Tracks are laid on the set to permit a smooth movement of the camera which can them follow a moving person or object dolly shot straight or curved A shot taken from a moving vehicle that follows a moving person animal vehicle or other object ID: 464075
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Slide1
camera movementSlide2
Tracks are laid on the set to permit a smooth movement of the camera, which can them follow a moving person or object.
dolly shot
Slide3
straight
or curvedSlide4
A shot taken from a moving vehicle , that follows a moving person, animal, vehicle or other object.
T
racking
shotSlide5Slide6
For closer work, there is hand-held – or more likely 'shoulder-held' – as in this photograph of filming in the London Underground.
Hand-held cameras ore often used to give a deliberately unsteady effect, to suggest authenticity as in a documentary.Slide7
Dollies are used less than they used to be since the invention of the
Steadicam
, which gives a smoother, less jerky result than a hand-held camera, but has a flexibility a stationery camera (or even one on tracks) can't have.Slide8
reverse tracking
tracking shots are usually made on a slight angle from the side of the subject; occasionally a
following shot
will be shot from behind.
following shots are not common because faces cannot be seen
reverse tracking is used when the director wants to focus on the face of the character being tracked, or wants the audience to share the character's experience
as in this very famous sequence of Cary Grant being chased by a crop-duster in Alfred Hitchcock's
North by Northwest
(1959)Slide9Slide10Slide11Slide12Slide13Slide14
Film Techniques
part 3: pre- and post-productionSlide15
pre-productionSlide16
Shots are sometimes sketched in advance and in sequence, like a comic strip, thus allowing the filmmaker to outline the
mise en scène and construct the editing continuity before production begins.
Producers and studios
like directors who do this,
because production money isn't being wasted on 'dead time' on the set; crews don't have to sit idly while a director thinks about the next set-up.
Alfred Hitchcock said that he found this the most interesting part of making a film. Once he had planned every shot, the actual filming was just finishing the job.
Steven Spielberg, Peter Jackson and Sam Mendes all regularly use storyboards.
storyboardingSlide17
They can be simple sketches, like these for
Mean Creek
(Jacob Aaron Estes) Slide18
An office scene in
American Beauty
(Sam Mendes) with the actual scene beside each storyboard sketchSlide19
Or more elaborate like this one for
The Fellowship of the Ring.
This exact view didn't make the final cut.Slide20
The Designer and/or Art Director are responsible for the look of a film.
Décor can be used to make a significant contribution to the ideas or mood of a film,
design
I
mportant elements
of
mise
en
sc
è
ne
are
décor
and
props
–
the design and furnishing of the basic setting.Slide21
as these sets from Stanley Kubrick's
2001: A Space Odyssey
(1969) demonstrate:Slide22
the futuristic furniture and reduced colour scheme stress the sterility and impersonality of the space station environment
which is emphasised by the deep focus Slide23
Décor can be an important aspect of
characterisation.
The stark bareness of his room hints at the psychological problems of Lars (Ryan Gosling) in
Lars and the Real Girl,Slide24
especially when contrasted with the warm, lived-in home of his brother and sister in law (
Emily Mortimer).Slide25Slide26
Will (Hugh Grant) lives a life of pointless consumerism, as is indicated in the design and décor of his flat.
About a Boy
It looks very tasteful and colour co-ordinated but has no personality. He almost seems to get lost in it. His life is as grey as his flat.Slide27
He has all the up-to-date gadgets.Slide28
By contrast, Fiona and Marcus live in a house that looks much cheaper and less luxurious, but is a home – they have made their mark on it.