3. a route ..... start with....
Photo/images
(a simpler unit of meaning, they don’t move, but they can speak!)
Thursday, 24 September 2009
4. a route ..... start with....
Photo/images
(a simpler unit of meaning, they don’t move, but they can speak!)
move to....
Audio
(more complex - time based layers of sound a sound canvas)
Thursday, 24 September 2009
5. a route ..... start with....
Photo/images
(a simpler unit of meaning, they don’t move, but they can speak!)
move to....
Audio
(more complex - time based layers of sound a sound canvas)
both feed into
Thursday, 24 September 2009
6. a route ..... start with....
Photo/images
(a simpler unit of meaning, they don’t move, but they can speak!)
move to....
Audio
(more complex - time based layers of sound a sound canvas)
both feed into
Moving images
(the most complex - time based and visual)
Thursday, 24 September 2009
8. Models
In the classroom
Explore > Plan > Create > Edit > Share/Publish > Review
Thursday, 24 September 2009
9. Models
In the classroom
Explore > Plan > Create > Edit > Share/Publish > Review
In Industry
Pre production > Production > Post Production
Thursday, 24 September 2009
11. The Process
• Telling stories - events - fiction - non fiction
• Screen Writers (film)- scripts and action
• Director - in charge of creative decisions
• Pre Production team - storyboard artists
• Production team (sound-camera-direction + edit)
• Post production team (titles, credits, music, effects,
stills and voice overs)
• Distribution - Exhibition - Self Publish
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12. Shot Types that help tell a story
source Google images
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15. Contrast and
juxtaposition
of shots creates
interest and drama
Thursday, 24 September 2009
16. source BBC iPlayer
Framing/Shot Type examples
from BBC’s Design for Life
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17. Camera Movement
Pan - left and right
Tilt - up and down
Track - following the action
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18. Random Top tips
1. Storyboard in pencil - encourage students to frame the action in a
way that supports the meaning of the moment
2. Try storyboard with a stills camera -use comic life as layout tool
3. Include timings of action and camera movement on storyboards
4. Use a tripod (unless there is an artistic reason for hand held!)
5. Use a paper clapper board at the beginning of each scene ( number
the scenes and the take.) An A4 jotter will suffice.
6. refrain from using the zoom - set the shot up
7. Explore rhythm and tempo when editing
8. Explore the use of none-diegetic* sound creatively
* sound that isn’t within the world of the characters eg. music
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20. Doing it in class!
Combining shot types, angles, camera movement
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21. Establishing Shot
Your audience is limited to what
you show them so it's important to
let them know where you are.
Usually a long shot.
Continuity Considerations
Plan how you enter and exit the
frame so the edited sequence
looks like one continuous action.
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22. Long Shot
A long shot allows your audience to see
everything. It shows the big picture.
Continuity Considerations
This shot allows the editor to match the action
in the previous shot. The edit should take
place when the man is in approximately the
same location in each shot.
Thursday, 24 September 2009
23. Long Shot
A long shot allows your audience to see
everything. It shows the big picture.
Continuity Considerations
This shot allows the editor to match the action
in the previous shot. The edit should take
place when the man is in approximately the
same location in each shot.
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24. Medium Shot
This shot gets rid of any distractions in the
picture and starts the process of zeroing in
on the action.
Continuity Considerations
The editor should allow the man to walk
out of the previous shot then walk into this
shot. This helps the audience get a sense
of the size of the room.
Thursday, 24 September 2009
25. Medium Shot
This shot gets rid of any distractions in the
picture and starts the process of zeroing in
on the action.
Continuity Considerations
The editor should allow the man to walk
out of the previous shot then walk into this
shot. This helps the audience get a sense
of the size of the room.
Thursday, 24 September 2009
26. Extreme Close-up
Use this shot to focus attention on what's
important. It enlarges small objects to
show details.
Continuity Considerations
The editor should match the hand
location in the previous shot.
Thursday, 24 September 2009
27. Extreme Close-up
Use this shot to focus attention on what's
important. It enlarges small objects to
show details.
Continuity Considerations
The editor should match the hand
location in the previous shot.
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28. Close-up
This shot cuts out extraneous visual material.
Faces should fill up the screen. Who wants to
see a person's feet when they are saying
something we need to hear?
Continuity Considerations
This close-up is used as a cutaway. A cutaway
is any shot that covers an edit. It's most
commonly used to shorten interviews.
Thursday, 24 September 2009
29. Close-up
This shot cuts out extraneous visual material.
Faces should fill up the screen. Who wants to
see a person's feet when they are saying
something we need to hear?
Continuity Considerations
This close-up is used as a cutaway. A cutaway
is any shot that covers an edit. It's most
commonly used to shorten interviews.
Thursday, 24 September 2009
30. Reestablishing Shot
This shot reminds people where
you are.
Continuity Considerations
It's good to end with a shot that
reminds people where you are.
Exiting the frame is also a good
closer.
Thursday, 24 September 2009
31. Reestablishing Shot
This shot reminds people where
you are.
Continuity Considerations
It's good to end with a shot that
reminds people where you are.
Exiting the frame is also a good
closer.
Thursday, 24 September 2009
34. Continuity
A good videographer and editor will look for movements
within a sequence that tie the shots together.
When changing to a different shot within a sequence, you
should plan to have things in the same position. For
example,when switching from a medium shot to a close-up of
someone writing, their hand should be in the same place when
the edit is made.
Make sure movement in the frame goes in the same
direction. For example, have your actor walk out of the frame
to the left and into the next shot from the right.
http://www.pbs4549.org
Thursday, 24 September 2009
35. Conitnuity - 180 degree rule / crossing the line
Anywhere
this side
of the dotted
line is OK!
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36. Let’s shoot!
Juliancoultas@mac.com
www.digitalroadtrip.org
Thursday, 24 September 2009
