Filming / Introduction

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INTRODUCTION

TO FILMING


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1.1 PRE-FILMING

1.1.1 LOCATIONS

1.1.2 SCRIPT

1.1.3 STORYBOARD1.1.4 VISUAL IDENTITY

1.1.5 SEQUENCE & MONTAGE GRAPHIC

1.2 PICTURE STORIES

1.3 CAMERA

1.3.1 MISE-EN-SCENE

1.3.2 FRAMING

1.3.3 TYPE OF SHOT(LONG SHOT, FULL SHOT, MEDIUM SHOT, CLOSE UP)

1.3.4 SHOT-COMBINATION

1.3.5 PERSPECTIVE (AERIAL SHOT (ESCAPE FROM NEW YORK), BIRD#S EYE SHOT, LOWANGLE SHOT (FULL METAL JACKET), OVER THE SHOULDER SHOT, POINT OF VIEW SHOT,

SHOT/COUNTER-SHOT (180 DEGREES RULE), TWO SHOT )

1.3.6 CAMERA-MOVEMENT(PANNING, TILT, ZOOM, TRACKING SHOT)

TOPICS / 20.3.2012


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1.4 LIGHT

1.4.1 TYPES OF LIGHT

1.4.2 ANGLES

1.5 EDITING (MONTAGE)

1.5.1 PRINCIPLES OF THE AESTHETICS OF PERCEPTION IN EDITING

1.5.2 COHERENCE WITHIN THE EDITED PARTS

1.5.3 THE EDIT ON A WHOLE

1.6 THE ROLES

1.6.1 PRODUCER

1.6.2 RESEARCHER

1.6.3 WRITER

1.6.4 DIRECTOR

1.6.5 EDITOR

1.7 EXCURSUS: CHARACTER OF FILM/VIDEO

2.1 DOCUMENTARY

2.2 ADVERTISING

2.3 ART / AVANT-GARDE

TOPICS / 27.3.2012


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1.1.1 LOCATIONS

1.1.2 SCRIPT

1.1.3 STORYBOARD

1.1.4 VISUAL IDENTITY1.1.5 SEQUENCE & MONTAGE GRAPHIC

1.1 PRE-FILMING


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1.1 PRE-FILMING

1.1.1 THE LOCATIONS

EQUILIBRIUM, KURT WIMMER, 2002


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1.1 PRE-FILMING

1.1.1 THE LOCATIONS

EQUILIBRIUM, KURT WIMMER, 2002


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1.1 PRE-FILMING

1.1.1 THE LOCATIONS

EUR, ROME


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1.1.2 SCRIPT

1.1 PRE-FILMING

1.ACT 2.ACT 3.ACT

1. PLOTPOINT 2. PLOTPOINT

CENTRAL

MOMENT

EXPOSITION

30MIN

CONFRONTATION

60MIN

RESOLUTION

30MIN

SERIOUS

INTERVENTION

CHANGE IN THE

STORY

SOLUTION OF THE

CONFRONTATION

INFORMATION FOR THE

RESOLUTION

WATCH:CHINATOWN, ROMAN POLANSKI, 1974


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1.1 PRE-FILMING

GOODFELLAS, MARTIN SCORSESE, 1990

1.1.2 SCRIPT (BEGINNING AND CENTRAL MOMENT)


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1.1.2 SCRIPT

1.1 PRE-FILMING

READ:

SYD FIELD - SCREENPLAY:THE FOUNDATIONS OF SCREENWRITING, 1979

ROBERT MCKEE - STORY: STYLE, STRUCTURE, SUBSTANCE, AND THE PRINCIPLES OF

SCREENWRITING, 1983

DEVELOP THE ENDING THEN THE BEGINNING. THEN THEFIRST AND THE SECOND PLOTPOINT

PLOTPOINT?ITS BASICALLY JUST A DRAMATIC EVENT IN THE STORY.

THERE CAN BE AS MANY AS YOUR STORY NEEDS.


