We will be looking at the language of moving image so that we can improve our sequences, because each media form has its own set of rules.

Any creativity comes down to the fundamental principles of space, size and scale.

Focus

Focus can be used to add depth and affect to a sequence by having things in the shot which are unrecognisable until later in the shot where they come into focus “rack focus“. I could use this in my sequence by using it to introduce a main character from a scenic shot.

Shots Sizes Angles and Movements

The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced: two events editing together – so that they may be happening at the same time, or not?

flashback / flash-forward – allowing time to shift

I will be using Parallel editing to give context on my characters backstory.

Montage

The process which tells a long complex story in a shorter period through the use of quick shots.

Shot Sequencing

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.

To introduce the language of moving image such as key conventions and terminology, this is because each media form has its own set of rules. Creativity is an artistic endeavour, talking about fundamental principles of scale, space and size.

Camera Focus- important tool in a camera is the focus and depth of field.

-Focus on the main element/character of the sequence instead of additional focus being on the surroundings of the element.

• High angle / Low angle / bulls-eye / birds eye / canted angle
• Tracking / Panning / Craning / Tilting / Hand held / Steadicam
• Establishing Shot / Long Shot / Medium Shot- kidnapper / Close-up / Big Close-Up / Extreme Close Up- girl that is kidnapped (students often struggle with the first and the last again issues with SCALE, SIZE & SPACE, so practice is really important)
• Insert Shot– greater diversity,  it focuses on a specific item or person/thing often to highlight important items or ideas to be later referenced in the movie.

Edit: Putting sequences together to stitch the audience. The camera is the most important aspect. Whatever you choose to be communicated will be communicated. Sequential image to image.

1. EDIT ON ACTION
2. EDIT ON A MATCHING SHAPE, COLOUR, THEME
3. EDIT ON A LOOK, A GLANCE, EYELINE
4. EDIT ON A SOUND BRIDGE
5. EDIT ON A CHANGE OF SHOT SIZE
6. EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

cutting in film is an effective way to show passing of time or different locations or even flashbacks. I would want to use a cut which shows different locations at the same time (parallel editing.)

Shot Sequencing 4: Parallel Editing

The use of sequential editing (editing one clip to another) can allow 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? In my sequence I could use this by cutting the first scene of fabienne (the girl kidnapped) then cutting to the second scene of her friends looking for her and realising that she isn’t dead.
• flashback / flash-forward – allowing time to shift. I could have a flahback of a time in Fabiennes life when she was happy and free.

Shot sequencing 1: Montage

Editing is the process of putting one element next to another. It was first conceptually theorised as the kuleshov effect, in that adding one element / idea to another actually produces a third idea / element. This is the basis of montage editing – often the connection of ideas to create a new meaning . Often seen as an allegorical, metaphorical way of editing to create symbolism.

Montage= it consists of number of shots put together that informs the audience context to a character or situation.

Shot sequencing 2: Shot progression

Conventional shot progression – to create verisimilitude also described as realism or 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

Shot Sequencing 2: Shot / Reverse Shot

The Shot / Reverse Shot is the basic sequence that runs from a wide angle master shot that is at a 90′ angle to often two characters. Which can set up the visual space and can allow the film-maker to then shoot separate close-ups of the two characters, 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.

Different media forms have their own sets of rules and guidelines to follow. In any kind of designing or art related task key fundamental concepts to consider are space, size and scale.

Camera + Focus

A camera is the most important piece of equipment used for moving image production and a crucial feature of it is the focus (depth of field), which can effectively control what the viewer is seeing and keeping track of at any given time. If I were to film my sequences again I would take more shots and use focus to control which parts of the shot viewers should be paying attention to.

• 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

There are lots of types of shots you can use in moving image production, such as establishing shots, close shots and long shots. I am going to use close ups of my characters eyes, and a long establishing shot of a football pitch.

An insert shot is one which focuses on a specific object, and they can be used to effectively transition between scenes and provide detailed information to the viewer. I could use an insert shot of a door being closed in my sequence.

Edit

Moving from Camera to Edit, would be to compare the way that the camera can frame and position characters and thereby the audience by creating ‘subjectivity‘ and empathy. This is so important for creating a story, characters, a theme and of course COMMUNICATING MEANING. Similarly, the way in which images are edited together has a massive significance in terms of communicating an idea and of creating meaning.

