Camera Shots, angles and movement

There are many different angles used in films here are some examples.
Angle of shot.  In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting detachment of the character. In contrast, a low angle shot places camera below the character, showing his or her importance. An overhead shot is one made from a position directly above the action (birds-eye-view) Viewpoint. The apparent distance and angle from which the camera views and records the subject. Not to be confused with point-of-view shots or subjective camera shots. Point-of-view shot (POV). A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot. Two-shot. Two people in the same shot. Selective focus.Showing only part of the action field in  focus whereas the rest of the shot is blurred or out of focus. A shift of focus from foreground to background or vice versa is called rack focus. Soft focus. An effect in which the sharpness of an image, or part of it, is reduced by the use of an optical device. Wide-angle shot. A shot of a broad field of action taken with a wide-angle lens. Tilted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated. Such shots are often used in mystery and suspense films to create a sense of unease in the viewer.

Long shot (LS). Shot which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings. Extreme Long Shot (ELS) - see establishing shot: In this type of shot the camera is at its furthest distance from the subject, emphasising the background. Medium Long Shot (MLS): In the case of a standing actor, the lower frame line cuts off his feet and ankles. Some documentaries with social themes favour keeping people in the longer shots, keeping social circumstances rather than the individual as the focus of attention. Establishing shot. Opening shot or sequence, frequently an exterior 'General View' as an Extreme Long Shot (ELS). Used to set the scene. Medium shots. Medium Shot or Mid-Shot (MS). In such a shot the subject or actor and its setting occupy roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is space for hand gestures to be seen. Medium Close Shot (MCS): The setting can still be seen. The lower frame line passes through the chest of the actor. Medium shots are frequently used for the tight presentation of two actors (the two shot), or with dexterity three (the three shot). Close-up (CU). A picture which shows a fairly small part of the scene, such as a character's face, in great detail so that it fills the screen. It abstracts the subject from a context. MCU (Medium Close-Up): head and shoulders. BCU (Big Close-Up): forehead to chin. Close-ups focus attention on a person's feelings or reactions, and are sometimes used in interviews to show people in a state of emotional excitement, grief or joy. In interviews, the use of BCUs may emphasise the interviewee's tension and suggest lying or guilt. BCUs are rarely used for important public figures; MCUs are preferred, the camera providing a sense of distance. Note that in western cultures the space within about 24 inches (60 cm) is generally felt to be private space, and BCUs may be invasive.

Zoom. In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible.  Zooming out reveals more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot widens. Following pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in front of the subject: the pan 'leads' rather than 'trails'. A pan usually begins and ends with a few seconds of still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as establishing the viewer's relationship with the subject. 'Hosepiping' is continually panning across from one person to another; it looks clumsy. Surveying pan. The camera slowly searches the scene: may build to a climax or anticlimax. Tilt. A vertical movement of the camera - up or down- while the camera mounting stays fixed. Crab. The camera moves (crabs) right or left.

Tracking (dollying). Tracking involves the camera itself being moved smoothly towards or away from the subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert attention to the edges of the screen. The speed of tracking may affect the viewer's mood. Rapid tracking (especially tracking in) is exciting; tracking back relaxes interest. In a dramatic narrative we may sometimes be drawn forward towards a subject against our will. Camera movement parallel to a moving subject permits speed without drawing attention to the camera itself. Hand-held camera. A hand-held camera can produce a jerky, bouncy, unsteady image which may create a sense of immediacy or chaos. Its use is a form of subjective treatment. Process shot. A shot made of action in front of a rear projection screen having on it still or moving images as a background.

Narrative in short films.

I plan to use a chronological narrative in my short film. I probably won't have flashbacks as this would confuse the audience as the idea in itself if wacky enough. Chronological is in time order however I will use cross-cut from shot to shot as he walks around and sees different pictures. However the time will remain consistent.

Editing Techniques

Cut. Sudden change of shot from one viewpoint or location to another. Cutting can...

