I choose the scene from Black Panther (2018) Movie clip that takes place 29 minutes into the film. It is after the challenge scene when T'Challa is healing from his wounds in battle.
Clip can be seen: https://www.youtube.com/watch?v=dvJg6wrgkXI
29.11-29.20 Uses Medium close up on T'Challa and the camera has movement using handheld giving the scene a sort of jumbly affect when focused on T'Challa. They also use a high angle looking down onto T'Challa who is on the ground
29.22 Uses a montage of scenes that bring about emotion when you see the tender moments shared between T'Challa and his father during his life.
29.30 It reverts back to a medium close up shot of T'Challa while using a high shot looking down at his face.
29.32 swaps back to the Wakanda's spiritual guide using a Medium Close up with a low shot looking up at his face.
29.35-29.40 proceeds to low lighting that includes sidelit and backlit. While T'Challa is offscreen and not being seen but still existing. The little girl burying him has her face in frame using medium long shot and then the scene jumps to a balanced/centered diagonal on a medium scale to show the scared place he is being buried at and the people that are there.
29.42 Back to T'Challa using a handheld Medium long shot
29.43 Another montage of when T'challa's fathers died that cuts it different scenes of the event jump cutting to different scenes
30.06 Goes back to T'challa using a handheld medium close up shot with a high view
30.07 2 swaps back to the Wakanda's spiritual guide using a Medium Close up with a low shot looking up at his face.
30.8 when T'challa is covered in sand completely the screen goes black using POV.
30.13-30.33 T'challa rises out the dirt into another realm. The shot is eye level as if you are rising from the dirt with him and a medium close up of him allowing space for the realm around him to be seen as background and T'challa as foreground. The camera in the scene continues to be POV or subjective.
30.37-30.44 A long shot is used as T'challa stands and the beauty of the realm is shown in frame. This beauty is created using animation.
30.45 Jumps back to T'challa using a Medium close up shot. Showing facial expression as he views realm.
30.48 Uses a Medium close up establishing a foreground of T'challa midground of the blank panthers in the tree and background of the spiritual realm.
30.52 medium shot is used to show T'challa's father appearing to him, keeping both him and his father in frame.
30.55 Jumps back to T'challa using a Medium close up shot. Showing facial expression as he approaches father for a hug.
30.59 Medium close up is used while the father and son hug with limited focal depth using telephoto or zoom capturing their emotions while they hug. There is also non-diagetic sound coming from the soundtrack playing along with diagetic sound that happens onscreen and simultaneously as they speak.
31.17 Uses a Medium close up of T'challa that is oblique/unbalanced and small scale and includes T'challa as foreground, His fathers hand that he is kneeling down holding while crying as midground and the realm is the background.
31.21 Shows T'challa's father using a unbalanced medium close up from a slightly low angle
31.23 Goes back to s a Medium close up of T'challa that is oblique/unbalanced and small scale and includes T'challa as foreground, His fathers hand that he is kneeling down holding as midground and the realm is the background.
31.26 Is shot in POV as T'challa looks up at his father we are eyelevel
31.28 We see T'challa rise using a close up shot with a slightly high angle. His father lookng at him rise as foreground, T'challa as midground and the realm as background.
31.30 Medium close up of T'challa after he stands. His father lookng at him rise as foreground, T'challa as midground and the realm as background.
