Filming / Introduction II

INTRODUCTION

TO FILMING 2

1.1 PRE-FILMING

1.1.1 LOCATIONS

1.1.2 SCRIPT

1.1.3 STORYBOARD

1.1.4 VISUAL IDENTITY

1.1.5 SEQUENCE & MONTAGE GRAPHIC

1.2 PICTURE STORIES

1.3 CAMERA

1.3.1 MISE-EN-SCENE

1.3.2 FRAMING

1.3.3 TYPE OF SHOT (LONG SHOT, FULL SHOT, MEDIUM SHOT, CLOSE UP)

1.3.4 SHOT-COMBINATION

1.3.5 PERSPECTIVE (AERIAL SHOT (ESCAPE FROM NEW YORK), BIRD#S EYE SHOT, LOW

ANGLE SHOT (FULL METAL JACKET), OVER THE SHOULDER SHOT, POINT OF VIEW SHOT,

SHOT/COUNTER-SHOT (180 DEGREES RULE), TWO SHOT )

1.3.6 CAMERA-MOVEMENT (PANNING, TILT, ZOOM, TRACKING SHOT)

TOPICS / 20.3.2012

1.4 LIGHT

1.4.1 TYPES OF LIGHT

1.4.2 ANGLES

1.5 EDITING (MONTAGE)

1.5.1 PRINCIPLES OF THE AESTHETICS OF PERCEPTION IN EDITING

1.5.2 COHERENCE WITHIN THE EDITED PARTS

1.5.3 THE EDIT ON A WHOLE

1.6 EXCURSUS: CHARACTER OF FILM/VIDEO

1.6 THE ROLES

1.6.1 PRODUCER

1.6.2 RESEARCHER

1.6.3 WRITER

1.6.4 DIRECTOR

1.6.5 EDITOR

2.1 DOCUMENTARY

2.2 ADVERTISING

2.3 ART / AVANT-GARDE

TOPICS / 27.3.2012

1.4.1 TYPES OF LIGHT

1.4.2 ANGLES

1.4 LIGHT

FILM ART: AN INTRODUCTION, DAVID BORDWELL, 1979

A JOURNEY INTO LIGHT WITH MAX KELLER, MAX KELLER & ALEXANDER HICK, 2006

MASTERS OF LIGHT, DENNIS SCHAEFER, LARRY SALVATO, 1986

VITTORIO STORARO: WRITING WITH LIGHT, VITTORIO STORARO, 2002

1.4 LIGHT

1.4.2 FILL LIGHT AND KEY LIGHT

1.4 LIGHT


MEET ME IN ST. LOUIS, VINCENTE MINELLI, 1944

1.4 LIGHT


THE SEARCHERS, JOHN FORD, 1956

1.4 LIGHT

1.4 LIGHT

A CLOCKWORK ORANGE, STANLEY KUBRICK, 1971

1.4 LIGHT

BLADE RUNNER, RIDLEY SCOTT, 1982

1.4 LIGHT

FAT CITY, JOHN HUSTON, 1972

1.4 LIGHT

THE DARJEELING LIMITED, WES ANDERSON, 2007

1.4 LIGHT

MILDRED PIERCE, MICHEAL CURTIZ, 1945

EDWARD HOPPER

1.4 LIGHT

1.4 LIGHT

IN COLD BLOOD, RICHARD BROOKS, 1967

1.4 LIGHT

BARRY LYNDON, STANLEY KUBRIK, 1975

1.4.2 CHIAROSCURO (LIGHT-DARK)

AN EXPERIMENT ON A BIRD, JOSEPH WRIGHT OF DERBY, 1768

MAGDALEN WITH THE SMOKING CANDLE, GEORGE DE LA TOUR, 1640

1.4 LIGHT

1.4.3 TEXTURE

IL CONFORMISTA, BERNARDO BERTOLUCCI, 1970

https://vimeo.com/21604065

1.4 LIGHT

1.4.4 SHADOW




1.4 LIGHT

1.4.5 DAY & NIGHT



1.4 LIGHT

1.4.5 SUNLIGHT

BARRY LYNDON, STANLEY KUBRICK, 1973

1.4 LIGHT

1.4.6 COLOR

COLOR IS LIFE; FOR A WORLD WITHOUT COLOR APPEARS

TO US AS DEAD. COLORS ARE PRIMORDIAL IDEAS, THE

CHILDREN OF LIGHT.

JOHANNES ITTEN

1.4 LIGHT

DICK TRACY, WARREN BEATTY, 1990

1.4.6 COLOR

HARALD KUEPPERS, THE BASIC LAW OF COLOR THEORY, 1981

JOHANNES ITTEN, THE COLOR (DIE FARBE), 1944

WASILY KANDINSKY, POINT AND LINE TO PLANE, 1926

1.4 LIGHT

1.4.6 COLOR

1.4 LIGHT

THE SEARCHERS, JOHN FORD, 1956

1.4.6.1 NIGHT

1.4 LIGHT

1.4.6.2 SUNDOWN (AMBER LIGHT)

REAR WINDOW, ALFRED HITCHCOCK, 1954

1.5 EDITING

HOW TO PRESENT THE SHOT?



