Concepts of Continuity INFOGRAPHIC

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Editing Concepts InfoGraphic

If there are any problems viewing the Piktochart below, visit this link:

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Realism.Classicism.Formalism

Realism, Classicism, and Formalism Blog Post

10/20/13

Recently, we’ve been reviewing the three “traditions” (or editing methods) used most often in filmmaking;  classical, realism, and formalism. Most of our attention was focused on the type of editing necessary to produce such a genre of film, in preparation for an upcoming short film this year. To place each description in context, a short film was selected for each, with the specific scenes of interest emphasized in the accompanying paragraph with answers these questions:

-How would you describe the characteristics of the camera work, considering composition, angle, and movement.

-How would you describe the difference in the edit?

-How would you describe the quality of the story being told?

FIRSTLY, I examined examples of Classical Cutting with scenes of this film:

http://www.youtube.com/watch?v=LYEn0adalUA

This filmic interpretation of Lincoln’s assassination by Griffith clearly follows the guidelines of Classical filmmaking; exposing a single storyline and respecting the expected, systematic stream of events. Camera positioning and framing does not impede comprehension, and is used to fully demonstrate the events occurring on-screen. Shots are often held static and rely on character movement to portray emotion or plot. When cuts are made from one shot to another, it is to demonstrate definite purpose or emotions that link directly to the plot; including the celebrating crowd of the auditorium and Lincoln’s reaction. No unexpected or unrelated shots are shown, ignoring certain aspects of the scenes completely. We do not immediately see a scheming assassin until the plot has developed enough to establish a villain. In this sense, the story is told quite well, as there are no dramatic denouements; the plot is expressed logically and efficiently.

SECONDLY, the use of Formalism was identified in this film:

http://www.youtube.com/watch?v=O_RrNCqCIPE#t=51

Scott Pilgrim versus The World is appreciated much more for its humor, which is consistently expressed with over-the-top exaggerations of emotion. In this example, time and space is altered to generate this comedic aspect, and certain emotions portrayed in the little “side notes” are not entirely linked to reality. Adding these small bursts of animation and speeding/slowing the shot is able to create more depth and understanding, even if there are no specific connections to the obvious plot. “Speed signing” the delivery sheet for the mail is able to shorten the process of showing Pilgrim’s attraction to the girl, which may otherwise take several planned scenes. The camera work is clearly reflective of the emotions in the shot, and isolate what aspect of the scene should be emphasized.

REALISM, in more recent films, is only used to emphasize a certain scene or location; rarely being employed for an entire film. This is mainly because doing so would not attract as much attention to the plot than to the actual framing of the shot. This is most often used in establishing shot of modern movies.

https://www.youtube.com/watch?v=Axt0nETgEXo

This compilation of establishing shots is interesting because it all incorporates the basic aspects of realism; not being manipulated and bluntly expressing emotions to the audience. In comparison, this form of editing and filmmaking is the simplest to film, but there must be extensive planning in the pre-scripting work to get the full potential of the emotion.

Location as Character Project

Location as Character Project

These past few weeks, we've been working on finding a specific location around and looking for neat shots to take of these locations. These ranged from Bart Stations to San Bruno Mountain.

My project was filmed on my iPhone, and I filmed neat shots around the San Bruno 4-H Club 

(sbcal.us/4h). I am a member of this club, and I have access to the newly-renovated farm at this location. This project was a good way to test certain places on this location, and build credibility around the farm's potential use in a future production.

So first, here is the finished location as character project:

And second, here is the commentary script for the "Director's Cut" Piece:

Script: Analyze the “Location as Character Project”

Begin playing “Location as Project”

SOT is slightly dubbed.

Script

So to start off, I filmed this entire project with my iPhone, focusing on it's ability to capture some really interesting perspectives and still maintain a nice-looking image quality. This is the San Bruno 4-H farm, a location that has just undergone extensive repair, and could be used easily in upcoming films. I chose not to include any animals or people so as to not disturb the calm and personal connection feel of the piece with potential humor, etc, but they will be available to maybe star in upcoming films.

As a sort of establishing shot, I used a sunflower in WE-V, contrary to my previous concept of the a similar shot from a higher perspective. Empowering the plant seems to make it more interesting, and the camera was able to fit snugly on the ground and get this perspective. There is a nice color contrast between the yellow and the green, and the camera's concentration on these colors cause the background white and grey building to be removed from the shot. The light from the sun clearly illuminates the shot, and is used for this separation.

These next two shots focus on the linear appeal of the perspective, as well as a sense of balance and unity between the signs and the fence. The locked at all times sign is clearly linked to the locks on the gate, and so by doing that promotes the unit of the image.

This next shot I attempted as a test, and I appreciated it's structure and feel. It sets more of a mood to the piece.

The tree and the barbed wire continue to expand on the mood, saw cell as envisions a strong contrast between the clear sky and the dark barbed wire/tree.

The short rack focus of the spider web on the gate is another interesting shot that establishes a sense of depth, and was also interesting to do in the phone. I was not aware of this particular feature, and I was happy to be able to incorporate it.

The following shot incorporates several examples of lines, the audience is able to select which they prefer to follow.

The cornstalk relates to similar concepts attempted with the sunflower, simply with a powerful sun flare that outlines the form of the sunflower.

This second rack focus displays two extremes of contrast, first establishing the lock, then following the flag in the background.

Short bursts of the flag on the side of the screen was meant to visual movement in an otherwise steady shot.

Another use of the old barbed wire here has both contrast or color and a couple linear tracts to attract attention.

This sequence that follows was neat to put together, as I focused on framing the shots to show the water flowing rather than the faucet. This turned out not as planned, and in a wide shot. The camera could not make a distinction between the water dripping and the faucet itself. I still like how it turned out, though.

Another wev to establish an interesting focal point.

And finally some linear settings on the gate and a sunset. c Every good movie has a sunset in it. I would have preferred to have a timelapse of this shot, but I did not want to risk the integrity of my phone's camera.

Last and probably not least, the final "Director's Cut Piece:"

http://www.youtube.com/watch?v=-TOxoSGd4TM&feature=youtu.be

Enjouy