shovels
flannel shirts large or XL Work vest of some kind Lumber work boots Lumberjack hat with ear covers Chainsaw maybe? work gloves hats axes picnic blanket saw horses Goggles hand saws? Apples NO LOGOS clothes Maple Syrup (generic label) and tree tap? Paper producs/paper towels. Yes, we will work for a toilet paper company. For $10,000. Which we may have to spend on school beautification.
http://scottiestreesrock.com/ A TILT is similar to a pan except that it is vertical movement. In other words, the camera tilts up and down while on a tripod.
The TILT is also used to track a character's movements, such as when the character is rising from her seat before crossing the room. The TILT is commonly used to allow us to look someone over; a beautiful foot in a beautiful shoe emerges from a limousine and as soon as it hits the pavement we slowly tilt up, taking in long legs, hips, torso, and finally Julia Roberts' face. How many times have we seen a shot where the country bumpkin (or Crocodile Dundee) gets out of a cab in Manhattan, looks up, then we TILT to see how gosh darn tall the buildings are? In Three O'Clock High directed by Phil Jounou, our protagonist turns around and comes face to face with a belt buckle. Cut to the subjective camera as we tilt up to see the face of our antagonist as he threatens to kill the protagonist (and, due to the subjective nature of the shot, us). And like the PAN, the TILT can be used to connect. In Citiizen Kane, Welles uses a tilt the last time we see young Charles' mother to connect the protective mother to her loyal son. It's a strong connection in a tense situation and serves to reassure young Charles (and the viewer) that the mother has only the best intentions for her son. It's the camera movement that tells us that, not the acting. It's the connection made in that movement between the mother's e The most common camera movement is the PAN. This is horizontal camera movement from a stationary axis (like a tripod).
The PAN is used to connect things; a pan from a girl's face to another girl's cell phone tells the viewer that the first girl is deeply interested in the phone, even if she is not looking right at it. The PAN can also connect people in a similar way; a shot of a boy which then pans to a girl suggests a connection, a desire perhaps. Couple that PAN with a wink or a gesture, and you've got some real fireworks on your hands. Don't underestimate the power of the pan; it can be a mighty tool in your storytelling arsenal. Clip: The closing scene of Places in the Heart. We end at a church service. A hymn is being sung as the communion elements (part of a Christian ritual of sharing food and wine) are passed around. Ms. Edna, a widow, receives the elements and passes them to her dead husband (!), who then passes them to the young man who killed him and was later executed. In this gorgeous and powerful scene, Robert Benton's panning camera connects the world of the living and the world of the dead. Yes, the pan can even do that. A SWISH PAN (sometimes called a FLASH PAN) is a pan which is so fast that it blurs the image. Other uses of the PAN are: 1. To track an actor as he/she moves horizontally across a room. Be sure to leave some lead room when filming. If the actor is moving right to left, leave extra space on the left for her to walk into. 2. As subjective camera of a character who is looking around the scene. 3. Rarely, to make something invisible become visible in a sense. A scene in Goodfellas where the panning camera follows the thread of nonverbal communication through a backyard party. In the film Rebecca, we learn how Rebecca may have died as the camera follows her non-existant image around the room. 4. To take in the vastness of scenery or to expose the audience to the setting. Sometimes, what emerges at the edge of a pan can be funny or surpri The word "Cinema" comes from the Greek word "Kine" which means "movement." So of course, we need to acknowledge that film is about MOVEMENT.
Kinetic movement (I know, that's redundant), can be discussed as horizontal (X-axis), vertical (y-axis), or with depth (z-axis). Someone walking toward the camera would be movement on the Z-axis. A tear rolling down Chuck Norris' face would be movement along the Y-axis. There are several key camera movements which directors use to contribute to the meaning of a shot. The most common camera movement is the PAN. This is horizontal camera movement from a stationary axis (like a tripod). The PAN is used to connect things; a pan from a girl's face to another girl's cell phone tells the viewer that the first girl is deeply interested in the phone, even if she is not looking right at it. The PAN can also connect people in a similar way; a shot of a boy which then pans to a girl suggests a connection, a desire perhaps. Couple that PAN with a wink or a gesture, and you've got some real fireworks on your hands. Don't underestimate the power of the pan; it can be a mighty tool in your storytelling arsenal. A SWISH PAN (sometimes called a FLASH PAN) is a pan which is so fast that it blurs the image. Other uses of the PAN are: 1. To track an actor as he/she moves horizontally across a room. Be sure to leave some lead room when filming. If the actor is moving right to left, leave extra space on the left for her to walk into. 2. As subjective camera of a character who is looking around the scene. 3. Rarely, to make something invisible become visible in a sense. A scene in Goodfellas where the panning camera follows the thread of nonverbal communication through a backyard party. In the film Rebecca, we learn how Rebecca may have died as the camera follows her non-existant image around the room. We've been hitting the major concept of mise en scène. Some folks consider mise en scène to be all the elements which we see, including costumes, movement, etc. For our purposes, we will consider it as an analysis of the still image. Film is, of course, a moving image, so this will focus on the care a director takes in shaping the static shot.
