#filmlangproject

[hspencer-filmlang]

Film Language Lecture Notes 10

Scenes progress in a predictable manner, a pattern, they move inwards towards the subject

Establishing shots can be used for interiors too

Continue to move in if there is something for you to move into

Framing the shot = showing the viewers the most important thing

This pattern mirrors how we see things every day

The Tease - Anticipation by starting off on an extreme close up of object

SCRIPT BREAKDOWN

- Mapping out elements - relating colours to them, of what is needed for each scene

- Breaking up a scene into eights (eight segments of a script page) gives a sense of how long the scene is and helps start the breakdown small and on important details

- Breaks down props and stunts, what has to be built and created

STORYBOARD DRAFTS

Draft 1 is usually the design progress, figuring out what works and where

Draft 2 is more technical and accurate

Draft 3 helps you sell it to people, a little more polished to the previous versions

Use all available methods

START WORKING ON TRICKIER SCENES TO PIN DOWN FIRST - this will allow better distribution of time and effort compared to the smaller and easier to animate sequences (start with the action scenes than the opening exposition)

[hspencer-filmlang]

Bioshock Infinite (2012)

First person video game

Wonderful beautiful world and setting, floating city. Set in the early 1900s, keeps the grimness of the time but presents the city in a wonderful way.

Very violent, never really into things this violent. The transition into the violence was sudden as before that I had been exploring a fairground and generally having a nice calming time.

I like how the mystery is unfolding at the moment as to who the characters are, and if I am actually playing as the bad guy.

I think the character of Elizabeth is very endearing, you feel for her and when you upset her you can feel the trust breaking since you are playing first person.

It is also quite scary in places, such as the Raven enemy who comes out of nowhere and can teleport at random, the giant animatronic robot man and a part where you come across a cult, they all halt their actions and turn at the same time to attack you.

[hspencer-filmlang]

Seqeunce Analysis

Disney’s Treasure Planet (2002)

Introduction to John Silver 0:00 - 1:22

First shot of the clip: every shot is framed in square shapes and vertical lines. The characters walk down a staircase and are framed by the walls, and Mr Arrow (who himself is made up of rectangle shapes) joins them. The shot feels cramped and uncomfortable - neither character wants to be in the galley, mirrored in the framing and the staging.

Colours are also quite muted, previous sequence was in a wide captain’s office in golds and yellows, now we are in a working space below the ship, browns and deeper shades to show this. Eyes are drawn to the center as the colour of Mr Arrows red jacket and Dr Doppler’s spacesuit attract the eye and are the brightest things in shot

Second shot is framed circular with an orange glow to it. Roundness is welcoming and friendly. The depth of shot is welcoming too compared to previous shot. The orange is warm.

Mr Silver has face mostly obscured in shadow and looks quite small and harmless. The character turns after being called ‘off screen’ - room to his right for him to move into. His mechanics are kept obscured and out of view so there can be a bigger pay-off reveal.

Next shot we see of him, he’s bigger. His mechanics are revealed as he genuflects

[hspencer-filmlang]

Research 5

From “Cinematic Storytelling” by Jennifer Van Sijll

“The use of the circular is greatly augmented when its opposite, the linear, plays alongside.” - pg 34

“Foreshadowing sets up expectations in the audience.” - pg 86

“Realistic sound, also known as diegetic sound, is sound that would logically exist in the audio world depicts on the screen.” - pg 92

“Lyrics of a song can act as the voice of a character. They can reveal the inner thoughts in a way that can be more interesting than a simple ‘talking heads’ scene” - pg 102

“The closer we get to a character, the more sympathy we are likely to feel. This is because the close-up gives us a physical proximity usually reserved for those allowed within a character’s intimate space....The close-up can also be used to evoke fear or revulsion when the audience is forced to be in close proximity to a character already established as a hated antagonist.” - pg 148

“(Extreme Close-Ups) calls attention to the subjects, making them more memorable visually” - pg 150

“Low-angle shots makes objects appear larger-than-life.” - pg 162

[hspencer-filmlang]

Research 4

From “The Visual Story: Creating the Visual Structure of Film, TV and Digital Media” by Bruce Block

“The basic visual components are space, line, tone, colour, movement, and rhythm” - pg 2

“The audience’s attention will usually be drawn to any on-screen vanishing point.... Here, with the actor repositioned at the vanishing point between the two walls, the viewer’s attention goes to the actor. The vanishing point helps keep the audience’s attention to the actor.” - pg25

“Warmer colours seem closer to the viewer and cool colours appear farther away” - pg 40

“fully saturated  means the hue is extremely vivid...desaturation involves a saturated hue and it’s complimentary colour” - pg142

“Continuum of movement deals with two concepts.

