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focal depth/ implied proximity | |||||||||||||
long shot (LS) | Bigger than characters, but they are in the space. | ||||||||||||
medium long shot (MLS) | Knees up. Often action scenes. |
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medium shot (MS) | Waist up. Common “two shot” (see) à |
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medium close up (MCU) | Chest up |
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close up (CU) | Face | ||||||||||||
close on | Close up of an object. | ||||||||||||
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angle | |||||||||||||
eye level | Straight on from level. | ||||||||||||
low | Looking up. | ||||||||||||
canted/Dutch | Tilted off axis. |
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movement | tilt | Stationary camera person, moving camera, vertical. | |||||||||||
pan | Stationary camera person, moving camera, horizontal. | ||||||||||||
handheld | Lack of steadycam rig for jumbly effect. | ||||||||||||
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plane | foreground | Many shots use these three focal planes. |
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midground | |||||||||||||
background | |||||||||||||
| Some shots reduce to foreground & background. | ||||||||||||
space | onscreen | vs. | Seen in frame. | ||||||||||
offscreen | Out of frame, but still existing. | ||||||||||||
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closed |
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diagonals | balanced/centered | The diagonals converge in the center, giving a sense of balance. |
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oblique/unbalanced | The diagonals pull to the sides, creating motion and lack of balance. | Large scale example à |
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| Medium scale ex. à | ||||||||||||
| Small scale ex. à | ||||||||||||
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low contrast/high key | | ||||||||||||
oddities | diagetic lights |
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aspect ratios | |||||||||||||
2.75:1 | Panavision. Larger 65mm film stock. No distortions. | ||||||||||||
lens | |||||||||||||
telephoto/zoom | flattened space | ||||||||||||
image quality | |||||||||||||
digital | high res | | | ||||||||||
degradations added/virtual grain | For aesthetics and/or to make it seem more “believable.” | ||||||||||||
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The joining of shots together. |
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styles | “classical cutting” | ||||||||||||
| outside in | XLS à … à … àcharacter | |||||||||||
| inside out | character à … à … à XLS | |||||||||||
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some cut types |
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invisible (ish) | match on action | ||||||||||||
eyeline match | |||||||||||||
graphic match | |||||||||||||
shot reverse shot | |||||||||||||
flash/smash cut | |||||||||||||
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| diagetic | Supposed to be in fictional world. | |||||||||||
| non-diagetic | Not supposed to be in the fictional world. Usually the soundtrack. | soundtrack | ||||||||||
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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. | ||||||||||
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| simultaneous | Sound takes place at the time of the action onscreen. | This is like 99% of film sound. | ||||||||||
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| synchronous | Matching the action on screen. | This is like 99% of film sound. | ||||||||||
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| external | In the shared “real” diagetic world. | This is like 99% of film sound. | ||||||||||
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Friday, September 8, 2023
The Old Guard Analysis
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Zayda, I think you were able to find many good ideas within the film. I can relate because I am also analyzing The Old Guard. I think the best way to develop a strong thesis would be to combine the sound and shot elements of the film while also focusing on the lighting. Once you are able to tie all of those together with a purpose I think you will be set.
ReplyDeleteZayda, I like how you found examples from all different aspects of the chart in your film clip. In terms of an argument, I would maybe suggest something in the direction of the differing shot techniques since you have so many. I am not clear on what specific scene in the film you are focused on.
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