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Making and Making and Editing the film Editing the film Amy Hakesley Amy Hakesley

Making and editing the film research

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Page 1: Making and editing the film research

Making and Making and

Editing the film

Editing the film Amy Hakesley

Amy Hakesley

Page 2: Making and editing the film research

Typ

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Zoom lenses (or varied focal length lenses

Zoom lenses (or varied focal length lenses) - are by far the

) - are by far the

most common type of lenses known to the average consumer.

most common type of lenses known to the average consumer.

Prosumer camcorders and professional video cameras often

Prosumer camcorders and professional video cameras often

come with it right from the box. This is so because with zoom

come with it right from the box. This is so because with zoom

lenses you can go telephoto or wide-angle at the push of a

lenses you can go telephoto or wide-angle at the push of a

button. It’s a no-brainer; if you can zoom in or zoom out, the lens

button. It’s a no-brainer; if you can zoom in or zoom out, the lens

is called a zoom lens.

is called a zoom lens.Prime lenses (or fixed focal length lenses

Prime lenses (or fixed focal length lenses) - can’t zoom in or

) - can’t zoom in or

zoom out. Therefore, every time the filmmaker wants to get

zoom out. Therefore, every time the filmmaker wants to get

tighter on his composition, he can either (1) physically move the

tighter on his composition, he can either (1) physically move the

camera closer to his subject or (2) change the camera lens for

camera closer to his subject or (2) change the camera lens for

one with a longer focal length and narrower field of view – the

one with a longer focal length and narrower field of view – the

telephoto lens. Accordingly, if the filmmaker decides for a wider

telephoto lens. Accordingly, if the filmmaker decides for a wider

composition, he can either (1) physically move the camera away

composition, he can either (1) physically move the camera away

from the subject or (2) change the camera lens for one with a

from the subject or (2) change the camera lens for one with a

shorter focal length and wider field of view – the wide-angle

shorter focal length and wider field of view – the wide-angle

lens.lens.Telephoto lenses

Telephoto lenses - are longer than the average. In comparison

- are longer than the average. In comparison

to normal lenses or the human eye, telephoto can get really tight

to normal lenses or the human eye, telephoto can get really tight

on the subject. It correlates to a zoom in with zoom lenses. The

on the subject. It correlates to a zoom in with zoom lenses. The

image is optically enlarged to show fine details from a subject

image is optically enlarged to show fine details from a subject

that is far away.

that is far away.wide-angle lenses

wide-angle lenses - are the opposite of telephoto. Wide-angle

- are the opposite of telephoto. Wide-angle

lenses have a broader field of view, and therefore they can show

lenses have a broader field of view, and therefore they can show

sweeping panoramas of mountains, oceans, and forests. Since

sweeping panoramas of mountains, oceans, and forests. Since

camera jiggle is negligible with wide-angle, this choice of lens

camera jiggle is negligible with wide-angle, this choice of lens

is ideal for handheld work.

is ideal for handheld work.

Normal lensNormal lens - are halfway between telephoto and wide-angle

- are halfway between telephoto and wide-angle

lenses. Normal lenses mimics what the human eye sees, without

lenses. Normal lenses mimics what the human eye sees, without

neither getting too close to the subject, nor distorting it, nor

neither getting too close to the subject, nor distorting it, nor

compressing the distance among the plains.

compressing the distance among the plains.

Page 3: Making and editing the film research

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ldF-stopF-stop

The size of the aperture is measured in f-stops. In technical terms, the The size of the aperture is measured in f-stops. In technical terms, the f-number is the focal length divided by the diameter of the aperture. f-number is the focal length divided by the diameter of the aperture. The figure to the right shows the same lens open to two different f-The figure to the right shows the same lens open to two different f-

stops. In the top picture, the f-stop is 2.8. In the bottom picture, the f-stops. In the top picture, the f-stop is 2.8. In the bottom picture, the f-stop is 16. stop is 16.