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1.1.3 STORYBOARD

1.1 PRE-FILMING

THE STORYBOARD CAN BE SEEN AS A FORM OF PRE-EDITING. IT FACILITATED COMMUNICATION BETWEEN

DIRECTOR AND PRODUCER ON THE ONE HAND AND

BETWEEN DIRECTOR AND TECHNICAL CREW ON THE

OTHER. THE PICTORIAL SCHEMA WAS OFTEN, THOUGH

NOT ALWAYS, SUPPLEMENTED WITH WRITTEN

INSTRUCTIONS AS TO DIRECTION OF MOVEMENT WITHIN

THE SHOT, DURATION OR CAMERA MOVEMENT.

JOHN CANEMAKER - PAPER DREAMS: THE ART AND ARTISTS OF DISNEYS

STORYBOARDS, 1999


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1.1.3.1 ANIMATION

1.1 PRE-FILMING

PLANE CRAZY, DISNEY, 1928


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PLANE CRAZY, DISNEY, 1928


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STEAMBOAT WILLIE, DISNEY, 1928


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B KLASSE, MERCEDES, 2011


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1.1.3.3 DOCUMENTARY

1.1 PRE-FILMING

EVEN IF YOU DONT FULLY KNOW WHAT WILL EXPECTYOU, MAKE A STORYBOARD OR AT LEAST A FILMING

PROTOCOL IN ORDER TO AVOID THAT YOU LATER [(WHEN

EDITING) MISS IMPORTANT SHOTS.


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1.1 PRE-FILMING

1.1.3.3 DOCUMENTARY (PROTOCOL)

G


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1.1.2.3 DOCUMENTARY

1.1 PRE-FILMING

1 1 PRE FILMING


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1.1.4 VISUAL IDENTITY

1.1 PRE-FILMING

BLADE RUNNER, RIDLEY SCOTT, 1982

1 1 PRE FILMING


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1.1.5.1 THE SEQUENCE GRAPHIC

1.1 PRE-FILMING

1 1 PRE FILMING


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1.1.5.2 THE MONTAGE GRAPHIC

1.1 PRE-FILMING

1 2 PICTURE STORIES


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1.2 PICTURE STORIES

1 2 PICTURE STORIES


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THE STORY OF A MAN AND A WOMAN WHO WERE HELT DOWN BY SOCIETY

1.2 PICTURE STORIES

1 2 PICTURE STORIES


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THE STORY OF A MAN AND A WOMAN WHOSE LOVE RAISED TO THE SKY

1.2 PICTURE STORIES

1 2 PICTURE STORIES


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1.2 PICTURE STORIES

1 3 CAMERA


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1.3.1 MISE-EN-SCENE

1.3.2 FRAMING

1.3.3 TYPE OF SHOT (LONG SHOT, FULL SHOT, MEDIUM SHOT, CLOSE UP)

1.3.4 SHOT-COMBINATION1.3.5 PERSPECTIVE (AERIAL SHOT (ESCAPE FROM NEW YORK), BIRD#S EYE SHOT, LOW

ANGLE SHOT (FULL METAL JACKET), OVER THE SHOULDER SHOT, POINT OF VIEW SHOT,

SHOT/COUNTER-SHOT (180 DEGREES RULE), TWO SHOT )

1.3.6 CAMERA-MOVEMENT (PANNING, TILT, ZOOM, TRACKING SHOT)

1.3 CAMERA

READ:

RUDOLF ARNHEIM - ART AND VISUAL PERCEPTION: A PSYCHOLOGY OF THE

VISUAL EYE, 1954

1 3 CAMERA ANGLE


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1.3 CAMERA ANGLE

1.3.1 MISE-EN-SCENE

WHAT TO SHOOT?HOW TO SHOOT IT?

1 3 CAMERA ANGLE


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1.3 CAMERA ANGLE

1.3.1 MISE-EN-SCENE

BALANCE, SHAPE, FORM, GROWTH, SPACE, LIGHT,COLOR, MOVEMENT, DYNAMICS & EXPRESSION


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LECLISSE, MICHELANGELO ANTONIONI, 1962


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BARRY LYNDON, STANLEY KUBRICK, 1975

1 3 CAMERA ANGLE


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1.3 CAMERA ANGLE

1.3.1 FRAMING

1 3 CAMERA


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1.3.2 TYPE OF SHOT

1.3 CAMERA

VERY LONG SHOT

MEDIUM LONG SHOT

MEDIUM SHOT

MEDIUM CLOSE UP

CLOSE UP

BIG CLOSE UP

ITALIAN SHOT

READ:

BARRY SALT - FILMSTYLE AND TECHNOLOGY, 1983

JAMES J. GIBSON - THE PERCEPTION OF THE VISUAL WORLD, 1950

1 3 CAMERA


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1.3.2.1 VERY LONG SHOT, LONG SHOT

1.3 CAMERA

2001: SPACE ODYSSEY, STANLEY KUBRICK, 1968

1 3 CAMERA


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1.3.2.2 MEDIUM LONG SHOT, MEDIUM SHOT, MEDIUM CLOSE UP, CLOSE UP

1.3 CAMERA

PATHS OF GLORY, STANLEY KUBRICK, 1957

1 3 CAMERA


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1.3.2.3 CLOSE UP, BIG CLOSE UP, ITALIAN SHOT

1.3 CAMERA

ONCE UPON A TIME IN THE WEST, SERGIO LEONE, 1968

1.3 CAMERA


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1.3.3 SHOT-COMBINATION

1.3 CAMERA

VERY LONG SHOT

MEDIUM LONG SHOT

MEDIUM SHOT

MEDIUM CLOSE UP

CLOSE UP

BIG CLOSE UP

SECONDS

10 20 30 40 50

1.3 CAMERA


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1.3.3 FOCUS

1.3 CAMERA

DEEP FOCUS

SHALLOW FOCUS

SOFT FOCUS

HARD FOCUS

1.3 CAMERA


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1.3.3.1 FOCUS (DEEP FOCUS)

1.3 CAMERA

CITIZEN KANE, ORSEN WELLS, 1941

1.3 CAMERA


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1.3.3.2 FOCUS (SHALLOW FOCUS)

1.3 CAMERA


1.3 CAMERA


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1.3 CAMERA

1.3.3.3 OUT OF FOCUS

IL DESERTO ROSSO, MICHELANGELO ANTONIONI, 1964

1.3 CAMERA


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1.3.4 PERSPECTIVE

1.3 CAMERA

AERIAL SHOT

BIRD#S EYE SHOT

LOW ANGLE SHOT

OVER THE SHOULDER SHOT

SHOT/COUNTER-SHOT (180 DEGREES RULE)

TWO SHOT

POINT OF VIEW SHOT

1.3 CAMERA


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1.3.4.1AERIEL SHOT

1.3 CAMERA

ESCAPE FROM NEW YORK, JOHN CARPENTER, 1997

1.3 CAMERA


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1.3 CAMERA

BRAZIL, TERRY GILLIAM, 1985

1.3.4.2 BIRDS-EYE SHOT

1.3 CAMERA


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1.3.4.3 ABOVE & BELOW


1.3 CAMERA


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PULP FICTION, QUENTIN TARANTION, 1994

1.3.4.4 SHOT / COUNTER SHOT

1.3 CAMERA


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1.3.4.4.1 180 DEGREE RULE

CAMERA MOVES

180 DEGREE

DIRECTION OF

CONVERSATION

1.3 CAMERA


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1.3.4.5 SHOT / COUNTER SHOT

PULP FICTION, QUENTIN TARANTINO, 1994

1.3 CAMERA


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1.3.4.6 POINT OF VIEW SHOT & TRACKING

1.3 CAMERA


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1.3.5 CAMERA-MOVEMENT

PANNINGTILT

ROLL

ZOOM

TRACKING

1.3 CAMERA


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1.3.5.1 TILT

BRAZIL, TERRY GILLIAM, 1985

1.3 CAMERA


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1.3.5.2 ROLL

2001: SPACE ODYSSEY, STANLEY KUBRICK, 1968

1.3 CAMERA


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1.3.5.3 TRACKING SHOT (DOLLY)

LECLISSE, MICHELANGELO ANTONIONI, 1962

1.3 CAMERA


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1.3.5.4 TRACKING SHOT (DOLLY & ZOOM)

GOODFELLAS, MARTIN SCORSESE, 1990

1.3 CAMERA


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1.3.5.5 DOLLY ZOOM (VERTIGO ZOOM)

LA HAINE, MATTHIEU KASSOVITZ, 1995

1.3 CAMERA


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1.3.5.6 TRACKING SHOT (CRANE)

THE PLAYER, ROBERT ALTMAN, 1992

1.3 CAMERA


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1.3.5.6 STEADY-CAM

Filming / Introduction

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