mise en scene camera movement
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MISE EN SCENECamera MovementFraming the Shot
Image and Meaning
A Lecture by Prof. Dr. Arminda V. SantiagoSCIM 2103 2nd Semester 2014/2015 (A141)
October 9, 2014
Camera Movement is the way the camera frames a scene while the actors are moving.
The movement of actors propels the visual story
Camera movement is the same in context as MOBILE
FRAMING
The mobile frame means that parameters such as camera
height, camera angle, camera level and distance may all change
during the course of a shot.
The camera’s perspective not only changes from shot to shot but it can also shift and move within the shot
Camera movement shifts the boundaries and coordinates of
the frame
FOUR BASIC CATEGORIESOF
CAMERA MOVEMENT
The Pan and Tilt
The Dolly or Tracking
The Boom or Crane
Steadicam
The Pan
It is a lateral movement onscreen
Camera pivots from left to right or vice versa
The Tilt
The camera pivots vertically up and down or vice versa
This movement is used to call attention to new areas of the scene
Pans may be used to readjust the frame to accommodate
character movements
The convention for PAN Shots requires that it be brief.
A variation of the PAN is an ARC shot where the camera pivots at a 360-degree on its mounting on
the tripod
The Dolly or Tracking
In Dolly and Tracking, the camera on the tripod and base physically
travels through space
They produce MOTION PERSPECTIVE
The BOOM or CRANE
When a scene’s action requires a wider expanse or area to be covered and when the action should be shown on a high angle, the camera is mounted on a CRANE or
BOOM mechanism
Mounting the camera on a boom or crane creates a
powerful dramatic effect by revealing the scale of the
scene action that any other camera movement cannot
achieve.
Using the STEADICAM
The STEADICAM is a mechanical system that
produces very steady, jitter-free, images from hand-held
camerawork
The word STEADICAM is both a trademark of the mechanism
and a filmmaking technique
STEADICAM consists of a vest worn by the camera operator that has a stabilizing support arm connecting the camera to
the operator’s vest.
A video-assist viewing system is attached to the camera so that the operator can view what the camera is seeing
Using STEADICAM, the operator can move the
camera through space in a completely smooth and fluid manner as if the camera is
an extension of his/her own body
STEADICAM is used in narrative and documentary filmmaking
There are digital cameras that have steadicam capabilities integrated in its mechanism
STEADICAM WAS USED IN ROCKY (1976)
FUNCTIONS OFMOVING CAMERA SHOTS
To reveal dramatic information by enlarging the
viewer’s field of view
Able to narrow and focus attention on significant objects of characters
FUNCTIONS OFMOVING CAMERA SHOTS
It expresses a dynamic sense of movement that makes a shot or
scene more sensous and dramatically exciting
It visualizes important thematic ideas
Camera movements were always applied to “manually” held
cameras for analog filmmaking
Today, camera movements can be created digitally during
post-production
Digital technology can also create very long camera moves
Camera movements can also be combined
LENS MOVEMENT is also considered as camera
movement
ZOOM IN
ZOOM OUT
RACK FOCUSING
Rack focus is a change of focus from one plane
of depth to another
Usually used in OTS or Over
The Shoulder Shot
In creating a ZOOM shot, one needs a ZOOM LENS to be
attached to the camera
ZOOM LENSES have a variable focal length.
Zooming changes the size of the filmed subject
without changing the distance between the subject and camera
There are situations that zooming can be
combined with camera movements to create
unusual shots
FRAMING
It can also refer to the edges of the image as seen in a camera viewfinder or projected on a
screen.
In filmmaking and related fields, a film frame is one of the many still images which compose the
complete moving picture.
When directors place actors in the frame, they
make choices in relation to the way the actors’ bodies
will be situated in the space (frame) and how they will move within the frame or
external to the frame.
ONE APPROACH TO FRAMING
A FRAME IN A FILM
A FRAME FROM “DAYS OF HEAVEN” INDICATING THE MOVEMENT OF ACTORS
FRAMING STYLES
TIGHT FRAMING
LOOSE FRAMING
DEEP FOCUS FRAMING
TIGHT FRAMING
An image where there is a lack of
space around the subject and gives
a sense of constriction
LOOSE FRAMING
Refers to shots that have a great deal of open space around the subject and can give a sense of isolation or freedom.
DEEP FOCUS FRAMING
Objects or characters
remain in sharp focus from
positions near and far from the
camera
FRAMING THE HUMAN BODY
DIVIDING THE SPACE OF A FRAME
Space in the film frame refers to the space that is around a
subject, usually the part of the frame that’s empty or filled with a vast expanse of sky, water or some other simple background element that doesn’t have a lot
of distracting elements
TYPES OF SPACE IN A FRAME
POSITIVE SPACE
NEGATIVE SPACE
POSITIVE SPACE
Refers to the objects
and actors/subj
ects that occupy the film frame.
SHOT FROM “CITIZEN KANE” SHOWING FRAME OCCUPIED BY POSITIVE SPACE
NEGATIVE SPACE
It is the space that is not occupied by objects or actors in a frame.
MINIMAL NEGATIVE SPACE
VAST NEGATIVE SPACE
TOO MUCH USE OF SPACE PRODUCES A CLUTTERED SHOT
THE RULE OF SPACE
This rule states that if the subject is not looking directly to the camera, or looks out of the
frame, there should be enough space for the subject to look into. This technique creates intrigue in
the minds of the viewers
THE VIEWER’S EYE MOVES TO THE SPACE WHERE THE SUBJECT IS LOOKING
WHAT IS THE WOMAN LOOKING AT?
IMAGE SIZE IS IMPORTANT IN FRAMING
THE IMAGEAND
MEANING
Film is a complex intertwining of language and image.
From the beginnings of film as a silent medium, it has made
language as a focal point through the subtitling technique
that propels the film narrative
Visual meaning is embodied in film and we understand the meaning of images through the way we interact with the
world around us.
We construct IMAGE SCHEMAS as we watch a film
Image Schema is a concept in Conceptual Metaphor Theory
by Lakoff and Johnson in 1999.
It states that our knowledge ofabstract phenomena is only possible by linking these to
concrete experiences.
When we watch a film, the series of shots and scenes are
essentially incomplete and have gaps.
It is incomplete because visuals have limitations in describing
what language can as in a written novel or story
Also, a film’s incompleteness is the result of certain film
conventions that have to be followed.
Films have to have a total running time of 1 ½ to 2 hours
only
It is the viewer that fills in the gaps of the film’s visual
narrative
The camera moves to reveal or conceal objects and characters and characters can enter and
exit frame
The film frame acts like a container where things appear
in and out of view in front of the viewer
Another concept explaining meaning in film images is
SIMULACRUM
It is the representation or imitation of a person or thing.
The film, MATRIX best shows the meaning of simulacrum
WE UNDERSTAND THAT THIS IS A SKATER BECAUSE WE HAVE SEEN A SKATER
THIS IS A REPRESENTATION OF THE INSIDE OF A SPACE MODULE IN “2001: A SPACE ODYSSEY”
LET’S WATCH A MATERIAL ON
CAMERA MOVEMENT AND A FILM USING
CAMERA MOVEMENT
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