Notes from The Art of Storyboarding: Difference between revisions
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== Overview == | == Overview == | ||
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Think of ways to convey emotion without relying on cutting from characters speaking dialog. | Think of ways to convey emotion without relying on cutting from characters speaking dialog. | ||
=== The “5 C’s” of | Negative space around a character draws attention to that character: | ||
''<nowiki>[insert illustration image here]</nowiki>'' | |||
=== The “5 C’s” of cinematography === | |||
# '''Camera Angles'''<br>Upshot, downshot, wide, close, etc. “Dutch tilt,” i.e. camera tilted relative to horizon | # '''Camera Angles'''<br>Upshot, downshot, wide, close, etc. “Dutch tilt,” i.e. camera tilted relative to horizon | ||
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|description=“Directing—The Fine Art of Blocking and Composition”, Dan Fox | |description=“Directing—The Fine Art of Blocking and Composition”, Dan Fox | ||
}} | }} | ||
=== Types of Compositions/Shots === | |||
==== Extreme Long (or Wide) Shot ==== | |||
* Can barely make out figures—they are specks in the landscape | |||
* Establishing shot | |||
* Very little emotion | |||
* [[file:extreme-wide-shot-incredibles.png|540px]] | |||
==== Wide Shot ==== | |||
* Figures are very small; cannot make out features. | |||
* Establishing shot with a little more focus on character. | |||
* Little emotion | |||
* [[file:wide-shot-illo.png|320px|border]] | |||
==== Long Shot ==== | |||
* Full figure with plenty of space above and below the head and feet | |||
* Similar to watching a stage play | |||
* Also an establishing shot | |||
==== Full Shot (FS) ==== | |||
* Whole body with space above and below the head and knees. A full body shot that minimizes the background is a Full Shot. A full-body shot that reveals a lot of BG is a Long or Wide Shot.<ref>[http://www.elementsofcinema.com/cinematography/framing-shot-sizes/ Shot Sizes: Telling What They See], Elements of Cinema Blog & Podcast</ref> | |||
* <strike>Knees up</strike> <— DC said this in class, but it’s wrong. | |||
* It’s possible to make out the expressions on the characters’ faces | |||
* Neutral emotion | |||
* Audience is not a participant in the action | |||
* “Public” space | |||
==== Medium Shot (MS) ==== | |||
* Some argue MS starts a little above the waist, others say MS starts above the knees. | |||
** (DC defined a MS in class as starting above the waist.) | |||
** Just don’t cut off characters at their joints! | |||
* Happy medium between a Full Shot and a Close Up. | |||
* Dialog-heavy scenes | |||
* 2 or 3 characters | |||
* Over-the-shoulder (OTS) shots | |||
==== Close-Up ==== | |||
* Face of the actor / Neck-up | |||
* One actor | |||
* Very little background | |||
* Magnifies emotions | |||
==== Extreme Close-Up ==== | |||
* Just eyes or mouth | |||
* Extremely personal & intimate | |||
==== Deep Focus or Wide Angle ==== | |||
* Wide angle lens with everything in focus | |||
* Foreground, middle ground, and distance | |||
=== Point-of-View (POV) shots === | |||
Over-the-shoulder without the foreground character in the picture becomes a POV shot (Cohen Bros. use this a lot.) | |||
With OTS the audience is slightly more detached. | |||
With POV the audience assumes the place of the other character, making it more voyeuristic. Audience is placed deeper in the story. | |||
== Types of transitions == | |||
I think he covered this in class, maybe I never finished transcribing my notes to the wiki? | |||
{{#evu:https://www.youtube.com/watch?v=OAH0MoAv2CI | |||
|dimensions=480 | |||
|description=Cuts & Transitions 101 | |||
|autoresize=true | |||
}} | |||
Anyway, | |||
=== Standard === | |||
Just butting two clips up against each other without any added meaning. | |||
=== Jump cut === | |||
Cut around a single shot with the intent of speeding up time. Cutting out slices of a contiguous clip. Demonstrates the passing of time. | |||
=== J-Cut === | |||
The audio of the following clip overlaps the visual of the preceding clip as a way of introducing the context of the next clip. | |||
=== L-Cut === | |||
The opposite of a J-cut. The audio of the preceding clip overlaps the visual of the following clip. Again, to blend the two together. Used a lot in conversational scenes. | |||
=== Cutting on action === | |||
Cutting on a character making any arbitrary motion. | |||
=== Cross-cutting === | |||
A series of cuts back and forth between two scenes. Used often in phone conversations, and when parents are heading home after a weekend away and the kids have to clean up their mess. | |||
=== Cutaway === | |||
Cut to an insert shot that establishes the context of the action. The audio can continue over the visual uninterrupted. Typically, you cut away and then return to the original clip. | |||
=== Montage === | |||
Radically compresses a long process down to a series of short clips. | |||
=== Match cut === | |||
An action or composition continues from one clip into the next clip. Similar to a jump cut, but between two distinct shots. | |||
=== Fade In/Fade Out === | |||
Fade to or from a flat color, typically black. | |||
=== Dissolve === | |||
Cross fade two clips so we're seeing both images simultaneously during the transition. | |||
== Notes == | |||
<references /> | |||
[[Category:Storyboarding]] [[Category:Animation]][[Category:Class Notes]] | |||
Latest revision as of 20:22, 22 March 2024
Overview[edit]
Instructor: David Chlystek
Introductory videos[edit]
Takeaway: It’s necessary to generate emotion; the audience has to feel something.
