CTCS 190 Week 5 Notes
CTCS 190 Week 5 Notes CTCS 190
Popular in Introduction to Cinema
Popular in Cinema And Media Studies
This 3 page Class Notes was uploaded by Emma Morrissey on Thursday September 22, 2016. The Class Notes belongs to CTCS 190 at University of Southern California taught by Drew Casper in Fall 2016. Since its upload, it has received 9 views. For similar materials see Introduction to Cinema in Cinema And Media Studies at University of Southern California.
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Date Created: 09/22/16
Composition ● Artists are able to convey feeling in selection and arrangement ● Framing ○ Aspect ratios ■ 4x3 ■ 5.5x3 ■ 7.05x3 ○ Must frame first ■ Visual structure ■ Holds images together ○ Whether or not the frame is centered creates a mood ■ Top heavy: feel small ■ Bottom heavy: feel big ■ To the sides: (on the edge) feel uncomfortable, cannot see the surroundings ● Right is stronger than the left because we read left to right ■ Slanted/Fragmented/splintered reflects state of the world ■ Shape: binoculars, windows ○ Must frame the essential ■ Character, visual design, ○ 6 zones of off screen space: utilized by having characters look off screen, noises, exiting, entering, to energize the film ■ In front of the camera ■ Above the frame ■ Below the frame ■ Left ■ Right ■ Behind the set ● Staging ○ Arrangement of a player in relationship to another player, decor, props, setting, lighting, in order to create meaning ○ Proxemic patterns ■ How an actor is placed creates meaning ● Extreme long shot: figure is barely visible, can see background ● Long shot: less background, character fully visible ● Medium long shot: visible legs up ● Medium shot: chest up, no background ● Close up: head ● Extreme close up: face ■ Angles change as well ● High ● Low ● Straight on ■ Camera can be ● Objective: Camera sees like a god, more than what the character sees (includes character) ● Subjective: Camera sees what the character sees exactly ● Psychological mind inside the mind of the character ○ Shapes ■ Large: attract eye, easily noticed ■ Small: requires attention to notice ■ Lines: ● Horizontal: resting, peaceful, tranquil ● Vertical: energy, activity, authority, ● Diagonal: Off balance, action, ● Jagged: Violence, chaos, disorder ● Intersecting lines creates conflict ○ Planes ■ Adds depth, increase the space ■ Opens space ■ Moving from right to left is more powerful because it goes against what we are used to ● Creates tension, drama ■ Approaching is stronger than backing away ■ Love occupies the same plane ● Visual Design Refresh ○ Signifies the director’s control over what appears in the frame ○ Lighting- usually controlled by cinematographer ■ Hard light- clear cut shadows ■ Soft light- air brush effect; softened shadow ■ High key- bright overall, exposes character ■ Low key- dark overall, more dramatic ○ Props ○ Color- provides visual continuity. Which colors are the brightest? Set off other colors? ○ Composition/Staging- where the actor is in relation to the other aspects ■ Deep space comp extends far into the background ■ Shallow space comp is “squished” into one plane ○ Setting- everything around the actors ○ Costume/Makeup ● Cinematography- writing with camera ○ Camera Movement ■ Dolly- move with the scene ■ Tilt ■ Pan ○ Framing ○ Framing angles ■ High angle- looking down on character ■ Low angle- looking up at character ■ Canted angle (horror angle)- tilt left or right ○ Focal length gives feel for space ■ Wider length= bigger scene ● Time and space are correlative ○ Cannot have one without the other ○ If you change space, you change time; long shots move faster than close ○ Angles are more interesting, so they play faster
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