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language of moving image

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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.

Rack focus directs the main focus to another main focus. For example in casino royal when bonds cocktail is the main focus being poisoned, the the camera uses rack focus to show his face and the realisation that his drink was poisoned.

  • 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

I would like to incorporate a long shot from unfocused angle to a focused, of my character walking away. This will create a dramatic shot.

editing-

Distinguishing Editing from Camera work (theory)

Moving image products (like other media products: print, radio, on-line) are clearly constructed around the concept of putting one thing next to another. This can be found in both camera work and in editing. Editing is the process of manipulating separate images into a continuous piece of moving image which develops characters, themes, spaces and ideas through a series of events, interactions and occurrences. 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.

  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) 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 consists of number of shots put together to inform the audience context to a character or situation.

Shot sequencing 1: Montage

Editing is the process of putting one element / idea 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, which if constructed well can produce in the audience an idea that isn’t actually present! 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.

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

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 Sequencing 2: 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.

Moving Image, Narrative

Language of moving image

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Camera and editing is used to deliberately and consciously ‘stitch‘ the audience into the text in a deliberate and particular way.

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′)

Again the ideas of SPACE, SIZE & SCALE are really important, because you need to frame your shots with appropriate SIZE AND SCALE and trim your shots so that they are not too long / not too short ie creating the appropriate SPACE for ideas, characters, themes, the plot etc to develop.

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:

 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.

A well known montage in a film is the one from “UP” where it displays the key features of of Carls and Ellies relationship during her lifetime. Then it cuts to a scene of Carl sitting alone just after his wife passed away.

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.

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, and are quite different to over the shoulder shots, close-ups, reaction shots, internal and external reverses etc. All of which are deliberately used to create a range of subjective / objective positions for the audience as they engage with characters in the moving image products.

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
Moving Image, Narrative

LANGUAGE OF MOVING IMAGE – EDIT

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Edit:

Editing stiches together your camera work and can repair or fix any mistakes or issues with the video, as well as this editing can be used to correctly time shots and focuses so that the viewers attention is focused on exactly what the producer wants.

In my own work I did this when the action running scene was playing out.

Types of cut:

  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′)

Montage: Montages are short, fast and snappy collections of shots that tell a big story in a short amount of time by taking key information from that story and focusing the shots on those key bits.

  • 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

Logical shot progression:

A set of shots that are in order to show the viewers what is going on with a different view every time to not lose focus or attention. The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced

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.

Moving Image, Notes, Theory

Moving image theory

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Different media forms have different media language and set of rules. There are 3 key aesthetic concepts which are; size, scale and space.

THE CAMERA

The most important tool in a camera is the focus and depth of field used to direct and prioritise elements in a shot and therefore prioritise certain information. It may switch our focus (known technically as a pull focus / rack focus / follow focus) between one element and another.

With rack focus you gain: focused attention, layer images, visual storytelling, economic filmmaking and emotional connection.

Angles, movement and size

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 

Insert Shot

contains visual detail that is inserted into a scene (typically a close-up) for informational clarity or to provide dramatic emphasis

THE EDIT

Camera and edit tools are used to deliberately and consciously ‘stitch‘ the audience into the text in a deliberate and particular way.

“Screen theory” approach — Colin MacCabe, Stephen Heath and Laura Mulvey considers filmic images as signifiers that do not only encode meanings but also mirrors in which viewers accede to subjectivity (focuses on diversity rather than unity).

Moving image is constructed around the concept of putting one thing next to another.

 Editing is the process of manipulating separate images into a continuous piece of moving image which develops characters, themes, spaces and ideas through a series of events, interactions and occurrences. It is usually be LINEAR and SEQUENTIAL.

1.The basic edit: cut/fade/dissolve– The basic rule in editing is you don’t show everything literally, ELLIPSIS (what you leave out) is just as important as what you put in. Frame your shots with appropriate SIZE AND SCALE and trim your shots.

  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

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. Compresses the timeline.

Shot sequencing 2: Shot progression

to create VERISIMILITUDE (ie realism), uses these shots below to allow the audience to understand SPATIAL RELATIONSHIPS between locations, people, movements etc.

  • 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

runs from a wide angle master shot that is at a 90′ angle to (usually) two characters (usually over the shoulder shots).

First, include both characters – which are called EXTERNAL REVERSES. Then moves in to a much closer over the shoulder shot – which are called INTERNAL REVERSES.

POV shot- character looks directly at camera

Over the shoulder shots, close-ups, reaction shots, internal and external reverses are used to create a range of subjective / objective positions for the audience as they engage with characters

Shot Sequencing 3: Continuity Editing

Is the opposite of montage editing; aim is to create a sense of realism (verisimilitude)

  • match on action
  • eye-line match
  • graphic match
  • sound bridge
  • 30′ rule
  • 180′ rule (shot/reverse shot)

Shot Sequencing 4: Parallel Editing

two events editing together – so that they may be happening at the same time, or not?

