making and editing the film research
TRANSCRIPT
Making and Making and
Editing the film
Editing the film Amy Hakesley
Amy Hakesley
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Zoom lenses (or varied focal length lenses
Zoom lenses (or varied focal length lenses) - are by far the
) - are by far the
most common type of lenses known to the average consumer.
most common type of lenses known to the average consumer.
Prosumer camcorders and professional video cameras often
Prosumer camcorders and professional video cameras often
come with it right from the box. This is so because with zoom
come with it right from the box. This is so because with zoom
lenses you can go telephoto or wide-angle at the push of a
lenses you can go telephoto or wide-angle at the push of a
button. It’s a no-brainer; if you can zoom in or zoom out, the lens
button. It’s a no-brainer; if you can zoom in or zoom out, the lens
is called a zoom lens.
is called a zoom lens.Prime lenses (or fixed focal length lenses
Prime lenses (or fixed focal length lenses) - can’t zoom in or
) - can’t zoom in or
zoom out. Therefore, every time the filmmaker wants to get
zoom out. Therefore, every time the filmmaker wants to get
tighter on his composition, he can either (1) physically move the
tighter on his composition, he can either (1) physically move the
camera closer to his subject or (2) change the camera lens for
camera closer to his subject or (2) change the camera lens for
one with a longer focal length and narrower field of view – the
one with a longer focal length and narrower field of view – the
telephoto lens. Accordingly, if the filmmaker decides for a wider
telephoto lens. Accordingly, if the filmmaker decides for a wider
composition, he can either (1) physically move the camera away
composition, he can either (1) physically move the camera away
from the subject or (2) change the camera lens for one with a
from the subject or (2) change the camera lens for one with a
shorter focal length and wider field of view – the wide-angle
shorter focal length and wider field of view – the wide-angle
lens.lens.Telephoto lenses
Telephoto lenses - are longer than the average. In comparison
- are longer than the average. In comparison
to normal lenses or the human eye, telephoto can get really tight
to normal lenses or the human eye, telephoto can get really tight
on the subject. It correlates to a zoom in with zoom lenses. The
on the subject. It correlates to a zoom in with zoom lenses. The
image is optically enlarged to show fine details from a subject
image is optically enlarged to show fine details from a subject
that is far away.
that is far away.wide-angle lenses
wide-angle lenses - are the opposite of telephoto. Wide-angle
- are the opposite of telephoto. Wide-angle
lenses have a broader field of view, and therefore they can show
lenses have a broader field of view, and therefore they can show
sweeping panoramas of mountains, oceans, and forests. Since
sweeping panoramas of mountains, oceans, and forests. Since
camera jiggle is negligible with wide-angle, this choice of lens
camera jiggle is negligible with wide-angle, this choice of lens
is ideal for handheld work.
is ideal for handheld work.
Normal lensNormal lens - are halfway between telephoto and wide-angle
- are halfway between telephoto and wide-angle
lenses. Normal lenses mimics what the human eye sees, without
lenses. Normal lenses mimics what the human eye sees, without
neither getting too close to the subject, nor distorting it, nor
neither getting too close to the subject, nor distorting it, nor
compressing the distance among the plains.
compressing the distance among the plains.
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The size of the aperture is measured in f-stops. In technical terms, the The size of the aperture is measured in f-stops. In technical terms, the f-number is the focal length divided by the diameter of the aperture. f-number is the focal length divided by the diameter of the aperture. The figure to the right shows the same lens open to two different f-The figure to the right shows the same lens open to two different f-
stops. In the top picture, the f-stop is 2.8. In the bottom picture, the f-stops. In the top picture, the f-stop is 2.8. In the bottom picture, the f-stop is 16. stop is 16.
Ergo, Ergo, the greater the f-stop number, smaller the aperture isthe greater the f-stop number, smaller the aperture is , , resulting in less light entering the lens and the production of dark resulting in less light entering the lens and the production of dark images. Conversely, images. Conversely, the smaller the f-stop number, bigger the the smaller the f-stop number, bigger the
aperture isaperture is, meaning more light admitted through the lens and the , meaning more light admitted through the lens and the production of bright images.production of bright images.
Aperture and Depth of FieldAperture and Depth of Field
The aperture has a major role in determining not focus per se, but The aperture has a major role in determining not focus per se, but depth of field. The greater the f-stop number, the deeper the depth of depth of field. The greater the f-stop number, the deeper the depth of the field is, meaning that more objects are likely to be sharp in frame. the field is, meaning that more objects are likely to be sharp in frame.
Likewise, the smaller the f-stop number, the shallower the depth of Likewise, the smaller the f-stop number, the shallower the depth of field is.field is.
