Camera Angels

Ive been researching different types of camera angels lately because i want to start experimenting with something different and I've come across some amazing sights on camera angels and what they mean to the shot, anyway i found this cool blog that had all these great little illustrations on them and wanted to share them here. These camera angels are not all new but I've learnt about some i had no idea existed.  The cinematographer's art often seems as much black magic as technique, taking a few actors milling around a set and turning it into something cinematic, evocative and occasionally iconic. Amidst all the voodoo and mystery, however, there is concrete science behind those money shots so we've identified thirty of the most important to help you distinguish your dolly zooms from your Dutch tilts. THE SHOT Aerial Shot An exterior shot filmed from — hey! — the air. Often used to establish a (usually exotic) location. All films in the '70s open with one — FACT. THE EXAMPLE The opening of The Sound Of Music (1965). Altogether now, “The hills are alive..." THE SHOT Arc Shot A shot in which the subject is circled by the camera. Beloved by Brian De Palma, Michael Bay. THE EXAMPLE The shot in De Palma's Carrie (1976) where Carrie White (Sissy Spacek) and Tommy Ross (William Katt) are dancing at the prom. The swirling camera move represents her giddy euphoria, see? THE SHOT Bridging Shot A shot that denotes a shift in time or place, like a line moving across an animated map. That line has more air miles than Richard Branson. THE EXAMPLE The journey from the US to Nepal in Raiders Of The Lost Ark (1981). THE SHOT Close Up A shot that keeps only the face full in the frame. Perhaps the most important building block in cinematic storytelling. THE EXAMPLE Falconetti's face in The Passion Of Joan Of Arc (1928). THE SHOT Medium Shot The shot that utilizes the most common framing in movies, shows less than a long shot, more than a close-up. Obviously. THE EXAMPLE Any John Ford film (i.e. The Searchers), the master of the mid shot. THE SHOT Long Shot A shot that depicts an entire character or object from head to foot. Not as long as an establishing shot. Aka a wide shot. THE EXAMPLE Omar Sharif approaching the camera on camel in David Lean's Lawrence Of Arabia (1962). THE SHOT Cowboy Shot A shot framed from mid thigh up, so called because of its recurrent use in Westerns. When it comes, you know Clint Eastwood is about to shoot your ass. THE EXAMPLE The three-way standoff in The Good, The Bad And The Ugly (1966). THE SHOT Deep Focus A shot that keeps the foreground, middle ground and background ALL in sharp focus. Beloved by Orson Welles (and cinematographer Gregg Toland). Production designers hate them. Means they have to put detail in the whole set. THE EXAMPLE Thatcher (George Couloris) and Kane's mother (Agnes Moorehead) discussing Charles (Buddy Swan)'s fate while the young boy plays in the background in Citizen Kane (1941). THE SHOT Dolly Zoom A shot that sees the camera track forward toward a subject while simultaneously zooming out creating a woozy, vertiginous effect. Initiated in Hitchcock's Vertigo (1959), it also appears in such scarefests as Michael Jackson's Thriller video (1983), Shaun Of The Dead (2004), The Evil Dead (1981) and The Goofy Movie (1995). It is the cinematic equivalent of the phrase "Uh-oh". THE EXAMPLE Police Chief Brody (Roy Scheider) sees the Kintner kid (Jeffrey Voorhees) get it in Jaws (1975). Not the first but the best. THE SHOT Dutch Tilt A shot where the camera is tilted on its side to create a kooky angle. Often used to suggest disorientation. Beloved by German Expressionism, Tim Burton, Sam Raimi and the designers of the villains hideouts in '60s TV Batman. THE EXAMPLE The beginning of the laboratory scene in Bride Of Frankenstein (1935).

Who Does What

So far we've learnt so much about the camera and camera technique, our Thursday class is our most practical class however id really like to learn more about the individuals who are involved on set and what exactly they do. Last week we had to set up a scene and everyone in class had a role to perform in order to mimic what a real set looked like during this time Bryce started saying certain roles should be talking to each other and working with each other, for example the director and the AD, now as single and obvious as that example is there are still many other rolls and parts to a set than just that. I would really like at some point to take an in-depth look from start to finish what each roll, light technician, AD, producer etc do where their job starts, who they talk to, who they are in charge of,who is in charge of them.
I think doing this would give students a clearer idea of what they want to do in the industry too. 

Cinematography

I found this cool sight for Cinematographers to ask questions, get information find people and connect.

http://www.cinematography.com

Mes en secen

something i found helpful while writing my essay.

The arrangement of everything that appears in the framing – actors, lighting, décor, props, costume – is called mise-en-scène, a French term that means “placing on stage.” The frame and camerawork also constitute the mise-en-scène of a movie.

