An introduction to mise en scene, cinematography, editing and sound
for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
Cinematography refers to the art of motion picture photography and includes camera shots, angles, and movements that help tell a visual story. The cinematographer, also known as the director of photography, is responsible for creative decisions around camera work. Different types of shots like close-ups, long shots, and point-of-view shots can convey different meanings depending on the context. Camera movements such as pans, zooms, tracks, tilts and handheld shots also impact the audience's experience. Together, camera techniques are an essential part of visual storytelling in films, videos, and other moving images.
Film Language: Camera angles and shot size introduction for Film Studies. Als...Ian Moreno-Melgar
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera shot sizes and angles. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've labelled what the film is. Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies.
This document provides an overview of key cinematography techniques used to convey meaning and emotion in film, including lighting, color, camera work, and composition. It discusses two main approaches to lighting - realistic lighting using three-point lighting for a natural look, and expressive low-key lighting to create shadow and mood. It also covers camera angles, movement, position/framing, composition using rules of thirds, and depth of field. Examples are given from famous films to illustrate different techniques.
The document discusses analyzing film shots through mise-en-scene and visual signifiers. It defines mise-en-scene as everything visible in a scene and explains that it provides context about characters, genre, time and location. Visual signifiers are specific mise-en-scene elements that convey meaning. Analyzing shots involves identifying how costume, props, lighting, location and body language are used and what they reveal about the film, characters and story.
Camera shots commonly used in movie making and what they are used for, with examples (pictures and gifs) of each given about the explanation, all from some good movies.
An introduction to mise en scene, cinematography, editing and sound
for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
Cinematography refers to the art of motion picture photography and includes camera shots, angles, and movements that help tell a visual story. The cinematographer, also known as the director of photography, is responsible for creative decisions around camera work. Different types of shots like close-ups, long shots, and point-of-view shots can convey different meanings depending on the context. Camera movements such as pans, zooms, tracks, tilts and handheld shots also impact the audience's experience. Together, camera techniques are an essential part of visual storytelling in films, videos, and other moving images.
Film Language: Camera angles and shot size introduction for Film Studies. Als...Ian Moreno-Melgar
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera shot sizes and angles. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've labelled what the film is. Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies.
This document provides an overview of key cinematography techniques used to convey meaning and emotion in film, including lighting, color, camera work, and composition. It discusses two main approaches to lighting - realistic lighting using three-point lighting for a natural look, and expressive low-key lighting to create shadow and mood. It also covers camera angles, movement, position/framing, composition using rules of thirds, and depth of field. Examples are given from famous films to illustrate different techniques.
The document discusses analyzing film shots through mise-en-scene and visual signifiers. It defines mise-en-scene as everything visible in a scene and explains that it provides context about characters, genre, time and location. Visual signifiers are specific mise-en-scene elements that convey meaning. Analyzing shots involves identifying how costume, props, lighting, location and body language are used and what they reveal about the film, characters and story.
Camera shots commonly used in movie making and what they are used for, with examples (pictures and gifs) of each given about the explanation, all from some good movies.
This document defines and describes different types of camera shots including establishing shots, extreme long shots, long shots, medium shots, close ups, and extreme close ups. It also covers camera angles such as bird's-eye view, worm's-eye view, and Dutch angles. Finally, it discusses camera movements including tilts, dolly shots, and pans. The learning objective is to understand these key cinematography terms and how different shots can affect the audience.
The document describes different types of shot sizes and angles used in filmmaking. It explains that extreme close-ups focus on intense detail like the eye or mouth to show emotion, while close-ups are still personal but show less detail. Medium shots can display both facial expressions and body language. Mid and long shots provide more context of the subject and surroundings. Establishing shots introduce the setting. Two shots frame two conversing people from the waist up. Low angles make the subject appear powerful while high angles create sympathy.
