Camera Work Chapter 4

Early days of Camera shots Cameras were limited to one shot because the equipment was heavy. Early Edison films – the camera was routinely placed at a right angle to the action, as if we were in a theater seated in the front row. Filmmakers were more interested in literally capturing the shot, and not interested in the dramatic setting that a camera angle could create.

Weekly Journal – “Silence of the Lambs.” While reviewing the Lecture we will also be watching “Silence of the Lambs,” which incorporates the use of Lighting techniques and different camera methods as well. Your Journal this week will be to answer the questions on Page 117, using “Silence of the Lambs,” as your film. – Answer all questions on 4-1, 4-2, 4-3, and 4-4. In some you may need to refer to the textbook.

Enter the Lumiere Brothers Auguste and Louis Lumiere were pioneers yet again – they placed the film goer in the space of the film.

Angle The angle in which a subject is shot leaves an impression. Low Angle Shot – The camera is placed below the subject, and angled upward. They exaggerate the size of a person or a thing. This is used to imply authority, or to grant a character a semblance of gravitas or menace. – They are often unflattering. – They can also be used to confer royalty and divinity.

Low Angle Shot

Joan of Arc – Low Angle Shot

High Angle Shots A shot made by placing the camera above the subject – angled downward. They tend to be more flattering and humanize a character – make them seem vulnerable. Used to manipulate scale and can be used to give a bird’s eye view of a scene. Was made famous by director Busby Berkeley – used it in his images of perfectly synchronized dance routines.

High Angle Shots

Eye Level Shots These shots imply a connection between the viewer and the characters on screen. The viewer can directly see the character. Canted shots – Tilted shots. Used in “Rebel Without a Cause,” are there to portray a message. Although the protagonist, Jimmy, is seeing his mother descend down the stairs at an upside down angle, the images remain tilted.

Distance The use of distance in a frame can set the scene, to frame a fight scene between two actors or more. The use of long, extremely long and medium shots allow the audience to see their characters and their surroundings. Long Shots- A shot that includes the entire person and background or a shot where the subject appears small. Medium long Shot – A shot of a person from their knees up or a shot where they subject is slightly smaller than a medium shot.

Long shot

Fight Scenes Directors often use long shots to show the hand to hand combat. Two Shot – A shot that comprises of two people in the frame. Medium Shots – Character is cut off just above the waist. Medium shots allow the viewer to see the subject in their surroundings. It also allows the viewer to get a close up of their expression.

E.T. – Medium Shot

Close Ups and Extreme Close Ups These camera shots make us focus solely on what the director wants us to focus on – perhaps a message or a expression from the character. – They take away our options to look elsewhere. – Our view is focused. – We have a view of the characters true feelings.

Off Screen Space The space in a scene that the audience cannot see but knows to contain something of importance to the story. – Used in Alfred Hitchcock films. – *show Psycho scene*

Camera Movement

Early cinema to today At first, cameramen just had to make sure they got the shot – Filmmakers placed a camera on a train car and captured 3-minutes of the Colorado Rockies for The Georgetown Loop. This was the first time movement was captured with the camera moving.

Tracking Shot The tracking shot – is a moving camera technique in which the shot is produced with a camera that moves smoothly alongside the action. There are different ways to accomplish this: – Dolly – Steadicam

Dolly-in Dolly Out

Steadicam – Developed in 1976

Different Shots achieve different results, perspectives Crane shot – This is also known as a “boom shot.” This is when the camera is hoisted onto a crane, and then dropped by the crane down to a less dramatic angle. This creates an aeriel view. Subjective P.O.V – We can see the world through the character’s eyes. – Example – “Halloween,” the film opens up with us seeing what the killer sees through his mask.

Shots Handheld shots – done with the use of a – you guessed it – handheld camera. This was first used in the 1960s French New Wave. – Predominately used by Director Jean Luc Godard. – He used this to achieve ironic effects. – Gives the impression to the viewer that they are witnessing something “real.” (Done by an amateur and give it more of an authentic feel, versus Hollywood.)

Handheld is a technique The technique is to make us believe that everything was captured and then left behind – the authentic owner “disappeared.” - Paranormal Activity. – The Blair Witch Project. It can be used to disorient the viewer. Take scenes out of focus.

Basic Camera techniques Pan – A lateral camera movement. Tilt – An upward camera movement. Both serve to “naturalize” the camera point of view. Zoom In/Out – Used for distance/emphasis. Wide Angle Shot – Allows the audience a wider view of something. Establishes a scene. Telephoto Shots – Used to represent surveillance and show us what a character sees as they peer through a telescope, or a camera with a telephoto lens.

Telephoto shot

Depth of Field Depth of Field – refers to how much foreground, middle ground and background is in focus. The larger the range within the frame between the closest and furthest object, the larger the depth of field. Deep Focus – Keeps objects and characters from foreground throughout the background in sharp focus. – Introduced in Wuthering Heights (1930s) – Citizen Kane. Selective Focus – only part of the image has been blurred while another is in sharp focus.

Racking Focus This is when the shot moves in and out of focus from the foreground to the background. It is considered intrusive (for the viewer) because the camera is telling us where to look.

Racking focus

Stock, Exposure and effects Film Stock – A filter that simulates different colors to emphasis a certain scene or emotion. Exposure – This refers to the amount of light that passes through the camera lens onto the film. – Adjusting the exposures can lighten or darken an image.

Color versus Black and White 1930s - The first use of the color process. – The process to produced a film with color was expensive, unrealistic, and unpredictable. – Early color prints would fade and degrade. 1950s – Color became the standard because film stock improved. This was first pushed by Color Televisions. – First Films that used color successfully - “Gone with the Wind.” (1939);

Color versus Black and White Today – if you want to shoot a film in Black and White, the film stock costs as much, if not more than color film. – TODAY when filmmakers try to make a movie through the use of Black and White stock – they are trying to drive home a point.