DCE Quizwiz 3
Where does a majority of the monies of film budgets go?
At least 80% of the monies of big budget films above $100 million are dedicated to the "look" of the film
2. put the right lens on the camera
Different lenses can speed up or slow the action when compared to the naked eye; Different lenses can make objects appear closer or further apart than reality
Drama
Find the peak trigger point of the scene and employ the camera's temporary position to "catch the fre in the character's eyes" and use the other person as the vertical eye candy; employ the reverse master to begin (in the edit) right after the frst moment of peak confrontation
When will crucial decisions be made?
Many crucial decisions that will govern the success of film look cannot be made until last minute/hour on the set. Can/should use most of director's time.
moving the camera
Moving camera is new standard for professional directors
The Bob Rule
The "story" is the most important component of a film so EVERYTHING else serves the narrative; keep the movement "invisible" as possible
3. get the right number of pieces of coverage
The more pieces you have the beter because you need more angles to make something appear dangerous that is not dangerous in reality; Use the Z axis for hiting/punching and "take air out of the middle of punch" in editing
1. put the camera in the right place
The spot where the motion will appear the most dynamic along all three axis; The spot or tracking where the most action will be passing through frame
The Snoopy Camera
When a camera bounces around looking for the most important part of a scene
Externally generated camera movement
When a camera moves to follow something that is moving inside the current frame composition; The camera is moving to "keep up" with the story's action
Moving Established shots
When a camera moves to reveal to the audience everything they need to see to understand what happens next; Introduces a new environment in a panoramic or scalable fashion; Start frame in tight and then pull out and around to reveal rest of environment...or do the exact opposite... to move audience tighter into a key piece of information
Internally Generated camera movement
When a camera moves to show audience what is being seen or felt by someone on screen; "point of view" (POV) shots: camera serves as the eye sight of the actor "introspective" shots: camera serves as an unnoticed selfie
Eye Candy
create motion blur by moving camera horizontally in front of as many bright prominent vertical objects as possible; Z-axis walk-n-talk is fne if you have a lot of items entering foreground
Seamlessness
distinguishes a moving shot from a static shot because static shots usually run out of information and stop doing a good job of telling a story after 3-4 seconds
Establishing Shot
geography: where the scene will unfold, establishes eyelines/stage direction; money: these kind of expansive shots can be expensive due to PD, DP, & casting all working overtime together, believability: any physical evidence should be revealed at beginning of scene to make it all plausible
Spielberg's Secret Sauce
start a scene with the camera framed up tighter on the principle subject... then have it take off moving! The camera must now "keep up" or risking losing the action; offers audience eye candy
The more money in the budget
the more the camera moves to give "visual energy"
The primary role of a film director/DP
the primary role of a film director/DP is the look of the finished film, not the script or even the performances
Coverage
when balance shifts from motion to drama, the master should tighten up and swing on-axis; this allows director to design moving masters so they can double as coverage shots (fewer setups)