The Film Scholar's Insight Don't be confused. Mise-en-scène isn't a production term. Directors don't walk around saying “Let's create an elaborate mise-en-scène.” Not at all. From the craftsman that builds fake bookcases to the cinematographer that chooses where the lights will go, the mise-en-scène is the result of the collaboration of many professionals. Thus in the production environment, the director is more specific with his requests and orders. Is he trying to talk to the prop master, the set designer, the actors, the make-up artists? All of them are part of different departments. But all of them, in the end, have influence in the mise-en-scène. In the academic realm, the term mise-en-scène is always invoked when the overall look and feel of a movie is under discussion. Students taking Film Analysis should be quite familiar with the term.

Even though many professionals are involved in its creation, the director is the one that oversees the entire mise-en-scène and all of its elements. Not just that, but during the early stages ofpre-production, the director or his AD sits down with set designers, prop masters, location managers, costume designers, and scenic artists to determine the look and feel intended.

In some instances, the mise-en- scène is used to evoke lasting feelings throughout the movie and not just for selected scenes. In the German expressionist film The Cabinet of Dr. Caligari (1920), distorted shapes and claustrophobic scenery is implemented to disturb the audience and enhance the horror.

Mike Nichols’ The Graduate (1967) has been praised by its amazing, exciting, and multi-layered visual design. For this reason, the following segments will shed light on many scenes from The Graduate but also from other pictures.

Décor

Décor refers to the decoration or decorative styles, comprising mainly of the set and props used in a movie. Instead of just dressing the set, the director must be savvy to fathom how objects may bear significance in a deeper level, while also emphasizing themes, creating meanings, and provoking thoughts.

An early scene from The Graduate (1967) opens with a close-up of Benjamin Braddock (Dustin Hoffman) alone on his bed. Behind him is a fish tank, which may symbolically represent Ben’s entrapment in a life that he doesn’t want. Later in the movie, Ben finds himself at the bottom of a swimming pool, thus further elaborating on that concept.

In Rear Window (1954), an enlarged photograph placed in the living room offers expositionon the accident that rendered L.B. Jeffries (James Stewart) handicap:

Lighting

Unarguably one of the film elements that has the greatest power to evoke emotions, lightingmust be manipulated by the director to accommodate his or her desires for the movie. The two broad types of lighting approaches are: low-key lighting and high-key lighting.

High-key lighting is often seen in romantic comedies and musicals, encompassing an even lighting pattern and avoiding dark areas in the frame. Everything looks bright with little to no shadow at all. High-key lighting has little dramatic effect, and it is often used in a scene with no tension.

Low-key lighting is often seen in horror movies and thrillers, comprising of a lighting pattern that has both bright and dark areas in the frame. The chiaroscuro (Italian: bright-dark) technique, long used by painters, is characterized by strong contrast, often employed to unnerve the audience.

Note that this terminology is counterintuitive as low-key lighting is high contrast and high-key lighting is low contrast.

Costume

The obvious purpose of costuming is to dress an actor according to his character. Lawyers wear suits, nurses wear scrubs, and a drifter could wear worn out shoes, ragged shirt, and baggy pants.

But, more than that, costuming can also be used to establish someone’s hierarchic level. Regimentals, for instance, bear the status of the person who wears it. And even the color may distinguish an enemy from a friend. In The Good, the Bad, and the Ugly (1966), a comic situation arises when Blondie (Clint Eastwood) heads toward the enemy cavalry that was covered in dust. When the enemy general slaps his gloves on his sleeve, his apparently gray uniform changes to blue.

Costuming may also be used to emphasize a theme. In the first scene at the Taft Hotel in The Graduate, Mrs. Robinson wears a fur coat that makes her look like a predator hunting for her pray. Her coat bears a pattern that resembles the fur of a cheetah. Or could it be a cougar?

Location

In Witness (1985), on the day after declining Rachel’s (Kelly McGillis) seduction, John Book (Harrison Ford) explains to her why nothing could have happened between them the night before. Quiet conveniently, the confrontation takes place in a barn, while Rachel is collecting eggs. The location emphasizes Rachel’s responsibilities as a woman. If they had made love and Rachel gotten pregnant, she would have to carry the baby and eventually give birth. Also, during the conversation, John stands outside the barn, thus being separated from Rachel by the barn’s door. In this case, the door functions as a metaphor of the social and cultural barriers that keeps them a part.

The final confrontation in The Graduate takes place in a church. Ben tries to prevent Elaine (Katherine Ross) from getting married, but he arrives too late. Nonetheless, when Elaine sees him, she runs to him, and they run away. When the couple is cornered by infuriated parents and relatives, Ben starts swinging a cross to avoid them. Stepping out, Ben uses the cross to hold the church’s doors shut.