Ergo, Ergo, the greater the f-stop number, smaller the aperture isthe greater the f-stop number, smaller the aperture is , , resulting in less light entering the lens and the production of dark resulting in less light entering the lens and the production of dark images. Conversely, images. Conversely, the smaller the f-stop number, bigger the the smaller the f-stop number, bigger the

aperture isaperture is, meaning more light admitted through the lens and the , meaning more light admitted through the lens and the production of bright images.production of bright images.

Page 4: Making and editing the film research

Aperture and Depth of FieldAperture and Depth of Field

The aperture has a major role in determining not focus per se, but The aperture has a major role in determining not focus per se, but depth of field. The greater the f-stop number, the deeper the depth of depth of field. The greater the f-stop number, the deeper the depth of the field is, meaning that more objects are likely to be sharp in frame. the field is, meaning that more objects are likely to be sharp in frame.

Likewise, the smaller the f-stop number, the shallower the depth of Likewise, the smaller the f-stop number, the shallower the depth of field is.field is.

Page 5: Making and editing the film research

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Eyelevel Angle

Eyelevel AngleAn eyelevel angle is the one in which the camera is placed at the

An eyelevel angle is the one in which the camera is placed at the

subject’s height, so if the actor is looking at the lens, he wouldn’t have

subject’s height, so if the actor is looking at the lens, he wouldn’t have

to look up or down. Eyelevel shots are incredibly common because

to look up or down. Eyelevel shots are incredibly common because

they are neutral. They often have no dramatic power whatsoever, thus

they are neutral. They often have no dramatic power whatsoever, thus

they are ideal for romantic comedies and news casting.

they are ideal for romantic comedies and news casting.

Low AngleLow AngleLow angles are captured from a camera placed below the actor’s

Low angles are captured from a camera placed below the actor’s

eyes, looking up at them. Low angles make characters look dominant,

eyes, looking up at them. Low angles make characters look dominant,

aggressive, or ominous.

aggressive, or ominous.High AngleHigh AngleIn a high angle, the camera is above the subject, looking down. This

In a high angle, the camera is above the subject, looking down. This

position makes characters look weak, submissive, or frightened. They

position makes characters look weak, submissive, or frightened. They

are also good POVs of an adult looking at a child:

are also good POVs of an adult looking at a child:

Dutch TiltDutch TiltAlso called canted angle, a Dutch tilt has the camera leaning

Also called canted angle, a Dutch tilt has the camera leaning

sideways, transforming the horizon into a slope. A Dutch tilt changes

sideways, transforming the horizon into a slope. A Dutch tilt changes

horizontal and vertical lines into diagonals and creates a more

horizontal and vertical lines into diagonals and creates a more

dynamic composition. Though rare, canted angles can be employed

dynamic composition. Though rare, canted angles can be employed

with great artistic effect to disorient and disturb the viewer.

with great artistic effect to disorient and disturb the viewer.

Point-of-View (POV)

Point-of-View (POV)As the name suggests, point-of-view shots are angles in which the

As the name suggests, point-of-view shots are angles in which the

camera incorporates a character’s eyes. POVs are usually preceded

camera incorporates a character’s eyes. POVs are usually preceded

by a close-up of the character’s eyes.

by a close-up of the character’s eyes.

Page 6: Making and editing the film research

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PanPanDuring a pan, the camera is aimed sideways along a straight line. Note that the

During a pan, the camera is aimed sideways along a straight line. Note that the

camera itself is not moving. It is often fixed on tripod, with the operator turning it

camera itself is not moving. It is often fixed on tripod, with the operator turning it

either left or right.

either left or right. A smooth pan with be slow enough to allow the audience to observe the scenery. A

A smooth pan with be slow enough to allow the audience to observe the scenery. A

fast pan will create blur, in which case it will be called a Swish pan. Newsgathering

fast pan will create blur, in which case it will be called a Swish pan. Newsgathering

etiquette demands panning from left to right, as to allow the viewer to read any text

etiquette demands panning from left to right, as to allow the viewer to read any text

that may be captured on camera, like headlines or marquises.

that may be captured on camera, like headlines or marquises.