Film Language: Editing explanation examples and worksheets. Ian Moreno-Melgar
A long and detailed look at what editing is in Film and how it helps to not only present a story to the audience but how it functions on a technical level. The presentation is broadly split into two areas: Pace and Transitions. Each section contains a definition, a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
This document provides an overview of different styles and techniques used in documentary filmmaking. It discusses cinéma vérité style, which combines naturalistic techniques with staged elements. It also outlines three basic documentary structures: observational, using only filmed material without interference; standard, which may include voiceovers and interviews; and documentary drama, which uses reconstructions. The document then covers various documentary styles developed by Bill Nichols, including poetic, observational, reflexive, expository, participatory, and performative. It concludes by discussing techniques for storytelling, scripting, shooting video, and editing documentaries.
1. Cinematographers control light and shape it to create the filmmaker's vision. They must also operate complex camera equipment.
2. A cinematographer must choose whether to shoot on film or video. Factors include budget, desired look, distribution method, and audience viewing experience. Film offers higher resolution but is more expensive, while digital is cheaper but lacks film's look.
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.
The document summarizes several genres of photography including photojournalism, social reportage, portrait, landscape, still life, night, wildlife, studio/fashion, and street photography. Examples are provided for each genre along with a brief description of the photographer's style and how they employ techniques like depth of field, lighting, composition etc. Key details about each photo are highlighted such as the subjects, settings, and narrative conveyed.
This document discusses various techniques of cinematography including quality, framing, scale, and movement. It covers topics such as color, lighting, depth of field, exposure, racking focus, aspect ratio, angles, lenses, and more. Cinematography aims to achieve the desired photographic images through composition, lighting, camerawork, and special effects to tell a story.
The Use of Mise en-Scene in Our Short Filmkhalfyard
The document discusses the filmmaking technique of mise-en-scene and provides examples of how the film production company HELK Productions incorporated mise-en-scene into their psychological thriller film. It describes mise-en-scene as the arrangement of scenery, props, lighting, costumes, etc. on a film set to help audiences understand the story and characters. The document then analyzes several scenes from the film, explaining how elements of mise-en-scene like lighting, backgrounds, props, framing/angles, body language, and costumes were used to convey meaning and move the narrative forward. It highlights how mise-en-scene was a key aspect in balancing the power dynamics between the main characters
The document discusses the concept of mise-en-scène in film analysis. Mise-en-scène refers to everything within the frame of a shot, including settings, costumes, lighting, positioning of characters, and more. There are five key elements of mise-en-scène: settings and props, costumes/hair/makeup, facial expressions and body language, lighting and color, and positioning of characters/objects. Each element conveys meaning and is used together to tell the story, set the atmosphere, and provide information to the audience.
- The document discusses theories of audience reception for the murder mystery genre, including Barthes' Enigma Code and Hall's Reception Theory. It also discusses factors that influence the audience for murder mysteries, such as age, gender, employment status.
- The author conducted a questionnaire of 25 people about their murder mystery viewing habits. It found that most viewers are older teenagers and young adults who are not married. It also found viewers prefer films with both a murder and kidnapping that feature a charismatic, intelligent protagonist and a violent antagonist.
- The results indicate Hall's Reception Theory applies as different demographics view and interpret murder mystery films in different ways.
There are several types of documentary films that have evolved over time:
1. Expository documentaries use narration to directly address the audience and interpret what they see. This is one of the oldest forms.
2. Observational documentaries became possible in the 1960s as cameras got smaller and less intrusive, allowing filmmakers to record social interactions without interfering.
3. Participatory documentaries involve the filmmaker actively engaging with and asking questions of their subjects.
4. Reflexive documentaries from the 1980s demonstrate awareness of the process of interpreting documentaries and issues of realism.
5. Performative documentaries acknowledge the emotional and subjective aspects of documentaries.
This document provides an introduction to cinematography techniques and how they are used to communicate meaning in films. It defines cinematography and discusses various shot types like close-ups, two shots, and point of view shots. It also covers different angles like high angles and low angles. The document aims to help readers understand cinematography and how framing, shot types, and angles are used to influence audience experience and emphasize important people or objects. It includes example screenshots and describes how various techniques can be used to elicit emotions from viewers.
Film Language: Camera Movements in Cinema and Film Studies. Ian Moreno-Melgar
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera movement. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've used SlideShare and YouTube to embed the relevant videos which is why some images or slides may appear repeated. Included on the slide are a list of the videos referred to and used. . Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies
This was a task given by my teacher in Media studies session. Here is a presentation about the Camera Angles and Camera Movements. I have taken those pictures on my own to show the different camera angles.