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Eyelevel Angle
Eyelevel AngleAn eyelevel angle is the one in which the camera is placed at the
An eyelevel angle is the one in which the camera is placed at the
subject’s height, so if the actor is looking at the lens, he wouldn’t have
subject’s height, so if the actor is looking at the lens, he wouldn’t have
to look up or down. Eyelevel shots are incredibly common because
to look up or down. Eyelevel shots are incredibly common because
they are neutral. They often have no dramatic power whatsoever, thus
they are neutral. They often have no dramatic power whatsoever, thus
they are ideal for romantic comedies and news casting.
they are ideal for romantic comedies and news casting.
Low AngleLow AngleLow angles are captured from a camera placed below the actor’s
Low angles are captured from a camera placed below the actor’s
eyes, looking up at them. Low angles make characters look dominant,
eyes, looking up at them. Low angles make characters look dominant,
aggressive, or ominous.
aggressive, or ominous.High AngleHigh AngleIn a high angle, the camera is above the subject, looking down. This
In a high angle, the camera is above the subject, looking down. This
position makes characters look weak, submissive, or frightened. They
position makes characters look weak, submissive, or frightened. They
are also good POVs of an adult looking at a child:
are also good POVs of an adult looking at a child:
Dutch TiltDutch TiltAlso called canted angle, a Dutch tilt has the camera leaning
Also called canted angle, a Dutch tilt has the camera leaning
sideways, transforming the horizon into a slope. A Dutch tilt changes
sideways, transforming the horizon into a slope. A Dutch tilt changes
horizontal and vertical lines into diagonals and creates a more
horizontal and vertical lines into diagonals and creates a more
dynamic composition. Though rare, canted angles can be employed
dynamic composition. Though rare, canted angles can be employed
with great artistic effect to disorient and disturb the viewer.
with great artistic effect to disorient and disturb the viewer.
Point-of-View (POV)
Point-of-View (POV)As the name suggests, point-of-view shots are angles in which the
As the name suggests, point-of-view shots are angles in which the
camera incorporates a character’s eyes. POVs are usually preceded
camera incorporates a character’s eyes. POVs are usually preceded
by a close-up of the character’s eyes.
by a close-up of the character’s eyes.
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PanPanDuring a pan, the camera is aimed sideways along a straight line. Note that the
During a pan, the camera is aimed sideways along a straight line. Note that the
camera itself is not moving. It is often fixed on tripod, with the operator turning it
camera itself is not moving. It is often fixed on tripod, with the operator turning it
either left or right.
either left or right. A smooth pan with be slow enough to allow the audience to observe the scenery. A
A smooth pan with be slow enough to allow the audience to observe the scenery. A
fast pan will create blur, in which case it will be called a Swish pan. Newsgathering
fast pan will create blur, in which case it will be called a Swish pan. Newsgathering
etiquette demands panning from left to right, as to allow the viewer to read any text
etiquette demands panning from left to right, as to allow the viewer to read any text
that may be captured on camera, like headlines or marquises.
that may be captured on camera, like headlines or marquises.
TiltTiltTilts refer to the up or down movement of the camera while the camera itself does
Tilts refer to the up or down movement of the camera while the camera itself does
not move. Tilts are often employed to reveal vertical objects like a building or a
not move. Tilts are often employed to reveal vertical objects like a building or a
person.person.
DollyDollyWhen the entire camera is moved forward or backward, this move is called dolly. If
When the entire camera is moved forward or backward, this move is called dolly. If
the camera is on tripod, the tripod will also be moved. Dollies are often used when
the camera is on tripod, the tripod will also be moved. Dollies are often used when
recording a subject that moves away or toward the camera, in which case the goal
recording a subject that moves away or toward the camera, in which case the goal
would probably be keeping the subject at the same distance from the camera. For
would probably be keeping the subject at the same distance from the camera. For
an optimal dolly, the camera should be mounted on a wheeled-platform, such as an
an optimal dolly, the camera should be mounted on a wheeled-platform, such as an
actual dolly, or a shopping cart, depending on the budget. Moving the camera
actual dolly, or a shopping cart, depending on the budget. Moving the camera
forward is called dolly in. Moving the camera backward is called dolly out.
forward is called dolly in. Moving the camera backward is called dolly out.
TrackTrackTracking is similar to dolling. The main difference being that in dollies the camera
Tracking is similar to dolling. The main difference being that in dollies the camera
is moved toward or away from the subject, whereas in a track shot, the camera is
is moved toward or away from the subject, whereas in a track shot, the camera is
moved sideways, parallel to an object.
moved sideways, parallel to an object.
PedestalPedestal
In a pedestal move, the camera body will physically be lowered or elevated. The
In a pedestal move, the camera body will physically be lowered or elevated. The
difference between tilts and pedestals is that in the former, the camera lens is just
difference between tilts and pedestals is that in the former, the camera lens is just
being aimed up or down, whereas in the latter, the camera is being vertically
being aimed up or down, whereas in the latter, the camera is being vertically
moved.moved.
