A2 storyboard p
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The storyboard depicts a dark and ominous scene that begins with an establishing wide shot with low angle and low key lighting, zooming in on the subject. Various shots show the subject from different angles - low, medium, and high - as the camera pans across objects and provides close-ups of a plug hole, bandage wrapping, clenched fist in the mirror, and a blurred head turn. Sound effects of a door opening are followed by two bangs.
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Angles
The document defines various camera shots used in filmmaking including extreme long shots, low angle shots, medium shots, extreme close ups, medium long shots, close ups, and two shots. It provides the camera angle, distance from the subject, abbreviations, and intended effects of each type of shot.
Twisamish
1. A shot is the smallest unit of visual information captured by a camera at one time, showing a certain action or event.
2. There are various types of camera shots including extreme close-up, close-up, medium shot, long shot, and extreme long shot, each framing the subject differently.
3. The type of shot used impacts how emphasis is placed on the subject, how different areas are interconnected, and the relationship between subjects is established.
Shot types
Close ups show a character's face or shoulders to display emotion without "floating head syndrome". Extreme close ups focus on a specific body part and give intimacy but should be used sparingly. Medium shots contain the subject from the waist up and are good for dialogue but lack detail. Establishing shots provide context of the environment while point of view shots see through a character's eyes to increase identification. Camera angles that look down make subjects seem less important while looking up enhances their importance.
Media work
The document discusses different types of camera shots and angles used in filmmaking, including close-ups, extreme close-ups, shallow focus shots, two shots, medium shots, point of view shots, over the shoulder shots, establishing shots, and long shots. Close-ups concentrate on a small detail or face with blurred backgrounds. Extreme close-ups magnify beyond normal human vision. Shallow focus keeps one plane in focus. Two shots show two characters interacting. Medium shots contain figures from the knees up. Point of view shots show a scene from a subject's perspective. Over the shoulder shots frame one person looking at another. Establishing shots set a scene. Long shots can be taken from far away to establish exterior landscapes with
2+3D Photography 2017 – WS 10 Photographic Lighting Techniques for Transparen...
Lighting transparent glass objects for photography is always a matter of controlling contrast. Sometimes you need less contrast and sometimes you need more, but you always need to be able to control it. This is because the way we perceive glass is the result of how the glass itself transmits, refracts, reflects, and distorts light. Unlike most any other material, it is not possible to fully separate our perception of the glass itself from our perception of what we see through the glass. As museum photographers, we are trained to photograph objects on flat, neutral backgrounds (e.g. LAB 80 gray), and yet that approach creates incredible challenges when trying to capture subtle details such as engraving, tooling marks, optic ribbing, among other things.
Often, it appears as if all detail and “glassiness” disappears once the object is placed on the background. This phenomenon occurs because every variation of thickness, every curve, every bit of engraving – really every change in the surface – in transparent glasses acts as a lens, however imperfect, and distorts the view through the glass. The field of view of each of these “lenses” must include a contrast of highlight and shadow and also be at a sufficient distance from the “lens” to resolve properly. If there is little contrast seen through the “lenses,” then there will be little contrast visible in the glass itself. Likewise, reflections in the glass must be carefully controlled in order to reveal, rather than obscure detail.
In this workshop, we will present several lighting setup examples and discuss various approaches taken by The Rijksmuseum and The Corning Museum of Glass, with the emphasis on lighting solutions vs. multiple exposures and post-capture imaging.
Sho ts
The document defines and provides examples of different types of camera shots including extreme wide shots, very wide shots, wide shots, mid shots, medium closeups, closeups, extreme closeups, cutaways, two shots, over-the-shoulder shots, point-of-view shots, and weather shots. Each shot type is used to frame the subject and surrounding environment in a different way to provide context or emphasize specific details.
Three point lighting
Three-point lighting is a standard technique used in visual media that uses three separate lighting positions to illuminate a subject. The key light is the principal light that determines the overall lighting design. The fill light balances the key light by illuminating shaded surfaces. The back light shines from behind the subject to separate it from the background and highlight contours.
