Technical



Technical

Camera –
-          The director of drama has myriad shot options available to him/her when thinking about how to capture the action in a scene.
-          Many filmmakers, especially Hollywood directors, consider shot variety to be an essential ingredient of audience satisfaction, and key to maintaining viewer interest. Shot variety, distances and shot sizes. Everything from long shot and extreme close up.

-          Shot size/ distance
-          - Extreme close up, Head close-up, Big close-up, Close-up, Close shot, Medium Close shot, Medium shot, Medium Full shot, Full shot, Medium long hot, Long shot, Extreme long shot

-          Angle –
-          High angle, low angle, slanted/ canted, Dutch angle, eye level, birds eye view, woman’s eye, over the shoulder, POV

-          Movement in camera
-          Zoom in, Zoom out, pull focus

-          Camera movement –
-          Crane, Jib, track/dolly, pan, tilt, Steadicam, handheld

-          Rationale for shots (what is your reason). Use for every technical decision you make.

-          Explain why certain shots, angles, movement is employed for a scene = constructive meaning.

Sound

-          Sound can enrich the sensory experience of art.

-          By combining movement and sound, creative drama maximises as audience member’s kinaesthetic impressions, sensory experience and emotional response.

-          Sound can work in parallel, harmonising with the visual narrative or can be contrapuntal and work in a way that is slightly or substantially at variance with the visuals.

-          Explain why diegetic and non-diegetic is used.

-          Diegesis: A Greek word for “recounted story” The films diegesis is the total world of the story action.

-          Diegetic sound

-          Sound the source of which is visible on the screen or implicitly present in the cation of the film

·         Voices of characters
·         Sounds made by object sin the story
·         Music represented as coming from instruments in the story space (= source music)
·         Diegetic sound is any sound presented as originated from source within the films world if the characters can hear then its diegetic sound.
·         Diegetic sound cam either be on screen or off screen depending on whatever its source is within the frame or outside the frame.
·         Another term for diegetic sound is actual sound.

Non diegetic sound
-          Sound the source of which is neither visile on the screen nor has been implied to be present in the cation
·         Sound that the characters cannot hear.
·         Narrators commentary
·         Sound effects added for the dramatic effect.
·         Mood music
-          Non diegetic sound is represented as coming from the/ a source outside story space.

Distinction

·         The distinction between diegetic and non-diegetic sound depends on our understanding of the conventions of film viewing and listening.

·         We know that certain sounds are represented as coming from the story world, while others are represented as coming from outside the space of the story events.

·         Manipulating diegetic and non-diegetic conventions can be used to create ambiguity (horror), or to surprise the audience (comedy).


Parallel music
-          Parallel music seeks to parallel the action by complimenting the visuals.
-          It is used to:
-          Underline the emotion and/ or mood of the scene
-          Indicate a sense of time and place
-          Embody themes
-          Establish motifs

Contrapuntal music Forms an ironic juxtaposition with the visuals

  •     Contrapuntal music is used to:
  •     Contradict or ironize the sense being generated by the visual action in the scene.  
  •     Undermine or upset the mood established by the visuals
  •     Change the message of a scene

Editing
-          In a somewhat contradictory sense, editing begins some time before the first day of principal photography.
-          Normally, during the pre-production phase some sort of blue print is created envisaging how the visual aural parts will assemble to make up the whole.
-          For many filmmakers this is the storyboard, a document which imagines hoe every unit of action will happen in sequence thus constituting the entire visual and aural narrative.
-          For many filmmakers the storyboard is the edit imagined in advance.
-          The storyboard thus constitutes a highly functional document, signposting key editorial techniques which are giving to be put into effect in the post production phase, such as shot reverse shot sequences, eye line matched, graphic matches, superimpositions, elisions etc.
-          Prior knowledge that such techniques will be in operation at the editing stage, causes directors, script continuity supervisors and DpPs o give dues consideration to these elements during filming.
Thinking ahead:
-          In order for an action match to be possible in the edit, a piece of action, filmed from different camera angles and with different shot sizes must be identically realised is each. The rhythm, and pacing of the movement must be the same; position of body parts and items of costume must be the same; other mise-en-scene elements also visible in the frame must be the same.
Discussion
 -       Intercutting can set up juxtaposition between parallel storylines, strengthening the impact of each by highlighting the difference.
-          When used to draw two storylines together, this can be structures to create tension and heighten identification with a character.
-          When the action match is used for intercutting, it cab highlight parallels/ contrasts between characters in different situations.
-          Eye line matched provide insight to a characters point of focus and gives clues to interior thoughts.
-          When a character is shown in the final shot of a scene, it is often the character with whom the audience is expected to identify.
-           


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