Proxemics 2
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Edward T. Hall proposed a theory of proxemics to analyze how physical distance between people affects their behavior. He identified four categories of distance: intimate distance (touching), personal distance (1.5-4 feet for friends), social distance (4-12 feet for acquaintances), and public distance (12+ feet for strangers). A film director can use shot size and camera placement to convey psychological attitudes about characters and situations based on the distances between them.
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Proxemics is the study of how humans use space and distance in communication. It is a subcategory of nonverbal communication. There are four distances in proxemics defined by Hall: intimate, personal, social, and public. Intimate distance is closest at 0-18 inches while public is furthest at 12-25 feet. Spaces are also categorized as fixed features like buildings, semi-fixed features like furniture arrangements, and informal spaces around individuals. Personal space and territoriality play important roles in communication and relationships between people. Understanding proxemics provides insights into human behavior and interaction.
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This document discusses kinesics, which is the study of body language and non-verbal communication. It describes several aspects of kinesics including personal appearance, posture, eye contact, proxemics, chronemics, and paralinguistics. Personal appearance, posture, and eye contact send messages about how we present ourselves and relate to others. Proxemics refers to the use of space in communication. Chronemics involves how time is used to convey information. Paralinguistics features include vocal cues like volume and pitch.
Social Perception (Perceiving and Understanding Others)
Social perception involves forming impressions of and understanding others based on verbal and nonverbal cues. There are several key aspects and channels of social perception.
Nonverbal communication, which makes up a large portion of how we understand others, occurs through various channels including facial expressions, eye contact, body language, gestures, and others. These channels can provide cues to emotions, attitudes, and traits. Accuracy in social perception is an important part of social competence and functioning well with others.
Lesson 004 part i
Social perception involves forming impressions of and making inferences about other people based on verbal and nonverbal cues. This document outlines several key aspects of social perception, including nonverbal communication cues like facial expressions, eye contact, gestures, and body language. It discusses how these cues are used in social competence and forming impressions. Specific nonverbal channels covered include facial expressions, eye contact, gestures including emblems, illustrators, and adaptors, and body movements and postures. Culture can influence the expression and interpretation of emotional cues. Being able to accurately perceive and understand social cues is an important part of social interaction and competence.
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Tone and Space
The document discusses different types of cinematographic space including flat space, deep space, limited space, and ambiguous space. Flat space emphasizes the two-dimensional screen and lacks depth cues, while deep space uses techniques like size change and perspective to create the illusion of three-dimensional depth. Limited space includes some depth cues but only frontal surfaces, and ambiguous space makes the spatial relationships unclear. Tone, color, position, contrast, and other visual elements can be manipulated to achieve different types of spaces.
Visual Form
This document discusses various visual forms including frames, graphic layouts, city forms, Rome in 1764, biological forms, cellular automata, and selective focus. It touches on different types of visual representations across domains like architecture, biology, and graphics. The document provides a high-level overview of visual forms without going into detail about any single topic.
Space
The document discusses different types of visual space in cinematography including:
- Deep space, which gives the illusion of 3D through techniques like perspective and size differences.
- Flat space, which emphasizes the 2D screen through frontal walls and actors on the same plane.
- Limited space, which uses some depth cues like size change but no longitudinal planes.
- Ambiguous space, where the spatial relationships are unclear due to limited lighting or other factors obscuring depth cues.
Rule of Thirds
The rule of thirds divides an image into a 3x3 grid with two vertical and two horizontal lines. Placing subjects or points of interest along these lines or their intersections is more visually appealing than centering them. This grid helps photographers and filmmakers compose shots that draw the viewer's eye naturally to the intended areas.
Proxemics 1
Edward T. Hall proposed a theory of proxemics to analyze how physical distance between people affects their behavior. He identified four categories of distance: intimate distance (touching), personal distance (1.5-4 feet for friends), social distance (4-12 feet for acquaintances), and public distance (12+ feet for strangers). A film director can use shot size and camera placement to convey psychological attitudes about characters and situations based on the distances between them.