Camera shots a visual guide
This document provides definitions and examples of various camera shots and camera movements used in filmmaking. It describes shots like extreme wide shots, very wide shots, wide shots, mid shots, medium close ups, close ups, and extreme close ups which show different levels of detail and perspective. It also covers two shots, over the shoulder shots, noddy shots, point-of-view shots, and weather shots. Additionally, it lists different types of camera movements including pans, tilts, tracks, dollies, follows, pedestals, zooms, crabs, and dolly zooms.
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Angles
The document defines various camera shots used in filmmaking including extreme long shots, low angle shots, medium shots, extreme close ups, medium long shots, close ups, and two shots. It provides the camera angle, distance from the subject, abbreviations, and intended effects of each type of shot.
Twisamish
1. A shot is the smallest unit of visual information captured by a camera at one time, showing a certain action or event.
2. There are various types of camera shots including extreme close-up, close-up, medium shot, long shot, and extreme long shot, each framing the subject differently.
3. The type of shot used impacts how emphasis is placed on the subject, how different areas are interconnected, and the relationship between subjects is established.
Shot types
Close ups show a character's face or shoulders to display emotion without "floating head syndrome". Extreme close ups focus on a specific body part and give intimacy but should be used sparingly. Medium shots contain the subject from the waist up and are good for dialogue but lack detail. Establishing shots provide context of the environment while point of view shots see through a character's eyes to increase identification. Camera angles that look down make subjects seem less important while looking up enhances their importance.
Media work
The document discusses different types of camera shots and angles used in filmmaking, including close-ups, extreme close-ups, shallow focus shots, two shots, medium shots, point of view shots, over the shoulder shots, establishing shots, and long shots. Close-ups concentrate on a small detail or face with blurred backgrounds. Extreme close-ups magnify beyond normal human vision. Shallow focus keeps one plane in focus. Two shots show two characters interacting. Medium shots contain figures from the knees up. Point of view shots show a scene from a subject's perspective. Over the shoulder shots frame one person looking at another. Establishing shots set a scene. Long shots can be taken from far away to establish exterior landscapes with
2+3D Photography 2017 – WS 10 Photographic Lighting Techniques for Transparen...
Lighting transparent glass objects for photography is always a matter of controlling contrast. Sometimes you need less contrast and sometimes you need more, but you always need to be able to control it. This is because the way we perceive glass is the result of how the glass itself transmits, refracts, reflects, and distorts light. Unlike most any other material, it is not possible to fully separate our perception of the glass itself from our perception of what we see through the glass. As museum photographers, we are trained to photograph objects on flat, neutral backgrounds (e.g. LAB 80 gray), and yet that approach creates incredible challenges when trying to capture subtle details such as engraving, tooling marks, optic ribbing, among other things.
Often, it appears as if all detail and “glassiness” disappears once the object is placed on the background. This phenomenon occurs because every variation of thickness, every curve, every bit of engraving – really every change in the surface – in transparent glasses acts as a lens, however imperfect, and distorts the view through the glass. The field of view of each of these “lenses” must include a contrast of highlight and shadow and also be at a sufficient distance from the “lens” to resolve properly. If there is little contrast seen through the “lenses,” then there will be little contrast visible in the glass itself. Likewise, reflections in the glass must be carefully controlled in order to reveal, rather than obscure detail.
In this workshop, we will present several lighting setup examples and discuss various approaches taken by The Rijksmuseum and The Corning Museum of Glass, with the emphasis on lighting solutions vs. multiple exposures and post-capture imaging.
Sho ts
The document defines and provides examples of different types of camera shots including extreme wide shots, very wide shots, wide shots, mid shots, medium closeups, closeups, extreme closeups, cutaways, two shots, over-the-shoulder shots, point-of-view shots, and weather shots. Each shot type is used to frame the subject and surrounding environment in a different way to provide context or emphasize specific details.
Three point lighting
Three-point lighting is a standard technique used in visual media that uses three separate lighting positions to illuminate a subject. The key light is the principal light that determines the overall lighting design. The fill light balances the key light by illuminating shaded surfaces. The back light shines from behind the subject to separate it from the background and highlight contours.
Camera shots a visual guide
This document provides definitions and examples of various camera shots and camera movements used in filmmaking. It describes shots like extreme wide shots, very wide shots, wide shots, mid shots, medium close ups, close ups, and extreme close ups which show different levels of detail and perspective. It also covers two shots, over the shoulder shots, noddy shots, point-of-view shots, and weather shots. Additionally, it lists different types of camera movements including pans, tilts, tracks, dollies, follows, pedestals, zooms, crabs, and dolly zooms.