Mise-en-scene refers to all the visual elements that a director can control within a scene, such as setting, costumes, lighting, staging of actors, and props. These elements are used to convey meaning and direct the audience's attention. Key aspects of mise-en-scene include setting, which establishes time and place; costumes and makeup, which provide clues about characters; lighting, which sets mood and guides vision; and staging of actors and their movements. Directors manipulate these various visual elements of mise-en-scene to achieve different artistic goals for their films.
This document discusses common elements of horror films including typical synopses involving revenge, hauntings, demons, and serial killers. It notes that horror films often take place in abandoned buildings at night and feature props like weapons and masks. Common characters include victims, villains like serial killers, "stupid" teenagers, and possessed children. The camera work aims to induce fear through techniques like high and low angles, point-of-view shots, handheld footage, and disturbing sounds.
Shot sizes in television production are determined by the distance between the camera and subject. Common shot sizes include extreme close-up, close-up, medium, medium wide, and wide shots. Extreme close-ups show only part of the face while close-ups show the face and shoulders. Medium shots show the upper body and head. Medium wide shots show the body cut off at the legs to also include the physical setting. Wide shots show the entire body from head to toe.
The document discusses several common codes and conventions of horror movies. It notes that codes and conventions help audiences recognize a film as belonging to the horror genre. Some key conventions mentioned include isolated locations like old houses; dark, gloomy weather; camerawork like point-of-view shots that build tension; and sound effects like screaming and ominous music. The document also suggests ways these conventions could be manipulated or challenged in a new horror film to surprise audiences while still engaging them.
A shot is a series of frames recorded during an uninterrupted period of filming. There are various types of shots defined by their camera distance, angle, and movement. Shots can be categorized as extreme long shots, long shots, mid shots, close-ups, point-of-view shots, and more. Camera angles are also used to convey meaning, such as high angles conveying inferiority and low angles conveying superiority. Camera movement techniques include panning for horizontal rotation, tilting for vertical rotation, zooming, and tracking with a dolly.
The document describes various types of camera movement used in filmmaking including pans, tilts, spins, zooms, tracking, rack focus, and crane/aerial shots. Pans involve horizontal movement, tilts involve vertical movement, spins involve rotating the camera, zooms change the lens to alter perspective, tracking combines dolly, pedestal and trucking movements, rack focus changes focus between subjects, and crane/aerial shots are mounted high and move in various directions. Each type of movement is used to achieve different cinematic purposes such as establishing shots, introducing characters, showing disorientation, drawing focus, revealing details through point of view, or showing birds-eye views.
This document defines and describes different types of camera shots including establishing shots, extreme long shots, long shots, medium shots, close ups, and extreme close ups. It also covers camera angles such as bird's-eye view, worm's-eye view, and Dutch angles. Finally, it discusses camera movements including tilts, dolly shots, and pans. The learning objective is to understand these key cinematography terms and how different shots can affect the audience.
The document describes different types of shot sizes and angles used in filmmaking. It explains that extreme close-ups focus on intense detail like the eye or mouth to show emotion, while close-ups are still personal but show less detail. Medium shots can display both facial expressions and body language. Mid and long shots provide more context of the subject and surroundings. Establishing shots introduce the setting. Two shots frame two conversing people from the waist up. Low angles make the subject appear powerful while high angles create sympathy.
Film Language: Editing explanation examples and worksheets. Ian Moreno-Melgar
A long and detailed look at what editing is in Film and how it helps to not only present a story to the audience but how it functions on a technical level. The presentation is broadly split into two areas: Pace and Transitions. Each section contains a definition, a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
This document provides an overview of different styles and techniques used in documentary filmmaking. It discusses cinéma vérité style, which combines naturalistic techniques with staged elements. It also outlines three basic documentary structures: observational, using only filmed material without interference; standard, which may include voiceovers and interviews; and documentary drama, which uses reconstructions. The document then covers various documentary styles developed by Bill Nichols, including poetic, observational, reflexive, expository, participatory, and performative. It concludes by discussing techniques for storytelling, scripting, shooting video, and editing documentaries.
