Week 11 Tute Clips Recap

Ok, so we looked at Editing, and more clips showing various examples of pacing, camera conventions/shot selections at work, in conjunction with the editing of the films. Think about what information is being presented, how juxtaposition of the images together create a new meaning or element of the story, what the audience knows in relation to what the characters know, and think about some of those theories and "rules" from the lecture notes (Already waiting for you at 'Learning @ GU'). Such as:

Director Edward Dmytryk's :

•"Rule 1: Never make a cut without a positive reason."

•"Rule 2: When undecided about the exact frame to cut on, cut long rather than short."

•"Rule 3: Whenever possible cut 'in movement'."

•"Rule 4: The 'fresh' is preferable to the 'stale'."

•"Rule 5: All scenes should begin and end with continuing action."

•"Rule 6: Cut for proper values rather than proper 'matches'."

•"Rule 7: Substance first—then form." 

(First one from last week which touched on Editing too: http://masonnotes.blogspot.com.au/2012/10/week-10-clip-recap.html)

Oh, and remember in class when we talked about rhythm, tempo, alternation etc. in editing? I recommend rewatching 'The Good, the Bad and the Ugly' clip for a great example: http://masonnotes.blogspot.com.au/2012/08/week-3-recap-on-tute-film-clip-examples.html



A continuation of the pacing used throughout the film by juxtaposing scenes/shots and cuts with music from the era (and the subject matter of the music too with the themes from the film/historical context). Malcolm X's assassination, cut with (close friend) Ali's reaction to the news. The context also being that (in the film) the last time they spoke, Ali was upholding the wishes of 'The nation of Islam' to sever ties with ousted minister Malcolm X. Clearly, he is still hurt by the lose of his friend.



Compare the long cuts, medium to longshots employed by Hong Kong action films, as opposed to the quick cut, close in shots many American films use- perhaps a more a commentary on the skill of the Actor and stuntmen in Hong Kong cinema. Also, this, like many JC sequences, would not have been planned out until a visit to the set, in order to find a way to incorporate the surrounding environment (and props you may find in that location) for the scene to be choreographed.



The quick close up shots pieces together give you a bigger picture of the action that is taking place- spinning rims, reflection of enemy cars on paint work, rear view mirror glances, bullet belts, gear sticks- yep, it's a car chase :P. As the environment becomes part of the action/dangers surrounding the cars escalates in the scene, the shots become longer, and the camera wider to accommodate.



As mentioned in the presentation in class, there are a number of things going on in this sequence- using camera conventions and shot selections, the focal points are edited to always keep your attention to the main important elements that are occurring in the frame- edited between the baby being baptized, Michael Corleone become a 'Godfather' to his nephew, and also becoming a 'Godfather' of the Corleone crime family as his enemies are "taken care of". Juxtaposition with the holy ceremony and the "unholy" murders, sold through editing, composition and the pose/expression on 'Michael Corleone's' face.

Note the focal point between the shots following are the same- this happens throughout the sequence/changes in location (McCloud's "Scene to Scene").




For sheer timing in editing, you can't go past looking at a Road Runner cartoon by Chuck Jones. The expression/pose, sold by the timing, makes the joke work. Not the one we watched briefly in class, but you get the idea. Note the Cartoon physics law in play "Coyotus Interuptus" http://listics.com/200408022076 :P :P



Another form of montage, or "THE" montage- Rocky.

I've "gotta fly now" (lame), but email me if any issues.

Week 9 Clips Recap

Hey all,
A selection of the clips we watched last week in class, relating to colour and it's use. Check the notes on L@GU for not only the basic theories at play (complimentary colours, colour values, 'warm' and 'cool' colours) but also the possible reasons as to why certain colours/combinations are used in scenes. These are used in conjunction with the visual language of composing shots. Enjoy :D

All-Star Superman (Warner Animation): Opening Scene:


All Star Superman Pt.1 by mrcobain215vidz2

"What's Opera, Doc?" (Warner Bros.)



