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One of the [[The Five C's of Cinematography by Joseph Mascelli|Five C's of Cinematography]] | One of the [[The Five C's of Cinematography by Joseph Mascelli|Five C's of Cinematography]] | ||
| + | ===Introduction=== | ||
| + | |||
| + | ==Cinematic Time & Space== | ||
| + | ===Time & Space Continuity=== | ||
| + | ====Time Continuity==== | ||
| + | ====Space Continuity==== | ||
| + | ==Filming the Action== | ||
| + | ===Types of Action=== | ||
| + | * Controlled | ||
| + | * Uncontrolled | ||
| + | ====Controlled Action==== | ||
| + | ====Uncontrolled Action==== | ||
| + | ===Filming Techniques=== | ||
| + | * Master Scene | ||
| + | * Triple Take | ||
| + | ====Master Scene Technique==== | ||
| + | =====How to Use Master Scene Technique===== | ||
| + | =====Advantages of Filming Master Scenes===== | ||
| + | =====Disadvantages of Filming Master Scenes===== | ||
| + | ====Triple-Take Tecnique==== | ||
| + | =====How To Use Triple-Take Technique===== | ||
| + | =====Advantages of Triple-Take Technique===== | ||
| + | =====Disadvantages of Triple-Take Technique===== | ||
| + | ====Master Scene vs Triple-Take Technique==== | ||
| + | ==Directional Continuity== | ||
| + | ===Importance of Establishing Direction=== | ||
| + | ===Screen Direction=== | ||
| + | ; Dynamic: bodies in motion | ||
| + | ; Static: Bodies at rest | ||
| + | ====Dynamic Screen Direction==== | ||
| + | ;Constant: either left to right or right to left | ||
| + | ;Contrasting: both left to right and right to left | ||
| + | ;Neutral: towards or away from the camera | ||
| + | ===Use Neutral Shots=== | ||
| + | ===Action Axis=== | ||
| + | ====Action Axis on Curves==== | ||
| + | ====Action Axis on Corners==== | ||
| + | ====Action Axis through Doorways==== | ||
| + | ====Cheating the Action Axis==== | ||
| + | ===Entrances & Exits === | ||
| + | ===Reaction Close-Up For Switching Screen Direction=== | ||
| + | ===Reversing Screen Direction=== | ||
| + | ===Map Direction=== | ||
| + | ===Location Interiors=== | ||
| + | ===Planned Screen Travel=== | ||
| + | ===Static Screen Direction=== | ||
| + | ====Matching the Look==== | ||
| + | ====Look on Both Sides of Lens==== | ||
| + | ====Neutral Look==== | ||
| + | ====Matching Look on Moving Players==== | ||
| + | ====Matching Looks on Master Scene Cut-In Shots==== | ||
| + | ====Matching Look with Single Player==== | ||
| + | ====Matching Looks on Speaker & Audience==== | ||
| + | ====Action Axies for Three Players==== | ||
| + | ====Matching Looks on Group Seated Around a Table==== | ||
| + | ====Repositioning Action Axis for Background Cheat==== | ||
| + | ====Matching Look on Stock Shots & Production Scenes==== | ||
| + | ====Reverse Shots==== | ||
| + | ====Conclusion==== | ||
| + | ==Bridging Time & Space== | ||
| + | ==Transitional Devices== | ||
| + | *Pictorial | ||
| + | *Sound | ||
| + | ===Pictorial Transitions=== | ||
| + | ====Fades==== | ||
| + | ====Dissolves==== | ||
| + | ====Wipes==== | ||
| + | ====Montage Transitions==== | ||
| + | ====How to use Pictorial Transitions==== | ||
| + | ===Sound Transitions=== | ||
| + | ====Appropriate Transitions==== | ||
| + | ===Conclusion=== | ||
Latest revision as of 01:34, 27 January 2021
One of the Five C's of Cinematography
Contents
- 1 Introduction
- 2 Cinematic Time & Space
- 3 Filming the Action
- 4 Directional Continuity
- 4.1 Importance of Establishing Direction
- 4.2 Screen Direction
- 4.3 Use Neutral Shots
- 4.4 Action Axis
- 4.5 Entrances & Exits
- 4.6 Reaction Close-Up For Switching Screen Direction
- 4.7 Reversing Screen Direction
- 4.8 Map Direction
- 4.9 Location Interiors
- 4.10 Planned Screen Travel
- 4.11 Static Screen Direction
- 4.11.1 Matching the Look
- 4.11.2 Look on Both Sides of Lens
- 4.11.3 Neutral Look
- 4.11.4 Matching Look on Moving Players
- 4.11.5 Matching Looks on Master Scene Cut-In Shots
- 4.11.6 Matching Look with Single Player
- 4.11.7 Matching Looks on Speaker & Audience
- 4.11.8 Action Axies for Three Players
- 4.11.9 Matching Looks on Group Seated Around a Table
- 4.11.10 Repositioning Action Axis for Background Cheat
- 4.11.11 Matching Look on Stock Shots & Production Scenes
- 4.11.12 Reverse Shots
- 4.11.13 Conclusion
- 5 Bridging Time & Space
- 6 Transitional Devices
Introduction
Cinematic Time & Space
Time & Space Continuity
Time Continuity
Space Continuity
Filming the Action
Types of Action
- Controlled
- Uncontrolled
Controlled Action
Uncontrolled Action
Filming Techniques
- Master Scene
- Triple Take
Master Scene Technique
How to Use Master Scene Technique
Advantages of Filming Master Scenes
Disadvantages of Filming Master Scenes
Triple-Take Tecnique
How To Use Triple-Take Technique
Advantages of Triple-Take Technique
Disadvantages of Triple-Take Technique
Master Scene vs Triple-Take Technique
Directional Continuity
Importance of Establishing Direction
Screen Direction
- Dynamic
- bodies in motion
- Static
- Bodies at rest
Dynamic Screen Direction
- Constant
- either left to right or right to left
- Contrasting
- both left to right and right to left
- Neutral
- towards or away from the camera
Use Neutral Shots
Action Axis
Action Axis on Curves
Action Axis on Corners
Action Axis through Doorways
Cheating the Action Axis
Entrances & Exits
Reaction Close-Up For Switching Screen Direction
Reversing Screen Direction
Map Direction
Location Interiors
Planned Screen Travel
Static Screen Direction
Matching the Look
Look on Both Sides of Lens
Neutral Look
Matching Look on Moving Players
Matching Looks on Master Scene Cut-In Shots
Matching Look with Single Player
Matching Looks on Speaker & Audience
Action Axies for Three Players
Matching Looks on Group Seated Around a Table
Repositioning Action Axis for Background Cheat
Matching Look on Stock Shots & Production Scenes
Reverse Shots
Conclusion
Bridging Time & Space
Transitional Devices
- Pictorial
- Sound