The prop (cross) and location (church) impose a comment on religious institutions, perhaps implying that Elaine’s parents are trapped by traditional believes and practices.

Lighting

http://filmmakeriq.com/2011/04/20-lighting-tutorials-for-film-and-video/We recently learnt about lighting in class. Ive been looking through lighting posts on certain blogs and i found this really cool sight that gives you 20 tutorials on lighting for film and video. 

Camera Angels

I have been researching camera techniques lately and i found this most helpful.

Film Techniques

Film techniques is the term used to describe the ways that meaning is created in film.

Camera Shots

A camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Reviewing the examples on the right hand side of this page should make the different camera shots clearer.

An extreme long shot (animation on right) contains a large amount of landscape. It is often used at the beginning of a scene or a film to establish general location(setting). This is also known as an establishing shot.

A long shot (animation on right) contains landscape but gives the viewer a more specific idea of setting. A long shot may show the viewers the building where the action will take place.

A full shot (animation on right) contains a complete view of the characters. From this shot, viewers can take in the costumes of characters and may also help to demonstrate the relationships between characters. For more information on costumes and acting refer to Chapter 4.

A mid shot (animation on right) contains the characters or a character from the waist up. From this shot, viewers can see the characters' faces more clearly as well as their interaction with other characters. This is also known as a social shot

A close-up (animation on right) contains just one character's face. This enables viewers to understand the actor's emotions and also allows them to feel empathy for the character. This is also known as a personal shot.

An extreme close-up (animation on right) contains one part of a character's faceor other object. This technique is quite common in horror films, particularly the example above. This type of shot creates an intense mood and provides interaction between the audience and the viewer.

When analysing a film you should always think about the different camera shots and why they are being used. The next time that you are at the cinema or watching television see what camera shots are being used.

Important: These camera shots are used in all forms of visual texts including postcards, posters and print advertisements.

Camera angles

It is important that you do not confuse camera angles and camera shots. Camera shots are used to demonstrate different aspects of setting, themes and characters. Camera angles are used to position the viewer so that they can understand the relationships between the characters. These are very important for shaping meaning in film as well as in other visual texts.

The following examples will help you to understand the differences between the different camera angles

A bird's eye angle (animation on right) is an angle that looks directly down upon a scene. This angle is often used as an establishing angle, along with an extreme long shot, to establish setting.

A high angle (animation on right) is a camera angle that looks down upon a subject. A character shot with a high angle will look vulnerable or small. These angles are often used to demonstrate to the audience a perspective of a particular character. The example above demonstrates to us the perspective or point of view of a vampire. As a viewer we can understand that the vampire feels powerful.

An eye-level angle (animation on right) puts the audience on an equal footing with the character/s. This is the most commonly used angle in most films as it allows the viewers to feel comfortable with the characters.

A low angle (animation on right) is a camera angle that looks up at a character. This is the opposite of a high angle and makes a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character. This can help the responder feel empathy if they are viewing the frame from another character's point of view.

As with camera shots, you will be able to see many examples of camera angles in any film or visual text that you view. The next time that you watch television or see a film, take note of the camera angles and think of how they affect your perception (idea) of different characters.

Another camera angle that you might come across is a Dutch angle.

A Dutch angle (animation on right) is used to demonstrate the confusion of a character. The example above should disorientate you.

Camera movement

Composers of films also use camera movement to shape meaning. The following are some examples of common camera movements and how they can be used to shape meaning in films.

A crane shot (animation on right) is often used by composers of films to signify the end of a film or scene. The effect is achieved by the camera being put on a crane that can move upwards

A tracking shot and a dolly shot (animation on right) have the same effect. A tracking shot moves on tracks and a dolly shot is mounted on a trolley to achieve the effect in the example above. This camera movement is used in a number of ways but is most commonly used to explore a room such as a restaurant. By using a tracking shot or a dolly shot the composer of a film gives the viewer a detailed tour of a situation. It can also be used to follow a character.

Panning (animation on right) is used to give the viewer a panoramic view of a set or setting. This can be used to establish a scene

Others

An Evangelion shot (animation on right) is derived from the popular anime series 'Neon Genesis Evangelion'. This camera movement begins as an extreme close-up and zooms out abruptly, creating a blurring effect to emphasise the speed and size of the object

Understanding 4K

Today we briefly spoke about 4K in class so i did some research on it and found this sight that helped me to understand what Ultra HD is the benefits of it and how close you can or should sit to a 4K tv and why. 

http://www.tomsguide.com/us/4k-tv-explained,news-17877.html