It’s important to understand that everything visible in the frame will be noticed and looked at by the viewer.

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

1. EDIT ON ACTION
2. EDIT ON A MATCHING SHAPE, COLOUR, THEME
3. EDIT ON A LOOK, A GLANCE, EYELINE
4. EDIT ON A SOUND BRIDGE
5. EDIT ON A CHANGE OF SHOT SIZE
6. EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

Parallel Editing – Editing between different places/characters at the same time. I could use this when comparing the reactions to the person making an offer and the football player.

Montage editing – Combining lots of shots in quick succession to tell a story in a short space of time. I could use this when the football player is training to combine many shots.

Shot Progression

Conventional shot progression – to create VERISIMILITUDE (ie realism, believability) usually involves the following shots (although not always in the same order). This links to the idea of invisible editing where the edit is not as noticeable.

• 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

Shot/Reverse Shots

This is when shots are captured within the range of a conversation or exchange. 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. External reverses – over the shoulder and both characters are visible. Internal reverses – excludes the head of the other character, much more close up shot.

Moving image conventions

A look into how films are produced, planned and created. Language of moving image is about time, space and scale. Following typical filming techniques that viewers are used to seeing.

The importance of focus:

Moving image in films has a particular importance to the use of focus, it allows the producer to make the viewer portray and understand the feelings of the scene and their characters. Showing a specific item or person that may be an important plot or situation.

Different camera angles:

• 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 – It focuses on a specific item or person/thing often to highlight important items or ideas to be later referenced in the movie. It shows key information that is relevant to the understanding of the movie and its context.
• When relating this to my own film sequence, I could potentially use a low action shot that focuses on the football whilst moving rapidly, this will set the tone and mood of the moving image to be action pact and more interesting to the viewer.

The Edit:

• Editing stitches together the camera work. The final edit of a movie or recording is the final product and is used to finalise what the producer wants the audience to focus on and understand the plot to be entertained by the movie effectively.
• A basic rule in editing is is you don’t show everything, you use just enough information and scenes to provide suggestions and ideas to the audience to develop emotion:

• Editing stitches together the camera work. The final edit of a movie or recording is the final product and is used to finalise what the producer wants the audience to focus on and understand the plot to be entertained by the movie effectively.
• A basic rule in editing is is you don’t show everything, you use just enough information and scenes to provide suggestions and ideas to the audience to develop emotion:

• Editing stitches together the camera work. The final edit of a movie or recording is the final product and is used to finalise what the producer wants the audience to focus on and understand the plot to be entertained by the movie effectively.
• A basic rule in editing is is you don’t show everything, you use just enough information and scenes to provide suggestions and ideas to the audience to develop emotion: EMPATHY, INVOLVEMENT, RECOGNITION, CATHARSIS etc, with plots and characters for example.

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:

1. EDIT ON ACTION
2. EDIT ON A MATCHING SHAPE, COLOUR, THEME
3. EDIT ON A LOOK, A GLANCE, EYELINE
4. EDIT ON A SOUND BRIDGE
5. EDIT ON A CHANGE OF SHOT SIZE
6. EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)

Shot sequencing 1: Montage

• A montage is a method of film sequencing to tell a very long narrative in a short amount of time, for example to understand a character more in depth it may help to provide context through their constructed past which will help understand the narrative and emotion in the scene. A classic example of this is a montage of a characters past with his wife, where perhaps she passes away and explains why the character has a distant and rude personality.
• It was first conceptually theorised as the Kuleshov effect, in that adding one element / idea to another actually produces a third idea / element, which if constructed well can produce in the audience an idea that isn’t actually present!

Shot sequencing 2: 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

For example, during a chase like in a movie Vertigo, there is a pan to the climbing of a ladder, to then a chase from police officers with a pan out to the scenery of where they are, the rooftops of various buildings then once again a mid close up to the climbing of a steep roof top, to when one officer falls and there is a sudden zoom in to the officers face and hands, then a pan to the long drop and fall, creating the tension of the scene and creating emotion for the audience accordingly.

Shot Sequencing 2: 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.

Shot Sequencing 3: 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: 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