• change the scene;
• compress time;
• vary the point of view; or
• build up an image or idea.

There is always a reason for a cut, and we must ask ourselves, why?
 Less abrupt transitions will often fade, dissolve, and wipe into one another, this is a Matched cut. In a 'matched cut' there is a familiar relationship between the shots may make the change seem smooth. This type of shot is used to create...

• continuity of direction;
• completed action;* The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Because the viewer's eye is absorbed by the action they are unlikely to notice the movement of the cut itself.
• a similar centre of attention in the frame;
• a one-step change of shot size (e.g. long to medium);
• a change of angle (conventionally at least 30 degrees).

Jump cut. Fast, sudden switch from one scene to scene, this is often used to show stress or a fast-pace. Alternatively, it may be result of poor continuity, maybe  from deleting a section.

Motivated cut. Cut made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible. A typical feature is the shot/reverse shot technique (cuts coinciding with changes of speaker). Editing and camera work appear to be determined by the action. It is intimately associated with the 'privileged point of view' (see narrative style: objectivity).

Cutting rate. Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize.

Cutting rhythm. A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer.

Cross-cut. A cut from one line of action to another. Also applied as an adjectuve to sequences which use such cuts.

Cutaway/cutaway shot (CA). A bridging, intercut shot between two shots of the same subject. It represents a secondary activity occurring at the same time as the main action. It may be preceded by a definite look or glance out of frame by a participant, or it may show something of which those in the preceding shot are unaware. (See narrative style: parallel development) It may be used to avoid the technical ugliness of a 'jump cut' where there would be uncomfortable jumps in time, place or viewpoint. It is often used to shortcut the passing of time.

  Reaction shot. Any shot, usually a cutaway, in which a participant reacts to action which has just occurred.

Insert/insert shot. A bridging close-up shot inserted into the larger context, offering an essential detail of the scene (or a reshooting of the action with a different shot size or angle.)
Buffer shot (neutral shot). A bridging shot (normally taken with a separate camera) to separate two shots which would have reversed the continuity of direction.
 
Fade, dissolve (mix). Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction to a scene; a slow fade-out is a peaceful ending. Time lapses are often suggested by a slow fade-out and fade-in. A dissolve (or mix) involves fading out one picture while fading up another on top of it. The impression is of an image merging into and then becoming another. A slow mix usually suggests differences in time and place. Defocus or ripple dissolves are sometimes used to indicate flashbacks in time.

Superimpositions. Two of more images placed directly over each other (e.g. and eye and a camera lens to create a visual metaphor).

Wipe. An optical effect marking a transition between two shots. It appears to supplant an image by wiping it off the screen (as a line or in some complex pattern, such as by appearing to turn a page). The wipe is a technique which draws attention to itself and acts as a clear marker of change. Inset. An inset is a special visual effect whereby a reduced shot is superimposed on the main shot. Often used to reveal a close-up detail of the main shot.

Split screen. The division of the screen into parts which can show the viewer several images at the same time (sometimes the same action from slightly different perspectives, sometimes similar actions at different times). This can convey the excitement and frenzy of certain activities, but it can also overload the viewer.

  Stock shot. Footage already available and used for another purpose than the one for which it was originally filmed.

Invisible editing: See narrative style: continuity editing.

Editing in Short Films

There are many different types of editing styles used in short films...

Editing establishes the structure and content of the production, along with the production's overall mood, intensity, and tempo.

The first example of editing is Continuity editing refers to arranging the sequence of shots to suggest a progression of events.

 

Another type of editing is Continuity, which puts scenes and actions in chronological order as they happen. An example of this is Super Fast Samosa. This follows the samosa's journey and tells a story in order.

