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MISE EN SCENE Camera Movement Framing the Shot Image and Meaning A Lecture by Prof. Dr. Arminda V. Santiago SCIM 2103 2 nd Semester 2014/2015 (A141) October 9, 2014

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MISE EN SCENECamera MovementFraming the Shot

Image and Meaning

A Lecture by Prof. Dr. Arminda V. SantiagoSCIM 2103 2nd Semester 2014/2015 (A141)

October 9, 2014

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Camera Movement is the way the camera frames a scene while the actors are moving.

The movement of actors propels the visual story

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Camera movement is the same in context as MOBILE

FRAMING

The mobile frame means that parameters such as camera

height, camera angle, camera level and distance may all change

during the course of a shot.

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The camera’s perspective not only changes from shot to shot but it can also shift and move within the shot

Camera movement shifts the boundaries and coordinates of

the frame

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FOUR BASIC CATEGORIESOF

CAMERA MOVEMENT

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The Pan and Tilt

The Dolly or Tracking

The Boom or Crane

Steadicam

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The Pan

It is a lateral movement onscreen

Camera pivots from left to right or vice versa

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The Tilt

The camera pivots vertically up and down or vice versa

This movement is used to call attention to new areas of the scene

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Pans may be used to readjust the frame to accommodate

character movements

The convention for PAN Shots requires that it be brief.

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A variation of the PAN is an ARC shot where the camera pivots at a 360-degree on its mounting on

the tripod

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The Dolly or Tracking

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In Dolly and Tracking, the camera on the tripod and base physically

travels through space

They produce MOTION PERSPECTIVE

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The BOOM or CRANE

When a scene’s action requires a wider expanse or area to be covered and when the action should be shown on a high angle, the camera is mounted on a CRANE or

BOOM mechanism

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Mounting the camera on a boom or crane creates a

powerful dramatic effect by revealing the scale of the

scene action that any other camera movement cannot

achieve.

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Using the STEADICAM

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The STEADICAM is a mechanical system that

produces very steady, jitter-free, images from hand-held

camerawork

The word STEADICAM is both a trademark of the mechanism

and a filmmaking technique

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STEADICAM consists of a vest worn by the camera operator that has a stabilizing support arm connecting the camera to

the operator’s vest.

A video-assist viewing system is attached to the camera so that the operator can view what the camera is seeing

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Using STEADICAM, the operator can move the

camera through space in a completely smooth and fluid manner as if the camera is

an extension of his/her own body

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STEADICAM is used in narrative and documentary filmmaking

There are digital cameras that have steadicam capabilities integrated in its mechanism

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STEADICAM WAS USED IN ROCKY (1976)

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FUNCTIONS OFMOVING CAMERA SHOTS

To reveal dramatic information by enlarging the

viewer’s field of view

Able to narrow and focus attention on significant objects of characters

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FUNCTIONS OFMOVING CAMERA SHOTS

It expresses a dynamic sense of movement that makes a shot or

scene more sensous and dramatically exciting

It visualizes important thematic ideas

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Camera movements were always applied to “manually” held

cameras for analog filmmaking

Today, camera movements can be created digitally during

post-production

Digital technology can also create very long camera moves

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Camera movements can also be combined

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LENS MOVEMENT is also considered as camera

movement

ZOOM IN

ZOOM OUT

RACK FOCUSING

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Rack focus is a change of focus from one plane

of depth to another

Usually used in OTS or Over

The Shoulder Shot

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In creating a ZOOM shot, one needs a ZOOM LENS to be

attached to the camera

ZOOM LENSES have a variable focal length.

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Zooming changes the size of the filmed subject

without changing the distance between the subject and camera

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There are situations that zooming can be

combined with camera movements to create

unusual shots

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FRAMING

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It can also refer to the edges of the image as seen in a camera viewfinder or projected on a

screen.

In filmmaking and related fields, a film frame is one of the many still images which compose the

complete moving picture.

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When directors place actors in the frame, they

make choices in relation to the way the actors’ bodies

will be situated in the space (frame) and how they will move within the frame or

external to the frame.

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ONE APPROACH TO FRAMING

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A FRAME IN A FILM

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A FRAME FROM “DAYS OF HEAVEN” INDICATING THE MOVEMENT OF ACTORS

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FRAMING STYLES

TIGHT FRAMING

LOOSE FRAMING

DEEP FOCUS FRAMING

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TIGHT FRAMING

An image where there is a lack of

space around the subject and gives

a sense of constriction

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LOOSE FRAMING

Refers to shots that have a great deal of open space around the subject and can give a sense of isolation or freedom.

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DEEP FOCUS FRAMING

Objects or characters

remain in sharp focus from

positions near and far from the

camera

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FRAMING THE HUMAN BODY

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DIVIDING THE SPACE OF A FRAME

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Space in the film frame refers to the space that is around a

subject, usually the part of the frame that’s empty or filled with a vast expanse of sky, water or some other simple background element that doesn’t have a lot

of distracting elements

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TYPES OF SPACE IN A FRAME

POSITIVE SPACE

NEGATIVE SPACE

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POSITIVE SPACE

Refers to the objects

and actors/subj

ects that occupy the film frame.

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SHOT FROM “CITIZEN KANE” SHOWING FRAME OCCUPIED BY POSITIVE SPACE

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NEGATIVE SPACE

It is the space that is not occupied by objects or actors in a frame.

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MINIMAL NEGATIVE SPACE

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VAST NEGATIVE SPACE

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TOO MUCH USE OF SPACE PRODUCES A CLUTTERED SHOT

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THE RULE OF SPACE

This rule states that if the subject is not looking directly to the camera, or looks out of the

frame, there should be enough space for the subject to look into. This technique creates intrigue in

the minds of the viewers

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THE VIEWER’S EYE MOVES TO THE SPACE WHERE THE SUBJECT IS LOOKING

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WHAT IS THE WOMAN LOOKING AT?

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IMAGE SIZE IS IMPORTANT IN FRAMING

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THE IMAGEAND

MEANING

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Film is a complex intertwining of language and image.

From the beginnings of film as a silent medium, it has made

language as a focal point through the subtitling technique

that propels the film narrative

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Visual meaning is embodied in film and we understand the meaning of images through the way we interact with the

world around us.

We construct IMAGE SCHEMAS as we watch a film

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Image Schema is a concept in Conceptual Metaphor Theory

by Lakoff and Johnson in 1999.

It states that our knowledge ofabstract phenomena is only possible by linking these to

concrete experiences.

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When we watch a film, the series of shots and scenes are

essentially incomplete and have gaps.

It is incomplete because visuals have limitations in describing

what language can as in a written novel or story

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Also, a film’s incompleteness is the result of certain film

conventions that have to be followed.

Films have to have a total running time of 1 ½ to 2 hours

only

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It is the viewer that fills in the gaps of the film’s visual

narrative

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The camera moves to reveal or conceal objects and characters and characters can enter and

exit frame

The film frame acts like a container where things appear

in and out of view in front of the viewer

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Another concept explaining meaning in film images is

SIMULACRUM

It is the representation or imitation of a person or thing.

The film, MATRIX best shows the meaning of simulacrum

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WE UNDERSTAND THAT THIS IS A SKATER BECAUSE WE HAVE SEEN A SKATER

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THIS IS A REPRESENTATION OF THE INSIDE OF A SPACE MODULE IN “2001: A SPACE ODYSSEY”

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LET’S WATCH A MATERIAL ON

CAMERA MOVEMENT AND A FILM USING

CAMERA MOVEMENT

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