Presentation on theme: "The Secret Code of Filming Movement Movement within the Frame Movement of the Frame Movement by Mechanical Distortion Theory of organic form: form and."— Presentation transcript:
The Secret Code of Filming Movement Movement within the Frame Movement of the Frame Movement by Mechanical Distortion Theory of organic form: form and content are mutually dependent in any art form.
Movement Within the Frame Motion can be depicted literally or figuratively –Literal movements are photographed concretely and depict only the action and are used to advance plot and to provide verisimilitude –Figurative movements are highly stylized and conventional, and while they advance the plot they may not be concerned with verisimilitude but rather be concerned with communicating something above and beyond plot points
Intrinsic Meanings of Movements Upward movement seems freeing, positive –Aspiration, joy, power, and authority Downward movement seems grounding, negative –Grief, death, insignificance, and weakness Movement from left to right seems natural Movement from right to left seems uncomfortable
Upward movement seems freeing, positive Aspiration, joy, power, and authority Click on the space above. Notice that Vincent’s goals require altitude, literally as well as symbolically. Going up for him will be freeing; it’s his only dream.
Downward movement seems grounding, negative Grief, death, insignificance, and weakness Here Vincent is at his lowest point. He travels down the DNA staircase, apparently a prisoner of others’ expectations of his abilities. It is not coincidental that he comes to rest on a toilet.
Movement from left to right seems natural Notice that Vincent and Irene meet and walk in a left to right direction, as they begin taking the first steps in their loving- unconditionally relationship.
Movement from right to left seems uncomfortable The right to left movement of and within the frame adds to the tension Vincent feels with the possible detection of his true identity, not to mention the public performance issue.
Intrinsic Meanings of Movements Movement toward or away from the camera can be contextual –Bad guys moving toward are threatening –Good guys moving toward are reassuring –Good guys moving away can seem to be withdrawing –Bad guys moving away can make audiences feel more secure
Impression of Movements are Influenced By the Way They are Filmed Lateral movements will emphasize speed and efficiency unless an extreme long shot is used Moving a character or an object in and out of depth will seem to slow that motion, unless an extreme close-up is used or a wide-angle lens The longer and higher the shot, the more slow the movement seems The closer and lower the shot, the faster the movement
Movement of the Frame Movement of the frame occurs: –when the camera itself is moved or –when a lens is used to change the boundaries of the frame Seven basic moving camera shots –Pan– Tilts –Crane Shots– Dolly shots –Zoom shots– Hand-held shots –Aerial shots
Pans Camera scans a scene horizontally, usually rotating on a stationary axis follows Emphasize the unity of space and the connectedness of people and objects within that space
Tilt Shots Camera scans a scene vertically, usually from a stationary horizontal axis Used to capture point-of-view shots and to suggest psychological changes within characters
Crane Shots Shot from the arm of a crane, which can move the camera in and out of a scene Moves in almost any direction –Up, down, diagonally
Dolly Shots These are shots taken from a moving vehicle –As a point-of-view shot it emphasizes a character’s destination –As an objective shot it can emphasize the fluidity or duration of a movement
Zooms Allows almost simultaneous changes of the frame from wide-angle distances to close-ups –More rapid movement than a camera movement –Foreshortens people and flattens space
Hand-held Shots Allow more real, less smooth, movements –Often jumpy and confused, especially from close ranges
Aerial Shots Variation of a crane shot, usually taken from a helicopter –Can move in nearly any direction –Nearly limitless in the perspective of distance The bird’s-eye shot of the boys swimming into the frame is as close to an aerial shot as I’ve found in the film; likely, it is actually a crane shot—we see no distortion of water from helicopter’s blades.
Mechanical Distortions of Movement Manipulating the 24 frames/second illusion Manipulate the timing mechanism on the camera or projector –Animation –Fast Motion –Slow Motion –Reverse Motion –Freeze Frames
Animation Each frame is filmed separately Subjects being photographed do not ordinarily move Can combine film with traditional art Can be combined with live-action
Animation Notice that computer animation can add life and visual interest (a dominant) to a traditional “paper” storybook tale
Fast Motion Achieved by filming at a slower rate than 24 frames/second When projected at 24 fps, it will seem accelerated
Slow Motion Subjects are filmed at a rate faster than 24 frames/second Projected at 24 fps will tend to slow down the movement
Reverse Motion Filming a subject with the film running reversed When projected the events run backwards.
Freeze Frame A single image is duplicated and reprinted for as many frames as necessary to suggest the halting of motion This can be combined in post-production with live action to have one character walking through “frozen” time