Lens Language
The document discusses key aspects of cinematography including lenses, focal lengths, f-stops, depth of field, and neutral density filters. It explains that lenses allow light to enter the camera and impact exposure. F-stops regulate the aperture opening to control the amount of light entering. Different focal lengths like wide angle, normal, and telephoto lenses impact the perspective and how subjects appear in the frame. Neutral density filters are also used to decrease the amount of light entering the camera. Understanding these visual language tools is essential for visual storytelling.
Eyeline
The document discusses how eye lines and camera angles create different levels of empathy and perspective between the audience and the characters. It explains that a direct eye line and close camera angle results in the highest level of empathy, while a profile or back view creates more objective distance. As tension and drama increase in a scene, eye lines tend to move closer to the camera. The exact direction of the eye line compared to the face can also subtly influence the perceived expression or perspective.
Deep Focus
Deep focus composition uses a short focal length lens to keep all three planes of a scene - foreground, middle ground, and background - in sharp focus, creating an illusion of depth. It allows the cinematographer to exploit the size and placement of people and objects in the frame to convey meaning and conflict. The arrangement and scale of objects between the planes can determine meaning in a film, with small exaggerated objects in the foreground emphasizing important meaning to the audience.
Basic Framing
This document discusses basic principles of framing and composition in visual media, including positioning key information on the left and counterpoints on the right to balance the frame, using consistent eye lines, and leveraging negative space and ambiguity to add tension or restore compositional balance.
The Colour Palette of Film
The document discusses how color palettes are used in films to convey moods, themes, and separate storylines. It provides examples of how specific films used color:
1) The Hours used different color filters and hues to separate the time periods and characters, giving Virginia Woolf's scenes a sepia tone, Julianne Moore's a pastel yellow, and Meryl Streep's a cold blue.
2) Munich defined each location with a specific color to orient viewers, with Beirut in blue-green, Rome warmer, Paris less saturated, and New York grainy.
3) Traffic used a blue/orange complementary scheme, with Mexico in orange and Ohio in blue.
Single source
Georges de la Tour was a 17th century French painter born in Lorraine who was influenced by Caravaggio and Rembrandt early in his career after traveling to Italy and the Netherlands. De la Tour is known for illuminating his paintings with a single source of light, often a candle placed just outside the frame, which allowed him to imagine and paint scenes lit by one candle in a way that photography could not capture for over 300 years. He had an intuitive understanding of how light from the candle flame would spread and used hands or arms to cover the actual light source to draw attention to faces and expressions.
Psychological Properties of Colours
This document discusses the psychological properties and associations of different colors. Red is associated with physical attributes like strength and aggression. Blue is associated with intelligence, communication, and calmness. Yellow is associated with emotions like optimism and creativity but also irrationality and anxiety. Green represents balance, harmony, and peace while violet signifies spirituality.
Lighting Plans
The document outlines different lighting plans and experiments for morning and day scenes in cinematography. It lists lighting setups for morning scene 1 and 2 including normal lighting, no fill light, flashing light at 15% intensity, and smoke with no fill light. It also discusses flashing lights and lighting plans for day and night interior scenes.
Impress and Express
Impressionism began in the 19th century as artists painted outdoors to capture fleeting effects of light and color, influenced by photography, and Expressionism originated in Germany as a reaction to styles like naturalism that sought to distort reality and convey emotional experience rather than physical forms through vivid colors and compositions. Major Impressionist artists included Monet, Renoir, Degas, Cassatt, Pissarro and Sisley and Expressionist works aimed to provoke strong emotional responses.
Colour Theory
Newton discovered that white light is made up of the visible light spectrum when he passed sunlight through a prism. The colour wheel is used to demonstrate the relationships between primary, secondary, and tertiary colours. Primary colours are red, yellow and blue which can be mixed to create secondary colours of orange, green and purple. Tertiary colours result from mixing a primary and secondary colour adjacent on the wheel.
