INTRODUCTION TO FILMING 2

TOPICS / 20.3.2012
1.1 PRE-FILMING 1.1.1 LOCATIONS 1.1.2 SCRIPT 1.1.3 STORYBOARD 1.1.4 VISUAL IDENTITY 1.1.5 SEQUENCE & MONTAGE GRAPHIC 1.2 PICTURE STORIES 1.3 CAMERA 1.3.1 MISE-EN-SCENE 1.3.2 FRAMING 1.3.3 TYPE OF SHOT (LONG SHOT, FULL SHOT, MEDIUM SHOT, CLOSE UP) 1.3.4 SHOT-COMBINATION 1.3.5 PERSPECTIVE (AERIAL SHOT (ESCAPE FROM NEW YORK), BIRD#S EYE SHOT, LOW ANGLE SHOT (FULL METAL JACKET), OVER THE SHOULDER SHOT, POINT OF VIEW SHOT, SHOT/COUNTER-SHOT (180 DEGREES RULE), TWO SHOT ) 1.3.6 CAMERA-MOVEMENT (PANNING, TILT, ZOOM, TRACKING SHOT)

TOPICS / 27.3.2012
1.4 LIGHT 1.4.1 TYPES OF LIGHT 1.4.2 ANGLES 1.5 EDITING (MONTAGE) 1.5.1 PRINCIPLES OF THE AESTHETICS OF PERCEPTION IN EDITING 1.5.2 COHERENCE WITHIN THE EDITED PARTS 1.5.3 THE EDIT ON A WHOLE 1.6 EXCURSUS: CHARACTER OF FILM/VIDEO 1.6 THE ROLES 1.6.1 PRODUCER 1.6.2 RESEARCHER 1.6.3 WRITER 1.6.4 DIRECTOR 1.6.5 EDITOR 2.1 DOCUMENTARY 2.2 ADVERTISING 2.3 ART / AVANT-GARDE

1.4 LIGHT
1.4.1 TYPES OF LIGHT 1.4.2 ANGLES

FILM ART: AN INTRODUCTION, DAVID BORDWELL, 1979 A JOURNEY INTO LIGHT WITH MAX KELLER, MAX KELLER & ALEXANDER HICK, 2006 MASTERS OF LIGHT, DENNIS SCHAEFER, LARRY SALVATO, 1986 VITTORIO STORARO: WRITING WITH LIGHT, VITTORIO STORARO, 2002