1. Cinematographers control light and shape it to create the filmmaker's vision. They must also operate complex camera equipment.
2. A cinematographer must choose whether to shoot on film or video. Factors include budget, desired look, distribution method, and audience viewing experience. Film offers higher resolution but is more expensive, while digital is cheaper but lacks film's look.
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.
The document summarizes several genres of photography including photojournalism, social reportage, portrait, landscape, still life, night, wildlife, studio/fashion, and street photography. Examples are provided for each genre along with a brief description of the photographer's style and how they employ techniques like depth of field, lighting, composition etc. Key details about each photo are highlighted such as the subjects, settings, and narrative conveyed.
This document discusses various techniques of cinematography including quality, framing, scale, and movement. It covers topics such as color, lighting, depth of field, exposure, racking focus, aspect ratio, angles, lenses, and more. Cinematography aims to achieve the desired photographic images through composition, lighting, camerawork, and special effects to tell a story.
The Use of Mise en-Scene in Our Short Filmkhalfyard
The document discusses the filmmaking technique of mise-en-scene and provides examples of how the film production company HELK Productions incorporated mise-en-scene into their psychological thriller film. It describes mise-en-scene as the arrangement of scenery, props, lighting, costumes, etc. on a film set to help audiences understand the story and characters. The document then analyzes several scenes from the film, explaining how elements of mise-en-scene like lighting, backgrounds, props, framing/angles, body language, and costumes were used to convey meaning and move the narrative forward. It highlights how mise-en-scene was a key aspect in balancing the power dynamics between the main characters
The document discusses the concept of mise-en-scène in film analysis. Mise-en-scène refers to everything within the frame of a shot, including settings, costumes, lighting, positioning of characters, and more. There are five key elements of mise-en-scène: settings and props, costumes/hair/makeup, facial expressions and body language, lighting and color, and positioning of characters/objects. Each element conveys meaning and is used together to tell the story, set the atmosphere, and provide information to the audience.
- The document discusses theories of audience reception for the murder mystery genre, including Barthes' Enigma Code and Hall's Reception Theory. It also discusses factors that influence the audience for murder mysteries, such as age, gender, employment status.
- The author conducted a questionnaire of 25 people about their murder mystery viewing habits. It found that most viewers are older teenagers and young adults who are not married. It also found viewers prefer films with both a murder and kidnapping that feature a charismatic, intelligent protagonist and a violent antagonist.
- The results indicate Hall's Reception Theory applies as different demographics view and interpret murder mystery films in different ways.
There are several types of documentary films that have evolved over time:
1. Expository documentaries use narration to directly address the audience and interpret what they see. This is one of the oldest forms.
2. Observational documentaries became possible in the 1960s as cameras got smaller and less intrusive, allowing filmmakers to record social interactions without interfering.
3. Participatory documentaries involve the filmmaker actively engaging with and asking questions of their subjects.
4. Reflexive documentaries from the 1980s demonstrate awareness of the process of interpreting documentaries and issues of realism.
5. Performative documentaries acknowledge the emotional and subjective aspects of documentaries.
This document provides an introduction to cinematography techniques and how they are used to communicate meaning in films. It defines cinematography and discusses various shot types like close-ups, two shots, and point of view shots. It also covers different angles like high angles and low angles. The document aims to help readers understand cinematography and how framing, shot types, and angles are used to influence audience experience and emphasize important people or objects. It includes example screenshots and describes how various techniques can be used to elicit emotions from viewers.
Film Language: Camera Movements in Cinema and Film Studies. Ian Moreno-Melgar
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera movement. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've used SlideShare and YouTube to embed the relevant videos which is why some images or slides may appear repeated. Included on the slide are a list of the videos referred to and used. . Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies
This was a task given by my teacher in Media studies session. Here is a presentation about the Camera Angles and Camera Movements. I have taken those pictures on my own to show the different camera angles.
Mise-en-scene refers to all the visual elements that a director can control within a scene, such as setting, costumes, lighting, staging of actors, and props. These elements are used to convey meaning and direct the audience's attention. Key aspects of mise-en-scene include setting, which establishes time and place; costumes and makeup, which provide clues about characters; lighting, which sets mood and guides vision; and staging of actors and their movements. Directors manipulate these various visual elements of mise-en-scene to achieve different artistic goals for their films.
