Sight Sound and Motion (VIC3001) Week 3 Notes
Sight Sound and Motion (VIC3001) Week 3 Notes VIC3001
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This 4 page Class Notes was uploaded by Cassandra Alamilla on Monday August 22, 2016. The Class Notes belongs to VIC3001 at University of Florida taught by Kay Tappan in Spring 2016. Since its upload, it has received 7 views. For similar materials see Sight, Sound, Motion in Journalism and Mass Communications at University of Florida.
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Date Created: 08/22/16
VIC3001 – January 19 Visual Vectors – Elements in the frame that suggest a direction Based on content and composition, the viewer’s attention can be “pointed” in a specific direction. 3 general categories of visual vectors Graphic vectors (Weak) Can include “leading lines” Suggest a direction without overtly dictating that direction Can also be strong linear elements within the frame that draw the eye and “anchor” the elements in the shot Index vectors (Middle between weak and strong) Dictate a very definite direction Can be a literal arrow within the frame Eyeline: probably the most common type of index vector A popular index vector in American cinema is somebody with a gun pointing at something/someone Motion vectors (strong) Visual elements actually moving through the frame These visual vectors come into play when we start to consider the mental map. The mental map is the assumed layout of a scene, based on establishing shots and other audio/visual cues. Convergent vectors – index vectors that run into each other Divergent vectors – index vectors that do not run into each other (different directions) and are separate from each other Continuing vectors – index vectors that are in the same direction If we start with convergent vectors but follow it with continuing vectors, then we’re not honoring the mental map (and this can confuse the audience) Index vector continuity can be preserved by keeping the camera on one side of the “axis of action” (imaginary line between two characters) when shooting. The “axis of action” is often referred to as “the 180 degree rule” Putting a camera on the other side of the axis would result in index vector’s that conflict with the original “mental map” orientation. January 21 When you are telling a story with video, you have to think like a camera. Your compositions are limited by the size… From the reading, White Space Is Not Your Enemy “Storyboarding 101” A storyboard visualizes the entire project in the form of individual scenes, shots or screens. A concept storyboard distills the project down to the minimum number of views necessary to tell the story. A production storyboard…provides more detailed information for a production crew Perspective: how deeply we see “into” the shot. Is our attention drawn close to the lens or far away? Perspective can be manipulated by how we compose the shot, by the depth of field, and even by the use of color Movement: within the frame OR moving the camera itself Pan: stationary camera turns side to side Tilt: stationary camera turns up and down Track/truck/dolly: camera moves, typically following the action while mounted to a wheeled cart or vehicle (this is actually incorrect in the text…) Continuity: several types of continuity Visual Audio Story Prop/wardrobe Pacing (“rhythm of the edit”) Ex: fast action scenes, long and slow dramatic scenes Production storyboards: Help us work within our compositional limits Encourage us to explore creative possibilities within the frame Communicate our visual ideas to others Provide a visual shot-list during actual production Remind us to maintain vector continuity Predict other potential continuity problems (30 degree rule) The “30 degree rule”” to maintain visual continuity, each shot in sequence should be substantially different in angle, field of view, etc. from the previous shot. (The names comes from the idea that the camera should be shifted by at least a 30 degree angle to record the next shot in the sequence) Attempting to cut together too-similar shots may result in a “jump cut” On-screen text and graphics The safe title area is the region of the frame (the inner 80%) that all important text and graphics should fall within to avoid being cut off if the edges of the frame are not visible The safe action area is the region of the frame (the inner 90%) that all important action should fall within, to avoid being cut off if the edges of the frame are not visible These guides are becoming less important, as video monitors are becoming less prone to cutting off the edges of the image. Also, web videos typically don’t lose any of the edge when they are displayed in a window