Storyboard template to help (1)
The document provides scene-by-scene directions for a stop-motion animation of Little Red Riding Hood. It describes Red Riding Hood being sent by her mother to bring a basket of patties to her grandmother, skipping through the woods and encountering the wolf, who chases her to her grandmother's house. The wolf arrives and Red Riding Hood calls for help from her grandmother.
Ancillary double page spread research
The document summarizes the researcher's analysis of two magazine double page spreads from the 1920s related to Charlie Chaplin. Both spreads use large prominent images, headlines that draw attention, and small body text to fit more information across the two pages. The researcher concludes they should take a similar approach for their own double page spread on a silent comedy - including a large main image, plenty of detailed text, and formatting techniques to maximize the amount of content.
Storyboard template to help (1)
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Storyboard template to help (1)
Red Riding Hood is sent by her mother to bring a basket of patties to her grandmother's house. She is warned not to eat any of the patties on the way. Red Riding Hood skips through the woods but stops to eat a patty. Meanwhile, the Big Bad Wolf steps in some poo in the woods and becomes frustrated.
Storyboard template to help (1)
Red Riding Hood is sent by her mother to bring a basket of patties to her grandmother's house. She is warned not to eat any of the patties on the way. Red Riding Hood skips through the woods but stops to eat a patty. Meanwhile, the Big Bad Wolf steps in some poo in the woods and becomes frustrated.
Production log1
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Final edit2
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Ancillary posters research
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This document provides information about a student's media studies foundation portfolio project on researching and planning for a music magazine. It includes sections on targeting the audience, visual design choices, learning about design software, preliminary project components like covers and contents, reflections on feedback, and re-drafting elements based on criticism. The student aims to create a hip-hop genre magazine for a teenage and young adult audience.
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Storyboard template to help (1)
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This document provides a shot list for a film involving Red Riding Hood. It describes 14 shots showing Red Riding Hood skipping through the woods with a basket of patties and encountering a wolf. Another 12 shots depict the wolf following Red Riding Hood and stealing her basket, leading to a fight between the wolf and Red Riding Hood's grandmother who comes to her rescue. The final shots show the wolf defeated and Red Riding Hood and her grandmother safely back home enjoying the patties.
Storyboard template to help (1)
The document appears to be storyboard slides for an animated short film depicting Little Red Riding Hood. It shows Red Riding Hood leaving her mother's house with a basket of patties to deliver to her grandmother, skipping through the woods enjoying the treats along the way.
My silent comedy film
The document discusses the student's silent comedy film "Patty Take" and how it develops and challenges conventions of 1920s silent comedies. It summarizes that the film develops conventions like intertitles but challenges conventions by having an Afro-Caribbean twist. The ancillary texts of the poster and double page spread effectively support the film by continuing the black and white theme and aesthetic. A range of media technologies were used in creating the film, including iPhones for planning shots, cameras and tripods for filming, and Final Cut for editing.
My silent comedy film
The document evaluates the media product "Patty Take", a silent comedy film, in three areas:
1) It develops conventions of 1920s silent comedies such as using intertitles but challenges conventions by focusing on the Black community with West Indian dialect and characters.
2) The ancillary texts like the poster and double page spread effectively support the film by continuing its black and white theme and incorporating still images from the film.
3) A range of technologies were used in the film's creation including an iPhone to plan shots, borrowing a camera and tripod, editing in Final Cut, and using Photoshop and InDesign to design promotional materials.
My silent comedy film
The filmmaker developed conventions of 1920s silent comedies in their film "Patty Take", including using intertitles with West Indian dialect to make it relevant to an Afro-Caribbean audience. The film was also shot in black and white with grain to give it an aged 1920s feel and theme. It included fast pacing and more intertitles to fit over 5 minutes of action, adhering to silent film conventions.
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Pattytakedps1
Marcus Thomas designed a double page spread for a silent comedy using Adobe InDesign and Photoshop. He created a black background and added a heading in "Century Schoolbook" font about a "black and white winter". A subheading in "Synchro LET" font mentioned the comedy's Black British twist. Images of main characters were added large to engage readers. Text was divided into columns between the images with credits and a pull quote to entice the audience.
