SA

Camera Shots, Cinematography and Movie Storyboards

Shots and Scenes

  • A shot is when the camera goes on and off, regardless of length.
  • A scene involves something happening, like a discussion or an event.
  • Avoid just using one wide shot; it can be boring.
  • Start with a master shot, a wide shot of the entire scene from start to finish.
  • Shoot the entire scene in a wide shot before moving to other shots.
  • Typically, you'd shoot multiple shots of the scene.
  • Five different shots might include:
    • Wide or long shot
    • Over-the-shoulder (OTS) shot
    • Point-of-view (POV) shot
    • Close-up

Setups and Slates

  • The setup is typically the same for every shot within a scene, concerning lighting and camera position.
  • Changing the lighting or significantly moving the camera constitutes a new setup.
  • Professional film shoots prioritize shooting everything with a single setup before changing it.
  • A slate is used to organize the shots.
  • The slate provides visual and auditory information for syncing audio and video in post-production.
  • It includes the act, scene, shot, and take number.
  • The person holding the slate keeps a log of each take, noting which ones are preferred by the director.
  • Daily logs and footage are sent to the editing department to assemble a rough cut.

Cinematography

  • The cinematographer, also known as the DP (Director of Photography), is responsible for the look of the film.
  • The DP typically doesn't operate the camera directly but oversees a team.
  • The DP focuses on the big picture, such as incorporating natural elements, and communicates with the director.
  • The DP answers to the director, who is the creative visionary.
  • Directors often use a video assist to view footage without looking directly through the lens.
  • The director provides instructions to the DP and camera operators, fine-tuning shots.
  • The camera operator does the actual shooting.
  • Specialized personnel handle expensive lenses and ensure they are protected.
  • Film stock must be loaded in the dark to avoid exposing the light-sensitive emulsion.
  • The camera gate is checked to ensure there are no hairs or debris that would appear in the footage.
  • Finding hair in the gate at the end of the day may require reshooting.

Sound Recording

  • Sound is typically recorded separately for better quality.
  • Use separate recording devices like phones for backup audio.
  • Directional microphones, often with furry covers, can be attached to clothing.
  • Investing in good sound equipment is advisable.

Film vs. Digital

  • Some argue that film looks better than digital.
  • Film is perceived by some as looking more like how our eyes see the world.
  • Our eyes see up close in more detail, with the background being less detailed and the corners possibly darker.
  • The z-axis, or depth of field, can now be controlled in digital photography, but it should be used intentionally.
  • Rack focusing is a technique where focus shifts between subjects to direct the viewer's attention.

Film Stock and Aspect Ratio

  • Traditional film stock offers numerous options, including black and white and color variations.
  • Different film stocks capture light differently, acting as filters or color grading.
  • Digital footage is often shot raw and color-graded in post-production.
  • Film sizes include 35mm, 65mm, 70mm, and IMAX, with larger sizes being more professional, expensive, and requiring larger lenses.
  • Consumer formats include Super 8 and 8mm.
  • 16mm is a semi-professional format.
  • Aspect ratio is the width-to-height ratio of the film frame.
  • Early video had an aspect ratio of 1.33:1.
  • 16:9 is a recommended aspect ratio for filming.
  • 1.85:1 is a similar option.
  • Avoid shooting vertically.
  • Shooting vertically results in large expanses at the top and bottom of the screen when viewed horizontally.

Black and White vs. Color

  • Once color film was invented, it became more popular than black and white.
  • Black and white can be used to indicate flashbacks or nostalgia.
  • Desaturating the color can also create a sense of the past.
  • A rose-colored filter could be used to depict a character's overly positive view of the past.
  • Movies are typically made to look like how we see the world, which is why film is often preferred over digital.
  • Examples of when to use black and white:
    • Dead Man: Homage to old westerns.
    • The Man Who Wasn't There: Homage to film noir.
    • The Artist: About the silent movie era.
    • Wonderstruck: To contrast two stories from different time periods.

Exposure and Color

  • Cinematographers must properly balance exposure.
  • Aim for an even exposure with a nice range of tonality.
  • Chiaro or Scuro can be used for a dramatic look, emphasizing extremes.
  • Hollywood often favors film stock that pops blues and oranges.
  • Some films use muted colors to mimic the style of paintings from a specific historical period.

