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G321/G322 TECHNICAL ASPECTS OF MOVING IMAGE
MISE EN SCENE ,[object Object],[object Object],[object Object],[object Object],[object Object]
CINEMATOGRAPHY  ,[object Object],[object Object],[object Object]
PERFORMANCE AND MOVEMENT. ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
ANALYSE THE  MISE EN SCENE  OF THIS IMAGE
ANALYSE THE  MISE EN SCENE  OF THIS IMAGE
LIGHTING ,[object Object],[object Object],[object Object]
LIGHTING ,[object Object],[object Object],[object Object],[object Object]
THREE POINT LIGHTING   Click  here  for more on  three point lighting
HIGH KEY  LIGHTING  THE VIRGIN SUICIDES  (COPPOLA, 1999)
LOW KEY  LIGHTING  CITIZEN KANE  (WELLES, 1941)
RED HUE   MEAN STREETS  (SCORSESE, 1973)
CAMERA ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
ANGLE ,[object Object]
HIGH ANGLE   FARGO  (COEN BROS, 1996)
LOW ANGLE  CITIZEN KANE  (WELLES, 1941)
DUTCH ANGLE   FALLEN ANGELS  (WONG KAR-WAI, 1995)
MOVEMENT ,[object Object],[object Object],[object Object],[object Object]
MOVEMENT ,[object Object],[object Object],[object Object],[object Object]
POSITION ,[object Object],[object Object]
EXTREME LONG SHOT
LONG SHOT
MEDIUM SHOT
CLOSE UP
EXTREME CLOSE UP
COMPOSITION ,[object Object],[object Object],[object Object],[object Object]
RULE OF THIRDS  DEAD MAN  (JARMUSCH, 1995)
DEPTH OF FIELD ,[object Object],[object Object],[object Object],[object Object],[object Object]
SELECTIVE FOCUS  ELEPHANT  (VAN SANT, 2002)
DEEP FOCUS   CITIZEN KANE  (WELLES, 1941)
EDITING ,[object Object],[object Object]
TRANSITION ,[object Object],[object Object],[object Object],[object Object]
FADE  – THE PRECEDING SHOT FADES INTO BLACK FROM WHICH THE FOLLOWING SHOT EMERGES.
FADE  – THE PRECEDING SHOT FADES INTO BLACK FROM WHICH THE FOLLOWING SHOT EMERGES.
FADE  – THE PRECEDING SHOT FADES INTO BLACK FROM WHICH THE FOLLOWING SHOT EMERGES.
DISSOLVE OR CROSS FADE  – THE PRECEDING SHOT MERGES INTO THE FOLLOWING SHOT, RESULTING IN THE TWO SHOTS BEING SUPERIMPOSED. THE LONGER THE DISSOLVE THE MORE NOTICEABLE THE SUPERIMPOSITION BECOMES.
DISSOLVE OR CROSS FADE  – THE PRECEDING SHOT MERGES INTO THE FOLLOWING SHOT, RESULTING IN THE TWO SHOTS BEING SUPERIMPOSED. THE LONGER THE DISSOLVE THE MORE NOTICEABLE THE SUPERIMPOSITION BECOMES.
DISSOLVE OR CROSS FADE  – THE PRECEDING SHOT MERGES INTO THE FOLLOWING SHOT, RESULTING IN THE TWO SHOTS BEING SUPERIMPOSED. THE LONGER THE DISSOLVE THE MORE NOTICEABLE THE SUPERIMPOSITION BECOMES.
SHOT DURATION ,[object Object],[object Object],[object Object]
SHOT DURATION ,[object Object],[object Object],[object Object]
CONTINUITY ,[object Object],[object Object]
IN THIS EXAMPLE, THE TWO CHARACTERS APPEAR TO HAVE SWAPPED PLACES WHEN THE 180 DEGREE LINE IS CROSSED. 180 DEG REE LINE Click  here  to see this ‘rule’ explained further.