31.31 Medium close up of T'challa's father's facial expression as T'challa has stood
31.35 Jumps to a long shot showing the characters in the realm and uses diagetic sound as they speak but offscreen because we cant seen them speaking but can hear them
31.40 The use of a Medium long shot showing T'challa and his father talking
32.01 Unbalanced close up of T'challas father and the use of master shot and coverage is seen as a close up shot of both charaters are filmed to display T'challa and his fathers conversation
32.32 Jump cuts to unbalanced close up of T'challa
32.09 Close up of T'challas father
32.20 Close up of T'challa
32.27 Close up of T'challas father
32.52 Close up of T'challa
32.37 Close up of T'challas father
32.41 Close up of T'challa
32.43 Close up of T'challas father
32.50 Close up of T'challa
the shot
| A shot is an uninterrupted sequence of film/video bounded by edits. Note that camera and/or actors can move or zoom, and any elements below can change as that happens. | ||||||||||
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focal depth/ implied proximity | Closer to people’s faces seems more intimate and “about” the character, usually. | ||||||||||
extreme long shot/ establishing shot (XLS) | Bigger than characters. Places. Cities. | ||||||||||
long shot (LS) | Bigger than characters, but they are in the space. | Pride and Prejudice (2005) | |||||||||
medium long shot (MLS) | Knees up. Often action scenes. | Wonder Woman (2017) | |||||||||
medium shot (MS) | Waist up. Common “two shot” (see) à | Captain America: Civil War (2016) | |||||||||
medium close up (MCU) | Chest up. | Moonlight (2016) | |||||||||
close up (CU) | Face. | A Fantastic Woman (2018) | |||||||||
big close up (BCU) | Some of the face is out of frame. | Vast of Night (2020) | |||||||||
extreme close up (XCU) | A feature of the face. | ||||||||||
close on | Close up of an object. | Pee Wee’s Big Adventure (1985) | |||||||||
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angle | Looking up gives them power. Looking down disempowers them. | ||||||||||
bird’s eye | 90° down. | The Shawshank Redemption (1994) | |||||||||
high | Looking down. | Parasite (2019) | |||||||||
eye level | Straight on from level. | La La Land (2016) | |||||||||
low | Looking up. | Star Wars: The Last Jedi (2017) | |||||||||
worm’s eye | 90° up. | Psycho (1960) | |||||||||
canted/Dutch | Tilted off axis. | ||||||||||
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movement | tilt | Stationary camera person, moving camera, vertical. |
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ped/dolly | Stationary camera, moving camera person, vertical. |
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pan | Stationary camera person, moving camera, horizontal. | Star Trek (2009) (You can see both here, crabbing and then fast pans) | |||||||||
crab/truck | Stationary camera, moving camera person, horizontal. | ||||||||||
crane/drone | Extremely mobile camera. | Touch of Evil (1958) | |||||||||
POV/subjective/”I”/eye camera | Camera is a character as it moves. | Jaws (1975) | |||||||||
handheld | Lack of steadycam rig for jumbly effect. | The Bourne Supremacy (2004) | |||||||||
dolly zoom/Vertigo shot | Camera zooms in while it is begin physically trucked backwards. | Jaws (1975) | |||||||||
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plane | foreground | Many shots use these three focal planes. | The kid à | Jurassic Park (1993) | |||||||
midground | The raptors à | ||||||||||
background | Windows (escape!) à | ||||||||||
| Some shots reduce to foreground & background. | The joker à | The Dark Knight (2008) | ||||||||
The world à | |||||||||||
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space | onscreen | vs. | Seen in frame. | The kid à | Jaws (1975) | ||||||
offscreen | Out of frame, but still existing. | Jaws à | |||||||||
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open | vs. | The top of frame feels free. | Star Wars (1977) | ||||||||
closed | The top is closed in. | Train to Busan (2016) | |||||||||
| A mix… | Pride and Prejudice (2005) | |||||||||
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diagonals | balanced/centered | The diagonals converge in the center, giving a sense of balance. | Large scale example à | Star Wars (1977) | |||||||
| Medium scale ex. à | Meet Me St. Louis (1944) | |||||||||
| Small scale ex. à | Avengers: Infinity War (2018) | |||||||||
oblique/unbalanced | The diagonals pull to the sides, creating motion and lack of balance. | Large scale example à | LOTR: Fellowship of the Ring (2001) | ||||||||
| Medium scale ex. à | Parasite (2019) | |||||||||
| Small scale ex. à | Vast of Night (2020) | |||||||||
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lighting | Note the way 3-point lighting works, first. The fill light removes shadows. The back light makes figures pop from the background. | ||||||||||
