1. © 2011 Delmar, Cengage Learning Chapter 1: Motion Picture Language (part 2) Courtesy of Kendelyn Ouellette

2. Objective Evaluate the effect of continuity and other editing techniques in motion picture sequences. © 2011 Delmar, Cengage Learning

3. Note Taking Color Key Vocabulary – Green Key Terms - Blue © 2011 Delmar, Cengage Learning

4. Agenda Linking Shots Basics of Continuity Establishing Continuity Composition Depth of View Style Camera Editing Sound Directorial Choices Preparing for Production © 2011 Delmar, Cengage Learning

5. Vocabulary Dissolve Fade In / Fade Out Computer- Generated Imagery Live Action Focus Pull Screen Direction Axis Continuity Editing Narrative Match Cuts Jump Cut Composition Rule of Thirds Foreground Background Shots Point of View High Angle Low Angle © 2011 Delmar, Cengage Learning

6. Static shot Tilt & pan Dolly shot Crane shot Handheld shot Steadicam shot Push-in & pull-out Vocabulary: Camera Movement

7. © 2011 Delmar, Cengage Learning Imagine seeing a shot of a character sitting at a kitchen table. After a few moments, there is a dissolve and the same character is standing near the far wall, at the kitchen counter making a cup of coffee. After the next dissolve, the scene shows the same character standing to the right of the frame, looking out the window while the coffee cup is sitting on the table. In each of the three shots, the framing stayed the same. Linking Shots

8. © 2011 Delmar, Cengage Learning What do you guess from this sequence? Why were there dissolves between the shots? Linking Shots

9. © 2011 Delmar, Cengage Learning What do you guess from this sequence? Why were there dissolves between the shots? The main reason dissolves are used is so the viewer understands that time has passed between each shot. Linking Shots

10. © 2011 Delmar, Cengage Learning Similar to dissolves, fade ins can be used to introduce a scene or a new moment in a story, while fade outs can be used to bring a scene to a close like the curtain closing at the end of a scene in a play. Linking Shots

11. https://www.youtube.com/watch?v=uQj4i6SMY-A In a scene from the animated movie A Bug’s Life (1998), Flik, an adventurous ant, is about to leave his colony and is being seen off by little Dot and two skeptical “ant” children. The sequence communicates with the viewer using a wide array of expressive tools of motion potion language built on the physical reality of filming live subjects. Linking Shots

12. © 2011 Delmar, Cengage Learning A Bug’s Life: Flik Is Going To The City

13. © 2011 Delmar, Cengage Learning This is a movie made entirely of computer- generated imagery, so there was no real camera shooting a bunch of ants out on a field. Yet, it uses elements of live action shooting to show use the scene. For example, early in the scene is a focus pull. A focus pull occurs during shooting when the point of focus is altered on the lens of the camera, for example, from someone close to the camera to some one far away. Linking Shots

14. © 2011 Delmar, Cengage Learning Point of View (POV) Shot A shot that is from the point of view of the character in the film. Building Blocks of Visual Communication

15. © 2011 Delmar, Cengage Learning In this scene, there are a number of clear examples of motion picture language at work: The point of view shot as Flik looks down. The swooping feel of the “camera” as Flik takes off, duplicating a similar feel in live action shots. The “camera” continues when Flik hits the rock; the visual joke is accentuated by our understanding of shot movement and of its use timed with Flik’s “splat.” Linking Shots

16. © 2011 Delmar, Cengage Learning A Bug’s Life: Flik Is Going To The City

17. © 2011 Delmar, Cengage Learning Screen direction Viewer perspective When multiple shots are used in sequence, the viewer sees them in relation to each other. Movement left to right Americans read left to right so we tend to view other things in this way. What does this picture say to you? What would it say if they soldiers were looking behind them? Basics of Continuity Courtesy TriStar Pictures / Photofest

