Rain, 1929 – Joris Ivens
A Propos de Nice, 1930 – by Jean Vigo
Toute la mémoire du monde , 1957 – by Alain Resnais
F is for Fake, 1973 – by Orson Wells
Elegy of a Voyage, 2001 – Alexander Sokurov
Sherman’s March, 1983- by Ross McElwee
San Soleil/Sunless, 1983 – by Chris Marker
Gasland, 2010 – Josh Fox
Parallel I-IV, 2014 – by Harun Farocki
View Montage assignments…
Harlan County, USA
Harlan County, USA
Static Camera (locked-off) :
-staging and blocking talent
-dynamic framing and editing
Moving Camera:
-handheld, panning, tracking, etc.
-the long take
-planned vs. spontaneous (handheld)
Pan, Tilt:
– unnatural, motivate the move
– start frame (10 sec.) , movement, end frame (10 secs)
– plan shot, practice with tripod head or monopod swivel
Dolly/Tracking:
– skateboards, cars, bicycles and wheelchairs
– gopro attached to moving vehicals
Handheld (with monopod):
-swish pans
– wide angle, adjust focus
– tai chi movements ( from the center)
Steadicams:
– iphone smoothee, flowmotion, etc.
– DIY – hang a weight
The Cranes are Flying, 1957 – Mikhail Kalatozov and Sergei Urusevsky (camera)
Husbands and Wives 1992, Woody Allen
Blair Witch Project, 1999, Daniel Myrick, Eduardo Sánchez
Interview (A roll) + Visual Evidence (B roll)
Prep/Research:
Plan the Story:
Camera Setup:
Mic Setup:
Lighting:
The Interview:
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Skyfall edit – frames, shots, scene, sequence
Screen Grab Assignment – scenes built from shots, edited shots link spaces, temporal events and story
Framing Assignment – composition, camera position, on-screen/off screen space, reveal and conceal, projective and imaginary spaces
All edits are discontinuous. Editing is a trick of condensing and expanding illusions of space and time for story effects. Story effects are built from the juxtaposition of discontinuous units: Frame-Shot-Sequence-Act-Story. Story momentum reinforces perceived continuity.
Continuity editing creates the illusion of continuous space and time in a fiction or documentary and should be considered as an opportunity for making fluid connections and not as a set of strict rules never to be broken.
North by Northwest – Alfred Hitchcock, cafeteria scene…
Humphrey Jennings and Stewart McAllister’s ‘Listen to Britain’
Cover what you can of an event and always look for opportunities for continuity cuts.
Move around the subject(s) (within 180 degrees) and vary your camera framing:tight (CU), medium and wide (establishing).
For covering processes -like somebody making something- think of five shot variations for each sequence:
Michael Rosenblum’s 5-Shot-Sequence
Aristotle Poetics, 335 BC
Socrates>Plato>Aristotle – logic, scientific inquiry and methods, classification and taxonomy, aesthetics, literary criticism
Aristotle’s Poetics
– plot = “the arrangement of the incidents” into a whole
– drama vs. narration / show vs. tell (mimesis)
– unity of action (cause and effect chain)
– complex plot: reversal and recognition
– tragedy arouses pity and fear and then purges them (catharsis)
Three Act Structure in Movies
Act 1: (20-25min)
– exposition, normal life, intro to characters
-inciting incident, protagonist(s) has a choice of how and whether to act
Act 2: (20-60min)
– complications stemming from actions, cause and effect chain
– point of no return (protagonist committed to action)
– reversal and recognition (the twist and then protagonist understanding what needs to be done)
Act 3: (20-25min)
– unraveling or denouement
-resolution and closure
Western narrative traditions and conflict theory
– the battle of ego(s) -winners and losers
– protagonist with desire vs. antagonist obstructing desire
– conflict all the way down – dialogue, scene, act
– cause effect chain
– clarity of purpose and moral certainty are valued
– representation, mimesis in dramatic arts, presents the world as knowable
– objectivity, omniscient narration
– closure
IN-CLASS GROUP EXERCISE: late to class…
Basic sound editing
Adding Effects
Animating effects
Adding Titles
Continuity (5%): Shoot and edit a short video that follows the principles of continuity to create the illusion of continuous space and time. Try to vary the angles and distances of your shots: establishing shot, medium-shot, close-up, extreme-close-up. Sound may be an element here, but please do not include talking, music or verbal explanations. We are working on visual explanations, depicting continuity of action. Below are some ideas.
Post your Continuity Assignment with a Vimeo/Youtube embed (place the url on its own line) and write a 500 word assessment of your video from the standpoint of framing and continuity editing. What works and what doesn’t work to tell the visual story?
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WHY
WHAT
HOW
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EXTRA CREDIT!!
Take a a topic from class that interests you – continuity, montage, networked video, etc. – and make a 1-3 minute video that demonstrates your thoughts about the subject with text/voice-over, clips from movies, graphics, still images. You will be graded on your ideas, effort and editing skills. We will spend a class studying the Essay Film/Video, and look at examples, but you can start planning your idea now. For now is a video about the form.
