filming / introduction ii
Post on 21-Apr-2015
1.694 Views
Preview:
TRANSCRIPT
INTRODUCTION
TO FILMING 2
1.1 PRE-FILMING
1.1.1 LOCATIONS
1.1.2 SCRIPT
1.1.3 STORYBOARD
1.1.4 VISUAL IDENTITY
1.1.5 SEQUENCE & MONTAGE GRAPHIC
1.2 PICTURE STORIES
1.3 CAMERA
1.3.1 MISE-EN-SCENE
1.3.2 FRAMING
1.3.3 TYPE OF SHOT (LONG SHOT, FULL SHOT, MEDIUM SHOT, CLOSE UP)
1.3.4 SHOT-COMBINATION
1.3.5 PERSPECTIVE (AERIAL SHOT (ESCAPE FROM NEW YORK), BIRD#S EYE SHOT, LOW
ANGLE SHOT (FULL METAL JACKET), OVER THE SHOULDER SHOT, POINT OF VIEW SHOT,
SHOT/COUNTER-SHOT (180 DEGREES RULE), TWO SHOT )
1.3.6 CAMERA-MOVEMENT (PANNING, TILT, ZOOM, TRACKING SHOT)
TOPICS / 20.3.2012
1.4 LIGHT
1.4.1 TYPES OF LIGHT
1.4.2 ANGLES
1.5 EDITING (MONTAGE)
1.5.1 PRINCIPLES OF THE AESTHETICS OF PERCEPTION IN EDITING
1.5.2 COHERENCE WITHIN THE EDITED PARTS
1.5.3 THE EDIT ON A WHOLE
1.6 EXCURSUS: CHARACTER OF FILM/VIDEO
1.6 THE ROLES
1.6.1 PRODUCER
1.6.2 RESEARCHER
1.6.3 WRITER
1.6.4 DIRECTOR
1.6.5 EDITOR
2.1 DOCUMENTARY
2.2 ADVERTISING
2.3 ART / AVANT-GARDE
TOPICS / 27.3.2012
1.4.1 TYPES OF LIGHT
1.4.2 ANGLES
1.4 LIGHT
FILM ART: AN INTRODUCTION, DAVID BORDWELL, 1979
A JOURNEY INTO LIGHT WITH MAX KELLER, MAX KELLER & ALEXANDER HICK, 2006
MASTERS OF LIGHT, DENNIS SCHAEFER, LARRY SALVATO, 1986
VITTORIO STORARO: WRITING WITH LIGHT, VITTORIO STORARO, 2002
1.4 LIGHT
1.4.2 FILL LIGHT AND KEY LIGHT
1.4 LIGHT
1.4.1 FILL LIGHT AND KEY LIGHT
MEET ME IN ST. LOUIS, VINCENTE MINELLI, 1944
1.4 LIGHT
1.4.1 FILL LIGHT AND KEY LIGHT
THE SEARCHERS, JOHN FORD, 1956
1.4 LIGHT
1.4 LIGHT
A CLOCKWORK ORANGE, STANLEY KUBRICK, 1971
1.4 LIGHT
BLADE RUNNER, RIDLEY SCOTT, 1982
1.4 LIGHT
FAT CITY, JOHN HUSTON, 1972
1.4 LIGHT
THE DARJEELING LIMITED, WES ANDERSON, 2007
1.4 LIGHT
MILDRED PIERCE, MICHEAL CURTIZ, 1945
EDWARD HOPPER
1.4 LIGHT
1.4 LIGHT
IN COLD BLOOD, RICHARD BROOKS, 1967
1.4 LIGHT
BARRY LYNDON, STANLEY KUBRIK, 1975
1.4.2 CHIAROSCURO (LIGHT-DARK)
AN EXPERIMENT ON A BIRD, JOSEPH WRIGHT OF DERBY, 1768
MAGDALEN WITH THE SMOKING CANDLE, GEORGE DE LA TOUR, 1640
1.4 LIGHT
1.4.3 TEXTURE
IL CONFORMISTA, BERNARDO BERTOLUCCI, 1970
https://vimeo.com/21604065
1.4 LIGHT
1.4.4 SHADOW
https://vimeo.com/35152880
1.4 LIGHT
1.4.5 DAY & NIGHT
1.4 LIGHT
1.4.5 SUNLIGHT
BARRY LYNDON, STANLEY KUBRICK, 1973
1.4 LIGHT
1.4.5 SUNLIGHT
BARRY LYNDON, STANLEY KUBRICK, 1973
1.4 LIGHT
1.4.6 COLOR
COLOR IS LIFE; FOR A WORLD WITHOUT COLOR APPEARS
TO US AS DEAD. COLORS ARE PRIMORDIAL IDEAS, THE
CHILDREN OF LIGHT.
