Wednesday, September 25, 2013
Aesthetics of Video
While shooting a film, the director of the film and the director of photography sometimes meet with the storyboard artist to illustrate the flow of shots that will best depict the story of the film. The video camera and its various camera angles along with some other things are what help see this through. Breaking down the shot list and figuring out which shot whether it's a close up, medium shot, wide shot, or crane shot will help tell the story best. On top of that, perspective, location, lighting, etc. will add to the look and feel of the story. Most people don't really pay attention to things like this, I know I didn't up until learning about all of these tools and techniques throughout my TV Production class in high school, but once I did that's all I've really paid attention to. An example of how perspective aids the look and feel of a story can be found in a scene from Spiderman. I never noticed how this helped the viewer see the transition from Peter Parker to Spiderman until I watched it recently. After he's bit by the spider he starts feeling stronger and his eye sight improves. The director of this film made sure you knew Peter didn't need glasses anymore by using this particular POV camera angle. Without this shot, when viewers noticed that Peter wasn't wearing his glasses anymore they would've been confused, but with it there's no confusion at all.
http://www.youtube.com/watch?v=Qj7CXKwPfdc
Response to Aesthetic approach to video
Reading Douglass and Harden’s
chapter really put film techniques to the forefront of my mind. While watching Brokeback Mountain with a friend of mine
this week, I was constantly thinking about the article and what the different
types of shots in the movie could convey. For instance, the director Ang Lee
used many short focal length shots to exaggerate the huge and wild beauty of
the mountain scenery in Brokeback
Mountain as well as the smallness of the characters themselves. It made it
seem as if they were swallowed by the world around them, which is highly
symbolic given the circumstances. Because the two characters are hiding who
they actually are for fear of becoming societal outcasts, their smallness and
vulnerability in these shots subconsciously brought us to the emotional place
that we needed to be for the movie to be fully effective.
One of these shots in particular
was taken from above. As Douglass and Harden said of high-angle, short
focal-length shots, it “makes them appear as if we are observing them from near
the ceiling” (p 168). In this particular case, however, the two cowboys are
actually being observed from above by their employer. This is especially
significant because their boss realizes in this scene that they are in love
with one another and that this is causing them to be slightly less effective at
their jobs. The shot perfectly conveys the cold emotion of the situation, as
well as emphasizing the feeling that they are being spied on even before we
know that they actually are. It helps
us to put their relationship back in the perspective of the society which they
are part of – it reminds us that in their world, their relationship cannot
be accepted.
Here is the scene: http://www.youtube.com/watch?v=DuyH1j2jMRg
Watch from 1:28 to the end.
I found the
Douglass and Harden chapter to be hugely helpful in viewing movies and choosing
which shots and techniques to use to convey certain things. I chose Brokeback Mountain because it is one of
my favorite movies of all time, primarily because of the cinematography.
Aesthetics of video
I really like how much detail this article goes into in regards to angles. As an amateur automotive photographer, angles can be the difference between a good shot and an amazing shot. When filming and photographing cars, high and low angled shots can really bring about a new perspective of the car that the viewer may not have seen before. Likewise, CU, MS and EWS shots can also have a huge impact on what the viewer sees. Sometimes, you want a really close shot of a small detail of the car like the wheel for instance, but in other cases, you may want to get the whole car plus a good shot of the background, maybe with the sun setting behind the car. Things like this make a huge difference in how much the viewer can appreciate your framing. In automotive filming, the use of dollies and tripods are essential to making the final outcome that much better.
In this video, produced by a high-end wheel manufacturer, the film crew utilizes lots of variation between close up shots and medium shots. I like how, while they are a wheel manufacturer, most of the video doesn't revolve around their wheel, but rather the car and the fact that it is such a high end car ($230k) that has their wheels on it.
I really like the close up shots of the lights turning on, the tachometer revving up, and the close up detail shots of the engine, the interior, and the shots that utilize a helicopter.
My favorite shot has to be the medium shot where the car is driving along side of the cruise ship and you can make out the name of the ship.
I think, for this company, the close up and extreme close up shots really help portray that the company pays very close attention to all of the little details when it comes to their wheels. Thus, this video becomes an excellent marketing tool.
In this video, produced by a high-end wheel manufacturer, the film crew utilizes lots of variation between close up shots and medium shots. I like how, while they are a wheel manufacturer, most of the video doesn't revolve around their wheel, but rather the car and the fact that it is such a high end car ($230k) that has their wheels on it.