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Storyboard template to help (1)
The document provides scene-by-scene directions for a stop-motion animation of Little Red Riding Hood. It describes Red Riding Hood being sent by her mother to bring a basket of patties to her grandmother, skipping through the woods and encountering the wolf, who chases her to her grandmother's house. The wolf arrives and Red Riding Hood calls for help from her grandmother.
Ancillary double page spread research
The document summarizes the researcher's analysis of two magazine double page spreads from the 1920s related to Charlie Chaplin. Both spreads use large prominent images, headlines that draw attention, and small body text to fit more information across the two pages. The researcher concludes they should take a similar approach for their own double page spread on a silent comedy - including a large main image, plenty of detailed text, and formatting techniques to maximize the amount of content.
Storyboard template to help (1)
The document provides a shot-by-shot storyboard summary for a scene from Little Red Riding Hood. It describes 14 shots of Red Riding Hood leaving her mother's house and skipping through the woods. It then shows the wolf following Red Riding Hood's scent trail and confronting her in the woods before they both run to Grandma's house.
Storyboard template to help (1)
Red Riding Hood is sent by her mother to bring a basket of patties to her grandmother's house. She is warned not to eat any of the patties on the way. Red Riding Hood skips through the woods but stops to eat a patty. Meanwhile, the Big Bad Wolf steps in some poo in the woods and becomes frustrated.
Storyboard template to help (1)
Red Riding Hood is sent by her mother to bring a basket of patties to her grandmother's house. She is warned not to eat any of the patties on the way. Red Riding Hood skips through the woods but stops to eat a patty. Meanwhile, the Big Bad Wolf steps in some poo in the woods and becomes frustrated.
Production log1
This document summarizes the design choices for the front cover of a hip-hop magazine. Key elements include a masthead called "PAR" which is "RAP" spelled backwards, designed in red with a black stroke. The skyline is placed above the masthead in the same font for consistency. The main image shows a rapper recording in a studio. Supporting images and cover lines are placed elsewhere on the page to draw attention to the main image and story. Minor changes from the initial statement of intent include using one main image with one supporting image instead of multiple people and adjusting the barcode location.
Contents page statement of intent 1111
The document discusses the layout, design elements, and content that will be included on a magazine contents page. It will use a two-column layout with grids in InDesign. The main image will be in the first column with additional smaller images and stories in the second column. Colors, fonts, and other graphical elements are chosen to effectively showcase content and appeal to the target hip-hop audience while navigating convention. The images, stories, and other content will be carefully curated and related to showcase vibrant stories and motivate readers.
Contents page production log
The document is a production log that describes the process of designing a contents page for a magazine. It discusses choosing colors of grey, black and red, creating boxes and headings, selecting fonts, and filling the boxes with content like features, cover stories, and reviews. The final contents page includes boxes with headings in impact font, lists of features in Arial rounded font, and folios in red to draw attention.
Final edit2
The document outlines a shot list for a film depicting Little Red Riding Hood. It includes 29 shots that show Red Riding Hood leaving home with a basket of patties, encountering a wolf in the woods who follows her scent trail, being chased by the wolf to her grandmother's house, hiding from the wolf with her grandmother, and her grandmother defeating the wolf with karate moves and throwing him out of the house.
My silent comedy film
The document discusses the evaluation of the student's silent comedy film "Patty Take" and ancillary texts. It summarizes how the film develops conventions of 1920s silent comedies through the use of intertitles, black and white film effects, and fast pace. It also challenges conventions by featuring an Afro-Caribbean twist. The poster and double page spread effectively support the film through continuing the black and white theme and incorporating still images. Various media technologies were used in the production process, including an iPhone for planning shots, a Canon camera for filming, and Final Cut software for editing.
Music magazine evaluation
The document evaluates how the media product uses and challenges conventions of real magazines. It represents a particular social group of teenagers and young adults through images and stories. The product would be distributed in record stores to attract an audience of 15-28 year olds interested in hip hop from inner cities. The process taught the use of Photoshop and InDesign to construct the magazine.
