Transcript Visual Storytelling, Pictorial Continuity, or Sequencing:

Visual Storytelling,
Pictorial Continuity,
or Sequencing:
“The proper development and connection of motionpicture sequences to create a smoothly joined, coherent
motion-picture story”, where a sequence is a related
series of shots.
In order for a motion picture to be self-explanatory, it
should present images the way the eye/brain sees them.
How the Eye/Brain Works:
First, your eye rapidly scans new surroundings,
orienting yourself to unfamiliar space. Unfamiliar,
moving and brightly lit objects draw the eye.
Then, “clutter” is disregarded as the main object(s) of
interest are identified.
Finally, full attention is given to a primary object of
interest; details are moved through short-term memory.
Soon, the eyes begin to search surroundings again, then
shift to a primary object. Repeat.
The Basic Sequence:
•The Establishing Shot
•Wide Shot (WS) or
Long Shot (LS)
WS
•Eliminating Visual Clutter
MS
•Medium Shot (MS)
•Focus Attention
•Close Up (CU)
•Re-Establishing Shot
•MS, WS/LS
These shots are not ideal. They were not
taken with this instructional use in mind.
CUs
The Re-Establishing Shot:
The WS/MS used as a Re-Establishing Shot reminds the
viewer of the surroundings – a viewer’s retention is only
about one shot back – and allows a “break of eye
contact” if the CU is of a person’s face. It can serve as
the beginning of a new sequence.
Variety in the Sequence:
Both the WS and the CU have “EXtreme” versions. The
order of shots, from “far” to “near” are:
EWS(XWS)(ELS)(XLS), WS(LS), MS, CU, ECU(XCU)
But, everything is relative between the various shots. A
close up of a face is a MS of a nose and a WS of a nose hair.
In some cases, one shot can be skipped in the series of a
sequence, but no more. Too drastic a jump – EWS of a city
block to an ECU of a door knob – causes confusion or
disorientation in the viewer. A better sequence moves from
a WS of a single house, through the MS of the front door to
an ECU of the door knob.
Like all rules, there are Exceptions:
•Starting a sequence on an ECU disorients a viewer. But, this
could be the desired effect – a CU of a gun barrel sticking out of a
curtain; MS of a diplomat in a theater box; WS of a crowded
theater.
•A shot should last no less than 2 seconds; less than that is jarring
and may look like a mistake. But, rapid cuts of less than 2 seconds
– alternating between a woman’s feet walking in a dark alley, and a
man’s feet running – can build excitement or anxiety in the viewer.
No Exceptions allowed for
The General Rule!
“When changing a scene, change the size of the
image, change the angle, or both.”
During a sequence, moving from WS to MS to CU
changes the size of the primary object of focus.
Moving the camera for a shot from a different angle
reveals new details in the scene. Both of these
changes distract the eye, adding visual variety and
preventing jump cuts.
Cut-Ins and Cut-Aways:
Other shots in sequences include CUT-INs and CUT-AWAYs.
Generally classed as an Insert, a CUT-IN is a CU or ECU of an
alternate object of interest seen in the previous shot. A CUTAWAY is any shot of an alternate object of interest NOT seen in the
previous shot.
Both the Cut-In and Cut-Away are used to add additional
information or break-up the previous shot to allow compression or
expansion of time. A Reaction Shot is a cut-in or cut-away
showing the reaction of another subject reacting to the action of the
primary object of interest.
WS
MS
CU
RS
CI
CU
CA
CU
Pick-Ups:
When shooting images for a story, it is common to shoot
the entire scene in WS, then repeat sections with the
camera repositioned for MS and CU of specific objects
of interest. Cut-In and Cut-Away images are captured
after the primary shots.
These “Pick-Up” shots are are then used to create
sequences during the editing process. There is no incamera editing as the shots are not necessarily acquired
in sequence on the tape (or film).
Shot Framing:
•Looking Room/Nose Room: a CU of a face not shot head-on
should center the nose of the subject horizontally on the screen.
This puts some “looking room” in front of the subject’s face.
•Leading the Action: Leave space for a moving object to “move
into”.
•Point-Of-View (POV) – the camera represents the eyes of a
character moving through scene
•Over the Shoulder – camera includes the back/shoulder of one
character while capturing a MS/CU another character
Basic Shot Angles:
•FLAT ANGLE – gives a 2D appearance
•OBLIQUE ANGLE (45°)– gives a 3D appearance
•SIDE-ON (movement across screen) – accentuates speed
•HEAD-ON (movement directly toward camera) – compresses motion
•TAIL-AWAY (movement directly away from camera) – common
sequence-ending shot, “riding off into the sunset”
•“EYE LEVEL” – straight on, mimicking normal vision
•LOW ANGLE – gives subject power/removes power from viewer
•HIGH ANGLE – takes power away from subject/adds to viewer
•REVERSE ANGLE – camera is moved up to 180° around the primary
object, producing an image opposite the preceding shot
•DUTCH ANGLE – camera is mounted at an angle other than level to
the ground; produces images signifying confusion or danger
Camera Movements
•TILT – camera pivots UP or DOWN on tripod
•PAN – camera pivots LEFT or RIGHT on tripod
•BOOM (or CRANE) – camera moves UP or DOWN, usually
on a jib arm
•DOLLY – camera moves forward or backward, usually on
wheels
•TRUCK – camera moves side-to-side, usually on wheels
•ARC – camera moves around an object, usually on wheels
•ZOOM- IN or OUT – only the lens elements move,
NOT THE CAMERA. Consider a dolly instead.
Transitions From Shot to Shot:
•CUT – instant switch from one image to next
•FADE- IN or OUT– to or from black (white or color)
•DISSOLVE – like a fade, but from one image to another
•WIPE – a switch from one image to another along a line
moving horizontally, vertically, diagonally, etc.
also,
•SPLIT SCREEN – a wipe stopped half way
•SUPER – a dissolve stopped half way
•KEY and MATTE – partial image layered over a background
image based on video level
•CHROMAKEY – partial image layered over a background
image based on background hue
Editing Conventions:
•Montage: a series of brief, unrelated shots cut together to create a
theme or mood
•Contrasting Directions: crosscutting subjects as they approach
each other; one L-R, the other R-L
•Clean Entrance/Exit: Subject in motion need to be shown coming
from or going to someplace, usually beyond the shot boundary.
•In/Out Rule: a moving subject in the end of one shot should be
out of the beginning of the next. Or, the subject can out of the
first and be in the next. Subjects “in” both shots lead to continuity
errors. “Out” of both confuse the viewer.
•Cutting On Action: Transitions between MS and CU during
actions can distract the eye enough to cover SLIGHT continuity
errors. Duplicate the actions in both the end of the first shot and
the beginning of the second.