Moving Image

Language of Moving Image

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Different media forms have different media languages. To understand the rules/conventions we need to understand the terminology. Normally students struggle with the aesthetic like scale, size and space.

Camera:

The most important tool is the camera. The focus and depth help to convey the narrative and also particular moments in the scene without actually stating it. It determines where the audience look and what they understand from each shot.

  • High angle / Low angle / bulls-eye / birds eye / canted angle
  • Tracking / Panning / Craning / Tilting / Hand held / Steadicam
  • Establishing Shot / Long Shot / Medium Shot / Close-up / Big Close-Up / Extreme Close Up (students often struggle with the first and the last again issues with SCALE, SIZE & SPACE, so practice is really important)
  • Insert Shot

Different variations of close ups or long shots are really important as they give information for the audience to pick up on. For example, a long shot helps for conveying action and showing off the whole of the actors body, it also gives a sense of the location which helps to create the preferred atmosphere. Whilst a close up helps to emphasise the the emotions or the intensity of the scene. The way that scenes are shot can also correlate to the emotions, for example if someone is in a rush then the scenes may be short and snappy.

Edit:

Editing the scenes together is just as important as the camera as it helps to create meaning. This is called stitching. As such, it is (usually) LINEAR and SEQUENTIAL, although, it must be remembered that moving image products often parachute the audience into a particular moment (IN MEDIA RES) and usually leave them at an equally unresolved moment. As such BACK STORY, FORESHADOWING, REPETITION, ELLIPSIS, DEVELOPMENT, ENIGMA, DRAMATIC IRONY. The basic rule in editing is you don’t show everything literally, you need to use just enough information to provide ideas and suggestions for your audience to develop and generate a range of emotions and idea: EMPATHY, INVOLVEMENT, RECOGNITION, CATHARSIS etc etc . . . with characters, themes, setting, plot.

But the key question is WHEN TO EDIT ie when is it best to move from one shot to another? The answer is usually found in the following list:

  • EDIT ON ACTION
  • EDIT ON A MATCHING SHAPE, COLOUR, THEME
  • EDIT ON A LOOK, A GLANCE, EYELINE
  • EDIT ON A SOUND BRIDGE
  • EDIT ON A CHANGE OF SHOT SIZE
  • EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

Cut/dissolve/fade are used to do this.

Shot Sequencing 4: Parallel Editing

The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:

  • parallel editing: two events editing together – so that they may be happening at the same time, or not?
  • flashback / flash-forward – allowing time to shift

Montage:

This is the basis of MONTAGE EDITING – often the connection of images / ideas to create a new meaning (1 + 2 = ?). It is often seen as an allegorical, metaphorical way of editing to create symbolism, in the same way COLLAGE and MONTAGE ART creates meaning through putting ideas and objects next to each other. Creates a metaphor and generous creativity ideas. Can tell a whole life story within 30 seconds and the audience will understand. Good way to cut to the real plot line without adding too much extra detail or context.

shot progression:

Conventional shot progression – to create VERISIMILITUDE (ie realism, believability) usually involves the following shots (although not always in the same order).

  • establishing shot / ES, moving to
  • wide shot / WS,
  • to medium shot / MS,
  • to close up / CU,
  • to big close up / BCU;
  • and then back out again

The use of these shots allow the audience to understand SPATIAL RELATIONSHIPS between locations, people, movements etc. The length of shot will determine the drama, empathy, theme etc. The choice of how to sequence each shot will determine the AESTHETIC QUALITY of the product. The next sequence will then follow a similar pattern, which again allows the audience to understand concepts such as SPACE, TIME, DISTANCE, MOVEMENT, MOTIVATION, PLOT, THEME etc.

Shot/ Reverse shot:

The basic sequence runs from a wide angle master shot that is at a 90′ angle to (usually) two characters. This sets up the visual space and allows the film-maker to to then shoot separate close-ups, that if connected through an eye-line match are able to give the impression that they are opposite each other talking. The shots are usually over the shoulder. Firstly, they include both characters – which are called EXTERNAL REVERSES. As the drama increases, the framing of each shot then excludes the back of the head of the other character and moves in to a much closer over the shoulder shot – which are called INTERNAL REVERSES. Remember that these shots are not creating a direct look to camera. To look directly at the camera creates a very different relationship between the characters and the audience and is a technique that is only used for specific techniques / genres / film-makers. These type of shots are known as Point of View Shots – POV shots, or even direct address to the camera.

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