Ancillary posters research
This document analyzes a movie poster for the Laurel and Hardy film "Big Heist in Venice" from the silent film era. It discusses several key design elements of the poster and what they convey, including the large masthead that introduces the film, the prominent placement of Laurel and Hardy's names, the emphasized facial expressions in the main image, and the use of text and colors. These visual techniques are meant to attract attention and effectively market the film to the intended audience. The document concludes that researching this historic poster will be useful for designing a poster for the author's own silent comedy short film.
As research planning_updated_2011-201
This document provides information about a student's media studies foundation portfolio project on researching and planning for a music magazine. It includes sections on targeting the audience, visual design choices, learning about design software, preliminary project components like covers and contents, reflections on feedback, and re-drafting elements based on criticism. The student aims to create a hip-hop genre magazine for a teenage and young adult audience.
2nd Draft of the Final Edit
The document outlines a shot list for a film involving Little Red Riding Hood. It includes various shots of Red Riding Hood in the woods with a basket of patties, being followed by a wolf. The wolf chases Red Riding Hood to her grandmother's house. There, Grandma reveals she knows karate and defeats the wolf, throwing him out of the house.
Storyboard template to help (1)
The document provides a shot-by-shot storyboard summary for a scene from Little Red Riding Hood. It describes 42 shots showing Red Riding Hood leaving her mother's house with a basket of food for her grandmother, encountering the wolf in the woods who tries to take the basket, and their subsequent chase to the grandmother's house where Red Riding Hood seeks help from her grandmother against the wolf. Each shot lists the action, location, and duration in sequential order to visualize the scene.
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This document provides a shot list for a film involving Red Riding Hood. It describes 14 shots showing Red Riding Hood skipping through the woods with a basket of patties and encountering a wolf. Another 12 shots depict the wolf following Red Riding Hood and stealing her basket, leading to a fight between the wolf and Red Riding Hood's grandmother who comes to her rescue. The final shots show the wolf defeated and Red Riding Hood and her grandmother safely back home enjoying the patties.
Storyboard template to help (1)
The document appears to be storyboard slides for an animated short film depicting Little Red Riding Hood. It shows Red Riding Hood leaving her mother's house with a basket of patties to deliver to her grandmother, skipping through the woods enjoying the treats along the way.
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The document discusses the student's silent comedy film "Patty Take" and how it develops and challenges conventions of 1920s silent comedies. It summarizes that the film develops conventions like intertitles but challenges conventions by having an Afro-Caribbean twist. The ancillary texts of the poster and double page spread effectively support the film by continuing the black and white theme and aesthetic. A range of media technologies were used in creating the film, including iPhones for planning shots, cameras and tripods for filming, and Final Cut for editing.
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The document evaluates the media product "Patty Take", a silent comedy film, in three areas:
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2) The ancillary texts like the poster and double page spread effectively support the film by continuing its black and white theme and incorporating still images from the film.
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The filmmaker developed conventions of 1920s silent comedies in their film "Patty Take", including using intertitles with West Indian dialect to make it relevant to an Afro-Caribbean audience. The film was also shot in black and white with grain to give it an aged 1920s feel and theme. It included fast pacing and more intertitles to fit over 5 minutes of action, adhering to silent film conventions.
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The document is a production log created by Tesfah Watkins-Scott for their double page spread film review ancillary product. It details the steps taken to create the review in Adobe InDesign, including incorporating grids and guidelines, creating the background pages in black and white, adding images and text, and organizing columns. The review consists of two pages - the first includes a background, ratings, title, image with caption, and columns for the plot and review. The second page has columns for the remaining review and a large main image incorporating a moon.
Pattytakedps1
Marcus Thomas designed a double page spread for a silent comedy using Adobe InDesign and Photoshop. He created a black background and added a heading in "Century Schoolbook" font about a "black and white winter". A subheading in "Synchro LET" font mentioned the comedy's Black British twist. Images of main characters were added large to engage readers. Text was divided into columns between the images with credits and a pull quote to entice the audience.
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The document is a production log created by Marcus Thomas detailing the steps taken to design an ancillary poster for a silent film called "Patty Take". It describes editing images to black and white, adding elements like the film title, actor names and photos, logos, and captions. Fonts and positioning of elements were adjusted to match styles of 1920s film posters and appeal to the target audience. The final poster design complied with conventions of the silent film genre and era.
