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Foreground frame draws us to listener in back 2012

11 5 Cinematography and Special Visual Effects The Importance of the Visual Image Aesthetic quality can dominate film; however, it should not eclipse the purpose of the film The Cinematic Film continuous motion that evolves naturally 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 11

Elements of Cinematic Composition Focusing Attention on the Most Significant Object Size and Closeness of the Object Sharpness of Focus Movement

12 Elements of Cinematic Composition Focusing Attention on the Most Significant Object Size and Closeness of the Object Sharpness of Focus Movement Extreme Close-Ups Arrangement of People and Objects Foreground Framing Lighting and Color 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 12

13 Cinematic Points of View Objective Point of View sideline observer (straightforward camera and emotional distance) Subjective Point of View character s viewpoint from his eyes Indirect-Subjective Point of View not from the character s eyes but brings us close to the action Director s Interpretive Point of View action and characters from the director s interpretation (in an unusual way) 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 13

14 Focusing attention on an object Size and closeness eye draws towards larger and closer objects Sharpness of focus eyes focus on what is seen best Extreme close-up (actor s face etc.) Movement moving object seen over static ones Arrangement of people and objects at director s discretion Foreground framing brightest in the front Lighting and color contrasts of colors (front to back etc.) 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 14

15 Keeping the Image in Motion Fixed-Frame Movement one position and spot like looking out of the window Panning (left and right horizontal) and Tilting (up and down - vertical) The Zoom Lens glides towards and away from the object The Mobile Camera walk around with the camera Editing and Movement cuts and transitions that propel us from long shots to close-ups) Dead Screen (blank areas) and Live Screen (fully loaded) 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 15

16 Creating an Illusion of Depth Movement of Subject (Fixed Frame) toward or away from the camera Movement of Camera mounted on truck or dolly moving towards or away an object (adds depth) Apparent Camera Movement (Zoom Lens) magnifies Change of Focal Planes (Rack Focus) focus on objects of different distances (one, and then the next) adds illusion of depth 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 16

17 Trick the eye to see 3-D Deep Focus simultaneously focus with the same clarity different distances Three-Dimensional Arrangement of People and Objects Place the characters or objects to trick the eye into 3-D Foreground Framing focus on the front object for 3-D Special Lighting Effects add light for depth and take it away for less depth Use of Reflections shadows add depth 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 17

18 Specialized Cinematic Techniques Handheld Camera jerky movement for dramatic effect Camera Angles (low) exaggerated - child viewing an adult (high) dwarfs the subject Soft Focus slightly blurred Fast Motion fast and jerky motions 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 18

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20 Questions for Analyzing Cinematography and Special Visual Effects On Cinematic Film To what degree is the film cinematic? Cite specific examples from the film to prove that the director succeeds or fails in (a) keeping the image constantly alive and in motion; (b) setting up clear, crisp visual and aural rhythms; (c) creating the illusion of depth; and (d) using the other special properties of the medium. Does the cinematography create clear, powerful, and effective images in a natural way, or does it selfconsciously show off the skills and techniques of the cinematographer? 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 20

21 Questions for Analyzing Cinematography and Special Visual Effects On Cinematic Points of View Although the director probably employs all four cinematic viewpoints in making the film, one point of view may predominate to such a degree that the film leaves the impression of a single point of view. With this in mind, answer these questions: Do you feel that you were primarily an objective, impersonal observer of the action, or did you have the sense of being a participant in the action? What specific scenes used the objective point of view? In what scenes did you feel like a participant in the action? How were you made to feel like a participant? 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 21

22 Questions for Analyzing Cinematography and Special Visual Effects On Cinematic Points of View In what scenes were you aware that the director was employing visual techniques to comment on or interpret the action, forcing you to see the action in a special way? What techniques were used to achieve this? How effective were they? 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 22

23 Questions for Analyzing Cinematography and Special Visual Effects On Elements of Cinematic Composition Which methods does the director use to draw attention to the object of greatest significance? Does the director succeed in keeping the screen alive by avoiding large areas of dead screen? What are the primary or most memorable techniques used to create the illusion of three-dimensionality? 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 23

24 Questions for Analyzing Cinematography and Special Visual Effects On Specialized Cinematic Techniques Although a thorough analysis of each visual element is impossible, make a mental note of the pictorial effects that struck you as especially effective, ineffective, or unique, and consider them in light of these three questions: What was the director s aim in creating these images, and what camera tools or techniques were employed in the filming of them? What made these memorable visual images effective, ineffective, or unique? 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 24

25 Questions for Analyzing Cinematography and Special Visual Effects On Specialized Cinematic Techniques Justify each of these impressive visual effects aesthetically in terms of its relationship to the whole film. Are special lighting effects used for brief moments in the film? If so, what are the effects intended, and how successful are they? 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 25

26 Questions for Analyzing Cinematography and Special Visual Effects On Movie Magic: Special Visual Effects in Modern Film How effective are the special effects employed in the film? Do they dominate the film to the point that it is just a showcase for the effects, or are they an integrated part of the film? To what degree does the credibility of the entire film depend on the audience believing in its special effects? Do special effects overshadow the major characters so much that they seem secondary to the effects? 2012 The McGraw-Hill Companies, Inc. All Rights Reserved. 26

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MOVIE SHOTS. adapted from

MOVIE SHOTS. adapted from MOVIE SHOTS adapted from http://www.empireonline.com/movies/features/film-studies-101-camera-shots-styles/ Aerial Shot An exterior shot filmed from the air. Often used to establish a location. Arc Shot