I really like the close up shots of the lights turning on, the tachometer revving up, and the close up detail shots of the engine, the interior, and the shots that utilize a helicopter.
My favorite shot has to be the medium shot where the car is driving along side of the cruise ship and you can make out the name of the ship.
I think, for this company, the close up and extreme close up shots really help portray that the company pays very close attention to all of the little details when it comes to their wheels. Thus, this video becomes an excellent marketing tool.
Aesthetics of Video response
Most people typically do not focus on how the camera is working
when watching a film; we are more focused on the effects that the camera
placements and movement have upon us, without necessarily being aware of them. This
article explained the many effects different camera techniques can create for
viewers. Good camera technique is essential in getting the audience to not just
see the film, but to experience it.
I really enjoy films that experiment with camera use. Darren
Aronofsky’s Requiem for a Dream makes
great use of framing, focal, and movement techniques to place the audience in
the characters’ chaotic, illusionary world. The movie is about drug use and
lives spiraling out of control, and the camera conveys that sense of disorder through shaky pans, fast forward and slow motion scenes, fast-paced montage of extreme
close-up shots, special lenses, and other effects.
This scene from Requiem
for a Dream uses a fish-eye lens to distort the frame, putting us inside
the head of the hallucinating, mentally unstable Sarah and allowing us to experience her visit to the doctor’s office from her perspective. The use of deep focus
also makes her doctor seem so far away from her, and his motion is sped up
while hers remains slow. The distance and differences in speed between Sarah and the rest of her environment visually emphasize how she is “in her own world” and separated from reality.
Tuesday, September 24, 2013
Response to Aesthetics of Video
This article talks a lot about camera techniques and how directors frame their scenes. The framing and composition is often overlooked when people think about video. Every shot and how it is composed bears significance. Every shot means something and every shot should be well thought out. Camera movements like slow zoom ins can make us feel very anxious and intensify our emotions during a particular scene. The main objective is to put the viewers in the shoes of the characters. This article talks about all kinds of video techniques that directors/cinematographers use to put us in the film and make us actively participate in the movie experience.
Shot at 4:13 is my favorite of the scene.
https://www.youtube.com/watch?v=PE9Qm8mShik
I chose the scene from Pulp Fiction where Samuel Jackson intimidates someone who crossed his boss, Mr. Wallace. The low angle shots and tight close ups of Samuel Jackson make us fear him just as if we were there. Whenever the shot transitions to the victim, he is looking up nervously at Samuel Jackson. Vincent, Samuel Jackson's partner is seen in the background to make us feel surrounded just like the victim. There are lots of other techniques used to give Samuel Jackson dominance in this scene, but I wont go on and on.
Shot at 4:13 is my favorite of the scene.
https://www.youtube.com/watch?v=PE9Qm8mShik
I chose the scene from Pulp Fiction where Samuel Jackson intimidates someone who crossed his boss, Mr. Wallace. The low angle shots and tight close ups of Samuel Jackson make us fear him just as if we were there. Whenever the shot transitions to the victim, he is looking up nervously at Samuel Jackson. Vincent, Samuel Jackson's partner is seen in the background to make us feel surrounded just like the victim. There are lots of other techniques used to give Samuel Jackson dominance in this scene, but I wont go on and on.
Monday, September 23, 2013
Response to Aesthetics of Video
From the reading, what I learn is the different ways of framing can create various meanings about human actions, bodies and expression. It is clear and straightforward. It illustrates the relationship between human and environment that captures in the frame. With the framing, good management and preparation will allow smooth cut and transition between each clip. In comparison, angles is to use to illustrate the images. It allows the viewer to understand the dominant subject in the film, which relates to the sizes of the subjects that are presented. Lens is also another element that needs to take into consideration. Lens matters more when it is shooting people's faces then landscapes.
The camera movement more critical for a short video shooting. Video shooting does not have the same equipment that film can have. The shaking and instability of the camera will affect the visions. Normally, when we watch videos, the shaking will cause the viewers to feel the dizziness, which will damage the enjoyment. Tripod and dolly are suggestions to decrease the dizziness. But it will also eliminate the objects and environment that presents in the film. So how to manage and express clearly is challenging. I do not have the experience of experimenting with all the techniques that are introduced, but as I start looking into some of the clips. They are all included inside.
