in section next week: read the rest of bare bones & chapter 6 of film art. read the rest of bare...
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In SectionIn Section
Next week:Next week:Read the rest of Read the rest of Bare BonesBare Bones
& Chapter 6 of & Chapter 6 of Film ArtFilm Art..
Section:Section:COGN 21: watch La JetCOGN 21: watch La Jetéée (Chris Marker e (Chris Marker
1973, 28 min). Visualization of ideas (print 1973, 28 min). Visualization of ideas (print storyboard handout from Course website)storyboard handout from Course website)
Syllabus is online: Syllabus is online:
http://communication.ucsd.edu/goldfarb/cogn21w08/http://communication.ucsd.edu/goldfarb/cogn21w08/
Construction of the Moving Image
Lenses, Light, Movement, Duration
Movement
Pan - rotate from left to right, right to left along horizontal axis
Tilt - rotate up and down, down and up along vertical axis
Movement
Dolly (or Track) - moves toward or away from the subject along the Z-axis
Truck (or Crab)- camera moves parallel to subject along the horizontal axis
Arc- camera moves along an arc around the subject
Movement
Crane shot - movement along vertical axis (emphasis up and down)
Movement
Steadicam - a mechanical device that allows smooth “hand held” movement of camera, using counterbalances to reduce jolts from walking.
Lens Movement
• Zoom In - from Wide to Close up / Medium• Zoom Out - from Close up / Medium to Wide (Zooming gives the experience of bringing the subject closer
to the viewer. A Dolly moves the viewer closer to the subject.)• Rack focus - change area of focus within a shot
Lenses
The components of a lens: Focus Ring - Feet / meters to subject Focal Length - macro, wide, medium (normal),
telephoto (zoom) Iris - Aperture - F Stop
How do Lenses Work?Iris / Aperture / F Stops
•F stop is the focal length divided by the diameter of the lens.
•Numbers correspond to focal length divided by the diameter of the lens.
•Each F Stop increment reduces or adds light by half.
Depth of Field
The difference in terms of focus of objects in foreground and background
Determined by:Focal length of the LensIris / Aperture / Fstop / TstopFocus setting
Close Up Shot or Telephoto= shallow depth of field
Wide Shot
Depth of Field Chart
Shallow Depth of Field Greater Depth of Field
Low f-stop (1.2, 2, 2.8, 4)
High fstop 11, 18, 22
Point of focus set to object close to lens
Point of focus set to object far from lens
Telephoto lens Wide angle lens
Depth of Field
Shallow Depth of Field Greater Depth of Field
Low f-stop: 5.6 High fstop: 22
Lenses: Primes and ZoomsPrimes: Fish eye - super wide, distorts 5 - 10 mm Wide angle lens 12 - 20 mm Medium 25 - 50 mm Telephoto 75 - 120 mm and up Macro - long lens, focus on an object close to
lensZoom: variable focal length, 12 - 120 mm
Wide Angle Lenses
10 mm, 12 mm Large field of view Greater depth of field Size difference between near and far objects
is greater
Wide Angle Shot / Lens
Medium Lenses
“Normal” lens - what your eye normally sees
25mm - 50 mm Objects in background and foreground
different sizes - but not as great a difference as was seen with wide angle lens
Medium Shot / Lens
The Telephoto Lens
Compresses space Expands Time
Controlling Light
Add Light (interior / dark situation)
Reduce Light (sunlight, exteriors, very bright situation)
Open iris = opening that light comes through is larger, smaller Fstop number
Close iris = opening that light comes through is smaller, larger Fstop number
Increase the Gain - adds visual noise (+dB)
Move Gain to 0 or lower gain (-dB)
Controlling Light
Add Light (interior / dark situation)
Reduce Light (sunlight, exteriors, very bright situation)
No filter or ND filter on lens
Add an ND filter to lens
ND= Neutral Density
ND3 = 1 stop darker
Change shutter speed to lower number (-60)
Change shutter speed to higher number (+60)
Length of the Shot Long take - reveals information, unfolds
throughout the shot, never cuts
Shorter shots require additional shots next to them to convey information completely
Examples of the long take: Touch of Evil, Orson Welles, 1958 Boogie Nights, Paul Thomas Anderson, 1998 (opening
and ch 36) Elephant, Gus Van Sant, 2003 Rope, Alfred Hitchcock, 1948
StoryboardsPlanning toolCommunicates among members of production team
Information conveyed:SequenceShot CompositionMotionSoundCamera and Lighting Direction
StoryboardsPreparing a sequence
StoryboardsPreparing to shoot
Storyboards
Storyboards: movement
QuickTime™ and aTIFF (Uncompressed) decompressor
are needed to see this picture.
PreProduction and Planning
Jason Simon (28 min 1986)
Production Notes: Fast Food for Thought
This tape allows us to analyze the address of seven TV ads by means of repetition, slow motion, and "production notes"— memos sent from the advertising agency to the production company prior to filming the spots, to describe the intentions, desires, strategies and ideology of the commercials and their creators.