CNM 190 Advanced Digital Animation Lec 06 : Cinematography & Editing Techniques Dan Garcia, EECS...

CNM 190CNM 190Advanced Digital AnimationAdvanced Digital Animation

Lec 06 : Cinematography & Editing Lec 06 : Cinematography & Editing TechniquesTechniques

Dan GarciaDan Garcia, EECS (co-instructor), EECS (co-instructor)

Jeremy Huddleston, EECS (co-instructor)Jeremy Huddleston, EECS (co-instructor)

The rig used for “Bullet Time” in The rig used for “Bullet Time” in The MatrixThe Matrix

http://inst.eecs.berkeley.edu/~selfpace/

C10 Hearst Field Annex; 642-9920

CNM190 2/30Cinematography & Editing Techniques

OverviewOverview What you know alreadyWhat you know already Basic cinematographyBasic cinematography Distance of shotDistance of shot

Extreme close upExtreme close up close up (CU)close up (CU) Medium close up (MCU)Medium close up (MCU) Medium shot (MS)Medium shot (MS) Long shotLong shot Point of view (POV) shotPoint of view (POV) shot Birds eye view shotBirds eye view shot

Camera AnglesCamera Angles Low angle (fear)Low angle (fear) High angle (weakness)High angle (weakness) Straight AngleStraight Angle

What you’ll learn todayWhat you’ll learn today Classic techniques of Classic techniques of

cinematography & editingcinematography & editing Why study classical Why study classical

techniques?techniques? Film & Editing ResourcesFilm & Editing Resources ReviewReview Continuity EditingContinuity Editing DurationDuration Camera DirectionCamera Direction

Procedural techniques of Procedural techniques of cinematography & editingcinematography & editing Motion InterpolationMotion Interpolation Quaternions & SlerpingQuaternions & Slerping SplinesSplines




Why Study Classic Why Study Classic Techniques?Techniques?

Those who cannot Those who cannot remember the past are remember the past are condemned to repeat it. condemned to repeat it. -Santayana-Santayana

You don’t want your You don’t want your camera and editing to camera and editing to obstructobstruct your storytelling your storytelling

Instead, use them as Instead, use them as tools to tools to advance advance narrativenarrative!!

If you want to break the If you want to break the rules, you need to know rules, you need to know what they are first!what they are first! Do it for a good, artistic Do it for a good, artistic

reason, not ignorance!reason, not ignorance!




Film & Editing Film & Editing ResourcesResources

Film Art : An IntroductionFilm Art : An Introduction by David Bordwell & Kristin by David Bordwell & Kristin

ThompsonThompson McGraw-Hill, 2003McGraw-Hill, 2003 $38 on Amazon$38 on Amazon

In the Blink of an Eye (2nd In the Blink of an Eye (2nd Edition)Edition) Walter MurchWalter Murch Silman-James Press, 2001Silman-James Press, 2001 $11 on Amazon$11 on Amazon




Six Main Criteria of Film Six Main Criteria of Film Editing Editing

Walter MurchWalter Murch Four Academy Four Academy

nominations for films nominations for films edited on different edited on different systemssystems

Film editing Pioneer! Film editing Pioneer! He ranks 6 editing He ranks 6 editing

criteriacriteria1.1. EmotionEmotion2.2. StoryStory3.3. RhythmRhythm4.4. Eye traceEye trace5.5. 2D place of the screen2D place of the screen6.6. 3D space of action3D space of action

MI:2 (2000) John Woo comes to Hollywood

en.wikipedia.org/wiki/{Film_editing,Walter_Murch}




Continuity Editing (CE)Continuity Editing (CE) GoalGoal

Make the editor as Make the editor as invisible as possibleinvisible as possible

The viewer should not The viewer should not notice the cutsnotice the cuts

Shots should flow Shots should flow together naturally together naturally (direction, position, time)(direction, position, time)

Sequence of shots Sequence of shots should appear to be should appear to be continuous in time and continuous in time and space to advance space to advance narrativenarrative

If you notice (editor, If you notice (editor, temperature in a temperature in a room), something is room), something is wrong.wrong.