Camera Shots

  • Wide Shot/ Long Shot (LS):
    • Establishing shot to provide context.
    • Often used to open a movie, showing a skyline and gradually moving closer.
  • Medium Shot: Waist up and head in.
  • Close-Up: Tightly framed.
  • Big Close-Up: Even tighter framing, possibly cutting off the top of the head or bottom of the chin.
  • Extreme Close-Up: Shows very small details, like a twitching eye.
  • Single Shot: One character or subject.
  • Medium Two Shot: Two characters in the shot.
  • Three Shot: Three characters, or an over-the-shoulder shot of one character with others in the background for context.
  • Over the Hip: Similar to over-the-shoulder, but when one character is sitting lower.
  • Point of View (POV) Shot:
    • Shows the scene from a character's perspective.
    • Needs to be set up by showing the character looking.

Composition Techniques

  • Masking:
    • Using elements within the scene to frame the subject.
    • Can add metaphorical weight or tell part of the story.
  • Deep Space Composition:
    • Staging elements on multiple planes in the frame.
    • Everything is in focus (deep focus or long depth of field).
  • Shallow Depth of Field:
    • Only elements on one plane are in focus.
    • Wes Anderson often uses flat staging, avoiding deep space composition.
  • Rule of Thirds:
    • Placing the focus of attention on the intersections of a 3x3 grid.
    • Creates better composition.
  • Symmetry:
    • Creates a pleasing, sometimes quirky, look.
    • Often used in Amelie.
  • Visual Hierarchy:
    • Using contrast and placement to draw the eye.
    • Balancing positive and negative space.

Camera Angles and Movement

  • Neutral Angle:
    • Camera is straight out, at eye or shoulder level. Most common.
  • High Angle:
    • Camera looking down at the subject. Subject is less powerful.
  • Low Angle:
    • Camera looking up at the subject. Subject is more powerful.
  • Canted/Dutch Angle:
    • Horizon line is not straight.
    • Used to indicate something is off or unsettling.
  • Pan: Horizontal movement of the camera on a tripod.
  • Tilt: Vertical movement of the camera on a tripod.
  • Dolly/Tracking Shot:
    • Camera moves along a track or wheels.
    • Can be dolly in, dolly out, side to side, up, or down.
  • Crane Shot: Camera is mounted on a crane.
  • Steadicam: A camera stabilization system that allows for smooth movement while the operator is moving.
  • Zoom:Generally avoid
    • Magnifying using the lens, not moving the camera.
  • Dolly Zoom:
    • Zooming in while dollying out (or vice versa) to create a disorienting effect.

Lighting Properties

  • Properties of Lighting:

    • Source of Light: Natural, fluorescent, lamp, spotlight, floodlight.
    • Quality of Light: Hard or soft.
    • Direction and Style.

  • Color Temperature:

    • Warmer temperatures (leaning into daylight) create more natural looks.
    • Cooler temperatures (leaning into blue) create cold looks.

  • Sculpting Natural Light:

    • Using bounce boards or reflectors to direct light.

  • Hard Light:

    • Creates crisp edges and stark shadows, showing detail such as wrinkles.
    • Can be used to age someone in a film.

  • Soft Light:

    • Softer edges and flattering shadows.
    • Used to soften features such as lines and wrinkles in someone's face.

  • Three-Point Lighting:

    • Key Light, Fill Light, and Backlight.

  • Backlighting: Creates silhouettes.

  • Halloween Lighting: Lit from below.

  • Lighting from Above: Creates shadows over the eyes, making characters appear mysterious or powerful.

  • Racking Focus:

    • Shifting focus between subjects to direct the viewer's attention.

Storyboards

  • Due in week nine, use template provided.
  • Essential for pre-planning and knowing where to start.
  • Five different shots from different angles adds interest.

Example Shots

  • Wide shot - to know location
  • Medium - shows one or two actors faces with little background.
  • Over the shoulder - actor talking as another listenes with some of their back showing to help viewer

Story Board Layout and Tips

  • Start with your scene in your screenplay
  • Take photos and add it in (most efficient way to do) or draw it
  • Fill ins all of the data, so it is known where you took what and where to add what.
  • Ambiance will always be present to fill
  • Add in speech and noise.