Notes from The Art of Storyboarding: Difference between revisions
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* Figures are very small; cannot make out features. | * 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]] | |||
Revision as of 00:22, 20 February 2018
Overview
Instructor: David Chlystek
Introductory videos
Takeaway: It’s necessary to generate emotion; the audience has to feel something.
Assignment
Break down a scene from a favorite movie. (Badlands)
Composition
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.
The “5 C’s” of cinemaphotography
- 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
Extreme Long (or Wide) Shot
- Can barely make out figures—they are specks in the landscape
- Establishing shot
- Very little emotion
Wide Shot
- Figures are very small; cannot make out features.
- Establishing shot with a little more focus on character.
- Little emotion
