PROJECT #1: DEFINE A PLACE
In this exercise students are required to “define a space or location” through visually controlled and
expressive shooting.
Begin by choosing a location either on campus or close by.
Before shooting anything, observe the space for a while.
What is happening there? What details exist
that can tell a story about the space (signs, activities, objects, etc.)?
Now, make a mental “shopping list” of shots. Think about what camera position, shot size and
composition will work best for each shot. Try not to move the camera unless your move has a clear
beginning and end. Remember that a still frame with movement going on in the frame can be more
powerful than a moving shot.
Each team member will conceive of and shoot 10 shots and then all the shots will be pooled for editing.
Think carefully about what you wish to convey. It could be an emotional tone you feel in the location
(claustrophobia, fear, energy); or it could be that you are interested in the quality of light in the space;
or perhaps what intrigues you is what goes on there; or maybe you like the architectural details, or the
colors; you could also contrast interior with exterior, light and dark, movement and stillness ... it’s up to
you! You don’t need to make a huge statement, but you must find some specific angle on the space and
reveal that visually.
Also consider how your shots might eventually come together in the editing. Do you want your images
to lead us into the space from the outside? Or do you want to create a question as to where we are
before you reveal the larger space? There are many different ways to approach this.
Each student will then edit their own short film using the team’s material. Although the material should
be silent (no natural sound) footage can be cut to an appropriate music track.
THIS IS A GROUP PROJECT. You must both agree on the location and the concept. Each person can
design their own shots or you can agree together on each shot. Everyone must handle the camera and
shoot.
HAVE FUN WITH THIS!
Monday, September 21, 2015
Wednesday, September 16, 2015
In class camera exercise
In your groups, go out (not too far!) and shoot the following:
1. One subject shot with three different frame sizes
2. One subject from low and high camera angles
3. A shot where the camera does not move and there is movement within the
frame
4. One subject, shot directly in front, and then on an angle using the Z-axis
5. A closed frame and an open frame
6. A symmetrical frame
All shots should use the rule of thirds. Plan your shots before pushing the record button. AVOID recording while figuring out what you want to shoot next, also known as “visual hiccups.”
1. One subject shot with three different frame sizes
2. One subject from low and high camera angles
3. A shot where the camera does not move and there is movement within the
frame
4. One subject, shot directly in front, and then on an angle using the Z-axis
5. A closed frame and an open frame
6. A symmetrical frame
All shots should use the rule of thirds. Plan your shots before pushing the record button. AVOID recording while figuring out what you want to shoot next, also known as “visual hiccups.”
Thursday, September 3, 2015
BASIC CAMERA & VIDEO TERMINOLOGY
1. SHOT
A shot is a length of film or video unbroken by a cut or by shutting the camera off.
There are many different types of shots. Here are the basic ones:
a. CLOSE UP (CU): when of a person, usually a shot of the head and shoulders
EXTREME CLOSE UP (ECU): If shooting a person's face an ECU might only reveal the person's eyes.
Example of Close Up:
b. MEDIUM SHOT (MS): when of a person, usually from the waist up
MEDIUM CLOSE UP (MCU): A shot that falls somewhere in between a medium shot and a close up.
Example of Medium Shot:
c. WIDE SHOT/LONG SHOT: in the case of a shot of a person, the whole person is shown from head to toe.
EXTREME LONG SHOT: this would show the entire person within the environment. The person would be a very small part of the frame.
Example of Extreme Long Shot:
c. TRACKING SHOT: a dolly shot in which the camera moves with a moving subject, keeping it in frame.
Nowadays steadicam tracking shots have become more popular
Here is an example of a steadicam tracking shot from True Detective:
https://www.youtube.com/watch?v=s_HuFuKiq8U
2. CAMERA MOVEMENT
a. PAN: a camera movement in which the camera is pivoted along its horizontal axis (left to right, right to left)
b. TILT: a camera move in which the camera pivots up or down along its vertical axis
Check out this link for use of camera movement in Breaking Bad:
https://vimeo.com/91688801
3. CAMERA ANGLES
a. HIGH ANGLE SHOT: a shot taken with the camera at an angle above the subject.
b. LOW ANGLE SHOT: a shot taken with the camera at an angle below the subject.
c. DUTCH ANGLE: a shot composed so that the image is tilted in the frame.
*THE 180 DEGREE RULE*
This is a very important rule. You must have an idea of what this means before you start shooting.
Before you start shooting, you will establish an imaginary 180 degree line and not cross this line with the camera. The camera position must remain on one side of that line. If the camera crosses the line, it will get confusing in the editing.
We will talk more about this in class but here is a video you can watch in the meantime: https://www.youtube.com/watch?v=HinUychY3sE
Wednesday, September 2, 2015
Artist Statement - Due Lab 2
Blog #1 Assignment: Artist Statement
Length: 250 Words Due: Lab 2
This short statement is to help you and your potential audience get an initial glimpse of the media maker behind the work. It is an important part both of thinking about yourself as a creator, a producer of ideas, images and more, and of getting the word out about your work.
You should think about your personal motivation, as well as about the medium in which you work (or in which you hope to work!) and your background.
Where do your curiosities lie? What have you studied that interests you? What experiences have helped shape your worldview? Try to be specific. Questions of memory? Family relationships? Identity? Music? Theater? Politics?
What about influences? Are there certain artists or filmmakers that you admire or appreciate? TV Shows? Websites? Games?
Most importantly, think not only about “what you’re interested in,” but about why something interests you, and about what you are trying to say with your work. What truths about the world or your life are you trying express in your work? What are you truly passionate about? In other words, it's not enough to say, “I’m interested in cartooning.” Rather, dig into what cartoons might express that you identify with: “I’m interested in showing that humor can help people broach the most difficult ideas and feelings.”
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