30 DEGREE ‘RULE’ ,[object Object]
EYE LINE MATCH ,[object Object]
MATCH ON ACTION   THE MALTESE FALCON  (HUSTON,1941) ,[object Object]
SHOT/REVERSE SHOT ,[object Object],[object Object]
OTHER CONTINUITY DEVICES ,[object Object],[object Object],[object Object],[object Object]
MONTAGE ,[object Object]
SOUND ,[object Object],[object Object],[object Object],[object Object]
DIEGETIC  ,[object Object],[object Object],[object Object],[object Object],[object Object]
NON- DIEGETIC ,[object Object],[object Object],[object Object],[object Object],[object Object]

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As media technical aspects of moving image

  • 1. G321/G322 TECHNICAL ASPECTS OF MOVING IMAGE
  • 2.
  • 3.
  • 4.
  • 5. ANALYSE THE MISE EN SCENE OF THIS IMAGE
  • 6. ANALYSE THE MISE EN SCENE OF THIS IMAGE
  • 7.
  • 8.
  • 9. THREE POINT LIGHTING Click here for more on three point lighting
  • 10. HIGH KEY LIGHTING THE VIRGIN SUICIDES (COPPOLA, 1999)
  • 11. LOW KEY LIGHTING CITIZEN KANE (WELLES, 1941)
  • 12. RED HUE MEAN STREETS (SCORSESE, 1973)
  • 13.
  • 14.
  • 15. HIGH ANGLE FARGO (COEN BROS, 1996)
  • 16. LOW ANGLE CITIZEN KANE (WELLES, 1941)
  • 17. DUTCH ANGLE FALLEN ANGELS (WONG KAR-WAI, 1995)
  • 18.
  • 19.
  • 20.
  • 26.
  • 27. RULE OF THIRDS DEAD MAN (JARMUSCH, 1995)
  • 28.
  • 29. SELECTIVE FOCUS ELEPHANT (VAN SANT, 2002)
  • 30. DEEP FOCUS CITIZEN KANE (WELLES, 1941)
  • 31.
  • 32.
  • 33. FADE – THE PRECEDING SHOT FADES INTO BLACK FROM WHICH THE FOLLOWING SHOT EMERGES.
  • 34. FADE – THE PRECEDING SHOT FADES INTO BLACK FROM WHICH THE FOLLOWING SHOT EMERGES.
  • 35. FADE – THE PRECEDING SHOT FADES INTO BLACK FROM WHICH THE FOLLOWING SHOT EMERGES.
  • 36. DISSOLVE OR CROSS FADE – THE PRECEDING SHOT MERGES INTO THE FOLLOWING SHOT, RESULTING IN THE TWO SHOTS BEING SUPERIMPOSED. THE LONGER THE DISSOLVE THE MORE NOTICEABLE THE SUPERIMPOSITION BECOMES.
  • 37. DISSOLVE OR CROSS FADE – THE PRECEDING SHOT MERGES INTO THE FOLLOWING SHOT, RESULTING IN THE TWO SHOTS BEING SUPERIMPOSED. THE LONGER THE DISSOLVE THE MORE NOTICEABLE THE SUPERIMPOSITION BECOMES.
  • 38. DISSOLVE OR CROSS FADE – THE PRECEDING SHOT MERGES INTO THE FOLLOWING SHOT, RESULTING IN THE TWO SHOTS BEING SUPERIMPOSED. THE LONGER THE DISSOLVE THE MORE NOTICEABLE THE SUPERIMPOSITION BECOMES.
  • 39.
  • 40.
  • 41.
  • 42. IN THIS EXAMPLE, THE TWO CHARACTERS APPEAR TO HAVE SWAPPED PLACES WHEN THE 180 DEGREE LINE IS CROSSED. 180 DEG REE LINE Click here to see this ‘rule’ explained further.
  • 43.
  • 44.
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  • 47.
  • 48.
  • 49.
  • 50.
  • 51.