questions and expectations

7/31/2019 Questions and Expectations

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Questions and

Expectations

“Setting up questions and expectations in the audience’s mine.”



How?

• - Manipulating the shots

• - Manipulating the sequences

*refer note.

Why?

• - Keep the audience’s involved



Altering Viewer’s Perception

• - Arrangement of shots (combination of shot -a good ratio to

shoot for (literally) is 50 percent closeups and extreme

closeups, 25 percent medium shots, and 25 percent wide

shots.• - Change the position from which we see the scene (pov 1st or

3rd person)

• - Isolate certain parts of the scene / moment -

•- Move from one isolated part to another

• - Move the view higher or lower – (camera placement)

• - Change the perception of depth – focus/field.



• “Depth: The ability for an image element to have

distance from the camera.”

Brian Arnold & Brendan Eddy

“The illusion of three dimensions – photographic

depth – is created by a geometric design of placing people and

props, breaking up the set into several planes, and the proper

distribution of lights and shadows.”

John Alton



FILM SPACE



“… method of separating the three-dimensional reality into

pieces and showing them to the audience in an arranged order.”

“… is a means of using visual manipulation to take real space

and real objects and look at them, perceive them and feel aboutthem in

many different ways – ways that we can command.”

Brown,

Blain.



• Subjective & Objective POV - Subjective (1st person)

- Objective (3rd person)

- Derived from literature.



P.O.V

“Point of view” is one of those terms that we can’t seem to do

without, but it’s rather vague. The clearest application of the

term would be to shots that conform more or less to what a

character sees, presenting what we might call optical point of

view. But sometimes we’re given access to what a charactersees, hears, and knows less narrowly. Without any optical pov

shots, we might still be restricted to a character’s range of

knowledge. This happens in detective films like The Big Sleep,

which confines us almost completely to what Philip Marlowe

knows. We follow him into scenes, stay with him as the actionplays out, and then leave the scene when he does. We’re “with”

him, but not via optical point of view. – David Bordwell.net



In his book Engaging Characters, Murray Smith calls this sort of

restriction to character knowledge alignment. He points out that

it has both objective and subjective sides. Objectively, we’re

spatially attached to a character in the course of a scene or

several scenes. Subjectively, we may get access to thecharacter’s thoughts, memories, dreams, or immediate

perceptions (as with a POV shot). Spatial attachment refers to

the limited range of our knowledge; subjective access refers to

the depth of knowledge about the character’s inner experience.



The Building Blocks Of Scenes

Types of Shots

“As many film terms, the definitions are

somewhat loose and different people have

slight variations in how they apply them; they

are just general guidelines.”

Brown, Blain.



Film Grammar

A frame is a single still image. It is analogous to a letter.

A shot is a single continuous recording made by a camera. It is

analogous to a word.

A scene is a series of related shots. It is analogous to a sentence.

The study of transitions between scenes is described in filmpunctuation.

A sequence is a series of scenes which together tell a major part

of an entire story, such as that contained in a complete movie. It

is analogous to a paragraph.



• Wide Shot

- a big panoramic scene done with a short

focal length lens taking in all the eye can see.



• Establishing Shots

• - a scene which tells us where we are.



Laying Out The Scene

- Establishing the geography is most

important within the scene – it is very helpful

to the audience to know the “lay of the land”

within a scene



Lots shot.



Full shot



Mid Shot



Two Shot

- inter-action between two characters in a

scene is one of the most fundamental pieces

of storytelling



2 shot



Character Shots

Terms for different shots of a single

character.

Close-Ups

- CU

- BCU/Choker

- ECU



Close Up



Big close up



Extreme Close Up



OTS

- It ties the two characters together and helps

put us in the position of the person being

addressed.

Reaction Shot

- reacting to what happened, safety cutaway

for the editor



OTS



Reaction shot



Insert

- isolated, self-contained piece of shot.

i. Practical inserts (clock, headlines, file

name)

ii. Emphasis inserts (tires skid, windows

rattle)

iii. Atmosphere inserts (contribute to the

mood or tone of a scene)

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