- How the viewer’s point-of-attention moves within a shot

- How the viewer’s point-of-attention moves from shot to shot” - pg 184

[hspencer-filmlang]

SEQUENCE ANALYSIS

Scott Pilgrim vs. The World - Clash at Demonhead perform

- Transition into next shot is a wipe courtesy of someone walking across the frame

- L-cut of announcer’s “And then it was time...” - words appear on screen, matching comic origins, stylistic choice

- The announcer goes from non-diegetic sound to diegetic sound. Narration into actual announcer introducing the band, echoy vocals over screams of excitement

- The announcer, screams and ringing noise of the drums build excitement and anticipation in scene, but also creates a very uneasy feeling

- The band itself is cloaked in shadows, and only small details of them are revealed at a time (Envy’s boots before her face, the gleam of Todd’s bass over his face, the shine of the drummer’s shade) - they are made to look ominous

- Ramona is dead center in a crowd who are also mostly in shadow. She stands in the center of the shot and also the divide between light and dark. Her blue hair is the brightest thing in the shot. 

- Reaction shots of the crowd looking up at Envy as she arrives, we still only see her red shoes. Red is an evil colour in this shot, the music waves and text are red, Envy’s lipstick is red, symbolic of an evil counterpart to our heroes.

- When the music starts to play, the bassist plays first. Lights start gleaming on, slowly revealing more of the character

- Two levels of dialogue happening. Scott talks with Ramona about Todd, Envy interrupts with ‘oh yeahs’, sets up how her character is trying to put a wedge between them

- “I know - oh yeah - you know? - OH YEAH - oh no” realisation hits Scott as the musical intro hits its loudest point

- The oh yeah/oh no match up in reactions - one positive, one negative

- Lights all switch on when Envy starts singing, face reveal. The lights pulse with the base. The bass also makes the shot intense, as it is one chord repeating like an alarm.

- As she sings, she is looking towards where Scott and Ramona are standing in space. She isn’t looking AT them, her head would be tilted, but towards them in space. She is singing at Scott and Ramona - “hello again friend of a friend”

- When the drums and bass match up, the shot splits between Envy, Scott, Ramona and Todd. Shows a quick shorthand of what the relationship shape is. Cuts on the beat

- The shots of Envy get closer with ever second set of lyrics. She’s controlling the crowd and how close we are to her

- Long shot from behind Envy and Todd at Ramona and Scott. Both of their original partners are facing them, and they are framed by their silhouettes. 

- Pans across as the band performs

- Shot in between Envy’s leg, you can still see Ramona’s blue hair

- Song ends abruptly, lights cut, fade to black, with red lyrics still on screen. The band is back into shadow again as soon as they had started

[hspencer-filmlang]

Borrowed Time (2016)

I thought this was really cleverly told story. Really liked the contrast between the two settings (modern day is grey and full of sorrow while the past is gold and warm)

We are led to believe that the accident was a crash off a cliff at the start of the short film, but over the course of the animation we realise the main character isn’t so blameless.

The cuts that trigger the flashbacks aren’t obvious, they just quickly cut into them.

I like how the brief moment of hope ends up falling apart to tragedy. Very strong stuff.

Nice use of imagery and devices, such as the pocket watch and the light shining through the clouds.

[hspencer-filmlang]

Film Language Lecture Notes 9

Black or White - Michael Jackson - Music Video

Interesting use of transitions, jumping between different cultures. Jackson leaves one shot and ends up somewhere else. Horses and cars act as wipes across the screen. Snow enables a smoother transitions between road in India and Russia. Russian segment dances stand still and transitions into a snowglobe.

The most worrying transition is from the two babies sitting on the world to everything on fire behind the singing Jackson, making it look like Michael Jackson destroyed the world.

Faces morphing into other faces was pretty clever towards the end too

Around the World - Daft Punk - Music Video 

Sounds are given characters that represent them. The set is round like a vinyl record and like the world itself. Motions are cyclical, like the world. Around the world, all around the world.