FILM DIRECTING SHOTS - One of the most over used cliches in film is "The Shots are all you have." The following are what you need to think about practically so you can think creatively and device the best shot list and camera shots you possibly can:
CAMERA ANGLES Are the most important factor in producing illusion of scenic depth. Which angle the object is photographed.
FIVE BASIC ANGLES
EYE LEVEL SHOTS- Provide frames of reference. Audience sees the event as if the scene happening right in front of them. Most scenes in movies are photographed from eye level. 5 to 6 feet off the ground. Capturing the clearest view of an object -Used to treat your characters as equals. Discourages viewers at judging them. Permits audience to make up their own mind.
BIRDS EYE VIEW- Photographing a scene from DIRECTLY OVERHEAD. Hovers from ABOVE like all powerful gods. IDEA OF FATE
HIGH ANGLED SHOTS- Camera is tilted downward. Besides the obvious power shot, movement is slowed down during fast moving action. Ground is in the background. A person seems harmless and insignificant is photographed from above. -The higher the angle, the more it tends to imply fatality
LOW ANGLES SHOTS- Camera it titled upwards. Use to inspire awe or excitement. Motion in speeded up. Environment is usually minimized. Sky or ceiling is background. -Heightens the importance of a subject. Scenes depicting heroism
OBLIQUE ANGLE- Lateral tilt of the camera. As though the object is about to fall to one side. Point of view shots. Suggests tension, transitions, impending movement -Image that slants to the right – Acting Forceful -Image that slants to the left – Weak, Static
ASK YOURSELF -How much should be included in this shot? -Where should the camera be positioned to view this particular part of the action?
A SHOT SHOULD BE HELD NO LONGER THAN REQUIRED TO MAKE ITS POINT
Approach each sequence with a fresh attitude and strive to treat the action in an individual matter.
A definite change in camera angles will assure a smother flow of images
CLOSE-UPS -Among the most powerful storytelling devices available to the filmmaker -Allows removal of tedious or repetitious action -Can be used to provide a time laspe -Brings that dramatic punch
FRAMES-Area near the top of the frame can suggest ideas dealing with power, authority and apiration -Left and right edges of the frame can suggest insignificance -Dominant Contrast - Area the immediately attracts our attention because of a conspicuous and compelling contrast -Subsidiary Contrast - Structured image so that specific images are followed in sequence
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THE HUMAN EYE SCANS PICTURES FROM LEFT TO RIGHT
HORIZONTAL LINES - MOVE FROM LEFT TO RIGHT VERTICAL LINES - MOVE FROM TOP TO BOTTOM
DIAGONAL OR OBLIQUE LINES tend to sweep upward
TERRITORIAL SPACE - Movie images must tell a story in time, a story that involves human beings and their problems
THREE VISUAL PLACES -Midground -Foreground -Background
CRUCIAL DECISION - How much detail should be included within the frame?
HOW CLOSE SHOULD WE GET TO THE SUBJECT? -How much space is just right for the shot? -What’s too much or too little
AN ACTOR CAN BE PHOTOGRAPHED IN FIVE BASIC POSITION
1) Full Front - Facing the camera -Most intimate, vulnerabilities exposed -Audience agrees to become his chosen confidante
2) Quarter Turn -Involves a high degree of intimacy but with less emotional involvement
3) PROFILE - Looking off frame, left to right -Character lost in their own thoughts
4) Three Quarter Turn -More anonymous. Rejecting audiences
5) Back to Camera-Characters alienation from the world. Sense of concealment, mystery
Tightly framed shots - CONFINED
Loosely framed shots - FREEDOM
USING SPACE IN FOUR WAYS
1)INTIMATE Eighteen inches away. Distance of LOVE, COMFORT, TENDERNESS between individuals
2)PERSONAL -Eighteen inches to about four feet away. Reserved for friends and acquaintances
3)SOCIAL -Four feet to about twelve feet away. Business and casual social gatherings