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low contrast/high key |
| The typical Hollywood bright lighting style. | Clueless (1998) | ||||||||
high contrast/low key |
| The fill or backlight is brighter than usual: |
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sidelit |
| The Favourite (2019) | |||||||||
underhead |
| Kiss Me Deadly (1955) | |||||||||
overhead |
| Silence of the Lambs (1991) | |||||||||
backlit |
| Aliens (1986) | |||||||||
frontlit |
| John Wick (2014) | |||||||||
“Obie” or eye light | Bright light across the eyes, named for Merle Oberon’s use of it to disguise her scars after a car accident. | Dracula (1931) | |||||||||
oddities | diagetic lights | “diagetic” is stuff inside the fictional world of the film | Citizen Kane (1941) | ||||||||
lens flare | Optical effect when camera hits a light source | Star Trek (2009) | |||||||||
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photography |
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aspect ratios
| See this diagram – the top 3 traditonally used 35mm film. | ||||||||||
1.33:1 (4:3) | Dominant size for pre-1950s films and pre-1990s TV. The natural, whole frame of 35mm film. | Citizen Kane (1941) | |||||||||
1.78:1 (16x9) & 1.85:1 | Dominant size for 1950s-current films. Only a portion of the 35mm film is used. | North by Northwest (1958) | |||||||||
2.39:1 | Anamorphic widescreen. Film is recorded by a lens that squishes the print down by half on width and it is restored in post-production. This made widescreen cheaper and easier than 70mm (see before and after [*almost* the same moment] of Spartacus [1960]). But the stretch can create odd visual artifacts à | LOTR: Fellowship of the Ring (2001) | |||||||||
The Royal Tenenbaums (2001) | |||||||||||
2.75:1 | Panavision. Larger 65mm film stock. No distortions. | 2001: A Space Odyssey (1968) | |||||||||
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lens
| Films often use various lenses. | ||||||||||
wide angle | Allows for deep focus (multiple planes in focus). | Citizen Kane (1941) | |||||||||
| Can result in fish-eye distortion. | The Favourite (2019) | |||||||||
telephoto/zoom | limited focal depth | Casino Royale (2004) | |||||||||
| flattened space | Casino Royale (2004) | |||||||||
| Allows for rack focus | The Host (2006) | |||||||||
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image quality | Film is a sandwich of light-sensitive particles in fluidic emulsion sandwiched between harder layers of acetate. Less expensive and/or faster film leaves more unresponsive particles in the emulsion, leading to speckly grain. This can be an aesthetic choice (gritty, realistic, etc.) | ||||||||||
film | grain | high grain/grainy | Ghostbusters (1984) | ||||||||
| low grain/smooth | Lawrence of Arabia (1962) | |||||||||
condition | Film degrades over time and needs restoration. Some films are left behind and forgotten. | degraded/unrestored | Mrs. Pollifax, Spy (1971) | ||||||||
| restored | Wizard of Oz (1939) | |||||||||
quality | smaller film stock | 16mm | El Mariachi (1992) | ||||||||
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| 8mm | The found footage in Sinister (2012) | ||||||||
video | “quad” tape | Videotape was standard for many TV shows from the 50s-70s, and some kids shows are still shot on it. | Watch a few seconds of General Hospital (1981) | ||||||||
Hi8 | Home video cameras are used, but rarely. | Watch a few seconds of The Blair Witch Project (1999) | |||||||||
digital | high res |
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degradations added/virtual grain | For aesthetics and/or to make it seem more “believable.” | The Joker (2019) | |||||||||
low res | Using simpler tech (phones, Zoom, etc.) | Host (2020) | |||||||||
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exposure | The amount of overall light. | ||||||||||
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underexposure | extreme |
| Halloween (2007) | ||||||||
somewhat |
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| Hereditary (2018) | ||||||||
“day for night” | Old trick to make daytime look like night. | The Leopard Man (1943) | |||||||||
“correct” exposure |
| You can see lights and darks. | La La Land (2016) | ||||||||
overexposure | in darkness | Creates a glow or halo. | Lost Highway (1997) | ||||||||
in light | Washes everything out. | White (1994) | |||||||||
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editing | The joining of shots together. | ||||||||||
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styles | “classical cutting” | The norm for editing for 100+ years. The idea is to explain scene transitions in and out of a space. | |||||||||
| outside in | XLS à … à … à character | LOTR: Fellowship of the Ring (2001) | ||||||||
| inside out | character à … à … à XLS | Captain America (2011) | ||||||||
