1. In Section Next week: Read the rest of Bare Bones & Chapter 6 of Film Art. Read the rest of Bare Bones & Chapter 6 of Film Art.Section: COGN 21: watch La Jetée (Chris Marker 1973, 28 min). Visualization of ideas (print storyboard handout from Course website) COGN 21: watch La Jetée (Chris Marker 1973, 28 min). Visualization of ideas (print storyboard handout from Course website)

2. Syllabus is online: Syllabus is online:http://communication.ucsd.edu/goldfarb/cogn21w08/

3. Construction of the Moving Image Lenses, Light, Movement, Duration

4. Movement Pan - rotate from left to right, right to left along horizontal axis Tilt - rotate up and down, down and up along vertical axis

5. Movement Dolly (or Track) - moves toward or away from the subject along the Z-axis Truck (or Crab)- camera moves parallel to subject along the horizontal axis Arc- camera moves along an arc around the subject

6. Movement Crane shot - movement along vertical axis (emphasis up and down)

7. Movement Steadicam - a mechanical device that allows smooth “hand held” movement of camera, using counterbalances to reduce jolts from walking.

8. Lens Movement Zoom In - from Wide to Close up / Medium Zoom Out - from Close up / Medium to Wide (Zooming gives the experience of bringing the subject closer to the viewer. A Dolly moves the viewer closer to the subject.) Rack focus - change area of focus within a shot

9. Lenses The components of a lens: Focus Ring - Feet / meters to subject Focal Length - macro, wide, medium (normal), telephoto (zoom) Iris - Aperture - F Stop

10. How do Lenses Work? Iris / Aperture / F Stops

11. F stop is the focal length divided by the diameter of the lens. Numbers correspond to focal length divided by the diameter of the lens. Each F Stop increment reduces or adds light by half.

12. Depth of Field The difference in terms of focus of objects in foreground and background Determined by: Focal length of the Lens Iris / Aperture / Fstop / Tstop Focus setting

13. Close Up Shot or Telephoto= shallow depth of field

14. Wide Shot

15. Depth of Field Chart Shallow Depth of FieldGreater Depth of Field Low f-stop (1.2, 2, 2.8, 4) High fstop 11, 18, 22 Point of focus set to object close to lens Point of focus set to object far from lens Telephoto lensWide angle lens

16. Depth of Field Shallow Depth of FieldGreater Depth of Field Low f-stop: 5.6High fstop: 22

17. Lenses: Primes and Zooms Primes: Fish eye - super wide, distorts 5 - 10 mm Wide angle lens 12 - 20 mm Medium 25 - 50 mm Telephoto 75 - 120 mm and up Macro - long lens, focus on an object close to lens Zoom: variable focal length, 12 - 120 mm

18. Wide Angle Lenses 10 mm, 12 mm Large field of view Greater depth of field Size difference between near and far objects is greater

19. Wide Angle Shot / Lens

20. Medium Lenses “Normal” lens - what your eye normally sees 25mm - 50 mm Objects in background and foreground different sizes - but not as great a difference as was seen with wide angle lens

21. Medium Shot / Lens

22. The Telephoto Lens Compresses space Expands Time

23. Controlling Light Add Light (interior / dark situation) Reduce Light (sunlight, exteriors, very bright situation) Open iris = opening that light comes through is larger, smaller Fstop number Close iris = opening that light comes through is smaller, larger Fstop number Increase the Gain - adds visual noise (+dB) Move Gain to 0 or lower gain (-dB)

24. Controlling Light Add Light (interior / dark situation) Reduce Light (sunlight, exteriors, very bright situation) No filter or ND filter on lens Add an ND filter to lens ND= Neutral Density ND3 = 1 stop darker Change shutter speed to lower number (-60) Change shutter speed to higher number (+60)

25. Length of the Shot Long take - reveals information, unfolds throughout the shot, never cuts Shorter shots require additional shots next to them to convey information completely Examples of the long take:  Touch of Evil, Orson Welles, 1958  Boogie Nights, Paul Thomas Anderson, 1998 (opening and ch 36)  Elephant, Gus Van Sant, 2003  Rope, Alfred Hitchcock, 1948

26. Storyboards  Planning tool  Communicates among members of production team Information conveyed:  Sequence  Shot Composition  Motion  Sound  Camera and Lighting Direction

27. Storyboards Preparing a sequence

28. Storyboards Preparing to shoot

29. Storyboards

30. Storyboards: movement

31. PreProduction and Planning Jason Simon (28 min 1986) Production Notes: Fast Food for Thought This tape allows us to analyze the address of seven TV ads by means of repetition, slow motion, and "production notes"— memos sent from the advertising agency to the production company prior to filming the spots, to describe the intentions, desires, strategies and ideology of the commercials and their creators.