In SectionIn Section

Next week:Next week:Read the rest of Read the rest of Bare BonesBare Bones

& Chapter 6 of & Chapter 6 of Film ArtFilm Art..

Section:Section:COGN 21: watch La JetCOGN 21: watch La Jetéée (Chris Marker e (Chris Marker

1973, 28 min). Visualization of ideas (print 1973, 28 min). Visualization of ideas (print storyboard handout from Course website)storyboard handout from Course website)

Syllabus is online: Syllabus is online:

http://communication.ucsd.edu/goldfarb/cogn21w08/http://communication.ucsd.edu/goldfarb/cogn21w08/

Construction of the Moving Image

Lenses, Light, Movement, Duration

Movement

Pan - rotate from left to right, right to left along horizontal axis

Tilt - rotate up and down, down and up along vertical axis

Movement

Dolly (or Track) - moves toward or away from the subject along the Z-axis

Truck (or Crab)- camera moves parallel to subject along the horizontal axis

Arc- camera moves along an arc around the subject

Movement

Crane shot - movement along vertical axis (emphasis up and down)

Movement

Steadicam - a mechanical device that allows smooth “hand held” movement of camera, using counterbalances to reduce jolts from walking.

Lens Movement

• Zoom In - from Wide to Close up / Medium• Zoom Out - from Close up / Medium to Wide (Zooming gives the experience of bringing the subject closer

to the viewer. A Dolly moves the viewer closer to the subject.)• Rack focus - change area of focus within a shot

Lenses

The components of a lens: Focus Ring - Feet / meters to subject Focal Length - macro, wide, medium (normal),

telephoto (zoom) Iris - Aperture - F Stop

How do Lenses Work?Iris / Aperture / F Stops

•F stop is the focal length divided by the diameter of the lens.

•Numbers correspond to focal length divided by the diameter of the lens.

•Each F Stop increment reduces or adds light by half.

Depth of Field

The difference in terms of focus of objects in foreground and background

Determined by:Focal length of the LensIris / Aperture / Fstop / TstopFocus setting

Close Up Shot or Telephoto= shallow depth of field

Wide Shot

Depth of Field Chart

Shallow Depth of Field Greater Depth of Field

Low f-stop (1.2, 2, 2.8, 4)

High fstop 11, 18, 22

Point of focus set to object close to lens

Point of focus set to object far from lens

Telephoto lens Wide angle lens

Depth of Field

Shallow Depth of Field Greater Depth of Field

Low f-stop: 5.6 High fstop: 22

Lenses: Primes and ZoomsPrimes: Fish eye - super wide, distorts 5 - 10 mm Wide angle lens 12 - 20 mm Medium 25 - 50 mm Telephoto 75 - 120 mm and up Macro - long lens, focus on an object close to

lensZoom: variable focal length, 12 - 120 mm

Wide Angle Lenses

10 mm, 12 mm Large field of view Greater depth of field Size difference between near and far objects

is greater

Wide Angle Shot / Lens

Medium Lenses

“Normal” lens - what your eye normally sees

25mm - 50 mm Objects in background and foreground

different sizes - but not as great a difference as was seen with wide angle lens

Medium Shot / Lens

The Telephoto Lens

Compresses space Expands Time

Controlling Light

Add Light (interior / dark situation)

Reduce Light (sunlight, exteriors, very bright situation)

Open iris = opening that light comes through is larger, smaller Fstop number

Close iris = opening that light comes through is smaller, larger Fstop number

Increase the Gain - adds visual noise (+dB)

Move Gain to 0 or lower gain (-dB)

Controlling Light

Add Light (interior / dark situation)

Reduce Light (sunlight, exteriors, very bright situation)

No filter or ND filter on lens

Add an ND filter to lens

ND= Neutral Density

ND3 = 1 stop darker

Change shutter speed to lower number (-60)

Change shutter speed to higher number (+60)

Length of the Shot Long take - reveals information, unfolds

throughout the shot, never cuts

Shorter shots require additional shots next to them to convey information completely

Examples of the long take: Touch of Evil, Orson Welles, 1958 Boogie Nights, Paul Thomas Anderson, 1998 (opening

and ch 36) Elephant, Gus Van Sant, 2003 Rope, Alfred Hitchcock, 1948

StoryboardsPlanning toolCommunicates among members of production team

Information conveyed:SequenceShot CompositionMotionSoundCamera and Lighting Direction

StoryboardsPreparing a sequence

StoryboardsPreparing to shoot

Storyboards

Storyboards: movement

QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

PreProduction and Planning

Jason Simon (28 min 1986)

Production Notes: Fast Food for Thought

This tape allows us to analyze the address of seven TV ads by means of repetition, slow motion, and "production notes"— memos sent from the advertising agency to the production company prior to filming the spots, to describe the intentions, desires, strategies and ideology of the commercials and their creators.