Motion Picture Language Chapter 1: Motion Picture Language Courtesy of Kendelyn Ouellette

© 2011 Delmar, Cengage Learning Objectives Create short motion pictures using visual planning techniques. Investigate standard shots and techniques that are the foundation of a visual language. Evaluate the effect of continuity and other editing techniques in motion picture sequences. © 2011 Delmar, Cengage Learning

Courtesy of Kendelyn Ouellette Standard Framings Frame Extreme close-up (ECU) Medium close-up (MCU) Full close-up (FCU) American Shot 3/4 Close shot (CS) Medium shot (MS) Full shot (FS) Wide shot (WS) Long shot (LS) Courtesy of Kendelyn Ouellette © 2011 Delmar, Cengage Learning

Additional Framing Terms Courtesy of Kendelyn Ouellette Head room & Lead room High angle & Low angle Two shot Over-the-shoulder shot Point of view shot Courtesy of Kendelyn Ouellette © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Camera Movement Static shot Tilt & pan Dolly shot Crane shot Handheld shot Steadicam shot Push-in & pull-out © 2011 Delmar, Cengage Learning

Courtesy TriStar Pictures / Photofest Basics of Continuity Screen direction Viewer perspective Movement left to right and in depth The axis Line between characters Using the camera to duplicate viewer perspective Courtesy TriStar Pictures / Photofest © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning The Axis In film making, the 180-degree rule[1] is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. An imaginary line called the axis connects the characters, and by keeping the camera on one side of this axis for every shot in the scene, the first character is always frame right of the second character, who is then always frame left of the first. The camera passing over the axis is called jumping the line or crossing the line; breaking the 180-degree rule by shooting on all sides is known as shooting in the round. The object that is being filmed must always remain in the center, while the camera must always face towards the object. © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Shots into Sequences Back to continuity: Change of angle Change of framing Match cut Jump cut & video Dissolve Fade in & fade out © 2011 Delmar, Cengage Learning

Courtesy Brian Spellman and Ryan Sindler Style: Composition Framings: lens and distance Review close-ups and other framings Rule of thirds Horizontal factors Depth of view Foreground Background Courtesy Brian Spellman and Ryan Sindler © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Style: Camera As you watch and make movies, think about the following elements Composition: 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 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? © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Style: Editing Use of editing shots 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? © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Style: Sound This includes approaches to acting, sound design, use of music, production design (sets,etc) and visual effects. 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? © 2011 Delmar, Cengage Learning

Style: Directorial Choices 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? © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Tone Comes from the type of genre of a particular movie Expressed through emotional qualities, ambiance, and mood. Different ways to describe tone: Quiet, reflective, brash, aggressive Dramatic, comic Straight forward or sarcastic attitude Romantic, comedy, adventure, horror © 2011 Delmar, Cengage Learning

Activity Time! Analysis: Communicating through Images Activities 1 & 2 © 2011 Delmar, Cengage Learning

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

Activity Time! Scenes & Shots Activities 3 & 4 © 2011 Delmar, Cengage Learning

© 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. © 2011 Delmar, Cengage Learning