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

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?

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′)

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.