TiltTiltTilts refer to the up or down movement of the camera while the camera itself does

Tilts refer to the up or down movement of the camera while the camera itself does

not move. Tilts are often employed to reveal vertical objects like a building or a

not move. Tilts are often employed to reveal vertical objects like a building or a

person.person.

DollyDollyWhen the entire camera is moved forward or backward, this move is called dolly. If

When the entire camera is moved forward or backward, this move is called dolly. If

the camera is on tripod, the tripod will also be moved. Dollies are often used when

the camera is on tripod, the tripod will also be moved. Dollies are often used when

recording a subject that moves away or toward the camera, in which case the goal

recording a subject that moves away or toward the camera, in which case the goal

would probably be keeping the subject at the same distance from the camera. For

would probably be keeping the subject at the same distance from the camera. For

an optimal dolly, the camera should be mounted on a wheeled-platform, such as an

an optimal dolly, the camera should be mounted on a wheeled-platform, such as an

actual dolly, or a shopping cart, depending on the budget. Moving the camera

actual dolly, or a shopping cart, depending on the budget. Moving the camera

forward is called dolly in. Moving the camera backward is called dolly out.

forward is called dolly in. Moving the camera backward is called dolly out.

TrackTrackTracking is similar to dolling. The main difference being that in dollies the camera

Tracking is similar to dolling. The main difference being that in dollies the camera

is moved toward or away from the subject, whereas in a track shot, the camera is

is moved toward or away from the subject, whereas in a track shot, the camera is

moved sideways, parallel to an object.

moved sideways, parallel to an object.

PedestalPedestal

In a pedestal move, the camera body will physically be lowered or elevated. The

In a pedestal move, the camera body will physically be lowered or elevated. The

difference between tilts and pedestals is that in the former, the camera lens is just

difference between tilts and pedestals is that in the former, the camera lens is just

being aimed up or down, whereas in the latter, the camera is being vertically

being aimed up or down, whereas in the latter, the camera is being vertically

moved.moved.

ZoomZoomWith dollies, the camera is being moved in a physical space. With zooms, the

With dollies, the camera is being moved in a physical space. With zooms, the

camera remains at a constant position, but the lens magnify or minimize the size of

camera remains at a constant position, but the lens magnify or minimize the size of

the subject.the subject.Zooms happen at the push of a button. Zoom in refers to seemingly “approaching”

Zooms happen at the push of a button. Zoom in refers to seemingly “approaching”

the subject, thus making it look bigger in the frame. Zoom out refers to seemingly

the subject, thus making it look bigger in the frame. Zoom out refers to seemingly

“distancing” the subject, thus making it look smaller.

“distancing” the subject, thus making it look smaller.

  Dolly Counter Zoom

Dolly Counter ZoomA dolly counter zoom is a rare type of shot of great stylistic effect. To accomplish it,

A dolly counter zoom is a rare type of shot of great stylistic effect. To accomplish it,

the camera must dolly closer or further away from the subject while the zoom is

the camera must dolly closer or further away from the subject while the zoom is

adjusted so the subject’s size remains

adjusted so the subject’s size remains

Page 7: Making and editing the film research

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EWS (Extreme Wide Shot)EWS (Extreme Wide Shot)The view is so far from the The view is so far from the subject that he isn't even subject that he isn't even visible. Often used as an visible. Often used as an establishing shot.establishing shot.

VWS (Very Wide Shot)The subject is visible (barely), but the emphasis is still on placing him in his environment.

WS (Wide Shot)The subject takes up the full frame, or at least as much as comfortably possible.AKA: long shot, full shot

Page 8: Making and editing the film research

MS (Mid Shot) MS (Mid Shot) Shows some part of the Shows some part of the subject in more detail while subject in more detail while still giving an impression of still giving an impression of the whole subject.the whole subject.

