Our learning procedure is getting more complex as the weeks evolve. We have moved away from the basic settings of the cameras to start contemplating the hazards of recording a sequence interestingly. The first thing we were shown was the 180 Degree rule, which establishes that, if we want to record any object or person in motion, especially if involved in a dialogue, we need to draw an imaginary line or axis in the floor so that we make sure that we do not exceed it. The effect would be misleading, as the audience would see if as if they are suddenly placed in a different direction. In the image above, we can perfectly make out all the variations we can choose in order to make a dialogue sequence more dynamic without crossing the axis. We should always be creative with our shots as long as we do not break the rule, because it would just confuse the viewers and make the whole project seem highly unprofessional. The video which I include will hopefully help any students who struggle with a practical explanation.
I had never heard of this basic principle and, as it is essential not only for a film making career, but also for any basic videos which we want to edit properly as a culmination of the process. Together with this, we started playing around with the general context of the shooting of an entire sequence. A establishing shot is primordial. Then, the most advisable thing to do is to start alternating over-the-shoulder shots and medium shots.
We got to experiment with all the new information in our hands, and we applied the 'studio jargon' suitable for the matter. When we press the recording button, it is essential that we make it obvious for the rest of the staff, so we have to say "rolling". Then, we ask the actors if they are ready, and the last shout is for "action!" Overall, we had an opportunity to be original and we filmed Franek putting on a cap from over ten different angles, taking into consideration Matt's advice regarding the types of shots we should use and the procedure behind it, like the height of the camera lense depending in what we want to shoot.
The next thing to look at was continuity. This is basically the importance of making a scene truthful. To illustrate the point, I would say that, for instance, in a sequence where a couple is eating dinner, they have to be in the same position as thay were in the previous shot over and over again, and the amount of food should remain realistic throughout the whole process no matter how many times the camera stops recording. It is also regrettable to watch our footage back, especially if we are dealing with actors who are probably going to feel that they do not look good enough in certain approaches that we choose. It is much better to edit everything beforehand.
To end the lesson with some technical advice, we were illustrated about the Focus Pull, an effect which looks immaculate on cameras and that would make any sequence more appealing. It consists of focusing the background and then procceeding to focus a certain object which is usually standing in front. It serves the purpose of showing the audience the two sides of the frame so that they are more informed about the current espace where the action is happening, as well as being aesthetically pleasant to look at.
In this lesson we got a slice of so many different aspects of shooting a film and, although they were as varied as they could be —some of them even complex—, all of them are stored in my brain with accuracy for any occasion in which I may need them.
We got to experiment with all the new information in our hands, and we applied the 'studio jargon' suitable for the matter. When we press the recording button, it is essential that we make it obvious for the rest of the staff, so we have to say "rolling". Then, we ask the actors if they are ready, and the last shout is for "action!" Overall, we had an opportunity to be original and we filmed Franek putting on a cap from over ten different angles, taking into consideration Matt's advice regarding the types of shots we should use and the procedure behind it, like the height of the camera lense depending in what we want to shoot.
The next thing to look at was continuity. This is basically the importance of making a scene truthful. To illustrate the point, I would say that, for instance, in a sequence where a couple is eating dinner, they have to be in the same position as thay were in the previous shot over and over again, and the amount of food should remain realistic throughout the whole process no matter how many times the camera stops recording. It is also regrettable to watch our footage back, especially if we are dealing with actors who are probably going to feel that they do not look good enough in certain approaches that we choose. It is much better to edit everything beforehand.
To end the lesson with some technical advice, we were illustrated about the Focus Pull, an effect which looks immaculate on cameras and that would make any sequence more appealing. It consists of focusing the background and then procceeding to focus a certain object which is usually standing in front. It serves the purpose of showing the audience the two sides of the frame so that they are more informed about the current espace where the action is happening, as well as being aesthetically pleasant to look at.
In this lesson we got a slice of so many different aspects of shooting a film and, although they were as varied as they could be —some of them even complex—, all of them are stored in my brain with accuracy for any occasion in which I may need them.
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