When I think about time a few things come to mind. When someone is waiting for something to happen they constantly check their phone and typically it seems to make time slow down. My first video depicts this. When looped it displays time as unchanged in spite of the amount of times the video plays. The second video plays a 1 second clip of a clock with the section hand going back and forth. I initially tried to put two clips back to back the first playing forward and the second playing backward. When looped this proved to be terribly unsuccessful to I removed the reverse clip and simply cut the video down. When looped this is designed to show time moving in two directions. Finally the third video I made makes use of two things, one our inability to perceive differences in speed in video; the record moving 32rpm and cartridge moving inward at a speed that is not perceivable. Second our minds understanding of records as the spinning being indicative of passage of time.
This video goes over the process of washing a car. In the first shot I used the garage door to open the video and frame the subject of the video in what I would consider a close up shot. This shot focuses on the carnage on the front bumper specifically to give a reason for the video. The second shot initiates motion and the pace of the video. The third and forth shots are extreme closeups that cut right to action. The Fifth shot spraying soap into the bucket changes the perspective up and allows me to use the sixth shot as a transition into the next phase of the video, the wash process. The water in the seventh shot ties in with the water from the previous shot on purpose. The next several shots show the washing perspective using extreme closeups again. These types of shots are easier to tie together and give a sense of continuity through cuts. Finally the final scene shows the car going back into the garage which I think does a good job brining us full circle. The challenges I found were showing continuity while taking out time. The whole process without filming takes about an hour so to show that process step by step and have it flow was challenging. I cut footage in three passthroughs going from six minutes, down to two and a half and then again to get it down to a minute. A lot of what was cut was duration of each action. For instance when the cars rolls out of the garage it stops at the door and doesn’t go completely to the end, during this motion is perceived in spite of it being cut out. Some of the steps were also removed as they did not add to the overall story being presented.
I had a lot of fun with this project. I spent a lot of time walking around trying to figure out what angles would lead to the question, “What happened here?” Ultimately the sequence I shoot establishes location and then explores the mystery of the old building in the best way I was able to capture. Most of the shots are on the wider side with much of the framing done to take the viewer back in time to figure out what could have been. (All video was shot with permission from the owner)
Gladiator is one of my all time favorite movies. This scene is the most powerful scene of the entire movie. This scene is mostly close up shots showing the impact of the interaction between two men. The scene is supported and further elevated by the long shots and medium shots of other key characters. Tension is introduced through fast cuts often back and forth.
Close Up Shot – Showing the conflicting emotions of the choice that lays before him
Medium Close Up – Building tension by including relevant characters
Medium Close Up (almost close up) – establishes the emperor as not as important as Maximus.
Close Up – Maximus being defiant with his answer to who he is
Medium Shot – Showing the look of shock on the on lookers faces as he further establishes his defiance by turning his back and immediately afterward the emperors response
Medium Shot – Displaying Maximus’ defiance with the full support of his men in spite of the danger he is placing them in.
Medium Close Up – This shot establishes the moment that Maximus realizes what he has to do and follows that with the action of him beginning to carry it out.
Close Up – This shot is crucial as it establishes from the emperors perspective the reveal that defines the rest of the story.
Close Up – The moment the general reveals himself to the emperor for a split second only a select few people know who he is before he introduces himself the the entire colosseum. “I am Maximum Desimos Meridius…”
Closeup – Showing the look of shock and terror on the emperors face as he sees a man who he thought he had killed.
Medium Closeup – Lucilla, shocked to witness Maximus is alive however with a longing in her face in place of the emperors fear.
Medium Closeup – Showing Maximus full stride announcing who he is with the support of his men behind him.
Closeup (at a lower angle) – Fear visible on the emperors face which is highlighted by the lack of lighting on his face
Extreme Long Shot – This shot establishes the gravity of what the general has done in revealing himself and shows the potential consequences of his actions.
Extreme Long Shot & Medium Shoot – By including Lucilla in the foreground the director is able too show her concern and awareness of the gravity of the situation.
Closeup – The general coming to terms with the gravity of their being a crowd around him who will judge him for his actions
Medium Closeup – The emperor facing the decision that was made for him by the circumstances of the reveal
Extreme Long Shot – Showing the support that the general has taking all power away from the emperor in spite of his absolute power in the situation.
Medium Closeup – The key in this shot is seeing that in spite of his men looking around at the audience Maximus is facing the consequences of the choice he just made knowing that this moment could be his last.
Medium – The emperor allowing him to live in order to save face, in spite of knowing that he has been beaten by who believes to be his inferior (while ultimately knowing he himself is the inferior of the two)
Below is the full Scene, I highly recommend you watch the movie if you have not seen it. Truly an epic story.
In order to answer the question of whether the “movies” are trying to be like traditional film or creating something new based on the unique qualities of the iPhone it is important to specify what makes the iPhone different from traditional film and what gives traditional film the “look” it has. The two largest contributors to how a moving picture looks is how it is framed optically and the speed at which it moves. Motion in film is an optical illusion. Film is really no different from a flip book in how it performs. There are a series of still images that are played fast enough so that they are not perceived as individual images. Early film makers speculated that this occurred around 16 frames per second, some believed that 46-48 was ideal but when you factor in cost of film most films were shot at just above what was perceived and then sped up for viewing. These early films were sped up to 24 frames per second which has become a standard that we recognize. The beauty of 24 frames per second is that it doesn’t look real. Our eyes can perceive considerably more motion than that, so we see a difference from looking at a horse on the screen at a theater and seeing one run in front of us.
With the advent of digital recording everything changed because instead of being limited by technology and cost we could record things at nearly unlimited frame rates and could display them as fast as the display medium could show them 60hz being a recognized standard. iPhones can record much faster than film cameras and be default are set to 30 frames per second. This difference of 6 frames per second is huge for the overall “look.” Filming on a smart phone looks different from film for this reason mainly and this is the case between film and digital as a whole.
The second thing that makes the iPhone unique from a look stand point is the optics. Most movies are filmed in 35mm with interchangeable lens cameras to display a variety frame shapes based on the specific optics used. iPhones have traditionally had one lenses which is the 35mm equivalent of a 28mm lens. This wide-angle lens also defines the “look” of iPhone movies.
Détour allows the iPhone to shoot like an iPhone. Fame rate and optics make this short film obvious that it used that camera. The second video while still being filmed on an iPhone does so in such a way as to emulate film. The frame rate appears slower, closer to 24 frames per second. Additionally, its optically not as sharp and the color grading leans warmer all artifacts of (most) film. iPhones like everything else have adapted now having multiple lenses for different effective focal lengths, allow shooting at a variety of frame rates, allow light sensitivity control, and much more. Digital cameras as a whole can now do everything they were already good at as well as all the things film cameras did well. I think the biggest “automatisms” of iPhone is how much you can modify the image that is recorded to give it whatever look you want. Furthermore, unlike a professional studio camera such as a RED, Alexa, etc you can place the camera nearly anywhere because it takes up far less space and requires less for stability. Smartphone filming put the wonder of the movies in everyone’s pocket. It also gave everyone access to the medium of motion pictures to tell their own stories.
My name is Alex. I am fairly new to video production but I love playing with cameras. I have been working in the audio video industry for the past 10 years or so on the technical side. Im stoked to learn about the creative side a little more.