Assignment[edit]
Break down a scene from a favorite movie. (Badlands)
Composition[edit]
Negative space around characters draws attention. (TODO: insert illustration)
Eye Trace—thinking about where the eye moves from scene to scene—don’t jump around.
Public vs private compositions suggest the audience’s relationship with what is in the frame.
Frame within frame creates unease or tension by boxing in the characters within the frame.
Think of ways to convey emotion without relying on cutting from characters speaking dialog.
Negative space around a character draws attention to that character:
[insert illustration image here]
The “5 C’s” of cinematography[edit]
- Camera Angles
Upshot, downshot, wide, close, etc. “Dutch tilt,” i.e. camera tilted relative to horizon - Continuity i.e. “hook ups”
- Cutting i.e. editing
- Composition
- Close-Ups
Types of Compositions/Shots[edit]
Extreme Long (or Wide) Shot[edit]
- Can barely make out figures—they are specks in the landscape
- Establishing shot
- Very little emotion
Wide Shot[edit]
- Figures are very small; cannot make out features.
- Establishing shot with a little more focus on character.
- Little emotion
Long Shot[edit]
- Full figure with plenty of space above and below the head and feet
- Similar to watching a stage play
- Also an establishing shot
Full Shot (FS)[edit]
- Whole body with space above and below the head and knees. A full body shot that minimizes the background is a Full Shot. A full-body shot that reveals a lot of BG is a Long or Wide Shot.[1]
Knees up<— DC said this in class, but it’s wrong.- It’s possible to make out the expressions on the characters’ faces
- Neutral emotion
- Audience is not a participant in the action
- “Public” space
Medium Shot (MS)[edit]
- Some argue MS starts a little above the waist, others say MS starts above the knees.
- (DC defined a MS in class as starting above the waist.)
- Just don’t cut off characters at their joints!
- Happy medium between a Full Shot and a Close Up.
- Dialog-heavy scenes
- 2 or 3 characters
- Over-the-shoulder (OTS) shots
Close-Up[edit]
- Face of the actor / Neck-up
- One actor
- Very little background
- Magnifies emotions
Extreme Close-Up[edit]
- Just eyes or mouth
- Extremely personal & intimate
Deep Focus or Wide Angle[edit]
- Wide angle lens with everything in focus
- Foreground, middle ground, and distance
Point-of-View (POV) shots[edit]
Over-the-shoulder without the foreground character in the picture becomes a POV shot (Cohen Bros. use this a lot.)
With OTS the audience is slightly more detached.
With POV the audience assumes the place of the other character, making it more voyeuristic. Audience is placed deeper in the story.
Types of transitions[edit]
I think he covered this in class, maybe I never finished transcribing my notes to the wiki?
Anyway,
Standard[edit]
Just butting two clips up against each other without any added meaning.
Jump cut[edit]
Cut around a single shot with the intent of speeding up time. Cutting out slices of a contiguous clip. Demonstrates the passing of time.
J-Cut[edit]
The audio of the following clip overlaps the visual of the preceding clip as a way of introducing the context of the next clip.
L-Cut[edit]
The opposite of a J-cut. The audio of the preceding clip overlaps the visual of the following clip. Again, to blend the two together. Used a lot in conversational scenes.
Cutting on action[edit]
Cutting on a character making any arbitrary motion.
Cross-cutting[edit]
A series of cuts back and forth between two scenes. Used often in phone conversations, and when parents are heading home after a weekend away and the kids have to clean up their mess.
Cutaway[edit]
Cut to an insert shot that establishes the context of the action. The audio can continue over the visual uninterrupted. Typically, you cut away and then return to the original clip.
Montage[edit]
Radically compresses a long process down to a series of short clips.
Match cut[edit]
An action or composition continues from one clip into the next clip. Similar to a jump cut, but between two distinct shots.
Fade In/Fade Out[edit]
Fade to or from a flat color, typically black.
Dissolve[edit]
Cross fade two clips so we're seeing both images simultaneously during the transition.
Notes[edit]
- ↑ Shot Sizes: Telling What They See, Elements of Cinema Blog & Podcast