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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.

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Presentation on theme: "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."— Presentation transcript:

1 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

2 Examples of short and long lenses' fields of vision

3 Wide Angle (short) lens

4 B.Aperture/diaphragm - size of opening Large openingSmall opening More lightLess light F11.422.845.68111622 "Fast" lenses are capable of low F-stops

5 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)

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

7 Shallow focus/Small DOF

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

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

10

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

12 35 mm film

13 16 mm film

14

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

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

17 Establishing shot

18 3. Eyeline match (and the Kuleshov Effect)

19

20

21 4. Shot-Reverse-Shot series

22 5. l80 o system NoYes

23 6. Reactions shots

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

25 Reaction shot

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

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

28 Relatively high legibility (simple mise en scene)

29 8. Consideration of legibility & centripetal decay AB

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

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

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

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

34 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”...

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

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

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

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

39 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

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

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

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

43 end

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