8. L & T cut
- Extreme long shot - extreme close up
grave scene - Tilt up
Blocking change
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AKIRA MOVEMENT
Movement of nature
Movement of groups
Movement of individualsMovement of camera
Camera moves different for each
actor
Every camera movement has a
beginning, middle and end.
SPEILBERG
1. Horizontal - Graphic traveling
shots
2. PAN - carrying fast actions
3. Change in staging of actors
4. Actors moving to the foreground
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5. Characters emerging in the frame
6. Detail shots - revealing whole
scenes
7. Same room but different shots -
different groups
8. Directional lines
9. Invisible zoom
10.PAN - stop - new action problem
11.POV shots
12.Economy of rhythm
13.functioning internal structure
14.Key frames - staging and blocking
15.Axis break
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EDITING TECHNIQUES1. Jump cut
2. punch in
3. Lap dissolve
4. reverse shot5. Swish pan /cut
6. Triple take
7. Cutting on movement
8. L & T cut - god father
EDITING IN GOOD BAD UGLY
1. wide shot extreme - suddenly a
character entering into closeup
2. No story telling makes a good film
3. Changing blocks in a wide shot
4. All permutations of G, B, U are
made in 3 wide shot.
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5. G and U - 7 B -11 means he is more
in danger
6. Eye direction indicating ugly given
promise from hero , but bad is in
danger
7. Faster extreme close-up shots
8. wide - as the beginning in the end
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ELEMENTS IN A FRAME1. DEPTH OF FIELD
2. PERSPECTIVE
3. MOVEMENT
16mm25mm
short lens - side angle - perspective
Depth stretches - 9mm
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Telephoto lens 120mm - perspective
adds
and objects appear near
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SHOTS IN CINEMA
Full
Medium
Close- up shot
Depth shot
low angle
high angle
eye- level
over head
dutch angle
POV
pan shot
Tilt
dolly shot
Trucking
Tracking
Hand held
Depp focus
shallow focus
Rack focus
wide angle lens
Telephoto lens
Normal lens
Zoom shot
Boom shot
Shoulder
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AKIRA KUROSAWA - MOVEMENT
Movement of nature
Movement of groups
Movement of individuals
Blocking stand straight up
Movement of camera
Ending a scene - static
Camera movement has different -
beginning, middle and end
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LYND RAMSAY POETRY
Details
Narration
Poetry
similar toys by actor
Sharing character point of view
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MARTIN SCORSCELoudest moment is followed by silence
Central dramatic in a scene
Hide - creepy - love at first sight -
happiness to a haltChoice of the characters - take the
money, to fight or not, hide the emotion,
Don't over use the silence
Mother - Telephoto lens
Profile - strange feeling
TF profile - to hide, to tease
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SATOSHI KON
1. Match cut
2. Exact graphic cut match
3. mirror cut- Interversing two
different atmospheres
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TRANSITIONS
Rewind the film
Cross the line into a new scene
Zoom out from a Close
Use back frames to jump cut
Objects to wipe the frame
Your are show a key, you expect , but the
cut doesn't happen, in some scenes later
the key is used for the purpose
Editing faster will increase the
sharpness of the audience
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QUADRANT SYSTEM
You can show different stories in a frame
from the beginning
vertical quadrants have a different story
from the beginning
cross quadrants can show relationship
both a same quadrant indicate , both
were fighting for the same person
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CINEMATOGRAPHY - AmericanBeauty
How different two men are presented
What kind of company they work for is
indicated by a simple ugly look of officeSize of the character in the frame says
your everything about its grown
importance
SHAME
Directors say you about the film in the
first ever frame
Characters behind objects , they can
represent them
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LENSES
F/2.8 - Focus
F/9 - everything visible
28mm - 35mm Martin scorsce24mm -
85mm Cinematic
kubrick - 8.5mm
Faces in the wide
Chase scene - 15mm or TF lenses
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HITCHCOCK
Possible ways a scene can happen
Emotions on faces
Size of the image in frame is important
Wide shots- Emotional distance between
characters
Selective use of Close ups and wide shots
We should use dialogue, only when it is
impossible to do it otherwise
Eyes reveal more things about story
POV shot - walking pov
Photographic reality is not reality
If you have pro-occupied things in mind ,
you will loose control over the freenessin creation in set
Characters - running,
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Nobody should suspect a particular
villain in a movie
In a moment of silence , a person does
something trivial this adds to drama.
Information shows the character doesn't
free surpseise X
Bomb ticking - feel in beginning , do
rubbish
Macguffin - show something unwanted
to cheat audience
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KUBRICK
1. 1- point perspective
2. Profile running
3. back shot movement
4. Into perspective
5. various closeup cuts on Jesus
bleeding
6. Wide - dolly - large group
7. Zoom out
8. Long shot an
9. Jump cuts - closeup
10.Walking on side of a group
11.circles in scenes
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SHOT COMPOSITION
Leading lines - Lines in frame, that point
to the subject
Horizontal lines - Show serenity,
inactivity
Vertical Lines - strength and dignity
Diagonal lines - action, imbalance,
insecurity
Rack Focus - Focus shifting from one
object to another, shows relationship
between two objects
Lead room - space needed for objects in
actionNatural Frames - trees, Door ways
Balance - difference in number of
objects in frame
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MOVEMENT
Crane shot down - into the story
Crane shot up - obstance
high to low
- strong, fear
hand held
- danger, shaky
quick pan
- external
push in
- surprise, shock
Dolly in
- tension
Dolly out
- emotion lost
Dolly across
- emotion
zolly in
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HITCHCOCK
1. Pleasant setting
2. Casting for characters
3. Don't cut when it is not needed or
emotion is going seriously
4. Roaming cam - exploring feeling
5. Follow the eyes
6. Hands, feet and objects
7. Profile shot - hiding, suspicious
8. Sound of objects to intensify scene
9. Still shots
10.Stream of consciousness
Using the cutting
10.Leading the audience to the mindof the hero
11.Montages
12.Kelshov effect
13.Tears on camera lens
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14.Changing against the style of
actor's image
15.Character allegiance - Joining
audience
16.Mental state in set designs
17.Huerbert suspense model
a. Secret plan
b. Wait nervously
c. Delaying with comic
d. Almost caught
20. Carefully control what audience
feel every moment
21. Wavering beat sheet
22. Understatement23. Sam suspense model
a. withhold info - rage curiosity
by briefly hiding the story from viewer
b. Hero does wrong
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c. Long cover up
d. Almost caught
24. Palette of worry
a. sounds and silence
b. Stream of consciousness
c. misunderstanding facts
d. Comic energy
e. Facts of paranoia
f. Detail
g. Shot proximity and frequency
h. Malfunctions
25. The more time we spend with it,
the more we get tensed26. Music pulls from reality and adds
fantasy
27. Close to rescue , but missed