Steenbeck film editing machine rollers

en.wikipedia.org/wiki/Continuity_editing

Neighbors, 1920




CE : (Re)Establishing CE : (Re)Establishing ShotShot

As the name As the name implies, it implies, it “establishes” the “establishes” the scene and/or its scene and/or its participantsparticipants

E.g., Seinfeld’s E.g., Seinfeld’s restaurant exterior restaurant exterior shot before an shot before an interior sceneinterior scene

What is What is youryour establishing shot?establishing shot?

en.wikipedia.org/wiki/Establishing_shot

Exterior of “Monk’s” restaurant from Seinfeld




CE : 180 degree ruleCE : 180 degree rule Often called Often called The LineThe Line or or

Line of ActionLine of Action, it allows the , it allows the camera to stay in the camera to stay in the greengreen areaarea

If the camera violates this If the camera violates this ((crossing the linecrossing the line into the into the redred), the chararacters will ), the chararacters will swap places on screen!swap places on screen!

Subjects should be spatially Subjects should be spatially consistent, with consistent consistent, with consistent axis of actionaxis of action

You You cancan cross the line with cross the line with intermediate head-on shot, intermediate head-on shot, POV or reestablishing shot, POV or reestablishing shot, but try to avoid this if but try to avoid this if possiblepossible

en.wikipedia.org/wiki/180_degree_rule

The green camera preserves Left/Right positions

Saturday Night Fever




CE : Shot/Reverse Shot & Eyeline CE : Shot/Reverse Shot & Eyeline

MatchesMatches A shot from the opposite A shot from the opposite

side of the green 180º areaside of the green 180º area Often used as establishingOften used as establishing 30º rule : Camera moves at 30º rule : Camera moves at

least that much between least that much between shotsshots

An An eyeline matcheyeline match is one is one that associates what a that associates what a character is looking atcharacter is looking at You see what they sawYou see what they saw It often associates matching It often associates matching

close-upsclose-ups In film, characters don’t In film, characters don’t

even have to be in same even have to be in same room!room!

classes.yale.edu/film-analysis/htmfiles/editing.htm

Scenes from The Stendhal Syndrome, 1996

Scenes from Peking Opera Blues, 1986




CE : Graphic Match CE : Graphic Match

Two successive shots Two successive shots joined so as to suggest a joined so as to suggest a similaritysimilarity ColorColor ShapeShape LocationLocation

Some feel they are “heavy-Some feel they are “heavy-handed”, not subtlehanded”, not subtle

Kubrick’s classic Kubrick’s classic 2001 A 2001 A Space Odyssey:Space Odyssey: bone bone spaceshipspaceship


Scenes from Women on the Vergeof a Nervous Breakdown, 1988

Finding Nemo Main Titles




CE : Match/Cut on Action CE : Match/Cut on Action (MOA) (MOA)

Cuts between shots are more Cuts between shots are more seamless if they occur on action seamless if they occur on action

Definition: A cut which splices Definition: A cut which splices two different views of the same two different views of the same action together at the same action together at the same moment in the movementmoment in the movement

E.g., if A is getting up and walks E.g., if A is getting up and walks to the window, cut AS he’s to the window, cut AS he’s getting up, not before. getting up, not before. Cutting after could be eyeline matchCutting after could be eyeline match

MOA can help with a jumpy cutMOA can help with a jumpy cut MOA can be a subtle motion tooMOA can be a subtle motion too


Scenes from Traffic, 2000

Traffic




CE : Cut-in, Cut away CE : Cut-in, Cut away

Cut-inCut-in Instantaneous cut to a close-up Instantaneous cut to a close-up

of something already in of something already in frameframe Cut awayCut away

Close-up to something in Close-up to something in scenescene but not in the frame (usually)but not in the frame (usually)

E.g., if you had a character E.g., if you had a character getting up to answer the getting up to answer the door, you might cut away to door, you might cut away to a knock. a knock.

classes.yale.edu/film-analysis/htmfiles/editing.htmwww.filmclass.com/flm222/continuity.pdf

Scenes from Dancer in the Dark, 2000

Dancer in the Dark




CE : Cross-cutting CE : Cross-cutting A series of cutaways & cutbacksA series of cutaways & cutbacks Also known as Also known as Parallel Editing Parallel Editing or or