Dumbo (Disney) : "Look out for Mr Stork":



Dumbo (Disney) "Pink Elephants on Parade":



Kung Fu Panda (Dreamworks) Intro:




And the couple of live action examples:


Butch Cassidy and the Sundance Kid (intro):



The Matrix: "Trinity rooftop chase":
(Notes a lot of the shots that we went over in "Genre" lecture are used in this sequence.)



See you all after the break. Hopefully, you're using the week off to progress a bit more in your final assessments. Any questions, email me :)

Recap- Week 8 clips

Hi Guys,

I hope if I haven't heard your final assessment story that you'll email me on pmason83@gmail.com....*hint*
Thank you to those that have :D

In the meantime, let's recap some of the clips we saw in the last class. The lecture slides are going up, my apologies if you missed the class, I simplified the shot layouts on the whiteboard, and expanded a bit, but you'll get the idea. The focal points and compositions/camera choices given as examples are those which tend to feature in particular genres. Have a look at the clips below, and see when these more advanced principles (from lecture) have been utilized in the genre clips below.

Many shots here should start to become very familiar to you ;D

Drip Along Daffy:
Parody-style films usually hit the nail on the head when they mimic the idiosyncrasies of composition and shot selection of the genre they're conveying. Check out in particular the "shoot out" sequence at the end of this cartoon, and think back to the shots we saw used in the Western examples from earlier in the semester. 

Duck Dogers in the 24th 1/2 Century:
Another example of genre parody- where referencing design, speech and themes have come into play.


Vezi mai multe din Desene animate pe 220.ro

Robin Hood Daffy:
And another, because I love Chuck Jones's "Porky and Daffy" partnership. We might see a couple more before the semester is out ;)



Live Action Examples:

Casino Royale (Madagascar chase sequence): Wasn't able to embed, but link is below.

This sequence uses everything we've touched on so far- Establishing shots, POV shots, over the shoulder, Zip pans, tracking shots, crane shots, use of diagonals in composition, strong perspectives etc. but also, some of the newer composing elements we touched on in the last class: Animating the scene (for a chase sequence- where the chasing character follows the "chasee" in the previous position, creating suspense and tension), upshots, landscape as character, action shots, beyond the standard points of interest etc. See how many you can spot!

Casino Royale sequence link: Click Me!

The Godfather (Opening scene):
Negative space and lighting to create focal points. Depth of field, Scale. Subtle truck out (camera movement).



 Tropic Thunder (opening scene):
 Not quite all of what we watched, but the "guts" of it are there. It's missing the "Big, Medium, Small" helicopter shot at the beginning, but you get the idea. Another example of parody, but again, referencing genre to get the laughs.

Week 6 Clips Recap

Notes are up on Learning @GU under "2107GFS Lecture Slides" folder in 'Course Content'.

Remember, I'm usually one to talk from the images and not have heavy notes on the screen- the various examples of my own work for instance show how referencing either aided in the design and creation of a character/costume/setting, and not always "I need to specifically find XYZ". i.e: The research can "bear fruit" in relation to your visual story, not only adding weight, but providing inspiration and answers to solving a problem you may have in narrative or character (such as the case of the 1880's 'Soldier Legacy' character).

I realise there are a number of students who I haven't had time to reach in the last few weeks as I go around 1 by 1 in class, so next time I get the opportunity (next week is a guest lecturer, so I'm thinking week 8), the aim is to identify and see these students first. M'kay?

Anyways, the clips. Mains points are in Lecture notes.
 When watching these, think about how referencing has inferred the settings, props, locations, character designs and charactersations, action, narrative, mise en scene, shot choices, techniques and inspirations used by the filmmakers etc.

And also, all the mechanics of visual story at place: storytelling/camera conventions, shot selections, composition, focal points etc. etc.