 

 

 

 

Cross-cutting is an editing technique most often used in films to establish action occurring at the same time in two different locations. In a cross-cut, the camera will cut away from one action to another action, which can suggest the simultaneity of these two actions but this is not always the case.
An example of this is Jurassic Park's Opening Scene "Shoot her!"  which uses cross-cutting between the action and the expressions of the men trying to put the dinosaur into the park.

 

 

 

Edward Dmytryk stipulates seven "rules of cutting" that a good editor should follow:

• "Rule 1: Never make a cut without a positive reason."
• "Rule 2: When undecided about the exact frame to cut on, cut long rather than short."
• "Rule 3: Whenever possible cut 'in movement'."
• "Rule 4: The 'fresh' is preferable to the 'stale'."
• "Rule 5: All scenes should begin and end with continuing action."
• "Rule 6: Cut for proper values rather than proper 'matches'."
• "Rule 7: Substance first—then form."

According to Walter Murch, when it comes to film editing, there are six main criteria for evaluating a cut or deciding where to cut. They are (in order of importance, most important first, with notional percentage values.):

• Emotion (51%) — Does the cut reflect what the editor believes the audience should be feeling at that moment?
• Story (23%) — Does the cut advance the story?
• Rhythm (10%) — Does the cut occur "at a moment that is rhythmically interesting and 'right'" (Murch, 18)?
• Eye-trace (7%) — Does the cut pay respect to "the location and movement of the audience's focus of interest within the frame" (Murch, 18)?
• Two-dimensional plane of the screen (5%) — Does the cut respect the 180 degree rule?
• Three-dimensional space of action (4%) — Is the cut true to the physical/spatial relationships within the diegesis?

Stop Motion in Short Films

Stop motion is used a lot in short films, and I plan to use it briefly in mine when the box opens to reveal the hat inside.

 
The first example is as I used before DEADLINE stop motion (As seen in my last post) This used computer planning, but post-it notes to create as can be seen in the making of (which I have featured in this blog). This is a very effective and colouful stop motion which is far more surreal than other short films in this sub-section.





The next short film (also featured on my last post) is Vincent by Tim Burton.  In 1982 Wilhite gave Tim Burton $60,000 to produce an adaptation of a poem Burton had written titled Vincent. This was originally planned to be a children's short story book but was instead made into this compelling short film. Together with Disney animator Rick Heinrichs, stop motion animator Stephen Chiodo and cameraman Victor Abdalov, Burton worked on the project for two months and came up with the five minute short film. Shot in bleak  black and white , Vincent imagines himself in a series of situations inspired by the Vincent Price/Edgar Allan Poe's poem The Raven and his films which had a strong  effect on Burton as a child. Vincent Malloy, the main character in the film, has a strong resemblance to Tim Burton himself. The film was narrated by Burton's childhood idol Vincent Price, who is also the main inspiration (obviously) for Vincent Malloy in this poem.

Use of sound and narration in short films

Music is often used in short films when narration is not needed. This usually creates an atmosphere for the film and keeps the audience viewing.

One example of this is Rocket, about a dog who builds a small rocket to fly away in. He is first inspired by a lava lamp. The music used is happy and almost heart-warming, which fits perfectly with the cute dog that is the only character in the story. The music builds up towards the end and increases the excitement. Creating a joyful and adventurous atmosphere and could not have been replaced any better.






The next film which uses this is Super Fast Samosa, which uses Bollywood-style music to give it the Indian culture feel. And builds up as the samosa is being chased by the various animals throughout the film. This film is obviously not meant to be taken too seriously and the music gives it a more light-hearted feel.






The last film which uses music is Deadline, which is stop-motion using post-it notes. There is no need for narration as this would completely ruin the asthetic of the film because it is so surreal. The music has a very similar effect to the last two and makes the film more light-hearted and joyful. It is also very simplistic so we focus far more on the amazing animation itself rather than what we can hear.

Though I do not plan to use this in my final idea, I thought I'd explore the world or narration as a seperate piece and begin to explain why it is I don't wish to use it.