ONCE MORE I REPEAT, THAT EDITING IS THE CREATIVE

FORCE OF FILMIC REALITY, AND THAT NATURE PROVIDES

ONLY THE RAW MATERIAL WITH WHICH IT WORKS. THAT,

PRECISELY, IS THE RELATIONSHIP BETWEEN EDITING AND

FILM.

VSEVOLOD PUDOVKIN, FILM TECHNIQUE, 1929

SERGEI EISENSTEIN, TOWARDS A THEORY OF MONTAGE, 1994

1.5 EDITING

THE LIFE OF AN AMERICAN FIREMAN, EDWIN S. PORTER, 1903

1.5 EDITING

THE BIRTH OF A NATION, D.W. GRIFFITH, 1915

1.5 EDITING


1.5.1.1 PRINCIPLE OF CHANGE -><< CREATES A NEW STIMULUS

1.5.1.2 PRINCIPLE OF CONTRAST - AIMS AT SYSTEMATIC ALTERNATION

1.5.1.3 PRINCIPLE OF RYTHM - PERIODICALLY RETURN OF CERTAIN ASPECTS

1.3.1.1 PRINCIPLE OF CHANGE -><< CREATES A NEW STIMULUS

1.5 EDITING

THE DUEL, STEVEN SPIELBERG, 1971

1.3.1.2 PRINCIPLE OF CONTRAST - AIMS AT SYSTEMATIC ALTERNATION

1.5 EDITING

1.3.1.3 PRINCIPLE OF RYTHM - PERIODICALLY RETURN OF CERTAIN ASPECTS

1.5 EDITING

THE DAY THE EARTH STOOD STILL, ROBERT WISE, 1951


1.5.2.1 NARRATIVE - TELLING A STORY, A PROCESS; CHRONOLOGICALLY

1.5.2.1.1 SCENIC - TELEPHONE-CONVERSATION

1.5.2.1.2 NARRATIVE IN A TIGHTER SENSE - A PROCESS IS SHOW EVEN WITH TIME LAPSES

1.5.2.2 DESCRIPTIVE - DESCRIBING A BUILDING, MACHINE OR ANY OTHER OBJECT

1.5.2.3 ABSTRACT - ELEMENTS ARE BEING PUT IN A RELATION

1.5.2.3.1 COMPARISON (GLOBE - EGG)

1.5.2.3.2 METONYMY (INSTEAD SHOWING THE CAUSE SHWING THE ORIGINATOR, SHOWING

POLICEMAN FOR POLICE)

1.5.2.3.3 SYMBOL (EXAGGERATED VISUAL, MONEY IMPOSED BEHIND THE WORKING MAN

FOR CAPITALISM)

1.5.2.3.4 METAPHOR (POLITICIAN IS SHOWN WITH A ROOSTER)

1.5.2.3.5 ASSOCIATION (IMPRESSIONS OF A MOOD, TIRE-MARKS ON THE STREET)

1.5 EDITING

1.5 EDITING

1.5.2.1 NARRATIVE - TELLING A STORY, A PROCESS; CHRONOLOGICALLY

BLOW UP, MICHELANGELO ANTONIONI, 1966

1.5 EDITING

1.5.2.1.1 SCENIC

TUCKER: A MAN AND HIS DREAM, FRANCIS FORD COPPOLLA, 1988

1.5 EDITING

CITIZEN KANE, ORSEN WELLS, 1941

1.5.2.1.2 NARRATIVE IN A TIGHTER SENSE - A PROCESS IS SHOW EVEN WITH TIME LAPSES

1.5 EDITING

LA HAINE, MATHIEU KASSOVITZ, 1995

1.5.2.1.3 CONTINUITY

1.5 EDITING

1.3.2.2 DESCRIPTIVE

TUCKER: A MAN AND HIS DREAM, FRANCIS FORD COPPOLLA, 1988

1.5 EDITING

A CLOCKWORK ORANGE, STANLEY KUBRICK, 1971

1.3.2.2 DESCRIPTIVE

1.5 EDITING

MEAN STREETS, MARTIN SCORSESE, 1973

1.3.2.2 DESCRIPTIVE

1.5 EDITING


1.5.2.3.1 COMPARISON (GLOBE - EGG)

1.5.2.3.2 METONYMY (INSTEAD SHOWING THE CAUSE SHOWING THE ORIGINATOR,

SHOWING POLICEMAN FOR POLICE)