YUV, Y CB CR and Subsampling
This document discusses color models and chroma subsampling used in video formats. It explains that YUV and YCbCr models separate luminance and chrominance information. Chroma subsampling encodes less color resolution to take advantage of human vision prioritizing luminance over chroma. Common subsampling ratios like 4:2:0, 4:1:1, and 4:2:2 determine the encoded color resolution. Higher ratios like 4:4:4 provide full color resolution ideal for post-production.
Luminace and Luma
Luminance is a measurement of perceived light intensity as judged by human observers, while luma refers to the monochrome component of a video signal that determines lightness. Luma is a nonlinear weighted measurement of luminance that has been modified by gamma correction to better match human visual perception. This gamma-corrected luminance is called luma and allows video and display equipment to make more efficient use of available bandwidth and bit depth.
Gamma and Colour Space
Gamma correction is used to code and decode luminance in video and images. It involves adjusting the curve to make images appear lighter or darker. Color models represent colors as tuples, like RGB or CMYK. Color spaces combine a color model with a mapping function to a reference space, defining a gamut or reproducible color range. The gamut and color model together define the color space.
Digital Workflow
The document discusses digital film production workflows. It covers various roles in post-production like post-production supervisors, digital imaging technicians, and what color decision lists and lookup tables are used for in the digital intermediate and color grading process. It then provides examples of different camera workflows for ARRI ALEXA, RED ONE, Sony F3 and discusses how Technicolor CineStyle is used in DSLR workflows.
Digital File Formats
Digital images use color channels of red, green, and blue to represent colors, with each channel having a bit depth that determines the number of possible intensity values. Higher bit depths allow for more possible colors but increase file sizes. Common file formats include JPEG for photographs, and H.264, Apple ProRes, and Avid DNxHD for video, with each having different color subsampling and bit depths suited to different uses. Image resolution of 2K and 4K refers to the total pixel count, with a true 4K image having approximately 4,000 pixels across by 3,000 pixels down.
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Proxemics 2
- 1. Proxemics Cinematography and Social Psychology
- 2. • A popular psychologist, Edward T Hall, has written a couple of books, “The Hidden Dimension’ and ‘The Silent Language’ on what he calls a theory of proxemic’s. • It purports to be a study of how peoples behaviour are affected by the physical distances between them.
- 3. • Hall suggests that these can be divided into four categories: Intimate Distance, Personal Distance, Social Distance and Impersonal/Remote Distance.
- 4. • The camera always takes what could be construed as a psychological attitude to what it is filming, an attitude that directly affects the story being told.
- 5. • By using different shot sizes and placement of camera, a director is able to make a clear statement about his thoughts and feelings concerning the story’s characters and the situations they find themselves in, thoughts and feelings concerning
- 7. Remote Distance • The individual person is not identified as a particular person. Figure is recognised only by costume of because of the situation or context.
- 9. Public Distance • This distance will be maintained by people who have to establish a ‘public status’, who are ‘unapproachable’ as individuals
- 10. Social Distance
- 11. • At fifteen feet to ten feet, deportment and dress are on display. In a social environment manners are likely to be self-conscious
- 12. Social Distance
- 13. Social Distance • Speech and gesture are apt to be fairly deliberate, formal and still a little ‘projected’ if in the presence of a group of people.
- 15. Personal Distance • Reserved for close acquaintances or friends. A stranger who invades this ‘ Private Space” may be regarded as an intruder.
- 17. Personal Distance • Closer still implies that the relationship is ‘one-on-one’. The presence of others is ignored. Speech will be impromptu and the communication more ‘non-verbal’.
- 19. Intimate Distance • Physical involvement. Acceptable in public if participants are ‘family’. It does imply exclusion of others, normally demands some degree of privacy.