Each media form has a unique set of key language terms which link to a set of rules/ conventions, as well as the genre and how this is constructed through narrative
Focusing and Depth of Field
Rack Focus = Focusing in on something and then changing the focus on to something else to further the narrative line.
Example in my sequences:
- I could change the focus from the bench to focusing in on the notebook on the floor which was once unnoticeable.
- I could focus in on myself writing in the book and then focus in on the writing on the page.
SPACE – SIZE – SCALE – ANGLE
- Angle = High angle / Low angle / bulls-eye / birds eye / canted angle
- Space = Tracking / Panning / Craning / Tilting / Hand held / Steadicam
- Size/ Scale = Establishing Shot / Long Shot / Medium Shot / Close-up / Big Close-Up / Extreme Close Up
Example in my sequences:
- I could take a extreme long shot from the top of a hill to capture a wide landscape over a beach. Then I could use a close up to the boy sat on the beach which could slowly zoom out to a middle shot to establish the exposition of the narrative.
Insert Shot = A shot added in to a narrative to control the viewers’ gaze and to provide detail. Inserts cover action already covered in the master shot, but emphasize a different aspect of that action
The Edit
In theory, without any footage, there is nothing to edit.
Moving image products are constructed around the concept of putting things together (stitching pieces together to create narrative). This idea of sewing / stitching the audience into the text was developed by theoreticians of the “Screen theory”.
When to edit?
- 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′)
Examples in my sequences:
- During my morning routine sequence, I will edit on action when the character is making breakfast.
- When my character is walking to the bench, I will include a shot of my character looking at the sky and cut to a pan shot across the sky to show what he is seeing.
Shot sequencing
Parallel Editing = Two events edited together, cut back and forth. So that they may be happening at the same time, or not?
Montage = Often the connection of images / ideas to create a new meaning and symbolism. COLLAGE and MONTAGE ART creates meaning through putting ideas and objects next to each other.
Example in my sequences:
- I could use a montage replay of the events leading up to the point in which the narrative begun (‘In Media- Res’ of the characters life story).
- I could film my main character trying to look for the notebook whilst the female character finds it and begins to read and invest herself in his story.
Shot progression = To create realism and believability (verisimilitude).
- 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
Examples in my sequences:
- Establish setting such as park/beach (where the bench is set).
Shot/ Reverse Shot
External Reverse = Including both characters.
Internal Reverse = Closer than an a behind the shoulder shot.