| master shot & coverage | This is a ubiquitous style by which a director provides material to editors to give freedom to shape the film in the editing room. A master LS of the shole scene is filmed, and the MS or closer of each character is filmed; again the whole scene each time. It can all be put together in many ways. For example: The Dark Knight (2008) | |||||||||
| cross cutting/ parallel editing | Cuts back and forth between characters geographically separated and/or doing different tasks. Often these scenes have little to do with each other, and it is like we are watching mini movies woven together, but here’s an example where they are so connected the sounds lap over into the cross-cut scenes: Lord of the Rings: Return of the King (2003) | |||||||||
montage | A quick cutting style that uses the Kuleshov effect (the same shot gets different meaning based on what it is edited in montage with). See here. Eisenstein developed it for films like Battleship Potemkin (1918). Watch 3 minutes of the famous Odessa Steps sequence. It is often used for effect in films like Psycho’s (1960) shower scene. In addition to horror, musical numbers and action sequences are the most common times these techniques are used. Take Moulin Rouge! (2001). | ||||||||||
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| some cut types | For the examples below, look sharp! The edit is pretty immediate (and indicated by the “X” in my descriptions below.. And because edits can be quick, make sure you see the first one, otherwise 3 or 4 edits will go by and you’ll wonder which it is. | |||||||||
invisible (ish) | match on action | Morpheus throws him X Neo flies through the air. | The Matrix (1999) | ||||||||
eyeline match | Romeo looks X Juliet’s there. | Jurassic Park (1993) | |||||||||
graphic match | Maria’s back X Maria’s front (she is in red in center of both – graphically similar) | West Side Story (1961) | |||||||||
shot reverse shot | Aileen cusses him out. X He reacts | Monster (2004) | |||||||||
the hook | “The garbage will do” X The Millennium Falcon. (The hook is where a question is answered by the edit) | Star Wars: The Force Awakens (2016) | |||||||||
lapping/sound bridge/ J or L cut | Electronic ticker X Chest beating. (The sound for next scene starts before the visual. It can be vice versa [J or L are about the shape of this edit on editing software screens]) | Wolf of Wall Street (2013) | |||||||||
visible | jump cut | Standing around X Differently (Jump cuts draw attention to themselves). | Little Shop of Horrors (1986) | ||||||||
flash/smash cut | Karen reacts to alarm X Mid radiation shower. | Silkwood (1983) [the cut at 15 seconds] | |||||||||
symbolic match | Murder bone thrown in air X Space ship. | 2001: A Space Odyssey (1968) | |||||||||
dissolve | Norman/Mother looks to camera X Car in swamp. | Psycho (1960) | |||||||||
fade | Frodo on eagles X Frodo recuperating (Fade to black is most usual, but white happens also). | ||||||||||
wipe | Okay, look, here’s just a bunch of ‘em. | Star Wars (1977) | |||||||||
iris | “Look,sir, droids.” X Sandcrawler (sorry this is of some dude’s TV recording…) | Star Wars (1977) | |||||||||
animation | Minas Tirith X Map X Hobbiton | ||||||||||
sound | These 5 pairs of terms can overlap and serve to differentiate kinds of sounds. For example, a voiceover is diagetic… | ||||||||||
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| diagetic | Supposed to be in fictional world. | This is like 99% of film sound. | ||||||||
| non-diagetic | Not supposed to be in the fictional world. Usually the soundtrack. | Music (most of the time). Rare other possibilities. A narrator might be, although if they turn out to be a character in the world, no. | ||||||||
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| onscreen | We can see the source that is supposed to be making the sound. | This is like 99% of film sound. | ||||||||
| offscreen | We can’t see it at the moment. | Let the Right One In (2008) The sound of the door opening a second in. | ||||||||
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| simultaneous | Sound takes place at the time of the action onscreen. | This is like 99% of film sound. | ||||||||
| nonsimulataneous | Sound takes place at another time/place than the action. | A Christmas Story (1983) (watch to :15 to see hos the narration is synchronous, though) | ||||||||
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| synchronous | Matching the action on screen. | This is like 99% of film sound. | ||||||||
| asynchronous | Not matching. | Think of sound delays for long range explosion or a character who is dazed. | ||||||||
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| external | In the shared “real” diagetic world. | This is like 99% of film sound. | ||||||||
| internal | Inside a character’s mind. | Psycho (1960) (she is imagining these bits of dialogue). | ||||||||
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