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 10 Clip recap

Only one clip this week, as you remember, we had Andi take the lecture on Layouts and Pre-Viz. As this was her job in Animation studios for many years, it was a no-brainer, and awesome, to have her speak about the layout department tasks in the pre-production process. Thanks Andi :D

This clip or two that we watched is one part culmination of the lessons we have covered thus far, plus an into into next week's lecture on 'Editing'. A particular point that I want you to remember (which I brought up in class) was that this biopic/drama still utilizes composing theories that some people would normally mistaken as action film type shots (typically since we've seen examples used in 'The Matrix', 'Casino Royale' or even 'Ben 10' cartoons for instance). Make no mistake, you can "jazz" up your "talking head"/exposition/ drama scenes with compositional concepts we spoke of back in the early part of the semester.

The use of the extreme close up, edited with fragments of events of Ali's past and some key events leading up to the Liston fight conveys to the audience that we are "seeing" Ali's inner thoughts as he focuses on the speedbag.

Note the circular compositon, and the "fanning" of the men surrounding
 Clay/Ali in the shot, from far left foreground to far right, with Ali the focal point
(not just "standing vertical" in shot.)

Another shot, where Depth of field, composition and the direction of the
people's heads (all looking towards Clay/Ali) lead the eye to the focal point.

 Have a look at the lecture slides from week 8, here's an example or two of theory in practice :)

"Beyond the standard point of Interest" (Icon)
In this case, Ali's famous footwork signifies his entry into the ring,
rather than a medium or full body shot.

 This clip misses out on the "Clay v. Liston" Weigh in, which is a scene I like as despite the two characters being in the midst of a huge room full of people, the focus is purely on them, and the frames are composed in a way that the focus is always on the main two, whether it's through depth of field, negative space or framing Clay/Ali and Liston between the shoulders and heads of the people around them. The "blurring" of foreground heads and/or background people immediately draws your eye to the focal point of the screen. Could only find an Italian version of this scene, but no matter. The story is clear through camera shots, posing/acting and editing.



Anyways, gotta run, will make a post tomorrow showing some examples to clarify what is to be produced for the final assessment.