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Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

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Page 1: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Page 2: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

André Bazin (1918-1958) An aesthetic of realism built

from critical readings of the films of Orson Welles, Jean Renoir, and the Italian neorealist movement.

Founds ciné-clubs and begins writing on film during the German occupation of France during WW II.

Founder of Cahiers du cinéma, one of the most important international journals of film criticism.

Page 3: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

André Bazin’s film aesthetic Creative uses of screen space

through . . . Composing action in deep space. Preference for the long take and

moving camera. Preference for films that “interpret”

the physical world Bringing out social connections

between characters and their environments

An existential link exists between the camera and pro-filmic space.

Page 4: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing
Page 5: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Deep space composition and deep focus photography

Deep space a strategy of mise-en-scene where all the planes

of the image--foreground, middle ground, and background--are in sharp focus. Staging action in deep space requires large depth of field.

Deep focus a use of camera lens and lighting that keeps both

close and distant planes in the photographic image in sharp focus.

Page 6: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

André Bazin’s film aesthetic “The Camera and the Screen”

The camera may transform our perception of the world by bringing out otherwise hidden or unnoticed aspects of reality.

Deep focus composition as specifying “a point of view rooted within the set itself . . . . By uniting foreground, middle ground, and background, but not setting the planes off against each other, the actor is completely entwined with and works in a direct relationship to, his total setting. Every element of the reality on the screen, whether animate or inanimate, is interdependent.”

The camera’s creative and critical interpretation of characters’ relations to their spatial environment.

Page 7: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Types of mobile framing PAN

camera swivels right or left on a stationary base. TILT

camera swivels up or down on a stationary base. TRACKING or TRAVELING SHOT

camera moves horizontal to the ground. CRANE

camera mounted on a crane above ground and can move in any direction,

HANDHELD CAMERA camera is supported by the camera person’s body; Steadicam is controlled by a gyroscope.

Page 8: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Types of mobile framing Crane

Dolly

Page 9: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Types of mobile framing

Michael Snow, La région centrale

Page 10: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Know the difference between zooms and camera movements!

Both are types of mobile framing. However, the camera does not move during a zoom; instead

the frame is enlarged or reduced optically by varying the focal length of the lens.

Zooming--for example, changing the focal length of the lens from a telephoto to a wide angle--changes the perspective of the shot; moving the camera does not.

Page 11: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

The appeal of the moving camera

Organizes space according to cinema’s intrinsic qualities as an art of time and movement.

Camera movement mobilizes and increases perceptual information.

Provides multiple perspectives on dramatic action.

Increases depth and volume of objects in frame.

Produces perspectives freed from the physical constraints of the body.

Page 12: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Analytic editing in Sabotage

Page 13: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing
Page 14: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Andre Bazin’s film aesthetic

The use of long takes and deep space encourages greater perceptual and mental activity in the spectator.

Editing by its nature rules out a desired ambiguity of expression.

The use of long takes and deep space intensifies a perception similar to our "natural attitude" to reality.

The use of the long take promotes a temporal realism.

Page 15: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

Rules of the Game Staging of action on multiple planes of

depth. Movement through multiple planes of

action counters “lateral” orientation of Hollywood films of same period.

The moving camera as attentive observer and participant.

Mobility of camera activates all six sides of off-screen space.

Page 16: Defining and controlling the space of the frame Aspect ratio Masking Camera placement Focus Perspective Mobile framing

SHOT SCALE ANGLE MOVEMENT NOTES m A. 1. CU „ Clock sounds 10 pm 2a. MS Dolly back La Chesnaye announces a party after the hunt b. 3/4 Ensemble shot of guests c. MS Dolly in “What is pre-Columbian art?” B. d. LS Pan L to deep focus shot of hallway High height: gags & good nights Reframing R D. e. LS ‰ Pan R following La Chesnaye Goodnight to Christine E. 3. 3/4 Reframing L Christine’s room: Christine & La Chesnaye Reframing L Christine & Lisette ‰ Reframing R as Christine closes door “Don’t you want children?” Reframing R as Lisette exits F. 4. LS-ELS Deep focus shot down hallway: Octave 5a. MS · Octave pats maid. b. „ Pan L Octave & Genviève c. ‰ Pan R as Octave speaks to the General “Christine has class.” G. 6. FS ‰ „ Pan R Octave & Jurieu in their room l