All of these ideas are supported in class by demonstrations from film or with a camera hooked up. This takes about 1.5 weeks to cover in full. In addition to identifying the mise en scène, students should try to understand how the director is using this powerful technique to manipulate the audience. For the quiz, each student is given an image. The students will provide a full analysis (from memory) of the image. Camera Proxemics: how close the camera is to the subject (shots are relative)
Staging Position: how characters face in relation to the camera (full front – could be intimate or could be confrontational, ¼ turn, profile – shows psychological disturbance, ¾ turn, back to camera) Framing: the degree to which the frame constricts/liberates the subject
Form: how much the shot pushes the left and right sides of the frame (psychologically) Open = important information is off camera, outside the frame Closed = all necessary information is visible; draws the attention inward toward the screen The Dominant/Subsidiaries: the dominant is the shape your eye focuses on first; the subsidiaries are the 2nd, 3rd, 4th, things – the dominant often stands out because of a contrast between blacks and whites Density: how busy the screen is (background objects; very subjective) Focus/Depth of Field: sharp or blurred; shallow or deep Lighting: how the subject is lit (principal light source is visible within the frame); natural v. unnatural; low=menacing; halo-light = romantic, warm vs. cool, contrast? Hard vs. diffuse. Color: how the shot employs color. Is there an overall artistic color scheme? Are they muted or vibrant? Lens/Filter/Stock: telephoto (flattens depth and magnifies the image), wide-angle (increases depth, pulls in a wider view of the subject, can distort), normal (50mm, mimics human eye) Fish-eye (creates a super-wide circular distortion); filters may diffuse or mask a scene; stock refers to the size of film (35 mm, 70 mm, 16 mm, 8 mm) and the color (or b/w) qualities of that stock. Depth: How many layers of depth are there? What occupies each layer? Note: There is occasionally an infinite number of depth layers, as when a road is disappearing into a distant horizon. Commonly, there are 2 or 3 layers of depth in most film shots. The grainy picture above is the world's first photograph called "View from the Window at Le Gras" (circa 1826), taken and developed by French photographer pioneer Joseph Nicéphore Niépce. He called this process "heliography" or sun drawing - it certainly was a long process: the exposure time was about 8 hours. (cited verbatim from http://www.neatorama.com/2006/08/29/the-wonderful-world-of-early-photography/) A VERY abridged synopsis:
Teacher sketches a pinhole camera on board, complete with inverted image on the back wall. Then, teacher illustrates how a 35mm film camera is just a pinhole camera with gears. Review idea of "camera obscura" in art and the development of photography from 1826 to the present. Then, illustrate how a movie camera works, taking 24 photos per second. Calculate the number of frames in a full-length movie. Discuss terms "OVERCRANKING" and "UNDERCRANKING" as production terms for distortions of time. Briefly explain the amazing chemistry involved in film, developing film, and printing. Then draw an eyeball over the entire illustration to show that the camera is modeled after the human eye. PART II Students brainstorm a huge list of film terms. Then, teacher draws a 3-column grid on the board with columns labeled LITERARY (what film share with books & literature), DRAMATIC (what film shares with live theater), and CINEMATIC (those things that are exclusive to film). Give students time to put each of their brainstormed concepts into the appropriate columns. HW Check out www.metacritic.com and download & print a full-length review. Read it over, then mark the review (with a highliter, perhaps), labeling where the author addresses LITERARY, DRAMATIC, and CINEMATIC elements of the film reviewed. LDC is a framework through which we can discu |
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