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Film Space and Cinematography: Framing, Shots, and Perspectives, Apuntes de Diagnóstico por Imagenes

The concept of film space, focusing on framing, ratio, size, angle, and perspective. It also covers spatial orientation, objective and subjective pov, and the kuleshov effect. Different types of shots, their functions, and how they are used to build scenes. It concludes with an overview of coverage elements and other shooting concepts.

Tipo: Apuntes

2023/2024

Subido el 13/01/2024

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BROWN FILM SPACE
FILM SPACE
Film space is a means of using visual manipulation to take real space and objects and
look, perceive and feel about them in many different ways. It refers to both the
composition, lighting and frame of a movie/audiovisual piece.
-FRAMING is the first element of a composition, is the position we choose
to see the scene, as well as the way in which this position isolates some parts
of the things we see on screen.
-RATIO is related to the aforementioned notion, as a ratio is the format we
use for framing our picture. A ratio is also what we call the focal length, the angle,
the existence of wide-angle length or a telephoto length (among others) the size
of the shots (long shot, medium shot, close up...).
These are used as a way to transmit information, create subtext and create emotions, to
raise questions and to create some kind of expectations.
We can change (and use) different sizes, angles, perspectives… in order to create a
proper film space.
Size has to do with the size of the shot, the camera movements and the focal length
movement (zoom); angle can be high, low, bird’s eye, god’s eye, nadir…; and the
perspective can be wide (wide angle length-high depth of field), shallow (telephone
length, narrow depth of field…).
All in all, the concept of film space refers to the way in which to separate the three-
dimensional reality in parts and show them in order.
SPATIAL ORENTATION, SUBJECTIVE AND OBJECTIVE POV
Spatial orientation: in theater and cinema primitive all in one frame. Refers to how your
brain depicts the "spatial" dimensions. When you look at your surroundings you see
yourself in relation to the objects that surround you.
Objective POV: when camera and character don’t identify each other.
Subjective POV: when camera and character identify.
Kuleshov effect: film editing technique (or effect) that defends the idea that two shots
in a sequence are more impactful than a single shot by itself. This effect is a cognitive
event that allows viewers to derive meaning from the interaction of two shots in
sequence.
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BROWN FILM SPACE

FILM SPACE

Film space is a means of using visual manipulation to take real space and objects and look, perceive and feel about them in many different ways. It refers to both the composition, lighting and frame of a movie/audiovisual piece.

  • FRAMING is the first element of a composition, is the position we choose to see the scene, as well as the way in which this position isolates some parts of the things we see on screen.
  • RATIO is related to the aforementioned notion, as a ratio is the format we use for framing our picture. A ratio is also what we call the focal length, the angle, the existence of wide-angle length or a telephoto length (among others) the size of the shots (long shot, medium shot, close up...). These are used as a way to transmit information, create subtext and create emotions, to raise questions and to create some kind of expectations. We can change (and use) different sizes, angles, perspectives… in order to create a proper film space. Size has to do with the size of the shot, the camera movements and the focal length movement (zoom); angle can be high, low, bird’s eye, god’s eye, nadir…; and the perspective can be wide (wide angle length-high depth of field), shallow (telephone length, narrow depth of field…). All in all, the concept of film space refers to the way in which to separate the three- dimensional reality in parts and show them in order. SPATIAL ORENTATION, SUBJECTIVE AND OBJECTIVE POV Spatial orientation: in theater and cinema primitive all in one frame. Refers to how your brain depicts the "spatial" dimensions. When you look at your surroundings you see yourself in relation to the objects that surround you. Objective POV: when camera and character don’t identify each other. Subjective POV: when camera and character identify. Kuleshov effect: film editing technique (or effect) that defends the idea that two shots in a sequence are more impactful than a single shot by itself. This effect is a cognitive event that allows viewers to derive meaning from the interaction of two shots in sequence.

DIFFERENT TYPES OF SHOTS

Used to build scenes.

