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The Grammar of TV and Film

Zoom. In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible as the shot tightens (contrast tracking). Following pan. Surveying pan. Tilt. Crab. Tracking (dollying). Hand-held camera. Process shot. Editing Techniques Cut. There is always a reason for a cut, and you should ask yourself what the reason is. Matched cut. continuity of direction; completed action;* a similar centre of attention in the frame; a one-step change of shot size (e.g. long to medium); a change of angle (conventionally at least 30 degrees). *The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Jump cut. Motivated cut. Cutting rate. Cutting rhythm. Cross-cut. Cutaway/cutaway shot (CA). Reaction shot. Insert/insert shot. Wipe.

Camera Angles Camera angles and movements combine to create a sequence of images, just as words, word order and punctuation combine to make the meaning of a sentence. You need a straightforward set of key terms to describe them. Describing Shots When describing camera angles, or creating them yourself, you have to think about three important factors — The FRAMING or the LENGTH of shot — The ANGLE of the shot — If there is any MOVEMENT involved When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Framing or Shot Length 1 . Extreme Long Shot This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. The extreme long shot on the left is taken from a distance, but denotes a precise location - it might even connote all of the entertainment industry if used as the opening shot in a news story.

Wondrus 22 consejos de Pixar para contar una buena historia Emma Coats escribe y dirige películas y recibió una de las mejores formas de preparación que existen en el mundo para hacer esa tarea bien. Fue artista de historias (sí, es un título profesional) en Pixar, un título que me parece encantador y poético para describir la función de crear el storyboard de una producción. Historias que hacen magia en 22 pasos (y algo de trabajo) Emma trabajó durante la producción de Brave y Up y estos son sus 22 consejos para contar un buena historia: 1. ¿Cuál es tu historia favorita de Pixar? Complementa con el poder del lenguaje simple, el papel de los efectos visuales y el arte de la fantasía en Disney. [Original en inglés] mental_floss Blog » 5 Film Transitions worth Knowing You see them every day, on TV shows, the news, movies, but how well do you know the most oft-used film transitions? Here are the big five: 1. The Dissolve The dissolve is an editing technique where one clip seems to dissolve, or fade into the next. 2. This transition is the opposite of the dissolve in that it draws attention to itself. The Star Wars films are chock-full of attention-grabbing wipes. 3. As the name implies, in the basic cutaway, the filmmaker is moving from the action to something else, and then coming back to the action. 4. The L Cut, also called a split edit, is a very cool technique whose name dates back to the old analog film days. The audio track on a strip of celluloid film runs along the side, near the sprocket holes. Of course, with digital editing, one doesn't need to physically cut anything anymore, but the transition is still widely used, and the name has remained the same. 5.

6 Filmmaking Tips From Martin Scorsese In his review of Mean Streets, Roger Ebert claimed that Martin Scorsese had the potential to become the American Fellini in ten years. It probably didn’t really take that long. Scorsese is a living library of film, but he isn’t a dusty repository of knowledge. Over the course of his career, he’s created indelible works bursting with anger, violence, fragility, care, and wonder. Never Stop Looking For Inspiration (Because You’re Gonna Need It) Scorsese: One night I was watching late-night films on . . . Spike Lee: So you’re telling me that Martin Scorsese, the father of cinema, needs inspiration to make more films? Scorsese: Well, it gets you excited again. That’s from a conversation in “Interview” magazine between Spike Lee and Martin Scorsese where an important distinction is made. You’re Never Going to Get the Money You Want “I think there’s only one or two films where I’ve had all the financial support I needed. Your Personal Story Matters Watch These 85 Movies (and Then Watch More)

Vodkaster : Take a Movie Shot - Extraits et scènes de films Entendiendo la fotografía en el cine y sus funciones (IV) La fotografía en el cine es un aspecto que suele pasársele por alto a la gran mayoría del público, pero sin embargo ésta juega un papel tan fundamental en una película como puede hacerlo un actor. La cinematografía puede ayudar mucho a un film si los actores son mediocres, un actor puede ayudar a una mala cinematografía si ésta es mediocre, y si juntamos una gran fotografía con unos grandes actores, obtenemos una película que seguro va a llevarse unas cuantas buenas críticas. Tal vez muchos de ustedes sabrán diferenciar con claridad una buena de una mala fotografía, pero a mí me han hecho falta cuatro años estudiando cine para ser capaz de saber si una película presenta una estética atractiva o no. Esta diferenciación yo la he conseguido viciando la mirada para poder ver más allá de lo que cuenta la película, analizándola a la vez que la visionas. Este vicio no se encuentra únicamente en la cinematografía.

Visually Exceptional Films, B&W 4:3 list Being a very early feature lenght film, L'Inferno has very little moving camera, actually just a few pans and that's all. But what makes this such a visually striking work are the amazing sets and visions of hell. Now I just can't imagine hell as anything different than a place with wide open spaces, rivers and lakes and rocky terrain. Of Metaphors and Purpose: Mike Nichols interview | Film Comment | Film Society of Lincoln Center Mike Nichols talks about his collaborations with Elaine May, his first directing experiences, and writing How did you start out in your career? I sort of backed into it. That is to say, I did some plays in college, and then I became part of a theater group that Paul Sills started in Chicago called Playwrights Theater. [Yet] I never thought I would be an actor, because when I would occasionally try to cast myself in something, I couldn't; I didn't ever find a part that fit me. How did you meet and what was your impression of her? We met at the University of Chicago. We became very close, it's a very difficult thing to describe, but what was true then is true now in our most recent version of collaboration, in which she writes the script and I direct it, in that what one of us doesn't think of the other does, and we define the things that are involved in drama and movies in a similar way. How did you make the transition from performing to directing? Why were you so successful together?

[E-teach] Bend it like Beckham - 6 Famous Movies With Mind-Blowing Hidden Meanings The Shining: Jack Nicholson Doesn't Care About Indian People What You Think You're Watching A horror film about a frustrated writer who loses his marbles while working at an isolated hotel in Colorado. Said writer tries to kill his family as he cackles a catchphrase from a popular American talk show. This one. The Subtext The caretaker's wife and son come to represent Native Americans, and murderous Jack Torrance is whitey. According to some theorists, Stanley Kubrick's 1980 film The Shining is brimming with messages about violence against Native Americans. Unless there was some sort of territorial spat with a nearby casino. So there's that. "Fuck you, indigenous peoples!" But maybe that's just a coincidence. In the first half of the film, when Torrance is still relatively free of Hotel Ghost Syndrome, both his wife and son dress in a series of outfits that all prominently feature patriotic shades of red and blue. But once Torance starts going loco, his wardrobe becomes red and blue ...

The Devil Wears Prada: Dangling Modifiers This is the opening scene of this funny movie with excellent characters. I left the answers to the exercises on the blog post just to help you out, but of course you'll have to delete this information when you prepare the students' exercise sheets. This is the opening scene of the movie, with a great song. These ladies are the main characters: Andrea and MirandaA. 1. Watch the movie segment and decide whether the following sentences have dangling modifiers. 1 - After getting dressed, Andrea kissed her boyfriend goodbye. 2 - Going to her job interview, the waitress handed Andrea a bagel for breakfast. 3 - While eating a sandwich, she took the subway to work. 4 - Surprised by the message the taxi driver sent, a lot of things had to be done in a hurry. 5 - After asking if someone had eaten an onion bagel, Andrea checked whether her breath was fine. 6 - Before reaching her office, nobody but her assistant talked to Miranda. Now revise the dangling modifiers and write a possible correction.