1.4 LIGHT
1.4.2 FILL LIGHT AND KEY LIGHT

1.4 LIGHT
1.4.1 FILL LIGHT AND KEY LIGHT

MEET ME IN ST. LOUIS, VINCENTE MINELLI, 1944

1.4 LIGHT
1.4.1 FILL LIGHT AND KEY LIGHT

THE SEARCHERS, JOHN FORD, 1956

1.4 LIGHT

1.4 LIGHT

A CLOCKWORK ORANGE, STANLEY KUBRICK, 1971

1.4 LIGHT

BLADE RUNNER, RIDLEY SCOTT, 1982

1.4 LIGHT

FAT CITY, JOHN HUSTON, 1972

1.4 LIGHT

THE DARJEELING LIMITED, WES ANDERSON, 2007

1.4 LIGHT

MILDRED PIERCE, MICHEAL CURTIZ, 1945

1.4 LIGHT

EDWARD HOPPER

1.4 LIGHT

IN COLD BLOOD, RICHARD BROOKS, 1967

1.4 LIGHT
1.4.2 CHIAROSCURO (LIGHT-DARK)

BARRY LYNDON, STANLEY KUBRIK, 1975

AN EXPERIMENT ON A BIRD, JOSEPH WRIGHT OF DERBY, 1768

MAGDALEN WITH THE SMOKING CANDLE, GEORGE DE LA TOUR, 1640

1.4 LIGHT
1.4.3 TEXTURE

IL CONFORMISTA, BERNARDO BERTOLUCCI, 1970

1.4 LIGHT
1.4.4 SHADOW

https://vimeo.com/21604065

1.4 LIGHT
1.4.5 DAY & NIGHT

https://vimeo.com/35152880

1.4 LIGHT
1.4.5 SUNLIGHT

BARRY LYNDON, STANLEY KUBRICK, 1973

1.4 LIGHT
1.4.5 SUNLIGHT

BARRY LYNDON, STANLEY KUBRICK, 1973

1.4 LIGHT
1.4.6 COLOR

COLOR IS LIFE; FOR A WORLD WITHOUT COLOR APPEARS TO US AS DEAD. COLORS ARE PRIMORDIAL IDEAS, THE CHILDREN OF LIGHT.
JOHANNES ITTEN

1.4 LIGHT
1.4.6 COLOR

DICK TRACY, WARREN BEATTY, 1990

1.4 LIGHT
1.4.6 COLOR

HARALD KUEPPERS, THE BASIC LAW OF COLOR THEORY, 1981 JOHANNES ITTEN, THE COLOR (DIE FARBE), 1944 WASILY KANDINSKY, POINT AND LINE TO PLANE, 1926

1.4 LIGHT
1.4.6.1 NIGHT

THE SEARCHERS, JOHN FORD, 1956

1.4 LIGHT
1.4.6.2 SUNDOWN (AMBER LIGHT)

REAR WINDOW, ALFRED HITCHCOCK, 1954

1.5 EDITING
1.5.1 PRINCIPLES OF THE AESTHETICS OF PERCEPTION IN EDITING 1.5.2 COHERENCE WITHIN THE EDITED PARTS

HOW TO PRESENT THE SHOT? ONCE MORE I REPEAT, THAT EDITING IS THE CREATIVE FORCE OF FILMIC REALITY, AND THAT NATURE PROVIDES ONLY THE RAW MATERIAL WITH WHICH IT WORKS. THAT, PRECISELY, IS THE RELATIONSHIP BETWEEN EDITING AND FILM.
VSEVOLOD PUDOVKIN, FILM TECHNIQUE, 1929 SERGEI EISENSTEIN, TOWARDS A THEORY OF MONTAGE, 1994

1.5 EDITING

THE LIFE OF AN AMERICAN FIREMAN, EDWIN S. PORTER, 1903

1.5 EDITING

THE BIRTH OF A NATION, D.W. GRIFFITH, 1915

1.5 EDITING
1.5.1 PRINCIPLES OF THE AESTHETICS OF PERCEPTION IN EDITING 1.5.1.1 PRINCIPLE OF CHANGE ->< CREATES A NEW STIMULUS 1.5.1.2 PRINCIPLE OF CONTRAST - AIMS AT SYSTEMATIC ALTERNATION 1.5.1.3 PRINCIPLE OF RYTHM - PERIODICALLY RETURN OF CERTAIN ASPECTS

