cinematography: composition & the camera in machinimacs3660/lecturespdf/cs3660machinima... ·...
TRANSCRIPT
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Cinematography:�Composition & the Camera in
Machinima�
CS 3660
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“WALL-E”�
How many different shots?�What angles, types of shots?�
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NUMBER ONE QUESTION:
What are you trying to communicate?
Not just, what will look cool?
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SHOT SIZES & TYPES
• A close up is a “tighter” shot while a medium full or full is a “looser” shot
• Can apply to whatever subject or object--animals, bugs, a box of cereal
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Establishing Shot
• A wide angle shot that shows the location of the scene.
• Helps to familiarize the audience with where the scene is taking place
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Wide Shot (WS)
• Includes the subject's full body and some of the surroundings
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Medium Shot (MS)
• Includes about half of the subject’s body and less of the background
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Close-up (CU)
• Includes the subject’s head, neck and sometimes shoulders
• Get’s into the emotional space of the character
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Extreme Close-up (ECU) • Includes only part of
the subject’s face
• Heightens facial expressions and intensity of actions
• Beginning students are afraid of close ups, meaning they don’t use them enough.
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Shot Sizes
• A couple of ways to label but just be consistent within your own system
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Two Shot • Includes two actors
and shows their relative distance from one another
• It’s usually a medium shot
• A three shot has three characters, etc..., up to a “crowd shot”
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Over the Shoulder (OTS) • Includes two actors,
but the face of one and the back of the head/shoulder of another
• Also called a “dirty shot” (compared to a “clean shot” that is not OTS)
• Psychologically brings characters closer together
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Point of View (POV) • The camera captures
what one of the characters sees from their perspective
• The other character is often looking straight into the camera, if there is another character
• Cinema constantly goes in and out of POV mode
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Cut Away (CA) or Insert • A shot of an object in
the scene that allows for an easier transition between shots--should be narratively driven
• Shot is usually outside the immediate action
• A clock is a common one but not always the best
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Cut In (CI)
• A shot of an object in the scene that is within the action
• Ex--hand pulling a gun from a drawer, or hands typing a letter
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High Angle
• The camera points down from above
• The subject often looks more vulnerable or insignificant
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Low Angle
• The camera points up from below
• The subject often looks more powerful or intimidating
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Bird’s Eye or Aerial
• The camera points directly down onto a scene or subject, like a bird looking down onto the scene
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Worm View or Crotch Shot
• The camera points directly upward, looking straight up at the subjects
• Worm/bird...get it!
• Most shots are at “eye level”
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CAMERA MOVES
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Camera Movement • Motivation is key!
• The camera should only move it if has a reason to
• Does it follow action, reveal something, shift focus to another part of the scene, or have an emotional effect?
• Just because it can move doesn't’ mean it should
• Good camera work often goes unnoticed
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• Pan--stationary camera rotates side to side, left or right
• Tilt--Stationary camera cranks or bends up or down
• Pedestal--Camera moves only vertical up or down
• Track & Dolly--The camera moves on a track, often following action. OR move in on emotion
• Jib & Crane--The camera is mounted on a crane and moves to follow action or establish a scene
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COMPOSITION
• What you exclude in the frame is just as important as what you include
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The Rule of Thirds
• Avoid placing the subject dead center in the frame (there are exceptions--news anchors)
• In a close up, the eyes often fall on the top line
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The Rule of Thirds
• The horizon of a landscape usually should NOT be in the center of the frame
• Exaggerate either the sky or the ground, for example
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Leading Looks • Directs the eye and
indicates where character is looking off-screen (vector)
• More ease when room for leading look, more tension when not
• Especially important with moving shots
• Often will motivate an edit.
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Backgrounds • Pay attention to
where your subjects are placed in relation to the objects in the background
• A cluttered background distracts the viewer’s attention from the subject
• Text especially distracts the eye
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Balance • Leading look changes
balance, has weight
• Masses--scale, volume, space (white/empty)
• Tonality--relation of bright & dark; eye drawn to bright
• Color--amount in frame, saturation, hot/cold
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CLOSING WORDS
• Be conscious of what your shooting and how; each choice changes the effect of the shot on your audience
• A few minutes usually makes the difference between a good shot and a bad shot
• Let your instincts guide you