ZoomZoomWith dollies, the camera is being moved in a physical space. With zooms, the
With dollies, the camera is being moved in a physical space. With zooms, the
camera remains at a constant position, but the lens magnify or minimize the size of
camera remains at a constant position, but the lens magnify or minimize the size of
the subject.the subject.Zooms happen at the push of a button. Zoom in refers to seemingly “approaching”
Zooms happen at the push of a button. Zoom in refers to seemingly “approaching”
the subject, thus making it look bigger in the frame. Zoom out refers to seemingly
the subject, thus making it look bigger in the frame. Zoom out refers to seemingly
“distancing” the subject, thus making it look smaller.
“distancing” the subject, thus making it look smaller.
Dolly Counter Zoom
Dolly Counter ZoomA dolly counter zoom is a rare type of shot of great stylistic effect. To accomplish it,
A dolly counter zoom is a rare type of shot of great stylistic effect. To accomplish it,
the camera must dolly closer or further away from the subject while the zoom is
the camera must dolly closer or further away from the subject while the zoom is
adjusted so the subject’s size remains
adjusted so the subject’s size remains
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EWS (Extreme Wide Shot)EWS (Extreme Wide Shot)The view is so far from the The view is so far from the subject that he isn't even subject that he isn't even visible. Often used as an visible. Often used as an establishing shot.establishing shot.
VWS (Very Wide Shot)The subject is visible (barely), but the emphasis is still on placing him in his environment.
WS (Wide Shot)The subject takes up the full frame, or at least as much as comfortably possible.AKA: long shot, full shot
MS (Mid Shot) MS (Mid Shot) Shows some part of the Shows some part of the subject in more detail while subject in more detail while still giving an impression of still giving an impression of the whole subject.the whole subject.
MCU (Medium Close Up)Half way between a MS and a CU
CU (Close Up)A certain feature or part of the subject takes up the whole frame.
ECU (Extreme Close Up) ECU (Extreme Close Up) The The ECU gets right in and ECU gets right in and shows extreme detail.shows extreme detail.
OSS (Over-the-Shoulder Shot)Looking from behind a person at the subject
Point-of-View Shot (POV)Shows a view from the subject's perspective.
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A Real MovieA Real MovieOne thing that you may have identified in professional looking films growing up is that
One thing that you may have identified in professional looking films growing up is that
they have a very standardized way of showing credits. The white letters scrolling on a
they have a very standardized way of showing credits. The white letters scrolling on a
black background has become synonymous for the opening and closing of feature films,
black background has become synonymous for the opening and closing of feature films,
especially on the silver screen. Today many opening credits take a more creative
especially on the silver screen. Today many opening credits take a more creative
approach, employing computer graphics and visual elements that reflect the aesthetic
approach, employing computer graphics and visual elements that reflect the aesthetic
and expository styles of the film. Either way, the order of credits has stayed the same for
and expository styles of the film. Either way, the order of credits has stayed the same for
most of this history.
most of this history. OpeningOpening
In a traditional sense the order of the opening credits starts with the distribution
In a traditional sense the order of the opening credits starts with the distribution
company or main studio backer. Since this will most likely be an independent distributor
company or main studio backer. Since this will most likely be an independent distributor
that did not finance your film it will appear on its own. It usually is listed as “Distribution
that did not finance your film it will appear on its own. It usually is listed as “Distribution
Company Presents,” followed by the name of the production company. The production
Company Presents,” followed by the name of the production company. The production
company will most likely be established by you, and can range from being just a name
company will most likely be established by you, and can range from being just a name
you apply to yourself to a full fledged production house. This will then appear as “A
you apply to yourself to a full fledged production house. This will then appear as “A
Production Company Name Production.” The director’s credit tends to come right after
Production Company Name Production.” The director’s credit tends to come right after
this, labeling it “A Director’s Name Film.”
this, labeling it “A Director’s Name Film.”
Cast and Title
Cast and TitleAfter this we get the primary, or most prominent, cast members. If you have large
After this we get the primary, or most prominent, cast members. If you have large
celebrity names, this is where they would go. Either way, you should list all the main
celebrity names, this is where they would go. Either way, you should list all the main
actors, but try to keep it to less than five. Finally, you reach the title of your film. It is often
actors, but try to keep it to less than five. Finally, you reach the title of your film. It is often
appropriate to show the title in a different font or format than the rest of the credits,
appropriate to show the title in a different font or format than the rest of the credits,
maybe even having it appear out of the time sync that the rest did.
maybe even having it appear out of the time sync that the rest did.