1.5 EDITING
1.3.1.1 PRINCIPLE OF CHANGE ->< CREATES A NEW STIMULUS

THE DUEL, STEVEN SPIELBERG, 1971

1.5 EDITING
1.3.1.2 PRINCIPLE OF CONTRAST - AIMS AT SYSTEMATIC ALTERNATION

1.5 EDITING
1.3.1.3 PRINCIPLE OF RYTHM - PERIODICALLY RETURN OF CERTAIN ASPECTS

THE DAY THE EARTH STOOD STILL, ROBERT WISE, 1951

1.5 EDITING
1.5.2 COHERENCE WITHIN THE EDITED PARTS 1.5.2.1 NARRATIVE - TELLING A STORY, A PROCESS; CHRONOLOGICALLY 1.5.2.1.1 SCENIC - TELEPHONE-CONVERSATION 1.5.2.1.2 NARRATIVE IN A TIGHTER SENSE - A PROCESS IS SHOW EVEN WITH TIME LAPSES 1.5.2.2 DESCRIPTIVE - DESCRIBING A BUILDING, MACHINE OR ANY OTHER OBJECT 1.5.2.3 ABSTRACT - ELEMENTS ARE BEING PUT IN A RELATION 1.5.2.3.1 COMPARISON (GLOBE - EGG) 1.5.2.3.2 METONYMY (INSTEAD SHOWING THE CAUSE SHWING THE ORIGINATOR, SHOWING POLICEMAN FOR POLICE) 1.5.2.3.3 SYMBOL (EXAGGERATED VISUAL, MONEY IMPOSED BEHIND THE WORKING MAN FOR CAPITALISM) 1.5.2.3.4 METAPHOR (POLITICIAN IS SHOWN WITH A ROOSTER) 1.5.2.3.5 ASSOCIATION (IMPRESSIONS OF A MOOD, TIRE-MARKS ON THE STREET)

1.5 EDITING
1.5.2.1 NARRATIVE - TELLING A STORY, A PROCESS; CHRONOLOGICALLY

BLOW UP, MICHELANGELO ANTONIONI, 1966

1.5 EDITING
1.5.2.1.1 SCENIC

TUCKER: A MAN AND HIS DREAM, FRANCIS FORD COPPOLLA, 1988

1.5 EDITING
1.5.2.1.2 NARRATIVE IN A TIGHTER SENSE - A PROCESS IS SHOW EVEN WITH TIME LAPSES

CITIZEN KANE, ORSEN WELLS, 1941

1.5 EDITING
1.5.2.1.3 CONTINUITY

LA HAINE, MATHIEU KASSOVITZ, 1995

1.5 EDITING
1.3.2.2 DESCRIPTIVE

TUCKER: A MAN AND HIS DREAM, FRANCIS FORD COPPOLLA, 1988

1.5 EDITING
1.3.2.2 DESCRIPTIVE

A CLOCKWORK ORANGE, STANLEY KUBRICK, 1971

1.5 EDITING
1.3.2.2 DESCRIPTIVE

MEAN STREETS, MARTIN SCORSESE, 1973

1.5 EDITING
1.5.2.3 ABSTRACT - ELEMENTS ARE BEING PUT IN A RELATION 1.5.2.3.1 COMPARISON (GLOBE - EGG) 1.5.2.3.2 METONYMY (INSTEAD SHOWING THE CAUSE SHOWING THE ORIGINATOR, SHOWING POLICEMAN FOR POLICE) 1.5.2.3.3 SYMBOL (EXAGGERATED VISUAL, MONEY IMPOSED BEHIND THE WORKING MAN FOR CAPITALISM) 1.5.2.3.4 METAPHOR (POLITICIAN IS SHOWN WITH A ROOSTER) 1.5.2.3.5 ASSOCIATION (IMPRESSIONS OF A MOOD, TIRE-MARKS ON THE STREET)

1.5 EDITING
1.5.2.3 ABSTRACT - ELEMENTS ARE BEING PUT IN A RELATION

STRIKE, SERGEI EISENSTEIN, 1925

1.5 EDITING
1.5.3 FREEZE FRAME

THE 400 BLOWS, FRANCOIS TRUFFAUT, 1959

1.5 EDITING
1.5.4 DREAM / SURREAL

THE LOST HIGHWAY, DAVID LYNCH, 1996

1.5 EDITING
1.5.4 JUMPS IN TIME BACK OR FORTH

LANNEE DERNIERE A MARIENBAD, ALAIN RESNAIS, 1961

1.5 EDITING
1.5.5 PARALLEL SCENES

TIMECODE, MIKE FIGGIS, 2000

1.6. WHY FILM?

1.6.1. THE CHARACTER OF MOVING IMAGES 1.6.1.1 THE TECHNICAL CHARACTER OF MOVING IMAGES 1.6.1.2 THE SIGN-CHARACTER OF MOVING IMAGES

1.6 WHY FILM?

1.6.1.1 THE TECHNICAL CHARACTER OF MOVING IMAGES TECHNICALLY IS FILM/VIDEO A SEQUENCE OF PHOTOGRAPHICAL VIEWS ENRICHED WITH SPOKEN WORD AND MUSIC. ITS AUDIO-VISUAL AND TIME_-BASED.

