YOUR CREATIVE TOOLBOX
Your technical and stylistic decisions should stem from the meaning of your film.
30 SHOTS FILMMAKERS SHOULD KNOW
DEEP FOCUS (Great Depth of Field)
The whole frame is in focus, the meaning of the scene thus develops in
the deep space of the frame. Camera movement, subject movement,
dialogue, lighting, costumes, all contribute to the forward movement of
the film.
LONG TAKE
Shot for a long duration, allow the action to unfold in real space and
underlines the fact that the shots meaning comes from filming, not from
editing.
mise en scène – The setting or surrounding of an event, the stage, the
integrity of the photographed space or constructed image.
The long take has the ability to convince the viewer that what is seen on
the screen actually occurred.
Long take:
LAWRENCE OF ARABIA,
Steady cam long takes:
RUSSIAN ARK, Aleksandr Sokurov
TRUE DETECTIVE ,
CLASSIC editing/shooting style
MASTER SHOT + CLOSEUPS
A relatively wide angle, continuous take, to ensure that the audience was
oriented and comfortable in the setting before cutting in. Then as actors speak
and respond, there are close ups showing facial expressions, etc.
CABINET OF DR. CALIGARI, Robert Vina
MASTER SHOT
One approach to capturing a scene, shoot the entire action in a single,
continuous master shot, may be little or no camera movement. Can help
emphasize performances and writing, and may de-emphasize the filmic
aspects of the scene.
ANNIE HALL, Woody Allen
TRADITIONAL editing/shooting style – 180 degree Rule
TWO PERSON SCENE (using 4 camera angles)
1. Master Shot
2. Two-Shot
3. Close-Up of one character
4. Reverse Close-Up of the other
MONTAGE
The meaning and forward movement are conveyed through editing,
juxtaposing various shots.
When the action of a scene is captured in many shorter shots, the
filmmaker can control pacing and direct the audience’s attention in ways
that may not be possible with a long take.
Can also open possibilities for entirely new meanings, deliver enormous
emotional impact or bring out otherwise buried meaning.
Audiences will suspend belief and enter into the world of the movie.
Staging and Editing are not opposites, but 2 stylistic tools at the
filmmakers’ disposal.
REALISM
Merges documentary and narrative sensibilities, shoot dramas with hand held
camera. Asking subjects to improvise, elaborate on script.
final scene, NASHVILLE by ROBERT ALTMAN
Martin Scorsese on CASSAVETES
STORYTELLING TIPS
- A balance of moments that are described in detail (those that are truly
important for interest, meaning, emotional effect) with moments where the
action is condensed or can be discarded all together (move through story points
that may be necessary but are not themselves worthy of screen time)
- The script should be written with attention to which scenes, dialogue and details
are truly important and which can be condensed or discarded.
- Compressing time can be done with dialog, voice over or jump cuts.
- Extending time can be done with blocking the scene (shoot from many angles)
and adding more screen time, or adjusting the speed of the clip.
- When planning Coverage, director should decide which scenes should be
covered in detail. Shots may end up dull and discarded in the editing.
- Reveal action, rather than explain it. Don’t use script to describe important
elements, use the camera to let the viewer experience them. Use mystery and
discovery to your advantage.
POINT OF VIEW
POINT OF VIEW
From what perspective is your story or scene going to be told? Film has the ability to
influence our thoughts and emotions and allow us to see the world through the eyes of
real or fictional characters. What audiences know about the characters, which ones
they identify with, depends on how scenes are constructed and the story unfolds.
Can be very subjective, meant to reveal what the audience would see if they were
inside the character’s head. Or can place viewer within the scene.
CITIZEN KANE, by Orson Wells
NARRATIVE SHORT
Group Project, 3-4 minutes in length
Create a sound design, you may use Garageband and mix recorded audio. Absolutely
No Pre-Recorded Music is allowed! (i.e. your favorite songs, etc.)
Keep the dialog MINIMAL. This exercise is about building a moment, you don't want
too much time on people talking. You want to use the tools of film making to bring us
an experience.
Consider setting, available lighting, point of view, blocking (angle of camera),
coverage (shoot the full scene using an establishing wide shot, then medium and
close-up shots), audio and video continuity and decide which scenes should be
expanded or condensed in time to best impact your story.
Choose A or B:
A: Shoot and edit together a meeting between two people.
B: Shoot and edit together two parallel events, eventually tying them together in
some way