Oh, and remember this handy tool- I can't recommend it enough for hands, facial expressions etc. Or your iPhone ;D

MULAN




THE DOVER BOYS


http://johnkstuff.blogspot.com.au/2009/07/smears-and-poses.html

JUSTICE LEAGUE: THE NEW FRONTIER

Could not find a clip that had the lead-in we watched, featuring more of the Las Vegas setting, the Martian watching 1950's television, Superman and Lois Lane on top of the Daily Planet (referencing 'The Cold War Era'), but this should be enough to jog the memory/get the point across.



SHERLOCK HOLMES





PATTON


PROJECT: A







Gotta run! See you guys :D

Week 2: Recap on Tute film clip examples

Nothing too in-depth here, just talking briefly on some of those examples from after the lecture yesterday :)

Chuck Jones's "Feed the Kitty":



Storytelling through storyboarding strong character poses and expressions, clever framing (particularly towards the end of Act 2, where he is locked outside, and forced to look in through the window), timing, editing, and all without any dialogue from the main protagonist (Marc Anthony) at all. Remember my 'Rain Man' example? The Kitty never changes. But with the escalating conflicts that occur, Marc Anthony the Dog  experiences a full range of emotions until the final resolve at the end. Narrative storytelling 101 :D

Inglourious Basterds: Chapter 1



Couldn't find a clip that included the entire 15 or so minutes, but at least this clip above shows a snippet, and the clip below shows the shoot out- the only selection of shots in this scene that changes the plane on which the camera was sitting at, apart from the vertical pan into the floorboards in show the people hiding (which also stands out from the conversation, where the camera's angle is consistent.) The killing is particularly highlighted by not only the music, operatic/tragedy sounds, but also the "bird's eye view" diagonal gun barrels and house beams as dust flies up from the bullet-riddled floorboards. Boy, didn't that conversation change o_O



Think of the chosen low angle shot of the nazi jack boots walking into the house: similar to the imagery from the film "Battleship Potemkin" which no doubt Peter Moyes may have shown you.

Not all the shots I wanted to remind you of, but at least it's something. Lighting, composition (earlier shots where a nice conversation is going on within the house, except the highlighted area of the frame is a open window with SS officers waiting outside by their car. Adds visual tension to an otherwise seemingly friendly conversation about meeting the daughters, and milk.

Dirty Harry:
Storyboards- establishing the scene, and the position of the characters in relation to each other, shots used during the conversation etc.



Take note that you don't have to have the camera on the person talking- in this instance, it shows the thought process of the protagonist/his reaction to what's being said.

This is the first scene in which 'Harry' speaks. Interest and empathy in the character is created very quickly, which seems to comes from the dry humour/attitude, and he exudes a confidence which suggests he's the "smartest", or is someone which the best skillsets to solve the case (no nonsense, lines that shows he cares for the safety of innocent people, despite the gruffness of delivery). Think of why it is that we side with these characters in the first place when watching a film, and how to show this when story boarding a scene, or writing for our character/s. Anyways, more on this point next week when talking camera conventions, and juxtaposition etc.

Dirty Harry: shootout snippet.



Again, take note of the conventions of shots used- similar background/compositional considerations made to  a western for instance. And, the power/submissive roles shown by simply angling the shot, showing Harry in an up shot, and the bankrobber in a down shot.

Unfortunately, we miss out on that frame showing the small pile of cigarettes outside the getaway car- a (at the time) different way to show a passage of time than wasting seconds, film (and ultimately money) on showing the guy checking his watch etc.

High Plains Drifter:
Do you know, almost every friggin' scene of that film is up on Youtube, and yet I can't seem to find the opening credits where he rides into Lago, and trots into town, with the townspeople watching?

Anyway, plenty of traditional western-style shots using plenty of storyboarding rules (composition, rule of thirds etc.) great example of Establishment shots, following the 180 rule, even from POV shots from people watching him ride by (right to left), neutral shots when they (invisibly) switch sides, so not to confuse, and interesting camera position choices (such as from a window in a barber shop etc.)

At least some of the shots from the opening are briefly shown in this cheesy trailer ;P



See you next week! Remember, I want to check out the bulk of your 'Fill in the Gas" progress, and I want to hear about your final assessment idea. Cool :)