- Extreme long shot (wide shot): any frame which encompasses the entire scene. - Long shot: it covers a wide space with a short focal lens. It has different functions: it places us (geographical location, don't mislead the audience and a key to lie) and it has different semantic meanings. - Full shot: used with objects and people, it completely covers the framed elements and stands them out in the background. - Medium long shot and cowboy shot: cuts below and above the knees - Two shot: bind together two characters - Medium shot: contextualizes the character so that we can see both its expressions and the geography - Boliviano (balls), tobillero (ankled) and tético (breasty): avoid these cuts since they are uncomfortable and unsettle the audiences - Medium close up: shoulders up - Close up: the shot of truth, as we can see what the eyes of the actor say. A close up shot can be clean (when we see a character alone) or dirty (we see more than one character, even if we see this other character blurred or not properly). - Big close up: just the face from chin to hair - Extreme close up: to emphasize, varies but usually eyes and mouth There are other shots which are not related to the size of the frame. - Over the shoulder shot: connects characters with other characters or with other elements - Cutaway: shot of one character or thing that’s not main related to the scene. This shot covers actions NOT COVERED in the master shot. Its main functions are to emphasize an action, to give extra information, to show something a character watches or points out, and finally to cover narrative or editing problems (that is to say, it acts as a patch). - Reaction shot: specific resource, it associates two shots by action-reaction - Insert shot: one-off part from a bigger part, it covers actions that are already covered in the master shot. We have to distinguish between different kinds of insert shorts → practical insert (informative, adds information to the scene (i.e clock, newspaper text…); emphasize insert (highlights an action (i.e chains dragged by the inmates) and atmosphere inserts (drops that help setting the tone (i.e a fan in a warm scene)) All the inserts shots must be used carefully, as using many is not okay.

1. Change the time into the own scene → traditional stereotyped techniques such as changing from day to night, clock hands/digital (jump cut by introducing one of these elements), calendar leaves falling… 2. Elliptical editing → cut between shots where a long time period passes without any transition mechanism. Contents we can avoid without losing meaning. **3. Continuity in real time.

  1. Transition between tied elements:** by zoom (open shot from object to master) or by camera movement. They are used to complete the story and to add the information (for instance, they are useful in suspense movies). 5. Empty frame (or characters): elements that come into or get out. This technique can help in making editing easier. Can be done with one shot, or by using the previous or following shots. Whatsoever, shooting the complete action gives more chances. 6. Thinking about the coverage: scenes don’t have just master shots. Once you have the master shot, you can make all the improvisations you want (changes in weather, light…). 7. Bookendings: shooting just the beginning and/or ending of the master shot, and not what’s in the middle. It is essential to shoot the most important part of the shot/scene first. **COVERAGE ELEMENTS
  • Reverse shots:** for that they are a principle of concordance. When doing them, we have to acknowledge optical (focal length), distance between subject and camera (focus), camera height and angle (horizontal). Some exceptions of these happen when the performers have a different height or different head sizes. - Shooting Order:
    1. We shot the scene in a master shot, usually by shooting the longest shot and a mini master (a shot cut in pieces)
    2. We shot the coverage shots: cutaways, closeups and inserts
    3. We shot the sequence shot (long takes) whether the whole scene is just one shot or not
    4. We make the cutting point - Eyeline: Actor’s direction of look in relation to the lens axis. - Turnaround: Where we get all the reverse shots. You do all the coverage in one side, then move the camera and reset the lightning. - Preplanning coverage: thinking about the coverage that will come later when doing a master scene.

OTHER TYPES OF SHOOTING AND CONCEPTS

- Plan scene: Shooting a whole scene as a master but without anticipating coverage. The camera doesn’t pan back and forth as the characters cross the room. - Hitchcock’s Rule: The size of an object in the frame should equal its importance in the story at that moment. - Triple take or overlapping method: simplest type of shooting, since nothing is repeated, you continue overlapping until the scene is done. - Montage: or compilate cutting, consists in a series of shots that may not be related to catch others in terms of screen direction, continuity, subject, character, lightning or anything else but they do share a common thematic element, mood or poetic semi- narrative.