This schematic shows the axis between two characters and the 180° arc on which cameras may be positioned (green). When cutting from the green arc to the red arc, the characters switch places on the screen. In film making, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. The object that is being filmed must always remain in the center, while the camera must always face towards the object. Example In a dialogue scene between two characters, Daniel (orange shirt, frame left in the diagram) and Lucas (blue shirt, frame right), the camera may be placed anywhere on the green 180° arc and the spatial relationship between the two characters will be consistent from shot to shot, even when one of the characters is not on screen. The rule also applies to the movement of a character as the "line" created by the path of the character. Common usage, pitfalls and solutions Usage
Training, eBooks and More For Filmmakers working in Film, Video and the Web - Moviola.comSupercut Movie ClichésAbout Supercut videos (a.k.a pop culture megamixes) are video montages made of overused movie or TV platitudes. Very often, they are meant to highlight how certain hackneyed lines have lost all meaning due to their continuous employment by lazy screenwriters. Origin The term “supercut” was coined by blogger Andy Baio on April 11th 2008. (A) genre of video meme, where some obsessive-compulsive superfan collects every phrase/action/cliche from an episode (or entire series) of their favorite show/film/game into a single massive video montage. In the blog post, Baio cites a YouTube video titled “Previously on Lost : What?” In TV & Films Film critic Tom McCormack provides a comprehensive history of supercut aesthetics in his blog post “Compilation Nation.” Spread On YouTube, various compilation videos made by fans of TV shows and film actors foreshadowed the arrival of Supercuts, most notably the montage of David Carusoe’s cheesy one-liners in CSI. Supercut Database Notable Examples
Camera AnglesCamera 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.
ScreenplayMain article: Pre-production Sample from a screenplay, showing dialogue and action descriptions A screenplay or script is a written work by screenwriters for a film, video game, or television program. These screenplays can be original works or adaptations from existing pieces of writing. In them, the movement, actions, expression, and dialogues of the characters are also narrated. Format and style The format consists of three aspects: The style consists of a grammar that is specific to screenplays. A prose that is manifestation-oriented, i.e. focuses largely on what is audible and what is visible on screen. Physical format American screenplays are printed single-sided on three-hole-punched paper using the standard American letter size (8.5 x 11 inch). In the United Kingdom, double-hole-punched A4 paper is normally used, which is slightly taller and narrower than US letter size. Screenplay formats Feature film There is no single standard for studio format.
German Expressionism: The World of Light and ShadowGerman Expressionism: The World of Light and Shadow A specialization of apursansar wonderful list: Weimar Cinema: Daydreams and Nightmares One part of the Weimar cinema is classified as German expressionist film, especially the films between the years 1920 and 1927 (but not all). But also non-german films were strongly influenced: US, Russian and Austrian films etc… German Expressionist Films German expressionist films were prevalent in the 1920s. Amongst the most well remembered are films such as The Cabinet of Dr Caligari (Robert Weiner, 1920), Nosferatu (F.W. The story lines of German expressionist films matched the visuals in terms of darkness and disillusionment. Background More than any other national movement in the history of film, German Expressionism was an answer to the grim reality of daily life. Before the Great War, German film was not nearly as technologically or thematically sophisticated as other European film. Der Student von Prag (The Student of Prague) (1913) Style
CheesyCam » DIY Video and Photography ProjectsWhen it drops | helping you keep track of the newest releasesMovie Making ManualXania has nominated himself for use of the Checkuser tools. Please provide your input on this important decision. From Wikibooks, open books for an open world Introduction to Movie Making AppendicesCinematographyCinematography (from Greek: κίνημα, kinema "movements" and γράφειν, graphein "to record") is the science or art of motion picture photography by recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as film stock. Cinematography is employed in many fields of science and business as well as its more direct uses for recreational purposes and mass communication. §Etymology The word "cinematography" was created from the Greek roots κίνημα (kinema) i.e "motion" and γραφή (graphé) "representation by means of lines" or "drawing", together meaning drawing motion. §History §Precursors Muybridge sequence of a horse galloping In the 1830s, moving images were produced on revolving drums and disks, with independent invention by Simon von Stampfer (Stroboscope) in Austria, Joseph Plateau (Phenakistoscope) in Belgium and William Horner (zoetrope) in Britain. §Black-and-white