Framing+Continuity

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Framing+Continuity

  1. 1. Creating Moving Images Juliancoultas@mac.com www.digitalroadtrip.org Thursday, 24 September 2009
  2. 2. a route ..... Thursday, 24 September 2009
  3. 3. a route ..... start with.... Photo/images (a simpler unit of meaning, they don’t move, but they can speak!) Thursday, 24 September 2009
  4. 4. a route ..... start with.... Photo/images (a simpler unit of meaning, they don’t move, but they can speak!) move to.... Audio (more complex - time based layers of sound a sound canvas) Thursday, 24 September 2009
  5. 5. a route ..... start with.... Photo/images (a simpler unit of meaning, they don’t move, but they can speak!) move to.... Audio (more complex - time based layers of sound a sound canvas) both feed into Thursday, 24 September 2009
  6. 6. a route ..... start with.... Photo/images (a simpler unit of meaning, they don’t move, but they can speak!) move to.... Audio (more complex - time based layers of sound a sound canvas) both feed into Moving images (the most complex - time based and visual) Thursday, 24 September 2009
  7. 7. Models Thursday, 24 September 2009
  8. 8. Models In the classroom Explore > Plan > Create > Edit > Share/Publish > Review Thursday, 24 September 2009
  9. 9. Models In the classroom Explore > Plan > Create > Edit > Share/Publish > Review In Industry Pre production > Production > Post Production Thursday, 24 September 2009
  10. 10. The Process Thursday, 24 September 2009
  11. 11. The Process • Telling stories - events - fiction - non fiction • Screen Writers (film)- scripts and action • Director - in charge of creative decisions • Pre Production team - storyboard artists • Production team (sound-camera-direction + edit) • Post production team (titles, credits, music, effects, stills and voice overs) • Distribution - Exhibition - Self Publish Thursday, 24 September 2009
  12. 12. Shot Types that help tell a story source Google images Thursday, 24 September 2009
  13. 13. Planning + Story Telling Thursday, 24 September 2009
  14. 14. Example Pro Storyboard source Google images Thursday, 24 September 2009
  15. 15. Contrast and juxtaposition of shots creates interest and drama Thursday, 24 September 2009
  16. 16. source BBC iPlayer Framing/Shot Type examples from BBC’s Design for Life Thursday, 24 September 2009
  17. 17. Camera Movement Pan - left and right Tilt - up and down Track - following the action Thursday, 24 September 2009
  18. 18. Random Top tips 1. Storyboard in pencil - encourage students to frame the action in a way that supports the meaning of the moment 2. Try storyboard with a stills camera -use comic life as layout tool 3. Include timings of action and camera movement on storyboards 4. Use a tripod (unless there is an artistic reason for hand held!) 5. Use a paper clapper board at the beginning of each scene ( number the scenes and the take.) An A4 jotter will suffice. 6. refrain from using the zoom - set the shot up 7. Explore rhythm and tempo when editing 8. Explore the use of none-diegetic* sound creatively * sound that isn’t within the world of the characters eg. music Thursday, 24 September 2009
  19. 19. Thursday, 24 September 2009
  20. 20. Doing it in class! Combining shot types, angles, camera movement Thursday, 24 September 2009
  21. 21. Establishing Shot Your audience is limited to what you show them so it's important to let them know where you are. Usually a long shot. Continuity Considerations Plan how you enter and exit the frame so the edited sequence looks like one continuous action. Thursday, 24 September 2009
  22. 22. Long Shot A long shot allows your audience to see everything. It shows the big picture. Continuity Considerations This shot allows the editor to match the action in the previous shot. The edit should take place when the man is in approximately the same location in each shot. Thursday, 24 September 2009
  23. 23. Long Shot A long shot allows your audience to see everything. It shows the big picture. Continuity Considerations This shot allows the editor to match the action in the previous shot. The edit should take place when the man is in approximately the same location in each shot. Thursday, 24 September 2009
  24. 24. Medium Shot This shot gets rid of any distractions in the picture and starts the process of zeroing in on the action. Continuity Considerations The editor should allow the man to walk out of the previous shot then walk into this shot. This helps the audience get a sense of the size of the room. Thursday, 24 September 2009
  25. 25. Medium Shot This shot gets rid of any distractions in the picture and starts the process of zeroing in on the action. Continuity Considerations The editor should allow the man to walk out of the previous shot then walk into this shot. This helps the audience get a sense of the size of the room. Thursday, 24 September 2009
  26. 26. Extreme Close-up Use this shot to focus attention on what's important. It enlarges small objects to show details. Continuity Considerations The editor should match the hand location in the previous shot. Thursday, 24 September 2009
  27. 27. Extreme Close-up Use this shot to focus attention on what's important. It enlarges small objects to show details. Continuity Considerations The editor should match the hand location in the previous shot. Thursday, 24 September 2009
  28. 28. Close-up This shot cuts out extraneous visual material. Faces should fill up the screen. Who wants to see a person's feet when they are saying something we need to hear? Continuity Considerations This close-up is used as a cutaway. A cutaway is any shot that covers an edit. It's most commonly used to shorten interviews. Thursday, 24 September 2009
  29. 29. Close-up This shot cuts out extraneous visual material. Faces should fill up the screen. Who wants to see a person's feet when they are saying something we need to hear? Continuity Considerations This close-up is used as a cutaway. A cutaway is any shot that covers an edit. It's most commonly used to shorten interviews. Thursday, 24 September 2009
  30. 30. Reestablishing Shot This shot reminds people where you are. Continuity Considerations It's good to end with a shot that reminds people where you are. Exiting the frame is also a good closer. Thursday, 24 September 2009
  31. 31. Reestablishing Shot This shot reminds people where you are. Continuity Considerations It's good to end with a shot that reminds people where you are. Exiting the frame is also a good closer. Thursday, 24 September 2009
  32. 32. complete text Thursday, 24 September 2009
  33. 33. complete text Thursday, 24 September 2009
  34. 34. Continuity A good videographer and editor will look for movements within a sequence that tie the shots together. When changing to a different shot within a sequence, you should plan to have things in the same position. For example,when switching from a medium shot to a close-up of someone writing, their hand should be in the same place when the edit is made. Make sure movement in the frame goes in the same direction. For example, have your actor walk out of the frame to the left and into the next shot from the right. http://www.pbs4549.org Thursday, 24 September 2009
  35. 35. Conitnuity - 180 degree rule / crossing the line Anywhere this side of the dotted line is OK! Thursday, 24 September 2009
  36. 36. Let’s shoot! Juliancoultas@mac.com www.digitalroadtrip.org Thursday, 24 September 2009

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