Film Shots Visual Semiotics & The Language of Moving Images
Transcript of Film Shots Visual Semiotics & The Language of Moving Images
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Film Shots
Visual Semiotics &
The Language of
Moving Images
Terminology & Approaches
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Christian MetzFilm Theory + Visual Film Language/Codes
Film Language & Film semiotics (sign/symbol systems)
Christian Metz -1970s France Understanding the various elements
which contribute to the VISUAL composition of film, TV, and video
productions.
The MAJOR SEMIOTIC “Channels” for Film (and TV, Video, etc.)
1. Visual Composition/use (Still photos)
2. Visual Composition/use (moving images)
3. Graphics-Illustrations
4. Text/Titles
5. AUDIO MIX
6. Edited/Sequences
7.**Computer Generated Imagery (CGI)
STORY ADVANCEMENT
PSYCHOLOGICAL IMPACT(emotion/drama)
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Semiotics of VISUAL CompositionThe Arrangement and PRIORITIZATION of objects within a FRAME
• Considerations:
Size/Proximity(relative to the frame
and other objects w/in
the frame)
Rule of Thirds +
Look Room
Sight lines
Placements
Foreground
Middle Ground
Background
Focus/Depth of
Field
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Camera Position &
Camera Angles(Relative to the subject being filmed)
• Low Angle (LA)
• High Angle (HA)
• Eye Level (EL)
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The Wide Angle Shot (WA)
• Larger Perspective Shot A wide angle shot generally frames an "overview" of a visual scene.
• About a LOCATION/SETTING
• Once you can see a person's entire body you are generally into the realm of a wide angle shot.
• About PEOPLE in a PARTICULAR PLACElong/wide shots are usually about people in a particular PLACE.
• FOCAL CUES Sight lines, camera angles, and focused lighting provide the focual cues for WIDE ANGLE SHOTS.
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(WA) Types of Wide Angle Shots Capturing Different Types of Action
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(WA) Types of Wide Angle Shots Capturing Different Types of Action
•
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(WA) Setting/Scenes
Diagonal Perspective
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(WA) Overhead/Cam-Crane
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(WA) Overhead surveillance
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Establishing Shots (ES)
and Establishing SHOT
SEQUENCE (ESS)Establishing shots (usually wide or long
shots) are important for the development
of a film and each new scene or place. An
establishing shot sequence is made up of
several shots edited together to form a
larger whole (IMPACT).
1.WHERE AM I? Space/Place/Setting) Establishing shots set the place. Enough visual information needs to be provided to establish approximately where we are situated—location/geography.
2.WHAT TIME IS IT? Establishing shots set the TIME. That includes HISTORICAL, SEASONAL, WEEK, DAY/NIGHT.
3.HOW DO I FEEL? Emotion-Tone-MOOD. Establishing shots set the tone and mood for the project.
4.Artistic or Aesthetic STYLE? Color Saturation vs. black and white; Sepia tone, film grain, scratches, stylized lighting…
5.STORY EXPECTATION(S) –ANTICIPATION(S) of the likely story to unfold. Most viewers develop a series of PREDICTIONS or expectations or about what is to come.
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FORMULA SHOTS Establishing shots are frequently FORMULAIC. They are
easily RECOGNIZABLE (QUICKLY). They include recognizable and frequently
ICONIC cityscapes, landscapes, building shots, streets, bridges, airports, farm
fields, mountains which set the stage quickly.
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Medium Shot (MS)• Head and Torso A medium
shot generally frames the entire head and mid-torso. Once you can see a person's entire body you are generally into the realm of a wide shot.
• "Conversational" Intimacy The medium shot provides a comfortable feeling for a conversation. It allows you to see a person's face and upper body features. You get to know them without invading their space.
• INTERVIEW SHOT#1: Work horse shot The medium shot is your bread and butter shot. It’s versatile and it’s used A LOT in film and TV.
• Diagonal Perspective allows for foreground-middle ground-background.
• WALLPAPERING! Wallpapering refers to the staging of important objects or artifacts in the nearground or background which contribute to the story.
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(MS) Medium Shot: Classic Documentary Interview
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(MS) Medium Shot: Centered
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(MS) Medium Shot: Diagonal Perspective
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Close-up Shot (CU)• Filling the Frame--The
person or subject fills the camera frame. Frequently, facial close-ups will cut off part of a person's head and only show you the lower 2/3rds of their face (the expressive part).
• Psychologically Involved and MORE Intense--Close-ups are more emotionally POWERFUL!
• Detail--Close-ups allow you to concentrate on DETAILS and emotional reactions.
• FACIAL REACTIONS -Close-ups work really well as insert or reaction shots or other kinds of illustrative shots to add texture and detail to your story.
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(MS CU) Medium Shot Close-up Shot
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(CU) Close-up Shot – Side Profile
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(ECU) Extreme Close-up • Proximity (within
arms length)
• Intense Emotion
• Quick Reaction
• Subtle Response
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More ECUs: Activity/Action Detail
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More ECUs: Screen Shots - DETAILS
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More ECUs - EMOTION/DRAMA
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More ECUs: EMOTION/DRAMA
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FACES: Audience/Crowd Reaction Shots
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SEQUENCING of ShotsThe Classical SHOT SEQUENCING/EDITING Style
The CLASSICAL style refers to a
formulaic shot sequence within a
scene whereby we are taken from
the outside (WIDE ANGLES) then
moves CLOSER in (medium shots
and close-ups) before moving
outward again…
ES (WA)
WA
CU
MS
MS
MS
CU
ECU
MS
WA
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