The first example is Vincent by Tim Burton, this is a very quirky and original film but it is also very dark and horrifying, though comical in a way as he is pretending to be grown up and be Vincent Price, well known for his distinctive voice and performances in a series of horror films made in the latter part of his career.Narration is used to describe Vincent's point of view and his dark thoughts. However it is not in first person, which could suggest he has split-personality. He also quotes Edgar Allan Poe "And my soul from out that shadow that lies floating on the floor shall be lifted - nevermore!" which gives it a more melancholy feel and makes you feel pity for the little boy, who wants to be Vincent price.

The next film is The Giving Tree By Shel Silverstein. This is very different to our last film as the narration is more telling the story than providing someone's point of view. However there is a growing sadness to the film as time goes by and the boy grows older, and takes more from the tree. The narrator sounds unhappy too, which means that from the very begginning, we know that it will have a sad ending.

The last example is LUCKY 13: PJ, Tiny Planet Explorer about a young man who decides he wants to move to a different planet. He lists all the "essentials" that he will need (such as a Gameboy) which is comical as we know that he is not prepared for going to another planet. The narration breaks the fourth wall by inviting the audience in to what his plans are. Though he does not look at the camera when he says he wants to move to another planet, there is no other option as to who he could be talking to. The narration is far more for comical reasons than any other, but we would have no idea what was going on if it wasn't there.

 

 

 

 

For a narration, the actor needs to have a clear, powerful voice which emphasies what you want them to say. An example of someone who does this is Don LaFontaine, who has been the voice-over too 33 films and television programmes, including Family Guy and Pulp Fiction. And 750,000 television spots, 5,000 movie trailers.

Some television and film challenge our usual perception of what we expect from narration, often with a comical effect, as seen in The League of Gentlemen, when he is reading a letter from his mother.





I will not use narration in my final piece because I don't believe it would fit with my surrealist idea, but I have explored the area in great detail so I know for certain that I don't want to use it.

How are short films consumed?

Just a quick video about different areas of consumption  for short films.

Pitch Feedback

My pitch was shown to a group of my classmates and though they found my presentation very amusing, they did also comment on my actual idea. Here is a few examples of what some of them said. As can be seen I was asked many questions which I will answer on this post.

"Seems legit... I think it will be a very memorable short film that people will remember for 'that hat thing'. How do you plan on getting loads of hats?" I plan on using various hats which I own, the characters will not all be wearing bowler hats but will each have a different hat which reflects thier personality, for example I have a lion hat which I will use for a party animal. And a striped trilby hat which will be used for a business or gangster character.

"I love the idea of using a bowler hat as a main prop in the film and it's great that you've got such a strong idea of what you want to achieve. You just need to think about how you frame each of your shots to give the best result." I am currently working on a storyboard which will help me solve this issue with shots.

"I love your idea - and yes - WEAR A BOWLER HAT IF YOU WANT TO - PREACH IT GIRL! I love the surrealist idea of visually showing all these hats etc. The apple idea is also very kooky! Well done, I think it'll work very well. "

"I also love your idea, and i like the moral you're trying to portray about its okay to be different. I think its great to use old faces from the past, so creative. Literally one of the best idea's i've heard. Well done."

"Best. Pitch. Ever. This is a really quirky idea. No one will have something like this, ever, possibly. Do it. "

"I think the hat idea is really original especially with different people wearing hats. The idea of being inspired by the artwork is really good. Are you going to use much speech or just music?" I will use just music as I feel that adding narration would take away some of the strangeness of the piece and make it too much like other short films out there.

"I really like the ideas of the artwork inspiration. It seems like a very fun idea and very creative. Have you thought about how you will have the images in the edges?" The images will be in the film rather than overlayed onto it, i would prefer them to be part of it's structure rather than pasted on as an afterthought. I have a few ideas as to how I will go about this, one example is the Boy George photograph which will be on the pavement and the chracter discovers it bye tredding on it.
 