The camera movement more critical for a short video shooting. Video shooting does not have the same equipment that film can have. The shaking and instability of the camera will affect the visions. Normally, when we watch videos, the shaking will cause the viewers to feel the dizziness, which will damage the enjoyment. Tripod and dolly are suggestions to decrease the dizziness. But it will also eliminate the objects and environment that presents in the film. So how to manage and express clearly is challenging. I do not have the experience of experimenting with all the techniques that are introduced, but as I start looking into some of the clips. They are all included inside.
The idea is to use the cardboard to create a different point of view, but at the same time contains all the techniques that are described in the essay. It asks us to see the world in a different point of view, which the background music also complies with the entire theme. I learn a lot from it.
Response to Aesthetic Video
The camera is obviously a major component in production, but
its role in the aesthetic aspect of film is often understated. I never quite
realized, until now, how much thought needs to be put into every detail of the
framing and angle. Second to the content, the camera enables the audience
inside the story, with an outside point of view. The mood and environment is
captured and conveyed through the varying techniques, which must be used diversely
and fittingly as to maintain the interest of the audience. There truly must be
a firm understanding between the director and cameraman; it’s essential that
they are on the same page in order to accomplish a cohesive piece of film work.
The camera angle and focus changes with the physical and emotional environment of a scene. If the job is done right, the transitions should be subtle and cohesive. Sometimes the artistic hand becomes too heavy, for example in the Hunger Games. The intended effect of the shaky camera was probably to add to chaotic atmosphere, but in turn left the audience annoyed and even dizzy or sick in some cases.
The camera angle and focus changes with the physical and emotional environment of a scene. If the job is done right, the transitions should be subtle and cohesive. Sometimes the artistic hand becomes too heavy, for example in the Hunger Games. The intended effect of the shaky camera was probably to add to chaotic atmosphere, but in turn left the audience annoyed and even dizzy or sick in some cases.
The link is the title sequence for the show "Dexter." Most of the video is extreme close-ups. The article stresses the importance of specifying what part of the subjects should be defined, and in this clip the ECUs are very focused. The art of it is that when the camera is so close, it emphasizes the similarities in Dexter's morning routine, and his murder routine. It makes something so ordinary seem sinister.
Response to Aesthetics of Video
Though the article focuses predominantly on camera techniques and their aesthetic implications, I'd like to focus on the concept of the fourth wall, introduced in theater and carried over into the medium of cinema. For filmmaking, breaking this invisible art-audience barrier is all the more striking because the medium itself embodies a much more fleshed out reality than theater can offer -- as the author writes, filmmaking brings the audience into the action, using everything from camera placement to special effects to maximize our immersion into a world not our own. Taking advantage of this, filmmakers have in the past teased the edges of the fourth wall, whether for the purpose of farce, satire, meta-cinematic commentary, or any combination thereof.
Consider, for example, Spike Jonze's madcap masterpiece Adaptation, in which the protagonist adopts the role of a screenwriter who, over the course of the film, writes out the movie he inhabits (the hero and the actual screenwriter share the same name, and thus it's implied they're meant to be the same person). Reality and fiction are blurred, and through it the film comments on the role of the screenwriter in the Hollywood system, celebrating the scribe who defies the preestablished structures of commercial mainstream moviemaking.
Consider also the enigmatic Holy Motors, a movie that creates a dark, barren dreamscape from the world of the movies. In this film, we literally can't tell when the hero, a bizarre representation of the film actor, is on set or living his life. The actual non-diegetic actor, the diegetic actor, and the character played by the diegetic actor are clumped together, shaken up, and rendered indistinguishable. Even when seemingly "behind-the-scenes," this actor-character is still performing, if not for any diegetic audience then for us, the non-diegetic audience. The movie invites this kind of layered, reflexive thinking, precisely because it so completely disintegrates the fourth wall from the get-go.
Consider, for example, Spike Jonze's madcap masterpiece Adaptation, in which the protagonist adopts the role of a screenwriter who, over the course of the film, writes out the movie he inhabits (the hero and the actual screenwriter share the same name, and thus it's implied they're meant to be the same person). Reality and fiction are blurred, and through it the film comments on the role of the screenwriter in the Hollywood system, celebrating the scribe who defies the preestablished structures of commercial mainstream moviemaking.