MCU (Medium Close Up)Half way between a MS and a CU

CU (Close Up)A certain feature or part of the subject takes up the whole frame.

Page 9: Making and editing the film research

ECU (Extreme Close Up) ECU (Extreme Close Up) The The ECU gets right in and ECU gets right in and shows extreme detail.shows extreme detail.

OSS (Over-the-Shoulder Shot)Looking from behind a person at the subject

Point-of-View Shot (POV)Shows a view from the subject's perspective.

Page 10: Making and editing the film research

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A Real MovieA Real MovieOne thing that you may have identified in professional looking films growing up is that

One thing that you may have identified in professional looking films growing up is that

they have a very standardized way of showing credits. The white letters scrolling on a

they have a very standardized way of showing credits. The white letters scrolling on a

black background has become synonymous for the opening and closing of feature films,

black background has become synonymous for the opening and closing of feature films,

especially on the silver screen. Today many opening credits take a more creative

especially on the silver screen. Today many opening credits take a more creative

approach, employing computer graphics and visual elements that reflect the aesthetic

approach, employing computer graphics and visual elements that reflect the aesthetic

and expository styles of the film. Either way, the order of credits has stayed the same for

and expository styles of the film. Either way, the order of credits has stayed the same for

most of this history.

most of this history. OpeningOpening

In a traditional sense the order of the opening credits starts with the distribution

In a traditional sense the order of the opening credits starts with the distribution

company or main studio backer. Since this will most likely be an independent distributor

company or main studio backer. Since this will most likely be an independent distributor

that did not finance your film it will appear on its own. It usually is listed as “Distribution

that did not finance your film it will appear on its own. It usually is listed as “Distribution

Company Presents,” followed by the name of the production company. The production

Company Presents,” followed by the name of the production company. The production

company will most likely be established by you, and can range from being just a name

company will most likely be established by you, and can range from being just a name

you apply to yourself to a full fledged production house. This will then appear as “A

you apply to yourself to a full fledged production house. This will then appear as “A

Production Company Name Production.” The director’s credit tends to come right after

Production Company Name Production.” The director’s credit tends to come right after

this, labeling it “A Director’s Name Film.”

this, labeling it “A Director’s Name Film.”

Cast and Title

Cast and TitleAfter this we get the primary, or most prominent, cast members. If you have large

After this we get the primary, or most prominent, cast members. If you have large

celebrity names, this is where they would go. Either way, you should list all the main

celebrity names, this is where they would go. Either way, you should list all the main

actors, but try to keep it to less than five. Finally, you reach the title of your film. It is often

actors, but try to keep it to less than five. Finally, you reach the title of your film. It is often

appropriate to show the title in a different font or format than the rest of the credits,

appropriate to show the title in a different font or format than the rest of the credits,

maybe even having it appear out of the time sync that the rest did.

maybe even having it appear out of the time sync that the rest did.

Cast Continued

Cast ContinuedAfter this you give the rest of the primary cast, essentially everybody that has a serious

After this you give the rest of the primary cast, essentially everybody that has a serious

part in the script but is not the main focus of the plot. If you have a well known actor in a

part in the script but is not the main focus of the plot. If you have a well known actor in a

smaller, but showcased, role then you may want to finish off the primary cast list by

smaller, but showcased, role then you may want to finish off the primary cast list by

listing their name and the name of the character they play. This may appear as, “And

listing their name and the name of the character they play. This may appear as, “And

John Doe as Character X.”

