160 lec03pt1summer15
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This document discusses key concepts related to lenses, focal length, and depth of field in filmmaking. It explains that focal length impacts the field of view and depth of field, with longer lenses having a narrower field of view and shallower depth of field. Focus determines what is sharp in the frame. Focal length, focus, and f-stop or aperture are variables of a lens. Different examples from films are provided to illustrate the effects of focal length on compressing or expanding space as well as manipulating depth of field. The document also discusses achieving a sense of increasing claustrophobia through gradually shifting to longer lenses and lowering the camera angle in the film 12 Angry Men.
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160 lec03pt1summer15
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Formalists are often referred to as ______, because their self-expre.pdf
Formalists are often referred to as ______, because their self-expression is at least as important
as the subject matter itself. These filmmakers are often concerned with spiritual and
psychological truths, which they feel can be conveyed best by distorting the surface of the
material world.
Classicists
Expressionists
Realists
Surrealists
Most realists would claim that their major concern is with ____. In its most extreme form, the
realistic cinema tends toward documentary, with its emphasis on photography of actual events
and people.
Technique
Pure forms
Content
Form
____ tend to make people look powerless and trapped.
Eye-level shots
Low angle shots
Oblique angle shots
High angle shots
There are a number of different styles of lighting. Usually designated as a lighting key, the style
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High concept
Studio lighting
High key
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Color in film didn't become commercially widespread until _____.
The 1960s
The 1940s
The 1930s
The 1950s
____ lenses often flatten images, decreasing the sense of distance between depth planes.
Wide-angle
Telephoto
Standard
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It makes editing more complicated.
It makes movie distribution easier.
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A shot that corresponds approximately to the distance between the audience and the stage in the
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A shot that will fill the screen with one very specific item, such as a face, a door or car.
One that focuses on the knees or waist up. Good for dialogue and carrying movement.
A shot that is at least 100 feet from the camera to the subject.
A shot that requires a wide angle lens and captures objects at close, medium, and long ranges
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Deep focus or wide angle
Wide open
Medium close up
Medium Focus
A shot that is photographed from directly overhead is called a(n):
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Deep Focus
Pilot's Angle
Low Angle
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3. Cinematographers consider screen format, lenses, exposure, depth of field, and lighting setups to best convey the film's story and tone through the visuals. Three-point lighting is commonly used to motivate scenes.
Preliminary Task 2
The student produced a half-minute video clip demonstrating media techniques including match on action, eyeline match, cross-cutting, shot/reverse shot, and the 180-degree rule. The video shows a student interacting with teachers in the hallway and classroom. Various shots and editing techniques were used to clearly show the techniques while maintaining continuity and telling a cohesive story.
Photography handbook
This document provides an overview of photography, including:
- A brief history of photography from its origins in the 1820s to modern film.
- Descriptions of camera types like SLR and their basic components such as lenses, apertures, and shutters.
- Explanations of techniques like exposure, depth of field, lighting, and composition.
- Sections on processing film, making prints, and other darkroom work.
_Continuity Video Task.pptx
The student produced a half-minute video clip demonstrating media techniques including match on action, eyeline match, cross-cutting, shot/reverse shot, and the 180-degree rule. The video shows a student interacting with teachers in the hallway and classroom. Various shots and editing techniques were used to comply with continuity standards and convey the story clearly.
Photography _ Abir & Oumaima.pptx
The document provides an overview of key concepts in film analysis related to photography, including realism vs formalism, common shots and angles used in filming, the use of light and color, lenses and filters, and the transition to digital filmmaking. It discusses techniques like realistic vs stylized filming, different shot types from extreme long to close-up, the effects of various camera angles, uses of lighting and how color impacts mood. The role of the cinematographer is also summarized.
Camera lens 2
A camera lens focuses light onto the camera's sensor or film. It determines several important factors like focal length, aperture, depth of field, and image quality. There are different types of lenses including prime lenses with a fixed focal length, zoom lenses that can change focal lengths, and specialty lenses like wide angle, telephoto, and macro lenses that serve different photographic needs. The type of lens used affects how much of a scene is captured and the sharpness and clarity of the final image.