Consider also the enigmatic Holy Motors, a movie that creates a dark, barren dreamscape from the world of the movies. In this film, we literally can't tell when the hero, a bizarre representation of the film actor, is on set or living his life. The actual non-diegetic actor, the diegetic actor, and the character played by the diegetic actor are clumped together, shaken up, and rendered indistinguishable. Even when seemingly "behind-the-scenes," this actor-character is still performing, if not for any diegetic audience then for us, the non-diegetic audience. The movie invites this kind of layered, reflexive thinking, precisely because it so completely disintegrates the fourth wall from the get-go.
For an article on the tradition of having actors play themselves in the movies, itself a more facetious but still subversive treatment of the fourth wall, read Matt Zoller Seitz's article on rogerebert.com.
For my video, I'm posting a trailer for Holy Motors. When reading the article, I was struck by the fact that the opening section is titled "Eye of the Beholder" - in that film, one question that's posed is whether the beauty of a film is in its making or in its reception i.e. the eye of the beholder (see 0:41-0:47).
http://www.youtube.com/watch?v=j5Cww89TbkE
For a video foregrounding masterful camera technique, check out this clip from Nicolas Winding Refn's Drive. A car chase is nothing new, but observe how the action is filmed almost entirely from within the vehicle. This unique choice of framing elevates the sequence above many of its action-movie counterparts. Rather than depicting somersaulting BMW's and all-around vehicular mayhem, the clip highlights the thrilling professionalism of the driver as he handles a dire situation with level-headed cool.
http://www.dailymotion.com/video/xqei6w_drive-opening-scene-gateway_shortfilms
For a video foregrounding masterful camera technique, check out this clip from Nicolas Winding Refn's Drive. A car chase is nothing new, but observe how the action is filmed almost entirely from within the vehicle. This unique choice of framing elevates the sequence above many of its action-movie counterparts. Rather than depicting somersaulting BMW's and all-around vehicular mayhem, the clip highlights the thrilling professionalism of the driver as he handles a dire situation with level-headed cool.
http://www.dailymotion.com/video/xqei6w_drive-opening-scene-gateway_shortfilms
Response to Aesthetics of video
How to direct the audiences’ attention in a scene? Breaking
down to separate shots, the framing and camera angle, lenses, placement of
camera and camera movement. In the article,
the author introduced most of the basic knowledge of film language such as the
forth walls, visual variety and camera placement.
Personally I think, no matter it is a long shot or a montage scene, they all has to follow the reasonable attention transform of the viewers with the plot or situation in the scene. In the article, the author held a point of view that the producer or the director of a film would decide what audience’s interest should be. In my opinion, producers of a film try their best to illustrate a story or to reproduce a story. A horror film is just illustrating a horror story. The readers give a way to the horror feelings. Another example would be a successful America comedy can not make all Chinese people laugh, because the chinese audience can not understand those American jokes. Is the comedy still comedy at this point?
Personally I think, no matter it is a long shot or a montage scene, they all has to follow the reasonable attention transform of the viewers with the plot or situation in the scene. In the article, the author held a point of view that the producer or the director of a film would decide what audience’s interest should be. In my opinion, producers of a film try their best to illustrate a story or to reproduce a story. A horror film is just illustrating a horror story. The readers give a way to the horror feelings. Another example would be a successful America comedy can not make all Chinese people laugh, because the chinese audience can not understand those American jokes. Is the comedy still comedy at this point?
Directors arrange his camera, using movements, angles and so
on to present what is inside the forth walls in the best way. It might no be
the most objective way, since there is no a totally object film or video
because all kinds of video products involve certain level of producer’s opinion
(choosing of camera angle, placement, etc), but it is the best way to understand and look at the film.
there are some incrediable filming techniques that I admire a lot. For example, the deep focus scenes from Citizen Kane (1941) were granted high value internationally. There were a lot of details going on at the same time in the frame, and made a lot of meanings in just one scene. this is a great example of how framing of a film could interpret viewer's knowledge of the story. However, after all, I think the producers are just telling a story.
Response to Aesthetics of video
When we watch a film, we mostly put our
focus on the plot, the line and the actors and actress. However, we rarely put
our attention on the way of filming. In the article, it talks about different methods
of framing, which includes wide, medium, close-up shots, low and high angles.
The article gives us pretty much information and examples, besides the films
that are introduced in the article, I think one of the films I watched before
called “Do the Right Thing” also will be a very good example to illustrate the
concept of those words.
