filming / introduction
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INTRODUCTION
TO FILMING
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1.1 PRE-FILMING
1.1.1 LOCATIONS
1.1.2 SCRIPT
1.1.3 STORYBOARD1.1.4 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, LOWANGLE 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)
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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 THE ROLES
1.6.1 PRODUCER
1.6.2 RESEARCHER
1.6.3 WRITER
1.6.4 DIRECTOR
1.6.5 EDITOR
1.7 EXCURSUS: CHARACTER OF FILM/VIDEO
2.1 DOCUMENTARY
2.2 ADVERTISING
2.3 ART / AVANT-GARDE
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1.1.1 LOCATIONS
1.1.2 SCRIPT
1.1.3 STORYBOARD
1.1.4 VISUAL IDENTITY1.1.5 SEQUENCE & MONTAGE GRAPHIC
1.1 PRE-FILMING
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1.1 PRE-FILMING
1.1.1 THE LOCATIONS
EQUILIBRIUM, KURT WIMMER, 2002
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1.1 PRE-FILMING
1.1.1 THE LOCATIONS
EQUILIBRIUM, KURT WIMMER, 2002
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1.1 PRE-FILMING
1.1.1 THE LOCATIONS
EUR, ROME
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1.1.2 SCRIPT
1.1 PRE-FILMING
1.ACT 2.ACT 3.ACT
1. PLOTPOINT 2. PLOTPOINT
CENTRAL
MOMENT
EXPOSITION
30MIN
CONFRONTATION
60MIN
RESOLUTION
30MIN
SERIOUS
INTERVENTION
CHANGE IN THE
STORY
SOLUTION OF THE
CONFRONTATION
INFORMATION FOR THE
RESOLUTION
WATCH:CHINATOWN, ROMAN POLANSKI, 1974
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1.1 PRE-FILMING
GOODFELLAS, MARTIN SCORSESE, 1990
1.1.2 SCRIPT (BEGINNING AND CENTRAL MOMENT)
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1.1.2 SCRIPT
1.1 PRE-FILMING
READ:
SYD FIELD - SCREENPLAY:THE FOUNDATIONS OF SCREENWRITING, 1979
ROBERT MCKEE - STORY: STYLE, STRUCTURE, SUBSTANCE, AND THE PRINCIPLES OF
SCREENWRITING, 1983
DEVELOP THE ENDING THEN THE BEGINNING. THEN THEFIRST AND THE SECOND PLOTPOINT
PLOTPOINT?ITS BASICALLY JUST A DRAMATIC EVENT IN THE STORY.
THERE CAN BE AS MANY AS YOUR STORY NEEDS.
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1.1.3 STORYBOARD
1.1 PRE-FILMING
THE STORYBOARD CAN BE SEEN AS A FORM OF PRE-EDITING. IT FACILITATED COMMUNICATION BETWEEN
DIRECTOR AND PRODUCER ON THE ONE HAND AND
BETWEEN DIRECTOR AND TECHNICAL CREW ON THE
OTHER. THE PICTORIAL SCHEMA WAS OFTEN, THOUGH
NOT ALWAYS, SUPPLEMENTED WITH WRITTEN
INSTRUCTIONS AS TO DIRECTION OF MOVEMENT WITHIN
THE SHOT, DURATION OR CAMERA MOVEMENT.
JOHN CANEMAKER - PAPER DREAMS: THE ART AND ARTISTS OF DISNEYS
STORYBOARDS, 1999
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1.1.3.1 ANIMATION
1.1 PRE-FILMING
PLANE CRAZY, DISNEY, 1928
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PLANE CRAZY, DISNEY, 1928
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STEAMBOAT WILLIE, DISNEY, 1928
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B KLASSE, MERCEDES, 2011
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1.1.3.3 DOCUMENTARY
1.1 PRE-FILMING
EVEN IF YOU DONT FULLY KNOW WHAT WILL EXPECTYOU, MAKE A STORYBOARD OR AT LEAST A FILMING
PROTOCOL IN ORDER TO AVOID THAT YOU LATER [(WHEN
EDITING) MISS IMPORTANT SHOTS.
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1.1 PRE-FILMING
1.1.3.3 DOCUMENTARY (PROTOCOL)
G
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1.1.2.3 DOCUMENTARY
1.1 PRE-FILMING
1 1 PRE FILMING
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1.1.4 VISUAL IDENTITY
1.1 PRE-FILMING
BLADE RUNNER, RIDLEY SCOTT, 1982
1 1 PRE FILMING
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1.1.5.1 THE SEQUENCE GRAPHIC
1.1 PRE-FILMING
1 1 PRE FILMING
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1.1.5.2 THE MONTAGE GRAPHIC
1.1 PRE-FILMING
1 2 PICTURE STORIES
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1.2 PICTURE STORIES
1 2 PICTURE STORIES
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THE STORY OF A MAN AND A WOMAN WHO WERE HELT DOWN BY SOCIETY
1.2 PICTURE STORIES
1 2 PICTURE STORIES
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THE STORY OF A MAN AND A WOMAN WHOSE LOVE RAISED TO THE SKY
1.2 PICTURE STORIES
1 2 PICTURE STORIES
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1.2 PICTURE STORIES
1 3 CAMERA
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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-COMBINATION1.3.5 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)
1.3 CAMERA
READ:
RUDOLF ARNHEIM - ART AND VISUAL PERCEPTION: A PSYCHOLOGY OF THE
VISUAL EYE, 1954
1 3 CAMERA ANGLE
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1.3 CAMERA ANGLE
1.3.1 MISE-EN-SCENE
WHAT TO SHOOT?HOW TO SHOOT IT?