"Fab pitch ha! I really like how you have just taken a hat and created an idea, all good ideas come from a simple idea, but I also like the hidden meaning of its okay to be different and unique. Have you thought about where your location will be? x " In terms of location I have had a few ideas, one of which is my house as I have all the needed resources available for me there. Another is the village of Hethersett which has places which could be used for a country-like feel but also a slight more town-y feel as a contrast.

"I love the simple idea of the hats..and the message to be who you want to be! Make sure you don't run over in the time, and really think about what each scene will be, to plan it properly. Didn't really get what each scene would be, due to the fast pace of the film, but I did enjoy it. Make your film this entertaining and you'll be fine!"


"I do like the idea though, it's really cool and you could do some really cool stuff with it, especially with the camera effects to make it look older and stuff!"

Pitch:Initial ideas, plots and characters

This is my pitch for my film "Jack". In this I will discuss; Initial ideas, plots and characters.

Recreation of My Beast Friend

 Character, Location, Plot synopsis, Script/Storyboard

We were given the task of recreating a short film, the one we chose to do was My Beast Friend, originally directed by Ewan Torrance. We chose it because it is very funny and original. Here is a link to the original..  http://www.bbc.co.uk/filmnetwork/films/p007xb6t. We also recieved some comments from the writer himself!

We have emailed him to ask a few questions ... here is what we sent:

Hello,

We are currently doing A-level Media Studies and for our practical work we have to create a short film that lasts 5 minutes. We were wondering if you had any advice on how to go about creating and/or writing a short film that is fairly simple to produce as we have a very low budget. We also have a passion for filmmaking and want to work in the industry when we leave sixth form so we want to make sure that our short film is the best that it can be.

Any advice would be appreciated.

Thank you for your time.

Evie Calaby & Lily Vosper

Fergus replied to our message with this:

Hi Evie and Lily,

That sounds great.

I haven't done that many short films, though I have done quite a bit of TV writing over the last few years. I think some of the same rules apply, like...

The key to good films and low budgets is planning.

Only film what you'll need, and remember that people like stories about people. Spend time making your characters interesting. Make us care about them, even if we don't like them.

Don't set out to write a five minute film. Start writing a half hour and edit edit edit the script until you've got down to five minutes. Like I said, I went from four minutes down to one and ditched a lot of stuff. But what was left worked really well.

Remember that you have much more than just words to use. We used looks, reactions, movement and even the hand-written note to get the information across. Make every shot work as hard as it can.

If you get the opportunity, there is one pretty good book you could look at. 'Rebel Without A Crew', by Robert Rodriguez (who made 'Sin City' and 'Spy Kids'), where he describes making his first feature. It's pretty good nuts and bolts stuff.

Anyway, that's all I can think of right now. Let me know if I can help with anything else, and keep me posted.

All the best,

Fergus Mitchell

Plot Synopsis In a nutshell, My Beast Friend is about a young man (Ed) who is trying to get rid of his foul-mouthed cat Fluff, who Ed sees as being a man dressed up in a cat costume. He decides to trick Fluff into thinking he is going to go to a place called Pleasureland and that it's just for cats. However, Amelia turns up early and sees Fluff as a real cat and doesn't realise it was Ed who was trying to get rid of him in the first place.

Our recreation included myself, Ryan Shone and George Stevens as actors, Evie Calaby as director and camera woman with Lizzie Starling, photographer was Henry Palmer.

We hope you enjoy our production of this brilliant film.

Characters:
Ed 

Ed is the second main character (next to Fluff) He is Fluff's owner and tries to get rid of his irritating cat. Ed has evidently developed a relationship with a girl called Amelia, though she is described by Fluff as being way out of his league. He lies to Fluff saying he will go to a 'great fun place just for cats' however, he is planning to dump him in this cardboard box somewhere, which is much to Amelia's horror, although she does not know that it was Ed who planned to dump him.

