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.

Recap Week 4: In Class clips and comments

Quick recap for last week featuring directors Charles Chaplin, and Martin Scorsese with tie-ins to what we were talking about.

1. The pose (from 'Modern Times')- characterization through posing (Silent film "over-acting" helps) and expression.

And some shots in practice, from week 3's 'Camera Conventions'.  The no cuts Steady cam shot from 'Goodfellas'. Remember what we said about subjectivity in camera choices?


 (This shot was apparently inspired by a long steady cam shot in Brian De Palma's 'The Untouchables'. It's not just Tarrintino who homages great directors ;D)


And the POV-Steady cam shot, introducing the local 'wiseguys'.



A simple action/reaction shot scene, but effectively focusing on the main characters. A great layered composition too, where the surrounding people, objects in the foreground, and background elements work together to give a nice, rule of thirds friendly focal point on Joe Pesci and Ray Liotta respectively. And simple "180 degree rule" example in action.

(Pointless trivia: This scene was improved- based on a real story about actor Joe Pesci telling a mobster in a restaurant he was "a funny guy".)

See you all Tuesday :D

Week 3: Recap on Tute film clip examples

Ok, so just a brief recap on most of the examples we watched in class this week. Pay particularly close attention to the choices in camera, and the movements, that are used to tell the story. As some of you pointed out in class, very little dialogue is used to covey what a character is thinking, feeling or doing.
Which goes back to the point of "SHOW, DON'T TELL".

With many of the shots below (particularly the animated examples) it is plain to see the importance of perspective in relation to creating your 3D world on the 2D plane of the page/screen.

Sergio Leone's 'The Good the Bad and the Ugly'



For the life of me, I couldn't seem to find a proper formated version of the opening sequence. However, you get the idea. A couple of things to take note: The often-used trademark of Leone's directing of cutting between grand long shots, with close ups of gritty faces, often of incidental or no-name characters. Not only sets the mood and tone of the world/period depicted but it's almost like the faces themselves are landscapes or settings. You know what I mean ;P
Also, the longer, relaxed pacing of the overall film (you need to rent this for sure.) From a storytelling/shot selection point of view, it's engaging in a sense that really, we're just watching a posse walk down a "street". But the choices made are interesting to the audience. And lastly, the fight. We don't see it, but our minds allow to piece together what happened. And in one shot of the main character bursting thru the window, juxtaposed with highlight music theme, the words "ugly" which a comedic overtone, we have a little bit of empathy and engagement with him already (through comedy, and his obvious "skill" of cleaning up other gun fighters.)

Contrast this with 'The Spirit' opening scenes, for which we had no idea what was happening, and did not care for the main portagonist at all, despite all the stuff we're presented with at the beginning (or perhaps, BECAUSE of...)

For your convenience, I did not include a clip. You don't have to watch it again ;P



The intense little scene where Lee van Cleef's "Angel Eyes" sits down to eat with Stevens in his home- remisinent of the Tarrintino 'Inglorious Basterds' Opening scene with "Hans Landa", because of the similar character interaction, choice of using Close ups/Extreme Close ups, subjectively drawing the audience right into the middle of these tense conversations, ending with the musically highlighted violent conclusions.




A selection of still frames to refresh your memories of the camera conventions used in the 'GB &U" scene. The point of showing you these seemingly mundane "talking" scenes is to show you the possibilities in creating conflict and tension in your stories through not only script, but more so through your choice in camera, movement and composition, particularly in scenes which are basically two guys sitting at a table.

Acting helps too ;) But when you're an animator, you drive the acting.




This scene again shows the juxtaposition of the long shots with close-ups. Action and drama come from editing and juxtaposition of shots between the characters "eye balling" each other (which by the end of the sequence, are "extreme close ups", cut with their itchy trigger fingers. Note the 180 rule is always in effect- made easier by the fact the men are just standing there, but they never confuse the eyeline of the actors, and maintain their side of the shot when looking to one another.

(And what an awesome Morricone musical score ;) )

The Rule of thirds in play with this composition, and an interesting angle choice, due to the change in the normal eye level.

Extreme Close Ups towards the climax of the "stand off".

The Establishing shot- the circular shape of the grave yard centre, with the triangular shape of the three men, juxtaposed with a "sea" of crucifixes and tombstones.

Over the shoudler shot.

Fleischer's "Superman": The Mechanical Monsters.



One of my all-time favourite cartoon shorts, and my favourite in the series. Take note of the many uses of Upshots, Down shots, POV shots, Camera movements such as 'Tracking shots', that 'Dutch Tilt' establishing shot at the Museum...there's heaps in this cartoon. Plus, the diagonals at play in every composed shot.

The use of shadow and the silhouette is used throughout this short, and adds for an interesting storytelling device (what is shown, what is left for the audience to imagine).

Depth of field in play, and a nice composition example of using a darker foreground element to draw the eye into the main focal point (the primary-coloured 'Superman'), wit a blurred, soft/cool coloured background.)

Upshot, diagonals.

Depth from light/dark elements, composition seems "claustrophobic", as Superman is trapped under the fire and beatings administered by the mechanical men.

Notice these shots cut back and forth between one another when the Robot returns with the cash, and how the diagonals "balance", between one another.

The shots above and below are part of that tracking shot that takes the audience from the lab (where Lois was last seen) to where the mad scientist has Lois in an elaborate death trap. What is interesting about the tracking shot is the "pockets" of information we are fed about the location and it's relation to the lab, where the robots came from and what's in-store for Lois and Superman, without one word of dialogue, or cut to another shot. Storytelling through composition and camera movement.

Now that's a Down Shot!

A great long shot, using diagonals again, and light/dark elements/depth of field to  create that powerline focal point.

I really like the poses the Fleischers utlised in their series. I'd say the above example is almost "contrapposto", but the feet seem to have even balance. Nevertheless, far more interesting to look at than just an evenly balanced stance.

It's also a point towards the fact that apart from the closeup of Superman using his X-ray vision, we never see a close up of Superman, or even rarely a medium shot of him in action. They are almost always a full body, or an 'American' (cropped to knees) shot. What does this mean? ;D

We learnt that "power" is conveyed through upshots, such as the ones always used to show the robots. Is it that the feats of Superman verses the dangers he faces in his environment need to be shown, and therefore his characterization (in costume) comes from his abilities? Curious to know your thoughts.

POV shot.

Great Close up/POV shot of Lois.

Huge POV Upshot!

Batman: TAS Opening credits:

In my humble opinion, one of the best show intros ever- sets the total Mise En Scene for the series, we "get it" all in a one mintue intro. It doesn't even have a title. Who needs it? It's the Goddamn Batman ;P

Inspired by the Fleischer Superman series, I don't have to point to the similarities in shot dynamics, camera movements, angles etc. And, in the case of the credits, fully utilising the power of the silhouette, rim lighting, the importance of pose to relation to the "readibility" of a particular action or shot, and positive/negative spacing. Bruce Timm and Co. were not afraid to use Black. Compare this to other cartoons before this, and at the time. Strong Compositions and focal points, and the usage of Upshots/Downshots to convey power, and weakness/defeat. Barely any detail in objects, but enough understanding created through the use of shapes( to represent buildings, walls etc.), light (again, as a shape in itself) and pose.

Gotta go, see you next week! Don't forget, I want to see your 6 panel Shot selection exercises in class too ;)

Toy Story - Storyboarding

So I think the majority of us are on the same page re: Toy Story, and thanks to the guys at Pixar, here's another Storyboarding lesson, using said film ;)