HND1 – MOVING IMAGE {RESEARCH TASK}
Task #1
Research a selection of memorable adverts that have stuck with you since your childhood.
• Describe what it is that you think makes these adverts so successful;
• Study the way your chosen adverts have been shot and edited and the important role that sound and narration play in the production of these Ads.
Red Bull advertising has been with me for many years. It seems to me that its effectiveness lies in a short cartoon film that reproduces children's drawings and is funny in its own way. I remember that each time I was curious what cartoon movie would be the next time.
The sound and narrative was always perfectly suited to the people who were talking and the moment that was at the moment.
here is a link to one of the many Red Bull ads
https://www.youtube.com/watch?v=SHdL4BgSz_U
Task #2
Research a variety of Moving Image techniques: -
Camera movements: panning, tilt, zoom, tracking, dolly, pull focus; Composition:
a} Focal length, long / standard / wide;
b} Viewpoint, high (birds eye), eye level, low (on ya hunkers);
c} Action, identify what is moving in the frame (to aid the transition 'cut on a move')
• Now go back to the adverts you have selected and try and see if you can match the camera movements and compositions with the various shots utilised within your adverts.
The simplest movement - pan.
This is the simplest camera rotation on the tripod head. The camera does not change its position here, but rotates along the axis. Movement in the image left-right (in the case of reportage it is the rule in accordance with the reading direction - if any text appears in the frame, it will be readable). It has to be smooth enough for your viewer to see the details of the surroundings, or very fast if you want to blur the background (and use it for a creative transition to another scene). Panorama is useful to, for example, track a moving object in the frame, show panoramic scenery or the distance between given objects.
Tilt
As before, the camera does not change its place, but rotates in the up-down axis. With this movement, you can show how tall a given object is (e.g. a building or a tree) or show the entire silhouette of the figure (from head to toe).
Dolly
The camera moves along with the operator on rails and moves closer or further away from the object in the frame. Of course, you can try to make such a move not only on a wheelchair on rails, but even on an armchair with wheels or a skateboard (I saw it in action). This movement allows the viewer to literally "enter" the action, gives the impression of following the protagonist and going deeper into the scene. With a small camera and a short distance of movement, you can use the slider. It is also visually much more plastic and natural than the zoom effect of a lens. If you combine the approach of the camera with the zoom, you can get a very interesting background effect, literally falling on the hero's head (the so-called vertigo effect).
Zoom (aka Transfocation)
Here the zoom is caused by the change of the focal length of the lens, the camera does not move. Once often seen in movies, today rather in television reports. The camera approach looks more natural. Telephoto shots give the impression of standing right next to the figure in the heart of the action.
-zoom in - for example, by filming the full set of a person reading a book, and then zooming in on the book itself in such a way that the viewer can read the title and author's name from its cover.
- zoom out - here it can be the other way around - it starts with the detail, i.e. the book, then you move away and it turns out that the book is in the hand of a girl sitting on a park bench!
Raising-lowering (pedestal)
This time the camera rises or lowers vertically along the axis. You can show, for example, the height of a basketball player or lower the staff by filming kids.
Truck driving
As before - the camera moves on rails (or wheels), but this time parallel to the scene. In this way, we can follow the action like an outside viewer from the side of the stage. It is possible to use a slider at a short distance.
Camera crane (jib)
The camera at the end of the long arm of the crane (typically 2 to 10 meters) moves a great distance and height. This is often used for coverage of events, concerts or sports events, the camera then flies over the audience's heads and hovers over the stage.
Handheld
In fact, maybe I should say that this is a basic shot, since it only requires a camera and operator. The operator holds the camera in his hand and can move freely with it. On TV, shoulder cameras are used in this way for quick interviews and reportage, and in the cinema, sometimes the camera effect is simulated by hand to give the pictures credibility and the impression of someone watching the action. Dynamic action scenes (e.g. in war movies) are also filmed in this way to conquer the drama even more. When shooting handheld, it is worth remembering not to use a high zoom, it is better to stay in wide-angle shots. First, the image shakes much less then, and second, it looks more like something that can be observed naturally.
Shots with mechanical (steadycam) or electronic (gimbal) stabilizers. Thanks to such devices, the movement of the camera held by the operator is extremely smooth and is not limited by the range of rails or slider. A great technique to follow the action, sometimes the operator can literally run after the protagonist deep into the stage, but without a shaky image, which would not be too much to be seen in such a run.
The movement of the camera is not only suitable for making the materials more dynamic, but it can also be used consciously to present information, show viewers the space where the action is taking place, make them “voyeurs” or be drawn into the very center of the plot.
Long – This type of focal length gives the photographer a close crop effect and can be useful for nature and close portraiture (without the need to be right in at your subject’s face).
Best used for:
Bring far away subjects closer to the camera
Emphasize blurred backgrounds
Longer focal length is great for portraits
Great for landscape photography.
Standard - These lenses offer natural-looking perspective. They’re good for two-shots of people, and mid shots (hips to head) but they give slight distortion if you use them for closeups. 50mm prime lenses are usually small and ‘fast’ (they have a wide maximum aperture to let in a lot of light).
Wide - lens is any lens with a set focal length that is shorter than the length of the sensor or film. For full frame sensors, a wide angle lens would be any lens with a focal length equal to or less than 35mm.
These lenses are very useful for filming master shots of a whole scene, or getting in close and working in cramped spaces. They’re easy to handhold, perspective looks dramatic, and there’s good depth of field (a lot of the shot is in focus at the same time). The big drawback is that closeups will be distorted. If you want to shoot with just one prime lens, this may be the one to have.
Viewpoint - The position of the camera in relation to the subjects can affect the way the viewer perceives the scene. A scene may be shot simultaneously from multiple camera angles to amplify the cinematic effect and the emotions.
High (birds eye) An overhead shot is from way up high, looking down on your subject and a good amount of the scenery surrounding him or her. This can create a great sense of scale and movement.
The Eye Level Shot. When your subject is at eye-level they’re in a neutral perspective (not superior or inferior). This mimics how we see people in real life -- our eye line connecting with theirs.
A Low angle shot frames the subject from a low camera height looking up at them. These camera shots most often emphasize power dynamics between characters.
A superior character with the upper hand is often framed from down low. This makes an inferior feel like they are looking up to them.
Camera framing is the placement and position of the subjects in your shots. Shots are all about composition. Rather than pointing the camera at the subject, you need to compose an image. For filmmakers and videographers, a major consideration for framing is the number of subjects you feature in your shots, and their physical relationship to each other and the camera.
Considerations when camera framing a shot:
Size — the size of your subject has a direct relationship to the importance of that subject.
Relationships — when we see more than one character in a shot, we are meant to acknowledge their relationship (romantic, contentious, etc.)
Balance — a "balanced" frame includes elements on the left and right side of the frame.
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