Posterpattytake
The document is a production log created by Marcus Thomas detailing the steps taken to design his ancillary poster for a film project. He began by editing the film's main image to black and white to signify the silent film genre. Marcus then added text and graphical elements like the film title, actors' names and pictures, and a logo. Fonts and positioning of elements were carefully selected to achieve a 1920s aesthetic and appeal to the target audience. Minor adjustments to brightness and borders finished the poster design according to conventions while effectively promoting the film.
Posterpattytake
Marcus created a production log to document the process of designing his ancillary poster. He used Adobe Photoshop and edited elements like changing a photo to black and white. He added text in fonts like "Elephant" to give a 1920s silent film feel. Elements included the film title "Patty Take" at the top and images of the actors with their names. The final poster complied with 1920s conventions like being in black and white and including borders around images.
Storyboard template to help
The document appears to be storyboard slides for a short film adaptation of Little Red Riding Hood. It consists of 43 slides with descriptions of shots showing Red Riding Hood taking a basket of patties to her grandmother's house, encountering a wolf in the woods, being chased by the wolf to her grandmother's house, and seeking help from her grandmother. The storyboard uses props like phones and wallets to represent items like the patties and poo, and depicts the story through movements and interactions between the characters.
Storyboard template to help
The document provides a storyboard summary for a short film adaptation of Little Red Riding Hood. It consists of 43 slides with descriptions of shots showing Red Riding Hood taking a basket of patties to her grandmother's house, encountering a wolf in the woods, arriving at her grandmother's house to find the wolf, and asking her grandmother for help. The storyboard utilizes everyday objects to represent elements of the story and focuses on key actions, locations, and camera shots to visualize the narrative.
Posterpattytake
Marcus Thomas created a production log to document the process of designing his ancillary poster. He used Adobe Photoshop CS6. The first steps were editing the color photo of Red Riding Hood to black and white to match the silent film genre. Names and photos of three actors were added at the top in a large font. The film title "Patty Take" was centered in a comic font. Additional elements like the film company logo, release date banner, and taglines completed the poster while maintaining consistency in style and fonts to portray the 1920s silent film genre.
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Storyboard template to help (1)
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Storyboard template to help
The document contains 33 sections that describe camera shots, camera movements, locations, and actions for filming. Each section provides details on camera angles, shots, movements, and transitions for unspecified footage being filmed at various indoor and outdoor locations including a house, woods, and unspecified interiors and exteriors.
A2 storyboard p
The storyboard depicts a dark and ominous scene that begins with an establishing wide shot with low angle and low key lighting, zooming in on the subject. Various shots show the subject from different angles - low, medium, and high - as the camera tilts, pans, and closes in on objects like a plug hole, bandage, and clenched fist in the mirror. As a door opens off screen, two gunshots abruptly end the sequence in black.
Storyboard template to help (1)
The document provides a shot-by-shot storyboard summary for a scene from Little Red Riding Hood. It describes 14 shots of Red Riding Hood leaving her mother's house and skipping through the woods. It then shows the wolf following Red Riding Hood's scent trail, grabbing her basket, and chasing her to Grandma's house.
Final edit2
The document outlines a shot list for a film depicting Little Red Riding Hood. It includes various shots of Red Riding Hood being given food by her mother and walking through the woods, the wolf following her scent and encountering her, and both taking refuge in Grandma's house from the wolf. Grandma then emerges as a karate expert and defeats the wolf, sending him fleeing from the house.
Final edit2
The document outlines a shot list for a film involving Little Red Riding Hood. It describes various shots that would be used to tell the story, including establishing shots of Red Riding Hood leaving home, interacting with the wolf in the woods, escaping to her grandmother's house, and her grandmother defending them from the wolf through martial arts. The grandmother is then seen sending the wolf away and disciplining Red Riding Hood for eating all the food.
Final edit2
The document outlines a shot list for a film involving Little Red Riding Hood. It includes various shots of Red Riding Hood being given food by her mother and walking into the woods, encountering a wolf who follows her scent trail, a chase scene ending with Red Riding Hood hiding in her grandmother's house, and grandmother revealing her secret martial arts skills to defeat the wolf.
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