18. © 2011 Delmar, Cengage Learning Screen direction What you infer from watching the movement of the screen The axis Using the camera to duplicate viewer perspective To preserve continuity, the camera must always be set up on one side of the axis (180º Rule) –This rule is often deliberately broken during chase or fight scenes to throw the viewer off or make them view the scene from a different perspective Basics of Continuity Courtesy TriStar Pictures / Photofest

19. © 2011 Delmar, Cengage Learning

20. The 180 Degree Rule Movie Making Techniques

21. Breaking the 180 Degree Rule Tokyo Drift Chase Scene (2006)

22. © 2011 Delmar, Cengage Learning Continuity Editing A style and system of editing designed to make time seem relatively continuous to the viewer Match cut Matching movements of characters and objects between scenes Usually created during filming when there is a change in the position of the camera Jump cut An obvious jump in time EX: a person sitting a chair in scene one and opening a door in scene two without an actions in between Establishing Continuity

23. © 2011 Delmar, Cengage Learning Dissolve When one shot fades away and another comes into view Fade in Used to introduce a scene or a new moment in a story, Fade out Used to bring a scene to a close Establishing Continuity

24. © 2011 Delmar, Cengage Learning Composition The particular framing for a shot, the way in which visual elements are arranged Rule of Thirds Separating a frame into thirds and placing visual elements at intersection points to make viewing more interesting Composition

25. © 2011 Delmar, Cengage Learning

26. Framing: The Rule of Thirds

27. © 2011 Delmar, Cengage Learning Depth of View Foreground Objects closest to the camera Background Objects near the rear of the image Composition

28. © 2011 Delmar, Cengage Learning High Angle Shot Camera is placed above subject with the lens pointing downward Used to make subject seem vulnerable Depth of View

29. © 2011 Delmar, Cengage Learning Low Angle Shot Camera is placed significantly lower than the subject Done to offer perspective that accentuates the stature of the people or objects in the frame, sometimes distorting them or giving them force or power Depth of View

30. © 2011 Delmar, Cengage Learning –Composition of the frame: How are people, objects, and places presented, and how do they move around? Where is the camera positioned and how does it move? –Qualities of light (Value) How would you describe the “look” of the film? What is typically sharp or blurry? How do you describe light, dark, and color in the film? Investigating Tone and Style: Camera

31. © 2011 Delmar, Cengage Learning –Cutting style Do the cuts establish continuity? Are they “calm?” Are the cuts sharp and “edgy?” Are there any jump cuts? –Rhythms Are cuts generally fast? Are there any long shots? –Sequences What are some typical juxtapositions of shots? How do sequences reveal or hide information? Investigating Tone and Style: Editing

32. © 2011 Delmar, Cengage Learning –Dialogue How is dialogue used to establish the story? Is there a rhythm or particular style to the dialogue? –Sound design How do the various noises of the film affect the impact of the images? How does sound work to add to, contradict, or comment on the events of the motion picture? –Music How is music used in the movie? Investigating Tone and Style: Sound

33. © 2011 Delmar, Cengage Learning – Acting Is there a particular tradition and context for the actors? Do the performances fit together well and follow an approach that reflects a cultural, social, or historical context? –Production design (sets, costumes, props, etc.) –Visual effects How are production design and visual effects used to create a believable or artistically cohesive world on the screen? In what ways do production design and visual effects add to the story being told or the impact of the images? Style: Directorial Choices

34. © 2011 Delmar, Cengage Learning –Evaluate the script or objectives –Shot list –Storyboards –Schedule and checklist Preparing for Production

35. © 2011 Delmar, Cengage Learning Summary In Chapter 1, you examined the ways in which moving images communicate ideas and narrate events using motion picture language. In order to describe what you see on the screen, you studied terms used to describe shots and basic ways they are linked together in sequences. You also studied a variety of terms and concepts to classify, analyze, and evaluate various types of motion pictures. In particular, you developed capacities to interpret style and tone of motion pictures.