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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
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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.
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.
- 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.