The Language and Technique of Filmmaking II 6.Lenses A. Focal length - distance from film to surface of lens Wide angle (short lens) < 35 mm  Wide field of vision.  Subject seems far.  In extreme, called "fisheye." "Normal"  ~50 mm Telephoto (Long lens)  > 60 mm  Narrow field of vision.  Subject seems close. Zoom - variable focal length

Examples of short and long lenses' fields of vision

Wide Angle (short) lens

B.Aperture/diaphragm - size of opening Large openingSmall opening More lightLess light F "Fast" lenses are capable of low F-stops

C.Depth of field - the range of distance in front of the lens that appears in focus. The following contribute to a large DOF (allowing a "deep focus" shot): 1. wide angle lens (short lens) 2. greater ambient light 3. smaller aperture (large F-stop)

Deep focus/large DOF (Citizen Kane with Agnes Moorehead)

Shallow focus/Small DOF

Shallow focus/Small DOF (The Little Foxes with Bette Davis & Herbert Marshall’s stand-in)

D.Other focus terminology Rack the lens/selective focusing/focus pull Follow focus Soft focus

7.Film stock Film size (8mm, l6mm, 35mm, 70mm, l05mm) "Fast" film

35 mm film

16 mm film

8. Editing A.Classical Editing/Cutting to continuity l. Decoupage + Montage

8. Editing A.Classical Editing/Cutting to continuity l. Decoupage + Montage 2. Master shot/Establishing shot (usually LS)

Establishing shot

3. Eyeline match (and the Kuleshov Effect)

4. Shot-Reverse-Shot series

5. l80 o system NoYes

6. Reactions shots

“Springtime for Hitler” number from The Producers (1968)

Reaction shot

7. Invisible editing, e.g.: dissolves orientation cuts cut on action continuity (visual + sound)

8. Consideration of legibility & centripetal decay Relatively low legibility (complex mise en scene)

Relatively high legibility (simple mise en scene)

8. Consideration of legibility & centripetal decay AB

B.Sequence shot (long takes) C.Parallel Editing (includes cross-cutting) D. Montage Editing/"Thematic Montage" E. Flashbacks

9. Sound A.Equipment Mic selection (directional, non-directional)

9. Sound A.Equipment Mic selection (directional, non-directional) Boom

9. Sound A.Equipment Mic selection (directional, non-directional) Boom Double-system sound recording for “production sound”/production track

9. Sound A.Equipment Mic selection (directional, non-directional) Boom Double-system sound recording for “production sound”/production track However--most sound is added in “post”...

B.Post-production techniques VO (voiceover) narration The late Don La Fontaine

B.Post-production techniques VO (voiceover) narration Postdubbing/Dubbing/Looping/ADR

B.Post-production techniques VO (voiceover) narration Postdubbing/Dubbing/Looping/ADR Sound effects (“real” and synthetic)

B.Post-production techniques VO (voiceover) narration Postdubbing/Dubbing/Looping/ADR Sound effects (“real” and synthetic) Foleying (after Jack Foley) UCLA Foley room

Examples of Foley effects EffectHow it's made Galloping horsesBanging empty coconut shells together KissingKissing back of hand Punching someoneThumping watermelons or raw meat High heelsFoley artist walks in high heels on wooden platform Bone-breaking blowBreaking celery Footsteps in snowSqueezing a box of corn starch ThunderFlapping an aluminum sheet Star Wars sliding doors Pulling a piece of paper from an envelope Star Trek sliding doorsFlare gun plus sneakers squeak Bird flapping its wingsFlapping a pair of gloves Grass or leaves crunching Balling up audio tape Car crashShaking a metal box filled with wood and metal scraps FireRapid opening and closing of an umbrella along with the crackle of thick cellophane  Most from Wikipedia.com

C.Stylistic techniques Sound design/the sound designer Talkovers/overlapping dialogue Sound bridging (for continuity) Sound montage

D.Soundtrack music Diegetic vs. nondiegetic music Musical [leit]motifs Mickeymousing Music licensing & composers’ agreements

Let’s watch some clips from Citizen Kane that exemplify these sound and music characteristics (and many other things as well!)...

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