I am going to find out the language of moving image and the specifics that come with it. Each media form comes with its own set of rules. Any kind of creativity always comes down to space, size and scale – the fundamental principles.

Camera Focus

Rack Focus- Moving the focus from one object to another to manipulate what the viewer is looking at at certain moments.

In my first sequence I have a shot of one character crouched on the floor in a woods and another character behind a tree with only his hands in shot. 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 – a shot bringing attention to specific details

In my sequence I want to include an extreme close up of my characters eyes as there will be a shot of her upset.

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.

CAMERA(focus)

The most important tool in a camera is the focus and depth of field (ie how much is in focus). The focus is used to direct and prioritise elements in a shot and therefore prioritise certain information. For example, it will determine who the audience should look at (even if we are not listening to them). It may switch our focus (known technically as a pull focus / rack focus / follow focus) between one element and another. Remember that the elements may not be people, but could be objects, spaces, shapes or colours, which may represent an idea, theme, belief etc (see the post on Semiotics)

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. an insert shot is a shot which typically draws the viewers attention to a specific object or action taking place in the scene, by using this it creates a more diverse shot composition and easily transitions to another scene without having to use a wide(establishing) shot.

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.

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 etc etc . . . with characters, themes, setting, plot.

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.

The basic tools you will use in conventional moving image products are either CUT, DISSOLVE, FADE. In other words, definitely avoid any trick edits, such as bouncing balls, waves, dilutions etc etc that are usually reserved for promotional or presentational videos.

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

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.

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 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 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 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)

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

Movies and films use language of moving image and focus on the scale and time of each sequence. We are looking at this to understand the rules and conventions of moving image.

The power of focusing controls the eyes of the audience, through focusing on important objects / personnel to tell a story. In short, in Casino Royale they use rack focusing when Bond realises his martini has been poisoned.

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 – A shot containing a part of a scene as filmed from a different angle and/or focal length from the master shot. In my film, the inset shot would be the gun that the soldier is holding and the letter being written by the commander of platoon 7.

Editing:

Editing is important as it stitches together your camera work into one whole project, through the use of sequences. The editing puts together the BACK STORY, FORESHADOWING, REPETITION, ELLIPSIS, DEVELOPMENT, ENIGMA, DRAMATIC IRONY. Some basic tools for editing involves CUT, DISSOLVE, FADE.

The rules to when editing happens is during:

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:

• 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 a short video that has been cut out of a long series of shots. The effect of a montage allows for creators to tell a long story in a short amount of time.

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.

Logical Shot Progression:

A set of shots that create realism through the use of different shot types e.g:

• 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:

These shots are the use of creativity and realism with the use of angled shots when two people are talking. They include both characters – which are called EXTERNAL REVERSES. 

Looking into how films are created, planned and produced. Language of moving image is about space, time and scale, films following a typical production technique that viewers are so used too, they look by it.

The Importance of Focus:

The best tool a producer has is the camera, the camera can control focus which is the most powerful tool in film making. The focusing feature can be used to direct the viewers attention to or away from something, which is when a new hint, moment or object is revealed that the producer brings attention to.

Camera Shots:

• 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

Application in my own work:

Low angle – to use when focusing on the protagonist running, getting the legs in focus.

Insert shots:

Insert shots are inserted into a sequence that gives the sequence or section meaning or dramatic emphasis. Like quickly snapping on the wine the spy is about to poison or cutting in on the book that gives the character an idea so that the viewers know what happened.