Director Lee of this film applies a large
amount of use of fast-speeding cut, canted camera angles and extreme close up
of the specific characters in the film. The film takes place in a dark down
with the majority of African American and a few white people. The whole story
is mainly talking about the conflict between black people and white people. There
is a portion in the film, in which the cinematography leaves me a deep
impression. In the very end of the film, the tension between white and black
bursts up into a serious fight. In order to highlight the intense relationship
between the white and the black, director Lee uses low and canted angle of
camera when filming the Black, and uses high angle of camera while filming the
white. Therefore, the black is shown in
a higher superior image while the white is in a relatively lower position. This
framing is effective to illustrate the interrogation and provocation between
the black and the white.
At the beginning of the Introduction to
Media and Sound class, Professor shows us two examples of “Video Without
Sounds” and “Sound Without Video”. As far as I concerned, the best way to
evaluate the filming of a movie is just to turn the sound off.
Here is the link of short piece of the
movie that I mentioned in my response.
Response to Aesthetics of Video
After reading an excerpt from Aesthetics of Video I am sure I will be looking at movies and television
shows through a new lens, dissecting every shot and how each one was pieced
together with another. Each frame should be conceived with great intention in
order to create an aesthetically pleasing work while affecting the viewer’s
subconscious, helping to create interest and depth in the plot. Shot selection
is incredibly important; just recording images and playing them back will not
make the cut. A great deal of thought must be put into storyboarding before
hitting record so that when individual clips are edited together, they work
together to create a compelling and cohesive whole. It is interesting to think
about how a higher camera level in relation to the subject can create a
completely different or even opposite effect than when the camera is placed in
a lower position. On the other hand, this reading gives me a heightened
appreciation for documentaries or news crews who have to film on the spot action
without planning each frame ahead of time. They have to look through the camera
lens and film the action as it is unfolding before them. Filming while seeing
the scene for the first time requires these camera operators to have a great
sense of the theory discussed in this excerpt.
The clip posted below demonstrates the effect a wide shot
can have when everything is in focus (0:54 to 1:13). Dustin Hoffman’s character
is running, trying to stop a wedding that he is already late for. Because he is
very small in this shot and because he is in equal focus with the background,
Dustin Hoffman’s running seems slower than it really is. It appears as if he is
barely moving forward, adding to the suspense.
Response to Aesthetics of Video
I found this article very informative and easy to follow. Not only did it present all the basics of filming in one chapter, but it also included examples from famous films to convey different attitudes. For example when describing the impact of using a low angle, the author used the example of Batman to convey the victorious and dominant characteristics of using that angle. Even if someone hasn't seen this particular film, they still get the image of Batman towering over Gotham City as the hero, to clearly point out the feeling that goes along with this use of a low angle. Using examples this way helps all these concepts stick in the reader's mind, which is very helpful since there are so many definitions in this chapter.
I also liked the fact that the author pointed out that with picking out shots and angles, the main thing to keep in mind is reality. If you want to maintain the reality of the characters' world, then you would want to keep a certain depth of field or match cuts, so that everything seems more believable. As shown from reading the article, the camera can manipulate any shot to convey the desired emotion. The same shot can give off a menacing serial killer vibe or a glowing love interest depending on the lighting and framing.
A little while ago, I came across this video, from Sparkles and Wine's music video teaser, that shows how light can drastically affect a character and convey different emotions in the same shot. Although this article focused more on manipulations of the camera and not lighting, I think this video still ties together the use of close up shots versus extreme close ups and can introduce how lighting can further manipulate the video.
https://vimeo.com/63602119
-Marisa Guerin
I also liked the fact that the author pointed out that with picking out shots and angles, the main thing to keep in mind is reality. If you want to maintain the reality of the characters' world, then you would want to keep a certain depth of field or match cuts, so that everything seems more believable. As shown from reading the article, the camera can manipulate any shot to convey the desired emotion. The same shot can give off a menacing serial killer vibe or a glowing love interest depending on the lighting and framing.
A little while ago, I came across this video, from Sparkles and Wine's music video teaser, that shows how light can drastically affect a character and convey different emotions in the same shot. Although this article focused more on manipulations of the camera and not lighting, I think this video still ties together the use of close up shots versus extreme close ups and can introduce how lighting can further manipulate the video.
https://vimeo.com/63602119
-Marisa Guerin
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