Parallel Montage Parallel Montage Alternating shots of “two or more Alternating shots of “two or more

lines of action occurring in different lines of action occurring in different places, usually simultaneously”places, usually simultaneously”

E.g., a chase scene. First the cops, E.g., a chase scene. First the cops, then the robbers, then the cops…then the robbers, then the cops…

Can also be used symbolicallyCan also be used symbolically Show a 1930s man in line for Show a 1930s man in line for

bread, then a rich man getting into bread, then a rich man getting into a Rollsa Rolls

In film, this can be used to cheatIn film, this can be used to cheat A man running from a train doesn’t A man running from a train doesn’t

have to be anywhere near it!have to be anywhere near it! The Simpsons used to do this a lot The Simpsons used to do this a lot

until Family Guy started too, then until Family Guy started too, then they quit!they quit!


Scenes from Yi Yi, 2000The father and daughter are both on first dates (different

countries)

Yi Yi




CE Rule #1 : Avoid CE Rule #1 : Avoid Jump/Elliptical Cuts!Jump/Elliptical Cuts!

A shot transition that omits parts A shot transition that omits parts of an event, as if had ellipses (…) of an event, as if had ellipses (…) in plotin plot Also a cut with too-similar framingAlso a cut with too-similar framing Or with straight angle but different Or with straight angle but different

people (they look like they morph!)people (they look like they morph!) It’s what you would do if you had It’s what you would do if you had

no training in editing and just cut no training in editing and just cut pieces of a story togetherpieces of a story together It usually looks like a mistake!It usually looks like a mistake! This is what iTunes does when it This is what iTunes does when it

summarizes a game into 10 min!summarizes a game into 10 min! In the sixties, there was a wave of In the sixties, there was a wave of

itit To avoidTo avoid

Zoom instead of cutZoom instead of cut Make the framing more differentMake the framing more different Use the match techniquesUse the match techniques


A better cut (wide / mid / medium close-up)

A jump cut from wide shot to semi-wide

Dancer in the Dark




CE Suggestions CE Suggestions Avoid home video styleAvoid home video style

Move subjects away from Move subjects away from center of the frame; center of the frame; don’t shoot frontallydon’t shoot frontally

Thus avoiding “character Thus avoiding “character morph” jump cutsmorph” jump cuts

This is a good idea in general, This is a good idea in general, even from a photographer’s even from a photographer’s standpointstandpoint

Have a smooth camera!!Have a smooth camera!! Use a variety of shots and CE!Use a variety of shots and CE! Watch: “Watch: “Quick Tips: Using Quick Tips: Using

the rule of thirds” on the rule of thirds” on YouTubeYouTube

““The single most common The single most common mistake in beginning student mistake in beginning student productions is that they have productions is that they have no, or not enough close-ups”no, or not enough close-ups”

www.filmclass.com/flm222/continuity.pdf

Headshots from The Apprentice, 2004




Alternatives to CEAlternatives to CE

Elliptical editing (jump-cuts)Elliptical editing (jump-cuts) MontageMontage

Montage:French for “editing”Montage:French for “editing” In this context, we mean In this context, we mean

disparate images/shots that tell disparate images/shots that tell a storya story

Developed by 1920s Soviet Developed by 1920s Soviet theorists, e.g., Sergei Eisensteintheorists, e.g., Sergei Eisenstein

Five varieties of montage:Five varieties of montage: MetricMetric (# of frames) (# of frames) rhythmicrhythmic (rhythm) (rhythm) tonaltonal (light-dark (light-dark contrastscontrasts), ),

overtonalovertonal (emotions) (emotions) intellectualintellectual (all 4 but for (all 4 but for

meaning)meaning)

classes.yale.edu/film-analysis/htmfiles/editing.htmen.wikipedia.org/wiki/Montage_%28film%29

Godfather (1973) Montage, Michaelshowing his duty to his two “families”

Traffic, Godfather

Traffic (2000) Elliptical Editing




classes.yale.edu/film-analysis/htmfiles/editing.htmDuration Duration

Thanks to editing, Thanks to editing, time is completely in time is completely in your control. You your control. You can…can… have a very long takehave a very long take cut boring events out cut boring events out

(compress time)(compress time) Extend one event to Extend one event to

the whole film! (24)the whole film! (24) revisit it over and over revisit it over and over change the rhythmchange the rhythm explore the explore the

space-time space-time continuum!continuum!