  • enigma
  • dramatic irony
  • foreshadowing
  • repetition / reiteration
  • back story
  • exposition of theme / character / setting / plot
  • development of theme / character / setting / plot
  • pay off or resolution of theme / character / plot
  • denouement
  • dramatic arc
  • climax / resolution
  • interior monologue
  • cause and effect
  • resolution
  • non sequitur
  • ellipsis
  • cliff-hanger
Moving Image

Language of the moving image

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The language of moving image is the key terminology and set of rules with grammar or convention. There are different languages that compare with the movies, music videos, posters, animations etc.

I have used the camera focus on my sequence by panning that camera to someone and further focusing on his hands and what his doing. I’m going to better my sequence by getting his facial expressions after focusing on the hands to show him realising what he pulls out of his bag.

Sizes, Angles and Movement

  • 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

The shots angles and movements can vary between close ups to the face or the eyes, excluding any lower parts such as the chin and mouth, it also specifically focuses on the eyes and put the other facial features such as the beard out of focus.

Insert shots are the shots that draw the viewers attention to a specific aspect of the scene.

Cut fade/dissolve

As such, what you leave out known as ELLIPSIS is just as important as what you put in. Again the ideas of SPACE, SIZE & SCALE are really important, because you need to frame your shots with appropriate SIZE AND SCALE and trim your shots so that they are not too long / not too short ie creating the appropriate SPACE for ideas, characters, themes, the plot etc to develop.

  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′)
Moving Image, Narrative

Language of moving Image

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We are looking at the design of space, size and scale of moving image conventions. This also suggests the grammar or the conventions of the set of rules used in the language of moving image designs.

Camera – The camera can change the focus of what you are seeing. For example if you were to use rack focus to show suggest realisation or importance of the story line, then it would also aim the audience to continue to be engaged in the story.

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

Shot sizes and angle and movements – Using different shot sizes and angle movements can potentially outstand what you are trying portray. This can also suggests the different times that angles can be used.

Insert Shots – This is used to help transition from different scenes, and to help diversity to occur when filming clips. I used an insert shot to suggest what was happing on the phone.

Editing is stitching things together, it a connection of scenes. This is a concept of putting things with another, that’s why we have linear, chronological and sequential.

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

When to edit

  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′)

I began to edit when i saw the perfect environment to record, so that it would be easier for me to edit how I would like to change the scene to a different scene.

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

For my clip I might add my main character going on call with her sister so they can see what she is doing.

Montage is when 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. This also explains how we know what is happening over time in a short amount of time.

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

  1. establishing shot / ES, moving to
  2. wide shot / WS,
  3. to medium shot / MS,
  4. to close up / CU,
  5. to big close up / BCU;
  6. and then back out again

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. 

Key words that might be important when creating a storyboard:

  1. enigma
  2. dramatic irony
  3. foreshadowing
  4. repetition / reiteration
  5. back story
  6. exposition of theme / character / setting / plot
  7. development of theme / character / setting / plot
  8. pay off or resolution of theme / character / plot
  9. denouement
  10. dramatic arc
  11. climax / resolution
  12. interior monologue
  13. cause and effect
  14. resolution
  15. non sequitur
  16. ellipsis
  17. cliff-hanger
Moving Image, Narrative, Theory

The Language Of Moving Image

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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.

Moving Image, Narrative, Theory

The Language of moving image

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The language of moving image suggests that there is a grammar or convention or set of rules. It deals with the aesthetic concepts of shape and size.

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

  • 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

Sizes: Establishing shot – Insert shot – Long shot – Medium shot – Close-up – Extreme close-up.

Angles: High – Low – balls-eye – Birds eye – Canted angle

Movement: Tracking – Panning – Craning- Tilting – Hand-held – Steadicam

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: 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

Shot sequencing 2: Montage

Editing is the process of putting one element / idea 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, which if constructed well can produce in the audience an idea that isn’t actually present! 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.

Montages tell the audience a lot of information in very little time. They can tell an entire story or show you who a character is in just a few shots.

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

Can use a flash-back or flash-forward to show extra information on the character.

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).

  • 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 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.

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, and are quite different to over the shoulder shots, close-ups, reaction shots, internal and external reverses etc. All of which are deliberately used to create a range of subjective / objective positions for the audience as they engage with characters in the moving image products. AND NOT FOR THE CHARACTERS TO LOOK DIRECTLY AT THE AUDIENCE (ie directly into the camera)

Moving Image, Narrative

THE language of moving imAGE

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narrative theory – space, size and scale while in other words, key terminology – which also suggests that there is a GRAMMAR or CONVENTION or set of rules

Camera and focus – I am going to use focus creatively when I film my sequences by starting a scene out of focus and slowly focusing on the key feature in that scene

Insert shot – to provide further detail I am going to use an insert shot on a prop in my film

Editing – stitching things together by connecting different images and its the moving part of moving image in a chronological order

  • 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
  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: 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

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
Moving Image

LANGUAGE OF MOVING IMAGE

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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:

  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′)

    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.