This document discusses common elements of horror films including typical synopses involving revenge, hauntings, demons, and serial killers. It notes that horror films often take place in abandoned buildings at night and feature props like weapons and masks. Common characters include victims, villains like serial killers, "stupid" teenagers, and possessed children. The camera work aims to induce fear through techniques like high and low angles, point-of-view shots, handheld footage, and disturbing sounds.
Shot sizes in television production are determined by the distance between the camera and subject. Common shot sizes include extreme close-up, close-up, medium, medium wide, and wide shots. Extreme close-ups show only part of the face while close-ups show the face and shoulders. Medium shots show the upper body and head. Medium wide shots show the body cut off at the legs to also include the physical setting. Wide shots show the entire body from head to toe.
The document discusses several common codes and conventions of horror movies. It notes that codes and conventions help audiences recognize a film as belonging to the horror genre. Some key conventions mentioned include isolated locations like old houses; dark, gloomy weather; camerawork like point-of-view shots that build tension; and sound effects like screaming and ominous music. The document also suggests ways these conventions could be manipulated or challenged in a new horror film to surprise audiences while still engaging them.
A shot is a series of frames recorded during an uninterrupted period of filming. There are various types of shots defined by their camera distance, angle, and movement. Shots can be categorized as extreme long shots, long shots, mid shots, close-ups, point-of-view shots, and more. Camera angles are also used to convey meaning, such as high angles conveying inferiority and low angles conveying superiority. Camera movement techniques include panning for horizontal rotation, tilting for vertical rotation, zooming, and tracking with a dolly.
The document describes various types of camera movement used in filmmaking including pans, tilts, spins, zooms, tracking, rack focus, and crane/aerial shots. Pans involve horizontal movement, tilts involve vertical movement, spins involve rotating the camera, zooms change the lens to alter perspective, tracking combines dolly, pedestal and trucking movements, rack focus changes focus between subjects, and crane/aerial shots are mounted high and move in various directions. Each type of movement is used to achieve different cinematic purposes such as establishing shots, introducing characters, showing disorientation, drawing focus, revealing details through point of view, or showing birds-eye views.
2. De manier waarop jullie de scènes in beeld
brengen, bepaalt wat de kijker ziet en welke
sfeer de scène meekrijgt. Hoe je de camera
beweegt, op welke hoogte en vanuit welke hoek
bijvoorbeeld. Je zult merken dat fotografie en film
veel overeenkomsten hebben.
Aan de hand van ‘stills’ uit bekende speelfilms
gaan we de beeldkaders duidelijk maken.
3. Beeldkaders:
• Groot totaal
• Totaal
• Two shot
• Medium shot
• Head and shoulders
• Close up
• Extreme close up
4. Groot totaal shot
Is een shot waarbij de kijker een overzicht te zien
krijgt. Je ziet de locatie, de acteurs; het is een
duidelijk geheel.
Bron: Kennisnet
5. Groot totaal Beeldkader • Groot totaal
Compositie • neutraal
Film • Saving private Ryan
Personen • scherp
Achtergrond • onscherp
Neutraal • perspectief
6. Groot totaal Persoon • scherp
Achtergrond • scherp
Vogelvlucht • perspectief
Beeldkader • Groot totaal
Compositie • neutraal
Film • Titanic
7. Kijklijn
Op het moment dat je filmbeelden bekijkt volg
je het zoals de regisseur het bedoeld heeft. Het
beeldkader en de compositie bepalen hou jij kijkt
als toeschouwer. Dit heet de ‘kijklijn’. In de vol-gende
scenes worden de kijklijnen aangegeven.
De kleur bepaalt de volgorde van kijken.
1 2 3 ki j klijn
11. Persoon • scherp
Achtergrond • scherp
Normaal • perspectief
Beeldkader • Groot totaal
Compositie • symmetries
Film • Once upon a time in
the west
Kijklijn
1 2 3
12. Totaal shot
Het totaal shot laat al iets meer zien; de locatie
komt dichterbij en het wordt steeds duidelijker
wat de acteurs doen. Als je een mooi shot maakt,
zal de kijker zich er steeds meer in herkennen Je
voelt je als kijker meer betrokken bij wat je ziet.
