Monday, 31 January 2011

Notes from Make your own Hollywood Movie - Ed Gaskell

Gaskell, Ed, 2004, Make your own Hollywood Movie, Lewes - East Sussex, Ilex

3. The Shoot

- Pg 36 - screenplay - advice
- Pg 37 - structure scenes as you would imagine them cut, long scenes don't exist any more because they are not popular with today's audience
- Pg 44 + 45 - Story board visual reference to script
- shows where story is going through depictions of simple scenes
- also points out introduction to sound efeects + dialogue
- Pg 60 + 61 - different camera shots:
. The Establisher - World shot
. The Long Shot - locates characters in physical order and explains how characters react to eachother's position in tighter shots
. The Medium Shot - shifts emphasis from location to character through body language and action
. The Close up - form for dialogue framing whole head and shoulders, eyeline direct conversation in context
. The Cut away - nothing in particular - carries dialogue and makes easy on the eye or ear transition
. The Extreme - close up - tighter than close up labouring on detail draws audience's ateention that character has or hasn't seen
- Prop - object or metaphor
- combination of all shots easier to cut, creates rhythm and more palatable to watch
- Pg 62 - framing shots, geometrics and vanishing points draws line of sight
- Pg 63 - editing thought while shooting e.g shooting wider on longer shot = more aesthetic and meaningful transition
- "Psychological studies have proven that some compostions are simply more pleasing to the eye."
- The Golden Section - Greeks broke down a 2-D scene into one third/ two third sections meaning frame divided into nine equal parts
- diagonals another example of forcing eye to look at one point of the image
- Camera Movements:
. zoom - camera slowly moves into subject without op moving
. pan - horizontal move used to get from 1 subject to another changing emphasis
. tilt - vertical move which can take viewer from sky to landscape or character's eye to prop
- Pg 65 - involve audience, camera ops themselves must move, taking lens into action - POV point of view, behind the eyes of an individual showing what is being viewed or participating in

4. The Final Cut

- Pg 84 - rough cut gets all clips on computer and assemble them in roughly right order - creates a moving storyboard
- DV cam - used to capture right speed
- Pg 85 - Rules section for successful clips
- Pg 86 - how clips are put in a time line creating a digital story board shows how a whole scene/s could work - professionals edit on timeline
- Pg 88 - editing begins with master shot - usually wide shot that introduces whole scene
- Pg 89 - sync clips are matched with story visual references
- Pg 90 - "Editing gives you the opportunity to create the illusion of time passing, and to change the audience's emotional responses over an hour and a half."
- dialogue scenes cut from one shot to the other every few seconds to direct audience's attention to the character talking
- Transitions such as dissolve and cross fades explains to an audience just how time is supposed to be passing - last half hour = 2 seconds or longer for gradual
- equivalent to comma in sentence
- dissolve carries audience from 1 scene to another without the harsh edge of a hard cut
- cross dissolves used in same scene to depict a confusing time through character's perspective (dreams, drink, drugs)
- fade - a great amount of time passed
- wipe reveals second scene as first is wiped away (old fashioned effect)
- Pg 96 + 97 - image reference to cut scenes
- Pg 102 - colour correction changes scenes into technicolour, b/w, monochrome and time of day
- Pg 106 - 109 - importance of movie titles
. opening titles
. credits
. in - movie titles

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