All media forms have a language, therefore moving image has its own language and conventions.
Students who make their own products often struggle with SPACE, SIZE and SCALE. These are fundamental principles.
Different MEDIA FORMS have different MEDIA LANGUAGES as an introduction it is worth looking overall at what constitutes the LANGUAGE OF MOVING IMAGE – in other words, key terminology – which also suggests that there is a GRAMMAR or CONVENTION or set of rules
The most important tool in a camera is the focus and depth of field (ie how much is in focus). I used this in my first scene however I did not do it to a high quality, nor did I do a pull or rack focus.
Shot sizes, angles and movements
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
My first shot was a establishing shot, the next scene was a low angle and the next one after that was a high angle with a close up.
I could use a insert shot of a note to give clarity to the environment around me and to the audience.
Editing is:
editing is stitching things together (eg. moving images)
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′)
I showed a scene of the woods and then cut to a guy holding a stick.
Shot Sequencing 1: 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
Montages are the process of compressing time through editing and giving the audience an idea of what the situation is.
Shot Sequencing 3: Invisible Editing / Continuity Editing
Continuity editing can be seen as the opposite of montage editing as the main aim is to create a sense of realism or ‘believability’ known as verisimilitude and has it’s own structure of rules where shots are edited together at particular times or on particular shots, as previously highlighted above.
match on action
eye-line match
graphic match
sound bridge
30′ rule
180′ rule
Shot sequencing 4: Shot progression
Conventional shot progression – to create VERISIMILITUDE (ie realism, believability) usually involves the following shots (although not always in the same order).
Shot Sequencing 5: Shot / Reverse Shot
The Shot / Reverse Shot a really good starting point for students to both think about and produce moving image products. 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.