Film Shots & Visual Semiotics. Terminology & Approaches

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Russell Harvey
6 years ago
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1 Film Shots & Visual Semiotics Terminology & Approaches

Film Shot COMPOSITION should lead to PSYCHOLOGICAL IMPACT (emotion/drama) STORY ADVANCEMENT EVERY single shot should: 1.VISUALLY well COMPOSED with INTENTION! 2.

2 Film Shot COMPOSITION should lead to PSYCHOLOGICAL IMPACT (emotion/drama) STORY ADVANCEMENT EVERY single shot should: 1.VISUALLY well COMPOSED with INTENTION! 2.Have a psychological/emotional impact in mind. 3. Reveal DETAILS about a character, scene, or event. 4. ADVANCE your story (PLOT PROGRESSION) in some way. 5. THINK IN SHOT SEQUENCES Work-horse shots. Not every shot needs to be extremely dramatic. Many shots are work-horse shots. They function to propel the larger story. Ultimately, you should be able to justify every single shot/scene that you use to tell your story.

3 VISUAL Composition The Arrangement of objects within a FRAME Considerations: Placements Rule of Thirds Sight lines Size/Proximity Foreground Middle Ground Background Focus/Depth of Field

4 Camera Position Relative to the subject Low Angle (LA) High Angle (HA) Eye Level (EL)

Establishing Shots Establishing shots (usually wide or long shots) are important for the development of a film and each new scene. The following aspects/elements are connected to establishing shots.

5 Establishing Shots Establishing shots (usually wide or long shots) are important for the development of a film and each new scene. The following aspects/elements are connected to establishing shots. 1. Time and Space/Place (Setting)- -Establishing shots set the time and the place. Enough visual information needs to be provided to establish approximately when and where we are situated. Think about some memorable first shots in films that you like. 2. Visual Style/Texture/Tone- Establishing shots set the tone and mood for the project Considerations here might include the scene's overall visual feel in terms of color vs. black and white; film grain, scratches, titles, lighting, time of day, weather (rain, clouds, sun) etc. Don't take such considerations too lightly. They can often predispose a viewer to accept (or not) the story/scene that immediately follows. 3. Pacing/Speed--The duration of the establishing shot can also set the overall pacing of the project. 4. Formula--The formula establishing shots include cityscapes, landscapes, building shots, wide angle room shots. However, establishing shots need not be wide angle shots. 5. Essential Questions: How did you get here? What time is it? What does a viewer really need to know right off the bat to make sense of your story? Do you want your viewer to know exactly when and where they are?

9 Pre-conceive BEFORE you shoot! 1. Shot duration Length of time in which you hold your shots 2. Proximity How close you are to the person, object, or events that you are shooting. 3. Shot Angle The angle from which you shoot a scene/person 4. Shot Sequencing How you order your shots within a scene. Classic Formula: Movement from Wide Shot -to-> Medium Shot -to-> Close-up and then back out 5. Coverage Kinds and variation of shots used to "cover" a scene 6. Reaction Shots Shots of people's faces "reacting" to dialogue or images in a scene 7. Alternatives Possible alternative shot selection (shot angle, composition, framing, etc.)

The Wide Shot (WS) Larger Perspective Shot--A long/wide shot generally frames an "overview" of a visual scene. Once you can see a person's entire body you are generally into the realm of a wide shot.

10 The Wide Shot (WS) Larger Perspective Shot--A long/wide shot generally frames an "overview" of a visual scene. Once you can see a person's entire body you are generally into the realm of a wide shot. About PLACE--long/wide shots are about PLACE. They psychologically situate a viewer in a place and represent a general mood associated about that place. Overview but lack of DETAIL intimacy--the LS/WS shot provides an overview but rarely the intimacy for a conversation. It generally doesn't give you enough DETAIL about people. You can't see enough of a person's face and upper body features. You are perceptually outside the realm of conversational space.

11 The Wide Shot for Initiating an ACTION SEQUENCE

Medium Shot (MS) Head and Torso--A medium shot generally frames the entire head and torso. Once you can see a person's entire body you are generally into the realm of a wide shot.

Work horse shot--the medium shot is your bread and butter shot. Most of your footage of people will be shot in MS.

