Notes from The Art of Storyboarding: Difference between revisions

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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.
Negative space around a character draws attention to that character:


=== The “5 C’s” of cinemaphotography ===
=== The “5 C’s” of cinemaphotography ===

Revision as of 16:12, 7 May 2021

Overview

Instructor: David Chlystek

Introductory videos

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YouTube
How You Pitch For a Movie at Pixar (From Monsters’ University)

Takeaway: It’s necessary to generate emotion; the audience has to feel something.

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“Intro to Storyboarding”—Rocketjump Film School

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.

Negative space around a character draws attention to that character:

The “5 C’s” of cinemaphotography

  1. Camera Angles
    Upshot, downshot, wide, close, etc. “Dutch tilt,” i.e. camera tilted relative to horizon
  2. Continuity i.e. “hook ups”
  3. Cutting i.e. editing
  4. Composition
  5. Close-Ups
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YouTube
“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

Wide Shot

  • Figures are very small; cannot make out features.
  • Establishing shot with a little more focus on character.
  • Little emotion

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.[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)

  • 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.

Notes

  1. ↑ Shot Sizes: Telling What They See, Elements of Cinema Blog & Podcast
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