1.5.2.3.3 SYMBOL (EXAGGERATED VISUAL, MONEY IMPOSED BEHIND THE WORKING MAN

FOR CAPITALISM)

1.5.2.3.4 METAPHOR (POLITICIAN IS SHOWN WITH A ROOSTER)

1.5.2.3.5 ASSOCIATION (IMPRESSIONS OF A MOOD, TIRE-MARKS ON THE STREET)

1.5 EDITING


STRIKE, SERGEI EISENSTEIN, 1925

1.5 EDITING

1.5.3 FREEZE FRAME

THE 400 BLOWS, FRANCOIS TRUFFAUT, 1959

1.5 EDITING

1.5.4 DREAM / SURREAL

THE LOST HIGHWAY, DAVID LYNCH, 1996

1.5.4 JUMPS IN TIME BACK OR FORTH

1.5 EDITING

L’ANNEE DERNIERE A MARIENBAD, ALAIN RESNAIS, 1961

TIMECODE, MIKE FIGGIS, 2000

1.5.5 PARALLEL SCENES

1.5 EDITING

1.6.1. THE CHARACTER OF MOVING IMAGES

1.6.1.1 THE TECHNICAL CHARACTER OF MOVING IMAGES

1.6.1.2 THE SIGN-CHARACTER OF MOVING IMAGES

1.6. WHY FILM?

1.6.1.1 THE TECHNICAL CHARACTER OF MOVING IMAGES

TECHNICALLY IS FILM/VIDEO A SEQUENCE OF PHOTOGRAPHICAL VIEWS ENRICHED WITH

SPOKEN WORD AND MUSIC. ITS AUDIO-VISUAL AND TIME_-BASED.

1.6 WHY FILM?


FILM/VIDEO CONSITS OF SIGN-SYSTEMS WHICH HAPPEN SIMULTANEOUSLY AS WELL AS

OF THOSE WHICH HAPPEN IN THE SUM OF A WORK.

IT IS THEREFOR IMPORTANT TO UNDERSTAND THE INFLUENCES FROM OTHER FIELDS

(BARRY LYNDON, STANLEY KUBRIK, 1975 - CINEMATOGRAPHY LIKE A PAINTING) AS MUCH

AS THE SIGNS OF OTHER GENRES

AS WELL AS THOSE IMMANENT TO FILM (TELLING A STORY THROUGH MOVING OBJECTS

AND CAMERA) WHICH ARE CLOSLY TIED TO OUR EXPERIENCE OF THE WORLD.

1.6 WHY FILM?


MEANS OF FILMIC DESIGN:

1. MEANS TO DESIGN IN FRONT OF THE CAMERA

1.1 MATERIAL: PROPS, LOCATIONS, ACTORS (MIMIC, BODY LANGUAGE, COSTUMES, ETC.)

1.2 DESIGN OF MATERIAL THROUGH ADDITIONAL LIGHT, COLORS ETC.

1.3 ACOUSTICAL MATERIAL: SOUND, SPOKEN WORD, MUSIC

1.6 WHY FILM?



2. MEANS TO DESIGN CAMERA-RECORDINGS

2.1 THE SHOT:

- TYPE OF SHOT (LONG SHOT, FULL SHOT, MEDIUM SHOT, CLOSE UP)

- PERSPECTIVE (AERIAL SHOT (ESCAPE FROM NEW YORK), BIRD#S EYE SHOT, LOW ANGLE

SHOT (FULL METAL JACKET), OVER THE SHOULDER SHOT, POINT OF VIEW SHOT, SHOT/

COUNTER-SHOT (180DEGREES RULE), TWO SHOT(STAND BY ME) )

- FRAMING

- SHOT-LENGTH, SHOT-COMBINATION

- CAMERA-MOVEMENT (PANNING, TILT, ZOOM, TRACKING SHOT)

2.2 THE SOUND: SOUND DESIGN

2.3 THE LIGHT

1.6 WHY FILM?



3. MEANS TO DESIGN THE EDITING

3.1 POST-PRODUCTION OF THE MATERIAL: COLOR-CORRECTION, CONTRAST, SPECIAL

EFFECTS, COLLAGING

3.2 POST-PRODUCTION OF SOUND: COMMENTS, VOICE OVER, SOUND EFFECTS

3.3 EDITING OF IMAGE & SOUND

1.6 WHY FILM?

RESEARCH

RESEARCH THESE ASPECTS:

1.6 THE ROLES

1.6.1 PRODUCER

1.6.2 RESEARCHER

1.6.3 WRITER

1.6.4 DIRECTOR

1.6.5 EDITOR

GET FAMILIAR WITH THESE GENRES:

2.1 DOCUMENTARY

2.2 ADVERTISING

2.3 ART / AVANT-GARDE

Filming / Introduction II

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