1 3 CAMERA ANGLE
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1.3 CAMERA ANGLE
1.3.1 MISE-EN-SCENE
BALANCE, SHAPE, FORM, GROWTH, SPACE, LIGHT,COLOR, MOVEMENT, DYNAMICS & EXPRESSION
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LECLISSE, MICHELANGELO ANTONIONI, 1962
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BARRY LYNDON, STANLEY KUBRICK, 1975
1 3 CAMERA ANGLE
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1.3 CAMERA ANGLE
1.3.1 FRAMING
1 3 CAMERA
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1.3.2 TYPE OF SHOT
1.3 CAMERA
VERY LONG SHOT
MEDIUM LONG SHOT
MEDIUM SHOT
MEDIUM CLOSE UP
CLOSE UP
BIG CLOSE UP
ITALIAN SHOT
READ:
BARRY SALT - FILMSTYLE AND TECHNOLOGY, 1983
JAMES J. GIBSON - THE PERCEPTION OF THE VISUAL WORLD, 1950
1 3 CAMERA
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1.3.2.1 VERY LONG SHOT, LONG SHOT
1.3 CAMERA
2001: SPACE ODYSSEY, STANLEY KUBRICK, 1968
1 3 CAMERA
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1.3.2.2 MEDIUM LONG SHOT, MEDIUM SHOT, MEDIUM CLOSE UP, CLOSE UP
1.3 CAMERA
PATHS OF GLORY, STANLEY KUBRICK, 1957
1 3 CAMERA
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1.3.2.3 CLOSE UP, BIG CLOSE UP, ITALIAN SHOT
1.3 CAMERA
ONCE UPON A TIME IN THE WEST, SERGIO LEONE, 1968
1.3 CAMERA
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1.3.3 SHOT-COMBINATION
1.3 CAMERA
VERY LONG SHOT
MEDIUM LONG SHOT
MEDIUM SHOT
MEDIUM CLOSE UP
CLOSE UP
BIG CLOSE UP
SECONDS
10 20 30 40 50
1.3 CAMERA
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1.3.3 FOCUS
1.3 CAMERA
DEEP FOCUS
SHALLOW FOCUS
SOFT FOCUS
HARD FOCUS
1.3 CAMERA
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1.3.3.1 FOCUS (DEEP FOCUS)
1.3 CAMERA
CITIZEN KANE, ORSEN WELLS, 1941
1.3 CAMERA
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1.3.3.2 FOCUS (SHALLOW FOCUS)
1.3 CAMERA
PATHS OF GLORY, STANLEY KUBRICK, 1957
1.3 CAMERA
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1.3 CAMERA
1.3.3.3 OUT OF FOCUS
IL DESERTO ROSSO, MICHELANGELO ANTONIONI, 1964
1.3 CAMERA
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1.3.4 PERSPECTIVE
1.3 CAMERA
AERIAL SHOT
BIRD#S EYE SHOT
LOW ANGLE SHOT
OVER THE SHOULDER SHOT
SHOT/COUNTER-SHOT (180 DEGREES RULE)
TWO SHOT
POINT OF VIEW SHOT
1.3 CAMERA
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1.3.4.1AERIEL SHOT
1.3 CAMERA
ESCAPE FROM NEW YORK, JOHN CARPENTER, 1997
1.3 CAMERA
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1.3 CAMERA
BRAZIL, TERRY GILLIAM, 1985
1.3.4.2 BIRDS-EYE SHOT
1.3 CAMERA
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1.3.4.3 ABOVE & BELOW
PATHS OF GLORY, STANLEY KUBRICK, 1957
1.3 CAMERA
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PULP FICTION, QUENTIN TARANTION, 1994
1.3.4.4 SHOT / COUNTER SHOT
1.3 CAMERA
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1.3.4.4.1 180 DEGREE RULE
CAMERA MOVES
180 DEGREE
DIRECTION OF
CONVERSATION
1.3 CAMERA
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1.3.4.5 SHOT / COUNTER SHOT
PULP FICTION, QUENTIN TARANTINO, 1994
1.3 CAMERA
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PATHS OF GLORY, STANLEY KUBRICK, 1957
1.3.4.6 POINT OF VIEW SHOT & TRACKING
1.3 CAMERA
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1.3.5 CAMERA-MOVEMENT
PANNINGTILT
ROLL
ZOOM
TRACKING
1.3 CAMERA
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1.3.5.1 TILT
BRAZIL, TERRY GILLIAM, 1985
1.3 CAMERA
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1.3.5.2 ROLL
2001: SPACE ODYSSEY, STANLEY KUBRICK, 1968
1.3 CAMERA
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1.3.5.3 TRACKING SHOT (DOLLY)
LECLISSE, MICHELANGELO ANTONIONI, 1962
1.3 CAMERA
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1.3.5.4 TRACKING SHOT (DOLLY & ZOOM)
GOODFELLAS, MARTIN SCORSESE, 1990
1.3 CAMERA
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1.3.5.5 DOLLY ZOOM (VERTIGO ZOOM)
LA HAINE, MATTHIEU KASSOVITZ, 1995
1.3 CAMERA
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1.3.5.6 TRACKING SHOT (CRANE)
THE PLAYER, ROBERT ALTMAN, 1992
1.3 CAMERA
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1.3.5.6 STEADY-CAM