Camera movement

Motivated camera movement
-
The camera moves directly with the action being shown, for example if a character moves across the screen the camera tilts, pans, or physically moves by hand or on a dolly.

Unmotivated camera movement
-
When a camera move is imposing on the action rather than just following it, this is used for emphasis of any kind.

Zoom
-
This is when you magnify an element of the scene, the camera itself doesn't actually move during this movement, it is done with a lens. This type of zoom is usually slow, which builds drama, suspense and tension.

Example : https://youtu.be/ZbMtUL-69_g?t=85


Crash zoom
-
This is the same as a normal zoom but is done a lot faster, this is used mostly to shock, reveal action suddenly or to just reveal something.

Example : https://youtu.be/kjZ9EQ7LMD8?t=8


Pan / whip pan
-
When the camera moves on it's horizontal axis, left to right or right to left.




Camera movement practical
-

Rendering and compression

Resolution definition
-
1920 x 1080p
1280 x 720p

The higher the resolution, the better the image detail is.

480p
360p

Lucas film
-
Codec ; code and decode e.g.
H.267
H.264

MPEG ; moving pictures experts group

.m2v - MPEG 2
.ac3 - Dolby 2

Muxed - video + audio

Lossy
-
Compressed ; small file size Mb
.mp4
.wmv

Lossless
-
Uncompressed ; large file size Gb
.avi
.mov

Editing

Order of shots

• The meaning of a sequence can change depending on the order of the shots.
• Putting two shots together can suggest a connection or emphasize contrast (juxtaposition).

Soviet montage theory

• The Kuleshov effect is a concept in the film making created by Lev Kuleshov in the 1920s.
• Sergei Eisenstein, the idea that placing together separate sections of film could create ideas or have an impact beyond the individual shots.

Transitions

• The process of moving from one shot to another.
• The most commonly used transition is a cut.

-

Fade

• Preceding shot fades into a black solid.

Dissolve or cross fade

• The preceding shot merges into the following shot, resulting in the two shots being superimposed.

-


Pace and Rhythm 

• Duration of a shot will usually reflect the narrative context.
• Short shots conveys action and urgency.
• Long shots create a slower pace and convey intensity and intimacy within the narrative; it allows us to focus upon facial expressions and the other aspects of the mise-en-scene.

Continuity

• Cutting shots to tell a story with narrative continuity.
• Helping the viewer make sense of action by implying spatial relationships and ensuring smooth flow from shot to shot.
• Creates realism.

Video Clips

Clips
-
Incoming and outgoing clips

Non sync - offset

Highlight video and audio clips - Right click - synchronize

When editing audio and you want to cut a part of it out, you can cut the bit you don't want and then to make it sound smooth go to Effects - audio transitions - constant power

Interview example
-
https://www.youtube.com/watch?v=Zjfg5_JpzE0

Narrative Theory

Narrative Theory
-

Tzvetan Todrov

• The fictional environment begins with a state of equilibrium, e.g. everything is as it should be in a state of equal balance between powers of any kind.
• It then suffers some disruption or disequilibrium.
• At the resolution a new equilibrium is produced.

Vladimir Propp

• Based on ancient folk tales.
• He said that all narratives features a set of stock characters.
• These include : hero , villain , donor , helper , princess (objective / goal) , father , dispatcher , victim , false hero.

Levi-strauss

• Binary oppositions
• He states that a constant creation of conflict or opposition propels a narrative.
• He believed that they narrative could only end on a resolution of the conflict.
• Binary opposites e.g. 

1. Visual - light vs darkness, movement vs stillness
2. Conceptual - love vs hate, control vs panic
3. Narrative or genre based - good vs evil, earth vs aliens, cops vs robbers