12 Medium Shot (MS) Head and Torso--A medium shot generally frames the entire head and torso. Once you can see a person's entire body you are generally into the realm of a wide shot. Getting the MS--Getting the camera into position for a medium shot takes practice. Wide shots and Close-ups are easy by comparison. Work horse shot--the medium shot is your bread and butter shot. Most of your footage of people will be shot in MS. "Conversational" Intimacy--The medium shot provides a comfortable feeling for a conversation. It allows you to see a person's face and upper body features. You get to know them without invading their space. Side by side--because of the horizontal frame of a video camera, you will be able to fit 2 people side by side.

13 Medium Shots Continued

Shoulder/Head--As the name implies, the over the shoulder shot is generally of a person, but includes a portion (shoulder and head) of the person you

14 Over the Shoulder Shot (OSS) Conversation shots--over the shoulder shots are frequently used as "conversation" shots between two or more people. They are used extensively in TV productions (sitcoms, dramas, soaps). Shoulder/Head--As the name implies, the over the shoulder shot is generally of a person, but includes a portion (shoulder and head) of the person you are speaking with. Rainn Wilson + Ellen Page: Juno Relationship--Over the shoulder shots establish are about relationships. They are broader than P.O.V shots. They provide more perspective. Philip Seymour Hoffman + LauraLinney: The Savages

Close-up Shot (CU) Filling the Frame--The person or subject fills the camera frame.

powerful. Detail--Close-ups allow you to concentrate on DETAILS and emotional reactions.

15 Close-up Shot (CU) Filling the Frame--The person or subject fills the camera frame. Frequently, facial close-ups will cut off part of a person's head and only show you the lower 2/3rds of their face (the expressive part). Bruce Willis: Die Hard Psychologically Involved and more Intense--Closeups are more emotionally powerful. Detail--Close-ups allow you to concentrate on DETAILS and emotional reactions. Insert Shots/Reaction-- Close-ups work really well as insert or reaction shots or other kinds of illustrative shots to add texture and detail to your story. Ed Norton: Incredible Hulk Heath Ledger: The Dark Knight

16 Extreme Close-up Intense Emotion Quick Reaction Subtle Response Anthony Hopkins: Silence of the Lambs Uma Thurman: Kill Bill

17 Extreme Close-up-2 Ellen Page: Juno Abigail Breslin: Little Miss Sunshine

18 Macro Extreme Close-up Brad Pitt: Fight Club Intro (Dir David Fincher)

Empathetic Viewpoint--You are suddenly "becoming" the person and thereby actually seeing through their eyes.

19 POV Point of View Shots Two/three shot Sequence-- The POV shot is actually a 2 shot sequence. It involves a set shot of a person doing something or looking at something and then a second shot of whatever it is that they are looking at. Empathetic Viewpoint--You are suddenly "becoming" the person and thereby actually seeing through their eyes. Shot 1: Jimmy Stewart: Alfred Hitchcock s Rear Window Detail--POV shots imply detail. They're intended to force you to look with some detail at a visual seen. Often POV shots are used when a main character is staring at a seen, trying to make sense of what is going on. Optical Devices--Binoculars, Telescope, Camera, Window, serve as good tools for POVs Shot 2: Followed by what Jimmy Stewart sees through his rear window

20 POV Point of View Shots Empathetic Viewpoint You are suddenly "becoming" the person and thereby actually seeing through their eyes. Luke Wilson: Royal Tennenbaums (Wes Anderson)

21 The Matrix Intro

23 The Impact of Lighting High contrast lighting to focus a viewer s attention to specific parts of a scene

24 Zoom-in

25 Raiders Clip- Jones/Marion Raiders Clip2- Jones-Belloq

29 Star Wars Intro Clip

30 The Girl with the Dragon Tattoo Title Sequence

Establishing Shot-- The the LS/WS shot is usually

Often it is the FIRST shot in a scene where a new

Immediately after that, most directors jump to

Getting the LS/WS-- Getting the camera into

32 Establishing Shot-- The the LS/WS shot is usually used to establish time, place, setting. Often it is the FIRST shot in a scene where a new place or setting is being shown. Immediately after that, most directors jump to medium shots. Getting the LS/WS-- Getting the camera into position for a LS shot takes practice with a tripod. Stability so viewers look for detail. Wide Shot (WS) as an Establishing Shot

I. THE CINEMATOGRAPHER

THE CINEMATOGRAPHER I. THE CINEMATOGRAPHER The Credit. Also known as, the Director of Photography, D.P., D.O.P, Cameraman, Cameraperson, Shooter, and Lighting cameraman (in the U.K.) The job description.