Long Take (Plan-Long Take (Plan-sequence) sequence)

A shot of unusual lengthA shot of unusual length Draws attention to itself, Draws attention to itself,

very different from normvery different from norm Shots above 1 minute are Shots above 1 minute are

now considered a long now considered a long taketake

Extremely hard to shoot in Extremely hard to shoot in real life, but trivial in CGreal life, but trivial in CG

Depending on movement, Depending on movement, can make film intense, can make film intense, carefree, or stagnant!carefree, or stagnant!

Examples Examples Orson Welles’ Orson Welles’ Touch of EvilTouch of Evil Robert Altman’s Robert Altman’s The PlayerThe Player David Fincher’s David Fincher’s Panic Panic

RoomRoom Lots of CG tricks!Lots of CG tricks!

The Player (1992) 8-minute shot!

Touch of Evil, The Player, Goodfellas




classes.yale.edu/film-analysis/htmfiles/editing.htmOverlapping Editing Overlapping Editing

Cuts that recall part of Cuts that recall part of the action, as if instant the action, as if instant replayreplay Draws attention to itself, Draws attention to itself,

again very distinctiveagain very distinctive Usually associated with Usually associated with

experimental filmmakingexperimental filmmaking Usually found in films Usually found in films

where action >> plot where action >> plot Common in Hong Kong Common in Hong Kong

action films of the 80s / action films of the 80s / 90s90s

MI:2 (2000) John Woo comes to Hollywood

MI:2




classes.yale.edu/film-analysis/htmfiles/editing.htmwww.boston.com/news/globe/ideas/articles/2006/08/13/the_lost_art_of_film_editing?mode=PF

Rhythm Rhythm

Rhythm is the Rhythm is the “perceived” rate of “perceived” rate of sounds, movements & sounds, movements & series of shotsseries of shots Usually it’s the cuts that Usually it’s the cuts that

determines the rhythmdetermines the rhythm Just as the story has Just as the story has

rhythm, so does the editingrhythm, so does the editing #3 of Murch’s six main #3 of Murch’s six main

criteria when it comes to criteria when it comes to film editingfilm editing

There’s a feeling that this There’s a feeling that this fine art has been lost as we fine art has been lost as we cater to the ADD MTV cater to the ADD MTV generationgeneration

The Good, the Bad and the Ugly (1966)

The Good, the Bad and the Ugly




en.wikipedia.org/wiki/Bullet_timeBullet Time Bullet Time

Imagine time and space Imagine time and space as a two-dimensional as a two-dimensional graph:graph:

We can traverse We can traverse anywhere in this space! anywhere in this space! (easy in CG)(easy in CG)

The rig used for Bullet time in The Matrix

Making of The Matrix

space

time




Inspired 3D Short Film ProductionCamera Direction Camera Direction

Lock-off cameraLock-off camera Simplest form of setupSimplest form of setup Position, angle, zoom, focus Position, angle, zoom, focus

fixed throughout the shotfixed throughout the shot A film consisting only of A film consisting only of

lock-off shots will feel dulllock-off shots will feel dull Camera moveCamera move

Rotating, moving, zooming, Rotating, moving, zooming, shifting focus or field of viewshifting focus or field of view

A film where the camera A film where the camera never stops moving can be never stops moving can be unsettling. unsettling.

When does this ride end?When does this ride end? ““Try not to get too carried Try not to get too carried

away with camera moves”away with camera moves” Mantra : smooth camerasMantra : smooth cameras




Rack FocusRack Focus Changing the focus of a Changing the focus of a

lens so that one lens so that one element goes out and element goes out and another comes into another comes into focusfocus

By default, CG images By default, CG images are through a pinhole are through a pinhole cameracamera Infinite depth of field!Infinite depth of field!

