EMF 221.001 Week 5
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This 3 page Class Notes was uploaded by Ochi on Sunday September 27, 2015. The Class Notes belongs to 4687 at Towson University taught by Marco S. Kathuria in Fall 2015. Since its upload, it has received 31 views. For similar materials see Principles of Film and Media Production in Film at Towson University.
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Date Created: 09/27/15
Week 5 Chapter 4 Depth of Movement How to convey depth in 2D xaxis horizontal yaxis vertical zaxis depth Exploit the vanishing point 1 point perspective Placement overlapping objects partially cover one subject with another this mimics 3D space Lens and distance affect focal length Longer lens more compressed Shorter lens more expansive Focus affects depth Pull focus moving from one subject in focus to another in focus Magnetism of Frame Images that are far apart appear to move away from each other Images close in frame appear to move closer to one another not to be confused with law of proximity that is when you infer relationships with spacing ex Subjects close together seem to have a close emotional relationship Frame creates a cell Objects near the edge of frame appear to want to move outward outside pull creates width Negative pull of all frame edges not good composition unless magnetism of all 4 edges helps emphasize how large an object is Persistence of Vision Illusion of movement Film 24 fps frames per second creates dreamy quotfilm lookquot Video 30 fps More fps means more data light better quality closer resemblance to real time Movement Primary movement movement of subject Secondary movement movement of camera Tertiary movement implied movement Blocking how director rehearses camera and actors39 moves before actual shooting Dolly camera is xed at zaxis and moves toward away from subject Panning pan camera head moves left to right camera is xed at the center Tilting tit camera head moves up and down camera is xed at center Arc camera moves in a semicircle around subject Camera Moves Traditional moves stable smooth uid movement Contemporary moves stable smooth reframing refocusing erratic Movement through editing Creates closer or longer cuts Take uninterrupted shot Long take segment of video or lm without edits Dif cult must be error free Requires preparation 0 Shooting ratio amount of lm shot vs amount shown in nished product measured in minutes usually 101 Motion Graphics animation 12 fps Computer quottweenquot lls in blanks of movements between movements Motion capture movement of live actors captured to use as basis for animation
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