Saturday, April 9, 2011
Blog Post #6
the build up, first minute, to the most memorable scene from Pan's Labyrinth, will be examined.
#1 0:01
dungeon hall
MLS - Medium Long Shot
EL - Eye Level
dolly
The subject is focused in the center of the shot, with a deep hallway in the background.
#2 0:02
CU - Close Up
EL - Eye Level
Zoom In
the suspense is created with the shot of an hourglass centered.
#3 0:06
MS - Medium Shot
LA - Low Angel
Trucking/Dolly
the camera has a lot of movement, as the subject stops walking the camera moves in a counter clockwork motion to close in on her face.
#4 0:14
Dining Table
MLS - Medium Long Shot
HA - High Angel
Handheld
as she steps into the shadow the camera follows her, with the handheld camera gives the viewer the feeling that we are following her.
#5 0:18
MS - Medium Shot
EL - Eye Level
Trucking
the camera shows the food on the table on the foreground, she walks across and is shocked to see and odd being. the viewer is equally shocked, this was created with trucking motion.
#6 0:33
MS - Medium Shot
OTS - Over The Shoulder
Pan
the camera pans with the plate with the creatures eyes on it
#7 0:35
CU - Close Up
EL - Eye Level
SteadyCam
the background is out of focus and the girl is centered and in focus.
#8 0:38
CU - Close Up
OTS - Over The Shoulder
Crane
the girls head is out of focus, the creature is in focus and the camera moves up.
#9 0:45
CU - Close Up
LA - Low Angel
Pan
the girl looks up to see odd paintings, all of the creature eating children, it pans from left to right.
#10 0:56
MCU - Medium Close Up
HA - High Angel
Dolly/ Tilt/Zoom
another shot of the cameras clear movements, the dolly moves from right to left and tilt moves from the pile to the girl, then zooms in.
#11 1:00
CU - Close Up
HA - High Angel
dolly/ tilt
the camera starts at a high angle then moves to a eye level as it moves up
#12 1:10
3S - Three Shot
EL - Eye Level
Steady Cam
the camera uses the rule of thirds as it centers three key holes with the fairies moving about.
Wednesday, April 6, 2011
American Beauty
• Determine whether or not the cinematographic aspects of the film—the qualities of the film stock, lighting, lenses, framing, angles, camera movement, and use of long takes—add up to an overall look. If so, try to describe its qualities.
the rule of thirds is consistent throughout the film, the director conveys the distant relations between neighbors by framing them in between household objects. light is focused on the main characters faces, showing the characters centered thoughts, the viewer knows the importance of the scene to the character.
• Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. These moments are often crucial to the development of a movie’s themes, narrative, and meaning.
the symbolism of the rose pedal to kevin spacey's character, the overall theme of lust and wants. the color red is highlighted more so than the flower. the whole rose was around when families were shown, and at the end with the neighbor and daughter. when the pedals were shown floating was when kevin spacey's character had lust on his mind.
• Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?
their werent any peculiar patterns to the length of shots, the scenes of dinner between the families were the only scenes that lasted longer than the others to show the emptyness of each dinner table
Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs).
What role are these shots playing in the film?
each time the scene goes back to the house, the extreme long shot of the city is shown.
• Also keep track of camera angles other than eye-level shots. If there are high- or low-angle shots, determine whether or not they are POV shots. That is, is the high or low angle meant to represent another character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame?
over view shots of the bedroom show the wonderment and confusion of their place in time. it goes in hand with the shots of the city suburbs.
• As you evaluate crucial scenes, pay attention to the composition of shots within the scene. Are the compositions balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.
in the crucial scenes, the director framed in thirds to a tee. in the climax when lestor and angela are about to get intimate they walk towards each other and meet in center right next to a bouquet of roses.
• Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ part, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?
it gives precedence to the film, gives an alert to the viewer to let them known the film makers "know-how". can be considered smug, but if done correctly can make a movie better.
the rule of thirds is consistent throughout the film, the director conveys the distant relations between neighbors by framing them in between household objects. light is focused on the main characters faces, showing the characters centered thoughts, the viewer knows the importance of the scene to the character.
• Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. These moments are often crucial to the development of a movie’s themes, narrative, and meaning.
the symbolism of the rose pedal to kevin spacey's character, the overall theme of lust and wants. the color red is highlighted more so than the flower. the whole rose was around when families were shown, and at the end with the neighbor and daughter. when the pedals were shown floating was when kevin spacey's character had lust on his mind.
• Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?
their werent any peculiar patterns to the length of shots, the scenes of dinner between the families were the only scenes that lasted longer than the others to show the emptyness of each dinner table
Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs).
What role are these shots playing in the film?
each time the scene goes back to the house, the extreme long shot of the city is shown.
• Also keep track of camera angles other than eye-level shots. If there are high- or low-angle shots, determine whether or not they are POV shots. That is, is the high or low angle meant to represent another character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame?
over view shots of the bedroom show the wonderment and confusion of their place in time. it goes in hand with the shots of the city suburbs.
• As you evaluate crucial scenes, pay attention to the composition of shots within the scene. Are the compositions balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.
in the crucial scenes, the director framed in thirds to a tee. in the climax when lestor and angela are about to get intimate they walk towards each other and meet in center right next to a bouquet of roses.
• Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ part, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?
it gives precedence to the film, gives an alert to the viewer to let them known the film makers "know-how". can be considered smug, but if done correctly can make a movie better.
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