Fluff
Fluff is a grumpy cat who is owned by Ed, he is seen by Ed as a man in a cat costume but by Amelia as a cute cat who has been abandoned by a 'monster' he makes harsh remarks at Ed's expense and threatens to 'sick up all of yesterdays tuna' when he wants to know what is happening and what the tag around his neck says. 

Amelia
Amelia is Ed's girlfriend who turns up really early, which is how she meets Fluff. She could be described as being a bit dippy and not all there as when she sees Fluff for the first time she is completely unaware that Ed (her boyfriend) was the 'monster' who 'abandoned this sweet little creature.' it is Amelia that forces Ed and Fluff back together as she is Fluff's 'New mummy now'

Location, Location, Location
In terms of where to film, we used Evie Calaby's (directors) hallway as most of us don't have a hall and this was a good space and had the appropriate equipment and mean we could use two cameras in effective places. I drew out a floor plan which shows the layout of the hall and where we could place the cameras.

The script

 

FLUFF
ple-plea-please.
Ed tell me what's going on right now or I'm going to sick up all of yesterdays tuna.
(makes sick noises)
Oh no it's that girl isn't it amoeba. You're mad, she's way out of your league.

ED
This is nothing to do with Amelia! I just,.I just wanted to sort my life out you know, get ridof some of the dead wood. So, I thought I'd take you to this great fun place, just for cats, yeah just until I finish tidying up.
It's called.. pleasureland.

FLUFF
Pleasureland? Sweet, but not before time.
(Door bell rings)

AMELIA
I'm so sorry Ed, I know I'm super early! Oh my god! who's this?

ED
 Er that's... fluff

AMELIA
Free to good home. Some monster actually abandoned this sweet, little creature. Well fluff I guess that makes me your new mummy now.

FLUFF
You lying cun-

The Story Board

I drafted up a quick storyboard a while before filming so it was far easier to plan shots. I am not the best at drawing, however this did make the day of filming far easier. 

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Examples of Short films you have watched ( full textual analysis)

My dad and I thought we'd do our own version of the popular radio program 'Desert Island Discs' but with short films and I talk about my favorite 3 as if I were a real director.

My three favourites are: Rocket, My Beast Friend and Get Off My Land.

What is a Short Film? Difficulties, Benefits and How it Works.

In this video blog i will discuss what is actually short film?
Then I will go on to explain how to tell a whole story in a few minutes, then the  difficulties/benefits.

Short Film Genres

What are short film genres?

The interesting thing about short films is that they can be anything –the only limit beyond the cost and the equipment needed is that of your own imagination. So you can really play with your ideas, and format of them.
Every short film can and should be original. Film is about telling stories in pictures, and a short film is perhaps the easiest and most fun way of doing this.
One important rule to remember is ; show, don't tell. The idea and story can be made to make it feel and to exist entirely in the viewer's head, and so logic and time can play a much smaller role in the journey from beginning to end than in say longer films or a novel, and it is this idea I want to explore in my film.
The best short films are often a moment that is played out, but one that has a story at its heart - a conflict that has to be resolved, where there's a deadline to the action, where there's a choice that a character has to make. I want to use these basic ideas in my film, so that it doesn’t necessarily fit into any of the stated film genres.
I want to tell a story. I want to use the short film format, not to break the rules on genres, but to try to push the boundaries of what storytelling in a short film can do.

 

Here is a humorous look at different short film genres:

 

 

 I like this film because it does explain the genres but in a "short film" genre.

Another way of classifying short film genres according to "filmshort.com" is

Animation

Comedy

Drama

Documentary

Experimental

Horror

Romance

Sci-Fi & Fantasy

Thriller

Gay and Lesbian

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But these categories are more flexible than for major films, and the experimental genre is very important for short films. The film above is broadly a comedy, although it is also a sort of documentary about film genres, but it is also experimental.
My film will also cross genre boundaries, i want it to be experimental, a comedy, with some drama, and maybe romance!

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