John Doe as Character X.”All Other Above The Line Positions

All Other Above The Line Positions

After this you should make sure to list the director of photography, who did the primary

After this you should make sure to list the director of photography, who did the primary

score, and who the casting directors were. Follow this by listing all of the producers, both

score, and who the casting directors were. Follow this by listing all of the producers, both

regular and executive, as well as the production designer. Finally you will come to the

regular and executive, as well as the production designer. Finally you will come to the

editor, which brings to an end that list of normal primary positions. Now you have a

editor, which brings to an end that list of normal primary positions. Now you have a

semi-recap, by listing any primary source the film concept was taken from, as well as

semi-recap, by listing any primary source the film concept was taken from, as well as

who wrote the screenplay. This is a very important credit, but it always comes close to

who wrote the screenplay. This is a very important credit, but it always comes close to

the end. You finish all of the opening credits by listing the director again, but listing them

the end. You finish all of the opening credits by listing the director again, but listing them

as such instead of just a “film by” credit.

as such instead of just a “film by” credit.

Leap of FaithLeap of FaithThis may be a small thing for some, but it is a common expectation that film going

This may be a small thing for some, but it is a common expectation that film going

audiences have. Often times if they see traditional credits they will automatically assume

audiences have. Often times if they see traditional credits they will automatically assume

a level of professionalism in your film and forgive some of its “do it yourself” elements.

a level of professionalism in your film and forgive some of its “do it yourself” elements.

Page 11: Making and editing the film research

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CutCut The most basic and common type of transition is the cut. A cut

The most basic and common type of transition is the cut. A cut

happens when one shot instantly replaces the other. Cuts are so

happens when one shot instantly replaces the other. Cuts are so

widely used that feature movies normally count thousands of them.

widely used that feature movies normally count thousands of them.

Fade in/outFade in/out Fade ins and fade outs are the second most common type of

Fade ins and fade outs are the second most common type of

transition. Fade outs happen when the picture is gradually replaced

transition. Fade outs happen when the picture is gradually replaced

by black screen or any other solid colour. Traditionally, fade outs

by black screen or any other solid colour. Traditionally, fade outs

have been used to conclude movies. Fade ins are the opposite: a

have been used to conclude movies. Fade ins are the opposite: a

solid colour gradually gives way to picture, commonly used in the

solid colour gradually gives way to picture, commonly used in the

beginning of movies.

beginning of movies.DissolveDissolve

Also known as overlapping, dissolves happen when one shot

Also known as overlapping, dissolves happen when one shot

gradually replaces by the next. One disappears as the following

gradually replaces by the next. One disappears as the following

appears. For a few seconds, they overlap, and both are visible.

appears. For a few seconds, they overlap, and both are visible.

Commonly used to signify the passage of time.

Commonly used to signify the passage of time.

WipeWipeWipes are dynamic. They happen when one shot pushes the other

Wipes are dynamic. They happen when one shot pushes the other

off frame.off frame.

IrisIris

An old-fashioned transition hardly employed nowadays is the iris,

An old-fashioned transition hardly employed nowadays is the iris,

when a circulars masking closes the picture to a black screen.

when a circulars masking closes the picture to a black screen.

Page 12: Making and editing the film research

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Lead RoomLead RoomIf a character is looking frame left, then If a character is looking frame left, then he should be placed frame right. This he should be placed frame right. This

makes the framing comfortable because makes the framing comfortable because the subject is looking at the open space the subject is looking at the open space in front of him. This open space is called in front of him. This open space is called

lead room or lead space.lead room or lead space.

Page 13: Making and editing the film research

Rule of ThirdsRule of ThirdsAnother basic composition principle is Another basic composition principle is called Rule of Thirds. To follow it, one called Rule of Thirds. To follow it, one

must imagine the frame with two must imagine the frame with two vertical lines and two horizontal lines, vertical lines and two horizontal lines, as to create three vertical sections of as to create three vertical sections of

the same dimensions and three vertical the same dimensions and three vertical sections also of the same size.sections also of the same size.

Page 14: Making and editing the film research

Static CompositionStatic CompositionCompositions with the Compositions with the majority of lines being majority of lines being

horizontal or vertical are horizontal or vertical are called Static called Static

Composition.Composition.

Page 15: Making and editing the film research

Dynamic CompositionDynamic CompositionWhen a composition has When a composition has many diagonal lines it is many diagonal lines it is

called Dynamic called Dynamic Composition.Composition.