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cinema without show business
http://patalab02.blogspot.com/
Youtube (2005) , purchased by Google in 2006 for $1.65 billion
“YouTube personality Kevin Nalty (known as Nalts) recalls on his blog: “A few years ago, a video could be considered ‘viral’ if it hit a million views”, but says as of 2011, only “if it gets more than 5 million views in a 3–7 day period” can it be considered “viral”.”
220,270,352 views = about $ .5- 1 million
cost per 1,000 views (CPM) = $0.25 – $4 range
1 view = around 16 seconds
“YouTube takes a 45% cut and sometimes the YouTuber also has Multi Channel Network representing who also takes around 45%. So the YouTuber, who gets on average 600k+ views a week, will end up with around $1-3k a week from CPMs.” – Chasing their Star on YouTube
DisneyCollectorBR earns $1.4 and $21.9 million each year
June 2006 to August 1, 2008,
Vimeo VOD
Strategies for Youtube
Google Analytics of “Greg Hanson a Collage Artist”
Using the hypervideo template | demo I provide, shoot and edit at least 5-10 short videos (10-60 seconds) that are connected as a multilinear narrative through hyperlinks. Multiple hyperlinks or hotspots on any given video to any other video in the enclosed network should create multiple pathways for the user. What can you do with such a structure? What kind of cinema narratives can you invent?
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Montages…
Job Profiles…
Discuss Lev Manovich “What is Digital Cinema?“…
New ways to depict space – multiple, discontinuous, mixed media
– newspaper and paint
– photography and drawing
– text and image
The Dream, 1908 by Pablo Picasso
Guitar, 1913 by Pablo Picasso
The Clock, by Christian Marclay
Film Compositing – multiple images in single frame
-painting on film
-matte effects (split screen), painted sets/ backgrounds
-titles, text on screen
Video Compositing
– multiple layers of video
– effects (pixels as information)
– green screen – swap pixel colors
– the pixel grid
New Media (HTML) – each piece of media is discrete, not a composite
Cloverfield, green screen effect
https://vimeo.com/groups/inspirational/videos/79218447
https://www.youtube.com/watch?v=wfwIwrhmEtA
Peter Greenaway – Tulse Luper
Watch: Waking Life, by Richard Linklater
CMDC student Haley Zach
Janet Cardiff – mobile art
blended space of physical space and cinematic representation of space
There are many option for screen capture. On a Mac use the free Quicktime: File>New Screen Recording
Noah, by by Walter Woodman and Patrick Cederberg as a class project
Green Screen In-Class Exercise
ASSIGNMENT: Due Next Monday
Hybrid Space (5%):
Create a 30-60 second video that explores a hybrid cinematic space: a screen space made of multiple layers of video, text, graphic imagery and/or image effects There are many techniques you can combine to create a hybrid space: compositing (layering of video tracks), green screen, video effects, spatial montage, etc. Or you can use Newhive to create your own layered HTML space. The only rule is you must incorporate the “indexicality” of video (your own or remixed from other sources).
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from FookedonHonix
3 Loop Exercise
insert a loop into a blog post with vimeo or youtube
WATCH:“Run Lola Run” (1991), by directed by Tom Tykwer
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ASSIGNMENT: Due Next Class (Monday)
Time Frames
Shoot and edit 3-5 video loops (6-10 second mini-narratives) that depict, emphasize or evoke different subjective experiences of time: cyclic, slow, timeless, frantic, rhythmic.
In some of the loops, try to incorporate continuity editing – POV shot, match on action – to maintain unity. In others, try out a more discontinuous style. Also, create a variety in shot length for emphasis. A 4-second shot sandwiched between 2-second shots, will seem to stretch time.
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database: a structured collection of data
no beginning or end, multilinear
encyclopedia, catalogs, index/search
HTML, Video Games – an interface to a database
narrative shell masks the algorithm of a game. the key to the game experience
databases < interface > algorithms
narrative = cause and effect chain, character, event
syntagm/paradigm
cinema : assembly line sequencing
Dziga Vetov, Man With A Movie Camera
Peter Greenaway, The Falls
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Kinoautomat (1967)
“At nine points during the film the action stops,and a moderator appears on stage to ask the audience to choose between two scenes; following an audience vote, the chosen scene is played.”
Olia Lialina – My Boyfriend Came Back from the War (netcinema) 1996
http://www.zoebeloff.com/pages/zoe.html
http://dreamingmethods.com/theflat/
http://dreamingmethods.com/lastdream/
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http://netescopio.meiac.es/en/obra.php?id=78
http://netescopio.meiac.es/en/obra.php?id=128
Branching: YouTube annotations:
Demo how to…
http://www.dtc-wsuv.org/mbarnette15/Final/index.html
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Final Projects:
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Loops and Continuity Assignments
Building blocks of cinematic storytelling… or ways to hold attention:
Frame > Shot > Scene > Sequence
Framing: distance from subject, angle, diagonal lines, foreground-middleground-background, depth, light/shadow, focus/unfocus, focal length, depth of field, rule of thirds, moving frame, duration
Continuity: cinematic space – the motivated shot, screen direction, 180 degree rule, 30 degree rule, match on action, graphic match, eyeline match, POV
Montage: juxtaposition of discontinuous shots: rapid cuts, rhythm, emotional sequences, thoughts, ideas, summary of events, passage of time, voice-over sequence, associational thinking, commentary, evidence, split screen
Vertov– Man with a Movie Camera
Sergei Eisenstein‘s Methods of montage
– where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience.