1.6 WHY FILM?

1.6.1.2 THE SIGN-CHARACTER OF MOVING IMAGES FILM/VIDEO CONSITS OF SIGN-SYSTEMS WHICH HAPPEN SIMULTANEOUSLY AS WELL AS OF THOSE WHICH HAPPEN IN THE SUM OF A WORK. IT IS THEREFOR IMPORTANT TO UNDERSTAND THE INFLUENCES FROM OTHER FIELDS (BARRY LYNDON, STANLEY KUBRIK, 1975 - CINEMATOGRAPHY LIKE A PAINTING) AS MUCH AS THE SIGNS OF OTHER GENRES AS WELL AS THOSE IMMANENT TO FILM (TELLING A STORY THROUGH MOVING OBJECTS AND CAMERA) WHICH ARE CLOSLY TIED TO OUR EXPERIENCE OF THE WORLD.

1.6 WHY FILM?

1.6.2.2 THE SIGN-CHARACTER OF MOVING IMAGES MEANS OF FILMIC DESIGN: 1. MEANS TO DESIGN IN FRONT OF THE CAMERA 1.1 MATERIAL: PROPS, LOCATIONS, ACTORS (MIMIC, BODY LANGUAGE, COSTUMES, ETC.) 1.2 DESIGN OF MATERIAL THROUGH ADDITIONAL LIGHT, COLORS ETC. 1.3 ACOUSTICAL MATERIAL: SOUND, SPOKEN WORD, MUSIC

1.6 WHY FILM?

1.6.2.2 THE SIGN-CHARACTER OF MOVING IMAGES MEANS OF FILMIC DESIGN: 2. MEANS TO DESIGN CAMERA-RECORDINGS 2.1 THE SHOT: - TYPE OF SHOT (LONG SHOT, FULL SHOT, MEDIUM SHOT, CLOSE UP) - PERSPECTIVE (AERIAL SHOT (ESCAPE FROM NEW YORK), BIRD#S EYE SHOT, LOW ANGLE SHOT (FULL METAL JACKET), OVER THE SHOULDER SHOT, POINT OF VIEW SHOT, SHOT/ COUNTER-SHOT (180DEGREES RULE), TWO SHOT(STAND BY ME) ) - FRAMING - SHOT-LENGTH, SHOT-COMBINATION - CAMERA-MOVEMENT (PANNING, TILT, ZOOM, TRACKING SHOT) 2.2 THE SOUND: SOUND DESIGN 2.3 THE LIGHT

1.6 WHY FILM?

1.6.2.2 THE SIGN-CHARACTER OF MOVING IMAGES MEANS OF FILMIC DESIGN: 3. MEANS TO DESIGN THE EDITING 3.1 POST-PRODUCTION OF THE MATERIAL: COLOR-CORRECTION, CONTRAST, SPECIAL EFFECTS, COLLAGING 3.2 POST-PRODUCTION OF SOUND: COMMENTS, VOICE OVER, SOUND EFFECTS 3.3 EDITING OF IMAGE & SOUND

RESEARCH
RESEARCH THESE ASPECTS: 1.6 THE ROLES 1.6.1 PRODUCER 1.6.2 RESEARCHER 1.6.3 WRITER 1.6.4 DIRECTOR 1.6.5 EDITOR GET FAMILIAR WITH THESE GENRES: 2.1 DOCUMENTARY 2.2 ADVERTISING 2.3 ART / AVANT-GARDE