Done in Maya via a Done in Maya via a choice of choice of Depth of FieldDepth of Field in Camera and adjusting in Camera and adjusting the the Focus DistanceFocus Distance Render times explode!Render times explode! Can be cheated in post by Can be cheated in post by

blurring composite layersblurring composite layers

Peking Opera Blues (1986) Racking Focus

Peking Opera Blues




Linear vs Ease-in, Ease-Linear vs Ease-in, Ease-outout

Linear interpolation of Linear interpolation of motion produces very motion produces very unreal motion unreal motion (Lerping)(Lerping) P(t) = (1-t) PP(t) = (1-t) P00 + t P + t P11

Nothing has infinite Nothing has infinite acceleration!acceleration!

Ease-in, Ease-outEase-in, Ease-out P(t) = (1-f(t)) P0 + f(t) P1

With f(t) being With f(t) being something smooth like something smooth like the blue curve on the the blue curve on the rightright

f(t) = (sin(f(t) = (sin(ππt-t-ππ/2)+1)/2/2)+1)/2 Just one example of f(t)Just one example of f(t)

www.siggraph.org/education/materials/HyperGraph/animation/rick_parent/Full.html

Ease-in, Ease-out

Linearinter-polation




Orientation Representation & Orientation Representation & InterpolationInterpolation

Fixed Angle Fixed Angle RepresentationRepresentation Angles about fixed, Angles about fixed,

global axes (e.g., xyz)global axes (e.g., xyz) Gimbal lock when axes Gimbal lock when axes

align…singularity!align…singularity! Imagine plane straight Imagine plane straight

up; where’s yaw?up; where’s yaw? Bad interpolation Bad interpolation

propertyproperty Euler anglesEuler angles

Angles of rotation fixed Angles of rotation fixed to object, not globalto object, not global

Same problems!Same problems!




QuaternionsQuaternions

Technique for Technique for encoding 3D encoding 3D orientationorientation Lots of math involved Lots of math involved

using complex notationusing complex notation Great interpolation Great interpolation

propertiesproperties It finds the great circle It finds the great circle

arc between two arc between two positionspositions

Interpolating between Interpolating between quaternion poses quaternion poses linearly is called linearly is called SlerpingSlerping

en.wikipedia.org/wiki/{Quaternions_and_spatial_rotation,Slerp}




Smooth motion : Splines Smooth motion : Splines (1)(1)

Piecewise polynomial Piecewise polynomial curves with great curves with great propertiesproperties

Imagine interpolating Imagine interpolating lots of points with y=f(x)lots of points with y=f(x) You’d have to have a very You’d have to have a very

high-dimensional functionhigh-dimensional function But if you allowed it to be But if you allowed it to be

broken up into pieces, you broken up into pieces, you could solve with many could solve with many lower-dim functions!lower-dim functions!

Continuity of pieces?Continuity of pieces? Prof Barsky is local Prof Barsky is local

expert!expert!

Bezier interpolating spline

en.wikipedia.org/wiki/Spline_(mathematics)




Smooth motion : Splines Smooth motion : Splines (2)(2)

Two classesTwo classes InterpolatingInterpolating (goes through (goes through

control pointscontrol points)) ApproximatingApproximating (gets near (gets near

the control points)the control points) Polynomial order?Polynomial order?

Standard is cubic (order = Standard is cubic (order = 3)3)

Local controlLocal control Adjusting control point only Adjusting control point only

affects local part of curveaffects local part of curve Continuity (C0, C1, C2) Continuity (C0, C1, C2)

across joints critically across joints critically importantimportant

NURBS are generalizations NURBS are generalizations with expressive powerwith expressive power Curves AND surfacesCurves AND surfaces

NURBS surface

Spline demo gif

en.wikipedia.org/wiki/Nurbs




ConclusionConclusion If time, look atIf time, look at

Youtube: Moviemaking Techniques SHOT Youtube: Moviemaking Techniques SHOT TYPESTYPES

YouTube: Filmmaking TechniquesYouTube: Filmmaking Techniques Pixar ShortsPixar Shorts

It’s important to understand the classical It’s important to understand the classical techniques of editing & cinematographytechniques of editing & cinematography Use them to facilitate Use them to facilitate

your narrative!your narrative! Smooth camera motions!!!Smooth camera motions!!!

Tremendous power if you code motion Tremendous power if you code motion yourself…yourself… Most SW does heavy lifting!Most SW does heavy lifting!

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