– includes cutting based on continuity, creating visual continuity from edit to edit.
– a tonal montage uses the emotional meaning of the shots—not just manipulating the temporal length of the cuts or its rhythmical characteristics—to elicit a reaction from the audience even more complex than from the metric or rhythmic montage. For example, a sleeping baby would emote calmness and relaxation.
– the overtonal montage is the cumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicated effect.
– uses shots which, combined, elicit an intellectual meaning.
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Montage Clips:
An Andalusian Dog, by Luis Buñuel and Salvador Dalí – 1929 (tonal, rhythmic, false continuity)
Requiem for a Dream, Aronofsky (metric, tonal)
City of God (metric, tonal, rhythmic)
Tree of Life, Terence Malick (overtonal/associational)
Intellectual montage (ideas made by cut):
Jean-Louis Boissier’s Flora petrinsularis. – the interface
Steenbeck Editing
Nonlinear Editing
timeline> sequence > tracks >clips> audio sync/linked > transitions
Compositing/Spatial Montage/Effects/Color Manipulation
ASSIGNMENT: Due Next Class
Create a 30-60 second video that has at least two distinct video frames simultaneously on the screen. Think about the relationships between each frame’s content (for continuity or montage effects), the relationship between each frame’s editing rhythm, the combinations of their sound tracks and the similarities or differences in the proportions and positioning of the frames themselves.
OR
As an element of film language, montage (the juxtaposition of images) can be a powerful tool for emotional storytelling and surrealist surprise. But it can also be used for propaganda, marketing, training, education and entertainment. In other words, be free to juxtapose images for narrative/expressive effect, but be aware and sensitive to how those juxtapositions will be perceived.
In this assignment, you are to express an idea, a feeling or complex subject through the juxtaposition of images. You may use natural sound or keep it silent, but please no music tracks. I want you to find the rhythm and pacing of your edits in the narrative, not in external music.
OR
Download 3-5 movie trailers and/or scenes from movies. You will get the most humorous results if you mix different genres! Bring these videos into Premiere and edit your own trailer of an imaginary movie. Try to use continuity editing, montage and sound editing to create the illusion that your remix references a real movie.
Start to formulate an idea for the final project. Propose the idea to in person or as an email.
With consideration of the assignments, readings , screenings and class discussions, create a final project that explores/exploits at least one feature of “digital cinema”: looped video, glitched video, composited video, networked video, hyperlinked video, database video, etc. You may create a fictional, non-fictional or abstract project. However,the project must be made of video (moving digital images originally captured as video), incorporate cinema language (thoughtful continuity editing and/or montage) and you must engage with the class ideas in the conception of your project. Your grade we will be based on the quality and effort of your creative work as well as its conceptual foundation.
Some suggested ideas:
Group projects are possible.
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“A shot of a whole battlefield would be incomprehensible because looking at real things, the human vision fastens itself upon a quick succession of small comprehensible incidents like a mosaic out of such detail- the director counterfeits the operation of the eye with his lens and varies the length of shots to avoid the hypnotic affect.” – Griffith
Continuity Editing (The Classical Hollywood Style)
INTER-FRAME NARRATIVE- editing
INTRA-FRAME NARRATIVE-
Tension and rhythm in Classical editing
Vine – six seconds of continuity
Adam Goldberg
https://vine.co/v/brg6hOe1ZpT
IN-CLASS EXERCISE:
Download Youtube video – get Firefox Addon – Youtube Downloader
Use Keepvid.com
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Interview (A roll) + Visual Evidence (B roll)
Prep/Research:
Plan the Story:
Camera Setup:
Mic Setup:
Lighting:
The Interview:
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Variety of camera positions and angles keeps the eyes busy and interested, evokes the space and psychology of characters. Maintaining a single angle or distance reinforces a point of view.
types of camera positions:
ELS – extreme long shot (landscape)
LS – long shot (full body)
MLS – medium long shot (from knees up)
M – medium (from waist up)
MCU – medium close-up (from chest/shoulders up)
CU – close-up (face)
ECU – extreme close-up (portion of face)
lens length:
wide angle = opens space, more distance, more inclusive
telephoto/zoom = collapses space, more intimate, separate from background.
types of camera angles:
high
low
canted/Dutch
types of subject compositions:
frontal
3/4 front
left/right profile
3/4 back – over the shoulder, POV
behind
profile two shot
direct to camera two shot
over the shoulder two shot
headroom, look room
subjective/objective styles
rule of thirds in shot composition
Keep Track of Camera Framing:
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