Photography basics
This document provides an overview of photography basics including parts of a camera, lighting concepts like aperture, shutter speed, ISO, and depth of field. It discusses how aperture, focal length, and distance can be adjusted to achieve different depths of field. Shutter speed is explained along with its effects on motion. ISO and noise are also covered. Composition techniques like the rule of thirds are introduced. Different types of camera shots including extreme closeup, closeup, head and shoulders, and long shot are defined.
Understanding micro elements power point example
This document discusses different types of camera shots and angles used in media like films, television, magazines and advertisements. It describes extreme close-ups, close-ups, medium shots, long shots, extreme long shots, two shots, over the shoulder shots, and different camera angles including bird's eye view, high angle, eye level, and low angle shots. Each shot and angle conveys different meanings and focuses attention on specific details or the overall scene. Camera work combines with elements like editing to tell visual stories through sequences of images, similar to how language constructs meaning.
Question 4 & 5
The document discusses the target audience and approach for promoting a thriller film called "Missing". The intended audience is 15-34 year olds interested in thrillers and independent British films. Social media promotion is planned to reach this audience. The opening scene aims to attract viewers through techniques like sound, editing, camera shots and mise-en-scene. Feedback from test viewers praised the sound design, point-of-view camera shots, and smooth continuity of the opening scene.
The day after (1983)
Well, I can’t say that this is my favourite film. It would be just the wrong word. This is the film, that impressed me. This is the film, that shocked me. This is the film, that covers my body with goosebumps every time when I hear about it. This is the only film that really scares me…
It is about consequences after a Nuclear Attack or, honesty speaking, after a play between two persons in which everyone is a looser. Especially simple people, who suffers mostly.
Critics tended to claim the film was too tame, but still, being directed by Nicholas Meyer, it received twelve Emmy nominations and won two Emmy awards for an Outstanding Film Sound Editing and for an Outstanding Achievement In Special Visual Effects.
But my task was not to write about the whole film ( what I wish I could), but to write about my favourite scene in it ( and again, I would like to replace the word favourite to the most impressive one). Why does my “favourite” scene end on 3.27? Because everything what is happening after is too cruel even for non-sensitive people like me.
First of all, I must point out again that I don’t like it. I am impressed by it. Why? It shows us peoples reaction to a disaster! It shows us the end of their world and how they are trying to survive. But do they have a chance? Most of them definitely not! And the audience see it and wholly understands… how terrifying is that? So, this piece shows the naturalness of emotions.
My second reason is cleanliness of the shots. They are very straight and senseful. The picture explains what it has to, but avoids too much drama. Yes, it is very dramatic scene, but everywhere have to be a measure. People are still hoping and I see it, I understand it, I believe it and I am worry about it.
My third point is talking about a film structure, which includes several things like: great use of the sound, camera, different angles, colours and how genius everything is put together! Each movement, gesture, posture, appearances, spatial behaviour… everything what is happening on the screen puts and keeps you under a pressure.
But I should tell more about my last point, because, obviously, there is what to pay attention for. Firstly, the great sound work that really adds even more tension to this scene.
So what can I say about camera work in this scene? It’s spectacular! I identified a lot of different methods of what I had learned and I want to tell about several of them.
Similar to 160 lec03pt1summer15 (20)
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160 lec03pt1summer15
- 1. MEDP/F 160 Summer 2015 Lecture 3 Lens, Focal Length, Depth of Field
- 3. Organic approach: The story is in the shot The idea of an “organic” and a “synthetic” approach to film storytelling comes from Andre Bazin’s “What is Cinema?” vol. 1 (Hunter Main - Library Stacks - PN1994 .B3513)
- 4. Synthetic approach - Build the story image by image… Sergei Eisenstein is the classic example of a director who believes in the power of a synthetic approach to film.