Cast Continued
Cast ContinuedAfter this you give the rest of the primary cast, essentially everybody that has a serious
After this you give the rest of the primary cast, essentially everybody that has a serious
part in the script but is not the main focus of the plot. If you have a well known actor in a
part in the script but is not the main focus of the plot. If you have a well known actor in a
smaller, but showcased, role then you may want to finish off the primary cast list by
smaller, but showcased, role then you may want to finish off the primary cast list by
listing their name and the name of the character they play. This may appear as, “And
listing their name and the name of the character they play. This may appear as, “And
John Doe as Character X.”
John Doe as Character X.”All Other Above The Line Positions
All Other Above The Line Positions
After this you should make sure to list the director of photography, who did the primary
After this you should make sure to list the director of photography, who did the primary
score, and who the casting directors were. Follow this by listing all of the producers, both
score, and who the casting directors were. Follow this by listing all of the producers, both
regular and executive, as well as the production designer. Finally you will come to the
regular and executive, as well as the production designer. Finally you will come to the
editor, which brings to an end that list of normal primary positions. Now you have a
editor, which brings to an end that list of normal primary positions. Now you have a
semi-recap, by listing any primary source the film concept was taken from, as well as
semi-recap, by listing any primary source the film concept was taken from, as well as
who wrote the screenplay. This is a very important credit, but it always comes close to
who wrote the screenplay. This is a very important credit, but it always comes close to
the end. You finish all of the opening credits by listing the director again, but listing them
the end. You finish all of the opening credits by listing the director again, but listing them
as such instead of just a “film by” credit.
as such instead of just a “film by” credit.
Leap of FaithLeap of FaithThis may be a small thing for some, but it is a common expectation that film going
This may be a small thing for some, but it is a common expectation that film going
audiences have. Often times if they see traditional credits they will automatically assume
audiences have. Often times if they see traditional credits they will automatically assume
a level of professionalism in your film and forgive some of its “do it yourself” elements.
a level of professionalism in your film and forgive some of its “do it yourself” elements.
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CutCut The most basic and common type of transition is the cut. A cut
The most basic and common type of transition is the cut. A cut
happens when one shot instantly replaces the other. Cuts are so
happens when one shot instantly replaces the other. Cuts are so
widely used that feature movies normally count thousands of them.
widely used that feature movies normally count thousands of them.
Fade in/outFade in/out Fade ins and fade outs are the second most common type of
Fade ins and fade outs are the second most common type of
transition. Fade outs happen when the picture is gradually replaced
transition. Fade outs happen when the picture is gradually replaced
by black screen or any other solid colour. Traditionally, fade outs
by black screen or any other solid colour. Traditionally, fade outs
have been used to conclude movies. Fade ins are the opposite: a
have been used to conclude movies. Fade ins are the opposite: a
solid colour gradually gives way to picture, commonly used in the
solid colour gradually gives way to picture, commonly used in the
beginning of movies.
beginning of movies.DissolveDissolve
Also known as overlapping, dissolves happen when one shot
Also known as overlapping, dissolves happen when one shot
gradually replaces by the next. One disappears as the following
gradually replaces by the next. One disappears as the following
appears. For a few seconds, they overlap, and both are visible.
appears. For a few seconds, they overlap, and both are visible.
Commonly used to signify the passage of time.
Commonly used to signify the passage of time.
WipeWipeWipes are dynamic. They happen when one shot pushes the other
Wipes are dynamic. They happen when one shot pushes the other
off frame.off frame.
IrisIris
An old-fashioned transition hardly employed nowadays is the iris,
An old-fashioned transition hardly employed nowadays is the iris,
when a circulars masking closes the picture to a black screen.
when a circulars masking closes the picture to a black screen.
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Lead RoomLead RoomIf a character is looking frame left, then If a character is looking frame left, then he should be placed frame right. This he should be placed frame right. This
makes the framing comfortable because makes the framing comfortable because the subject is looking at the open space the subject is looking at the open space in front of him. This open space is called in front of him. This open space is called
lead room or lead space.lead room or lead space.
Rule of ThirdsRule of ThirdsAnother basic composition principle is Another basic composition principle is called Rule of Thirds. To follow it, one called Rule of Thirds. To follow it, one
must imagine the frame with two must imagine the frame with two vertical lines and two horizontal lines, vertical lines and two horizontal lines, as to create three vertical sections of as to create three vertical sections of
the same dimensions and three vertical the same dimensions and three vertical sections also of the same size.sections also of the same size.
Static CompositionStatic CompositionCompositions with the Compositions with the majority of lines being majority of lines being
horizontal or vertical are horizontal or vertical are called Static called Static
Composition.Composition.
Dynamic CompositionDynamic CompositionWhen a composition has When a composition has many diagonal lines it is many diagonal lines it is
called Dynamic called Dynamic Composition.Composition.