Bron: Kennisnet
15. Two shot
De term ‘two shot’ geeft aan hoeveel mensen je
in beeld wil hebben. Wil je drie mensen, is het
een ‘three shot’. De acteurs worden al wat zicht-baarder
en de kijker weet nu dat het om deze
twee personen gaat.
Bron: Kennisnet
16. Two shot Persoon • scherp
Achtergrond • scherp
Neutraal • perspectief
Beeldkader • Two shot
Compositie • symmetries
Film • Detachment
kijklijn
17. Persoon • scherp
Achtergrond • onscherp
Neutraal • perspectief
Beeldkader • Two shot
Compositie • symmetries
Film • Titanic
kijklijn
Two shot
18. Medium shot
Met een medium shot laat je de mensen kennis-maken
met de acteur. Een medium shot is van
middel tot en met hoofd.
Bron: Kennisnet
19. Persoon • scherp
Achtergrond • onscherp
Neutraal • perspectief
Beeldkader • Medium
Compositie • asymmetries
Film • Casino Royale
kijklijn
Medium shot
20. Persoon • scherp
Achtergrond • onscherp
Neutraal • perspectief
Beeldkader • Medium
Compositie • symmetries
Film • The dark knight
kijklijn
Medium shot
21. Head and shoulders
Met dit beeldkader breng je de persoon van
schouders tot en met hoofd in beeld. Doe dit
beeldvullend, en zorg dat de acteur er zo mooi
mogelijk en zo duidelijk mogelijk op komt te
staan. De emotie van deze persoon wordt steeds
duidelijker.
Bron: Kennisnet
22. Persoon • scherp
Achtergrond • onscherp
Neutraal • perspectief
Beeldkader • head and shoulder
Compositie • symmetries
Film • X-men
Head and shoulders
23. Persoon • scherp
Achtergrond • onscherp
Neutraal • perspectief
Beeldkader • head and shoulder
Compositie • symmetries
Film • Invasion
Head and shoulders
24. Close up
Dit is waarschijnlijk de meest bekende term. Met
een close up zorg je ervoor dat de acteur alleen
met het hoofd in beeld komt. Een beetje ruimer
kader of een beetje van de nek erbij is niet erg,
maar het gaat erom de kijker nog meer te betrek-ken
bij deze persoon
Bron: Kennisnet
25. Persoon • scherp
Achtergrond • onscherp
Neutraal • perspectief
Beeldkader • Close up
Compositie • asymmetries
Film • Saving private Ryan
Close up
26. Persoon • scherp
Achtergrond • onscherp
Neutraal • perspectief
Beeldkader • Close up
Compositie • asymmetries
Film • Rebel (Bollywood)
Close up
27. Extreme close up
Met dit beeldkader bereik je dat de kijker erg alert
wordt; hier is wat aan de hand. Dit komt doordat
je in het dagelijks leven maar af en toe zo dicht
bij iemands gezicht komt. Als je emotie wilt over-brengen
door middel van een extreme close up
komt het dus keihard over.
Bron: Kennisnet
28. Persoon • scherp
Achtergrond • scherp
Neutraal • perspectief
Beeldkader • extreme close up
Compositie • symmetries
Film • Once upon a time
in the west
Extreme close up
29. Beeldkader • extreme close up
Compositie • asymmetries
Film • Xmen
Persoon • scherp
Achtergrond • scherp
Neutraal • perspectief
Extreme close up
30. Beeldkader TIP
Op vakantiekiekjes zie je vaak dat iemand recht
de camera inkijkt met de ogen precies in het mid-den,
dit geeft een heel onnatuurlijk beeld.
Als je een persoon in beeld brengt, zorg dan
dat je de ogen altijd op 2/3 of 3/4 van het beeld
staan.
Bron: Kennisnet
31. Daarnaast hoeft de persoon natuurlijk niet recht
in de camera te kijken, vaak zie je dat de ogen
net iets langs de camera gericht zijn, of duidelijk
ergens anders naar kijken.
Zie ook de ‘Regel van derden’ .