JOHANNES ITTEN
1.4 LIGHT
DICK TRACY, WARREN BEATTY, 1990
1.4.6 COLOR
HARALD KUEPPERS, THE BASIC LAW OF COLOR THEORY, 1981
JOHANNES ITTEN, THE COLOR (DIE FARBE), 1944
WASILY KANDINSKY, POINT AND LINE TO PLANE, 1926
1.4 LIGHT
1.4.6 COLOR
1.4 LIGHT
THE SEARCHERS, JOHN FORD, 1956
1.4.6.1 NIGHT
1.4 LIGHT
1.4.6.2 SUNDOWN (AMBER LIGHT)
REAR WINDOW, ALFRED HITCHCOCK, 1954
1.5 EDITING
HOW TO PRESENT THE SHOT?
1.5.1 PRINCIPLES OF THE AESTHETICS OF PERCEPTION IN EDITING
1.5.2 COHERENCE WITHIN THE EDITED PARTS
ONCE MORE I REPEAT, THAT EDITING IS THE CREATIVE
FORCE OF FILMIC REALITY, AND THAT NATURE PROVIDES
ONLY THE RAW MATERIAL WITH WHICH IT WORKS. THAT,
PRECISELY, IS THE RELATIONSHIP BETWEEN EDITING AND
FILM.
VSEVOLOD PUDOVKIN, FILM TECHNIQUE, 1929
SERGEI EISENSTEIN, TOWARDS A THEORY OF MONTAGE, 1994
1.5 EDITING
THE LIFE OF AN AMERICAN FIREMAN, EDWIN S. PORTER, 1903
1.5 EDITING
THE BIRTH OF A NATION, D.W. GRIFFITH, 1915
1.5 EDITING
1.5.1 PRINCIPLES OF THE AESTHETICS OF PERCEPTION IN EDITING
1.5.1.1 PRINCIPLE OF CHANGE -><< CREATES A NEW STIMULUS
1.5.1.2 PRINCIPLE OF CONTRAST - AIMS AT SYSTEMATIC ALTERNATION
1.5.1.3 PRINCIPLE OF RYTHM - PERIODICALLY RETURN OF CERTAIN ASPECTS
1.3.1.1 PRINCIPLE OF CHANGE -><< CREATES A NEW STIMULUS
1.5 EDITING
THE DUEL, STEVEN SPIELBERG, 1971
1.3.1.2 PRINCIPLE OF CONTRAST - AIMS AT SYSTEMATIC ALTERNATION
1.5 EDITING
1.3.1.3 PRINCIPLE OF RYTHM - PERIODICALLY RETURN OF CERTAIN ASPECTS
1.5 EDITING
THE DAY THE EARTH STOOD STILL, ROBERT WISE, 1951
1.5.2 COHERENCE WITHIN THE EDITED PARTS
1.5.2.1 NARRATIVE - TELLING A STORY, A PROCESS; CHRONOLOGICALLY
1.5.2.1.1 SCENIC - TELEPHONE-CONVERSATION
1.5.2.1.2 NARRATIVE IN A TIGHTER SENSE - A PROCESS IS SHOW EVEN WITH TIME LAPSES
1.5.2.2 DESCRIPTIVE - DESCRIBING A BUILDING, MACHINE OR ANY OTHER OBJECT
1.5.2.3 ABSTRACT - ELEMENTS ARE BEING PUT IN A RELATION
1.5.2.3.1 COMPARISON (GLOBE - EGG)
1.5.2.3.2 METONYMY (INSTEAD SHOWING THE CAUSE SHWING THE ORIGINATOR, SHOWING
POLICEMAN FOR POLICE)
