Threads like these are why the cinematography forum on DVXuser is the best.
'What tripod should I use?' or 'how do I get this look?' threads are never this classy!
Thread: Being Cinematic
Results 11 to 20 of 138
08-14-2010 10:23 AM
This is fantastic and very well presented. Thank you.
I would also look forward to your thoughts regarding shot size and the general motivation for using a Close Up versus a Medium shot, etc.
08-14-2010 11:07 AM
Perrone, since your covering all the basic textbook stuff can you use examples from your own work. In fact I'd like to see other cinematographers also use examples from their own work in the cinematography section. I'm just a simple producer who gets to be behind the camera from time to time and I have no problem showing examples of my stuff. Inspire all of us who fumble along doing the best we can under our non-existant budgets how you handle things. Lead by example. I know I'm always trying to improve whenever I can.
For example even on longer shots I try to explore the environment from more than one angle:
08-14-2010 11:42 AM
It's theads like this that bring a tear too my eye
1 out of 1 members found this post helpful.
08-14-2010 12:17 PM
So in looking for opportunities for deep staging, instead of this:
Use extras to help give the shot more emphasized depth and make your scene more like its part of the real world.
And then build them into the entire scene.
08-14-2010 12:50 PM
Another aspect of composition and blocking that is often overlooked is the role of EYE-TRACE: meaning, the point within the frame where the audience's attention is fixed. proper planning for eye-trace to match across edits results in a more seamless, fluid, invisible cut.
As an editor, I'm keenly aware of a top cinematographer's prep and planning for the handling of audience attention between shots. It's no accident. EYE-TRACE is most often fixed upon an actor's face. But it can and should move within the shot. The mindful filmmaker has visualized these markers and charts where the viewer's attention is at each intended edit point so they may synchronize it across each cut. After emotional continuity, it is one of the first considerations a film editor makes to execute a good cut.
The most beneficial tool, I imagine, is to extend beyond just storyboards and to pre-vis your film. This serves as an audition of the film's composition and editing, using EYE-TRACE to unify the two through subsequent revisions.
Now you better sit down for this part because I'm about to praise a Michael Bay movie. I was in a waiting room and of all things BAD BOYS 2 was playing. It was a morgue scene. If you have the opportunity to take this scene in, watch how carefully EYE-TRACE was managed. You'll often see the point of attention move within a shot especially as dialogue swings your attention from one character to another, but in perfect sync with the point of your attention in the subsequent shot.
SKIP AHEAD TO 4:45 and witness how matching EYE-TRACE connects across a good number of the shots to help guide the audience's attention across cuts within the same location but also as location changes with cuts to parallel action.
WARNING: Not Safe For Work - Nudity and Violence
IMPORTANT NOTICE: No media files are hosted on these forums. By clicking the link below you agree to view content from an external website. We can not be held responsible for the suitability or legality of this material. If the video does not play, wait a minute or try again later. I AGREE
SKIP AHEAD TO 4:45
Any DP and director who are storyboarding and composing not only for each shot, but for the way in which they will connect, are operating on a level that warrants our study.
2 out of 2 members found this post helpful.
08-14-2010 02:24 PM
- Join Date
- Nov 2009
Good post indeed specially for those who are new to filmmaking.
This confusion that people usually experience is a proof of how competent these professionals are, who not just make beautiful images but make the technique behind invisible a true achievement of cinematic prouductions.
The key is to get in contact with every aspect of cinematic production, every technique behind the result, so our own analytical capability is raised and then we can discern, analyze and learn. With this in mind the statement that "is better to learn on a set than on filmschool" makes sense. Note that I'm not saying filmschool is worthless, I went to one, I made lots of movies, I read a lot about filmmaking and I learned and still am learning.
Filmmaking is a learning process spread across the entire span of our lives, true passion.
08-14-2010 03:56 PM
Could you explain this a bit more?
The movie The Dark Knight, broke new ground by mixing frame sizes in a theatrical presentation. Since they shot to IMAX and 2.35 spherical, the director chose to show both sizes on screen rather than just extract a portion of the IMAX frame. A bold move that worked out beautifully