Each media form has its own set of rules. We can follow these rules to improve our sequences. Creativity comes with the fundamental principles of space, size and scale.

Focus

Focus in a shot can be used to direct the audience’s eyes to wherever the filmmakers want. A change in focus from one subject to another in a single shot is called a ‘rack focus’.

Shot size, angle and movement

Parallel editing is the use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:

I will attempt to use this method throughout my sequence.

Montage

Condensing a longer story into a few minutes or sometimes seconds of film. Numerous linked shots that clearly display a progressing story.

Shot Progression

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

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.

we will be looking and studying the language of moving image and how each media form has its own media language and set of rules

and learning the three aesthetic concepts of space size and scale

camera focus

focus can be used to add more effect to the sequence and have a greater impact on the audience by having a important part of the scene in the shot but unseen to then come into focus

i intend to use rack focus to show that the killer is behind the victim

Shot sizes, angles and movements

1. High angle / Low angle / bulls-eye / birds eye / canted angle
2. Tracking / Panning / Craning / Tilting / Hand held / Steadicam
3. 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)
4. Insert Shot

i am going to try use a extreme close up shot to show the fear of the victim when face to face with the killer

insert shots

a short clip showing in more detail what the actor is doing or a specific item or action that helps with the narrative and plot of the story

i am going to try use and insert shot to show the killers weapon to add more suspense and to break up the scene

edit

editing is the putting together off all the sequences and is very important to getting the final product

and there is the long lasting question SO IN TERMS OF MOVING IMAGE PRODUCTS WHICH IS THE MOST IMPORTANT CAMERA OR EDIT?? as both are needed

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′)

Parallel Editing

The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:

1. parallel editing: two events editing together – so that they may be happening at the same time, or not?
2. flashback / flash-forward – allowing time to shift

i would use this when the victim is hiding to cut to her then to cut to the killers looking for her

MONTAGEING

montaging is using multiple shots in quick succession to tell a story in much less time and help understand the plot or backstory of the whole moving image product

i could use this by showing clips f the killers past and what lead him to be the way he is

Shot sequencing

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

this could be used in a chase scene close ups then big shots of area and chasing shots

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.

i can use in a confrontation

in this post i am finding out the language of moving image because each media form has its own set of rules. we must understand the terminology.

Space, scale, size are the three fundamental principles.

camera focus– the rack focus. This can be used to draw attention to a certain character or main focus. This can also be used to transition something into the scene.

E.G we see Bonds drink being poisoned and it is highlighted in the scene where he notices by switching the focus.

For my film, I would like to use this technique to introduce the villain.

• 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

Shot sizes can be used to present a scene in a specific way, for example: a close eye shot of the eyes can create tension or emotion without having the character necessarily acting. – I will be using a close up shot to capture fear in my main characters eyes as she realises she is being watched.

Insert shot this focuses on a specific object or person to place emphasis. This can be used to have the viewer make a mental note which will be applied later in the film.

Edit– editing is placing sequences together, you are stitching things together accompanied by the camera movement and placement. Editing in specific ways can create specific outcomes for the viewer.

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′)
8. 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.)

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.

i would use this to show my character walking/running then cutting to a different clip of the stalker following her.

Montage

montage is taking various separate clips and placing them together creating: a period of time, a metaphor, contrast or change. This can also create new meaning within a video.

shot sequencing

• 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

this is used to create realism and believability VERSIMILITY

I could use this to capture the moment that the girl is running through the woods trying to escape the attacker.

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.

I would use this within my work to show 2 characters on the phone.

To learn some of the key terminology and key conventions, and the language of moving image because each media form has its own set of rules. Any for of art always comes down to space, size and scale.

camera focus = using rack focus to reveal an important piece of information that was unclear before focus was changed

in my piece I could use rack focus when the murderer is pulling the trigger on the gun, by keeping his face blurred so that his identity is unknown however keeping the key info, being the gunshot, on focus,

shots, sizes, angles and movements =

insert shot = shows all the important info to provide dramatic emphasis.

Media forms have different media language and key terminology to understand the rules and the conventions

Camera movements, focus and depth are important for films. Different camera movements in scenes are key

• 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

different camera angles add depth to films because it adds more details which is more exciting then having the same camera angle all through the whole film would become boring but using different camera shots like High angle, big close up and panning etc. will and more detail.

Insert shots are used to highlight something important for example if a character is reading something that’s important for the film the camera focuses on those words on the paper to let the viewers who are watching the film

• 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

SPACE – SIZE – SCALE – ANGLE

A close-up shot is a type of camera shot size in film and television that adds emotion to a scene. It tightly frames an actor’s face, making their reaction the main focus in the frame. The director of photography films a close-up with a long lens at a close range.

An insert is a shot of part of a scene as filmed from a different angle and/or focal length from the master shot. Inserts cover action already covered in the master shot, but emphasize a different aspect of that action due to the different framing.

Rack focus – Rack focus, also known as pulling focus or racking focus, is a camera-based filmmaking technique in which the focus changes over the course of the shot from one focal plane to another. This effect can be subtle or overt, slow or rapid.

different media forms forms have different media language as an introduction is worth looking overall at what constitutes the language of moving image. we are looking at the language so we can understand the rules and conventions that are there.

The camera is a important tool as it determines the focus and depth of field. the focus can be used to direct and prioritise certain information. for example, it should determine where the audience is focusing on and to look at.

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 size is really important. for example with extreme closeup it gives you a more dramatic on screen moment of the character rather than a far away shot as it does not dramatics the scene as much. also with far away shots it shows a more dramatic sense of the scene.

insert shot is the shot that is inserted to focus of the thing that is being focused on in the scene.

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 communicate meaning Similarly, the way in which images are edited together has a massive significance in terms of communicating an idea and of creating meaning.

editing stiches together your camera work.

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′)

when my character was pushed I cut on the action of him falling. I also cut on the focus of the hand grasping the sand and letting go I cut after the action of the hand grasping the ground.

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: telling a long story in a short period of time, this can be done by taking the important events in the story you are trying to tell and cut them together to make a sequence that therefore tells the story in a short time. Montage can also be used as symbolism.

logical shot progression

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

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 reverse shot

he 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.

different forms of media have different media languages,

the way the camera is focused controls where the watcher is drawn to on the screen, if the camera focuses on something then unfocused onto something else your eyes are drawn to look at that specific thing. Also different angles help with what you see and the the meaning of the shot. for close up shots there is needed to be a focus point for definition and purpose.

EDIT

Editing is what stitches your camera work together. Editing is important as it brings the effect of your film together making it how you want it. You need it to create effect.

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′)

montages allow you to express things, such as emotion.

logical shot progression

• 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

• 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

• 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-SCALE, SIZE & SPACE
• Insert Shot
•  AESTHETIC QUALITY
• SPACE, TIME, DISTANCE, MOVEMENT, MOTIVATION, PLOT, THEME 

shot reverse shot

usually used to make it look as if two people are having a conversation.

1. Kernels: key moments in the plot / narrative structure
2. Satellites: embellishments, developments, aesthetics

This theory allows students to break down a narrative into 2 distinct elements. Those elements which are absolutely essential to the story / plot / narrative development, which are known as KERNELS and those moments that could be removed and the overall logic would not be disturbed, known as SATELLITES.

Roland Barthes: Proairetic and Hermenuetic Codes

1. Proairetic code: action, movement, causation
2. Hermenuetic code: reflection, dialogue, character or thematic development
3. Enigma code: the way in which intrigue and ideas are raised – which encourage an audience to want more information.