1.5.2.3.3 SYMBOL (EXAGGERATED VISUAL, MONEY IMPOSED BEHIND THE WORKING MAN
FOR CAPITALISM)
1.5.2.3.4 METAPHOR (POLITICIAN IS SHOWN WITH A ROOSTER)
1.5.2.3.5 ASSOCIATION (IMPRESSIONS OF A MOOD, TIRE-MARKS ON THE STREET)
1.5 EDITING
1.5 EDITING
1.5.2.1 NARRATIVE - TELLING A STORY, A PROCESS; CHRONOLOGICALLY
BLOW UP, MICHELANGELO ANTONIONI, 1966
1.5 EDITING
1.5.2.1.1 SCENIC
TUCKER: A MAN AND HIS DREAM, FRANCIS FORD COPPOLLA, 1988
1.5 EDITING
CITIZEN KANE, ORSEN WELLS, 1941
1.5.2.1.2 NARRATIVE IN A TIGHTER SENSE - A PROCESS IS SHOW EVEN WITH TIME LAPSES
1.5 EDITING
LA HAINE, MATHIEU KASSOVITZ, 1995
1.5.2.1.3 CONTINUITY
1.5 EDITING
1.3.2.2 DESCRIPTIVE
TUCKER: A MAN AND HIS DREAM, FRANCIS FORD COPPOLLA, 1988
1.5 EDITING
A CLOCKWORK ORANGE, STANLEY KUBRICK, 1971
1.3.2.2 DESCRIPTIVE
1.5 EDITING
MEAN STREETS, MARTIN SCORSESE, 1973
1.3.2.2 DESCRIPTIVE
1.5 EDITING
1.5.2.3 ABSTRACT - ELEMENTS ARE BEING PUT IN A RELATION
1.5.2.3.1 COMPARISON (GLOBE - EGG)
1.5.2.3.2 METONYMY (INSTEAD SHOWING THE CAUSE SHOWING THE ORIGINATOR,
SHOWING POLICEMAN FOR POLICE)
1.5.2.3.3 SYMBOL (EXAGGERATED VISUAL, MONEY IMPOSED BEHIND THE WORKING MAN
FOR CAPITALISM)
1.5.2.3.4 METAPHOR (POLITICIAN IS SHOWN WITH A ROOSTER)
1.5.2.3.5 ASSOCIATION (IMPRESSIONS OF A MOOD, TIRE-MARKS ON THE STREET)
1.5 EDITING
1.5.2.3 ABSTRACT - ELEMENTS ARE BEING PUT IN A RELATION
STRIKE, SERGEI EISENSTEIN, 1925
1.5 EDITING
1.5.3 FREEZE FRAME
THE 400 BLOWS, FRANCOIS TRUFFAUT, 1959
1.5 EDITING
1.5.4 DREAM / SURREAL
THE LOST HIGHWAY, DAVID LYNCH, 1996
1.5.4 JUMPS IN TIME BACK OR FORTH
1.5 EDITING
L’ANNEE DERNIERE A MARIENBAD, ALAIN RESNAIS, 1961
TIMECODE, MIKE FIGGIS, 2000
1.5.5 PARALLEL SCENES
1.5 EDITING
1.6.1. THE CHARACTER OF MOVING IMAGES
1.6.1.1 THE TECHNICAL CHARACTER OF MOVING IMAGES
1.6.1.2 THE SIGN-CHARACTER OF MOVING IMAGES
1.6. WHY FILM?
1.6.1.1 THE TECHNICAL CHARACTER OF MOVING IMAGES
TECHNICALLY IS FILM/VIDEO A SEQUENCE OF PHOTOGRAPHICAL VIEWS ENRICHED WITH
SPOKEN WORD AND MUSIC. ITS AUDIO-VISUAL AND TIME_-BASED.