- 5. ● If you show the birds...
- 6. ● And you show the people...
- 7. ● You ultimately have to show the BIRDS and the PEOPLE in the same shot.
- 8. How to approach a scene...
- 9. Perspective means depth means a ‘z axis’ that brings viewer into the picture.
- 11. Michelangelo Antonioni “Red Desert” 1964
- 13. Headroom
- 14. “Closure”
- 15. “Lookspace” or “Looking Room” Constant minor reframing is needed to maintain a “comfortable” frame.
- 16. Leadroom
- 17. Rule of Thirds • Example “Badlands” (Terrence Malick 1973) ●
- 18. Documentary Coverage • Establishing shot • Detail shots • Following main action ● Example: Hiroshima Bound “UN Sequence”
- 19. ● Tips for Shooting Handheld • Use your whole body • Keep knees bent and loose • Stay toward the wide-angle • Breathe steadily • Know where the shot is going (for pans, etc.) • Try different angles • Rehearse and do more than one take • Be aware of your shot & your light /adjust!
- 22. Handheld
- 24. Even smaller camera (DSLR)
- 25. The Lens: the EYE of your camera
- 26. The Lens: the EYE of your audience
- 27. Lenses bend light (refraction) and focus it on a focal plane
- 29. Lens Variables • Focus • Focal length • F-stop (aperture) ★
- 30. Focus determines what is (and isn’t) sharp in the frame
- 31. Selective focus
- 32. Automatic vs. Manual Focus
- 33. How to focus manually measure distance from the subject to the focal plane (recording surface) zoom in all the way and focus, zoom out OR use focus assist *Note: make sure you camera is set to “manual focus”
- 34. As long as the distance between the camera and the subject doesn’t change, subject will stay in focus.
- 35. Same distance means same focus...
- 36. Rack Focus example: Smoke and Moonlight
- 37. Lens Variables • Focus • Focal length • F-stop (aperture) ★
- 38. Focal length is the distance between the Optical Center of the lens and the recording surface, and is measured in mm
- 39. Focal Length impacts Field of View
- 40. These numbers are relative … • A wide angle lens on a 35mm camera might have a focal length of a 25mm. A telephoto lens might be 100mm or 200mm. • On a 16mm camera, cut these numbers in half. • For the Sony Alpha 3000 camera, the widest lens is18mm and the longest lens is 55mm (35mm equivalent is 27-82.5mm)
- 41. 60mm, big (23mm) sensor (Canon T31) 12mm, ⅓ inch sensor (Sony HXR-NX5U)
- 42. A prime lens has a fixed focal length
- 43. Compound (zoom) lenses have Multiple focal lengths
- 44. How to adjust focal length Servo zoom lever Manual zoom ring
- 45. focal length impacts Depth of Field Long (telephoto) lenses have shallow depth of field Wide lenses have deep depth of field
- 46. Shallow Depth of Field example: In The Mood for Love
- 47. Deep Focus example: (Visions of Light, clip about Citizen Kane)
- 48. Wide angle lenses expand space Long lenses compress space
- 49. Which was taken with a longer lens? In which instance was the camera physically closer to the actors?
- 50. 12 Angry Men (Sidney Lumet, 1957) “One of the most important dramatic elements for me was the sense of entrapment those men must have felt in that room. Immediately a “lens plot” occurred to me. As the picture unfolded, I wanted the room to seem smaller and smaller. That meant that I would slowly shift to longer lenses as the picture continued. Starting with the normal range (28mm to 40mm), we progressed to 50mm, 75mm, and 100mm lenses. In addition, I shot the first third of the movie above eye level, and then, by lowering the camera, shot the second third at eye level, and the last third from below eye level. In that way, toward the end the ceiling began to appear. Not only were the walls closing in, the ceiling was as well. The sense of increasing claustrophobia did a lot to raise the tension of the last part of the movie.”
- 51. 12 angry men - show clips