Language of moving image suggests that there is a grammar or convention or set of rules. It deals with the aesthetic concepts of space, size and scale.

FOCUS AND DEPTH OF FIELD

One of the most important tools in a camera is the focus and depth of field. The focus is used to direct the audience’s eyes and prioritise elements in a shot to present certain information.

In my moving image sequence, I would include a focus change in which the character notices a figure walking to her front door.

SIZES, ANGLES AND MOVEMENTS

Sizes – Establishing Shot / Long Shot / Medium Shot / Close-up / Big Close-Up / Extreme Close Up 

Angles – High angle / Low angle / bulls-eye / birds eye / canted angle

Movement – Tracking / Panning / Craning / Tilting / Hand held / Steadicam

INSERT SHOTS

Insert shots help to transition a scene, provide context, or give contrast to the other shots.

EDITING

Editing is the stitching of shots together in a chronological sequence.

I edited my moving image when I had filmed all the shots I needed and went back to film if there were any other shots I required or was missing.

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

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

A montage is the connection of images and ideas to create a new meaning. It is often seen as an allegorical, metaphorical way of editing to create symbolism.

SHOT PROGRESSION

Conventional shot progression – to create realism (verisimilitude) 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 / REVERSE SHOT

A shot / reverse shot 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.