1.6 WHY FILM?
1.6.1.2 THE SIGN-CHARACTER OF MOVING IMAGES
FILM/VIDEO CONSITS OF SIGN-SYSTEMS WHICH HAPPEN SIMULTANEOUSLY AS WELL AS
OF THOSE WHICH HAPPEN IN THE SUM OF A WORK.
IT IS THEREFOR IMPORTANT TO UNDERSTAND THE INFLUENCES FROM OTHER FIELDS
(BARRY LYNDON, STANLEY KUBRIK, 1975 - CINEMATOGRAPHY LIKE A PAINTING) AS MUCH
AS THE SIGNS OF OTHER GENRES
AS WELL AS THOSE IMMANENT TO FILM (TELLING A STORY THROUGH MOVING OBJECTS
AND CAMERA) WHICH ARE CLOSLY TIED TO OUR EXPERIENCE OF THE WORLD.
1.6 WHY FILM?
1.6.2.2 THE SIGN-CHARACTER OF MOVING IMAGES
MEANS OF FILMIC DESIGN:
1. MEANS TO DESIGN IN FRONT OF THE CAMERA
1.1 MATERIAL: PROPS, LOCATIONS, ACTORS (MIMIC, BODY LANGUAGE, COSTUMES, ETC.)
1.2 DESIGN OF MATERIAL THROUGH ADDITIONAL LIGHT, COLORS ETC.
1.3 ACOUSTICAL MATERIAL: SOUND, SPOKEN WORD, MUSIC
1.6 WHY FILM?
1.6.2.2 THE SIGN-CHARACTER OF MOVING IMAGES
MEANS OF FILMIC DESIGN:
2. MEANS TO DESIGN CAMERA-RECORDINGS
2.1 THE SHOT:
- TYPE OF SHOT (LONG SHOT, FULL SHOT, MEDIUM SHOT, CLOSE UP)
- PERSPECTIVE (AERIAL SHOT (ESCAPE FROM NEW YORK), BIRD#S EYE SHOT, LOW ANGLE
SHOT (FULL METAL JACKET), OVER THE SHOULDER SHOT, POINT OF VIEW SHOT, SHOT/
COUNTER-SHOT (180DEGREES RULE), TWO SHOT(STAND BY ME) )
- FRAMING
- SHOT-LENGTH, SHOT-COMBINATION
- CAMERA-MOVEMENT (PANNING, TILT, ZOOM, TRACKING SHOT)
2.2 THE SOUND: SOUND DESIGN
2.3 THE LIGHT
1.6 WHY FILM?
1.6.2.2 THE SIGN-CHARACTER OF MOVING IMAGES
MEANS OF FILMIC DESIGN:
3. MEANS TO DESIGN THE EDITING
3.1 POST-PRODUCTION OF THE MATERIAL: COLOR-CORRECTION, CONTRAST, SPECIAL
EFFECTS, COLLAGING
3.2 POST-PRODUCTION OF SOUND: COMMENTS, VOICE OVER, SOUND EFFECTS
3.3 EDITING OF IMAGE & SOUND
1.6 WHY FILM?
RESEARCH
RESEARCH THESE ASPECTS:
1.6 THE ROLES
1.6.1 PRODUCER
1.6.2 RESEARCHER
1.6.3 WRITER
1.6.4 DIRECTOR
1.6.5 EDITOR
GET FAMILIAR WITH THESE GENRES:
2.1 DOCUMENTARY
2.2 ADVERTISING
2.3 ART / AVANT-GARDE
top related