PRIMAL PLAN

After the exercise about Tony’s office, i decided to shot a dialogue scene between three people, so  I chose a scene from a famous film, which named Flipped. This is a dialogue scene between three characters. I choose this scene because of my method; I want shot a dialogue scene in this semester. Also, this scene is so moved and warm. And I already film two people dialogue scene in a kind of successful way, even it is not perfect. However the over two people dialogue scene still not so familiar for me, so I want shot it in this time to find what problems I might have. This scene have three interesting roles, their different trait may help me design some shot in some degree. In addition, the location of this scene is easy to find for student work.

 

Staff: Three actors, photographer, sound person.

Location: one classroom.

Shooting time: weekend of week 8.

Script

 

 

 

 

 

 

 

 

 

 

 

 

Well, this is a busy week, we had done two main things, Weekend scene and presentation. I will start talking about the scene I made in last weekend. Actually, I designed a backstory of Tony’s office scene, which help me to design the shots be more reasonable and emotional.

In my script, Giselle is a best assistant for Tony. She have been accompanying with Tony in many years. In general, Tony is used to accompany of her. In their relationship, Giselle have favorable expression of Tony. However, because the employer and employee relationship, Giselle afraid to say her real feeling to Tony. Also, Tony cannot understand his real feeling to Giselle. He thought the reason why he feels good about Giselle might just because she is a good assistant. However, he is wrong. Giselle has born intense moral suffering for many days. Finally, Giselle decide to say a lie to see what the reaction Tony will have. So she say she will getting married with a man who has courted her in many days. So, in this scene, Giselle come to Tong’s office, she goanna tell Tony one big lie which is her marriage. In fact, I think she still have a little expect. She want know what is the real feeling of Tony. And for Tony, I think when he heard this news, he feel terrible and depressed, but he still pretend strong in few moment. In order to show this feeling of him, I use a close up for his writing gesture. Furthermore, in the end of the scene, when Giselle ask Tony will him still want her, I think it is seems like a new start of their relationship. As a result, I changed the ending shot to a shot, which they smiled to each other.

I got numerous inspirations from this individual experience. The most important one is never forget daily check  what you shot, and roughly edit the footages too! It is a really necessary thing. Because I shot the scene at Saturday, however, when I came back to check it I found part of the shots are not really good, so I reshot it at Sunday. Another thing is when we framing our shot, we need notice the continuity between the different shots, even you may edit in other way. I should improve it in my future project. This scene I made in a different way, I have not show the walking process of those actors, while, I utilize the pause of one shot to instead of it. So we just can see Tony directly break in the frame. I think this is more interesting, also show their relationship so tight.

 

For our presentation, I think everyone did a good job. For myself, I talked about some basic elements about dialogue scene, and which way I may interest in. However, I don’t have a clear plan about my next project, such as the script, location and so on. So I think the most urgent thing is finding my script as soon as possible! Also, never stop thinking.

After I done some exercises in this class, I realized that there are majority of scenes are dialogue scene which between different people. So this is a really significant and basic proportion of film. I want to successfully and creatively design dialogue scene in this semester. However, I am unable to construct a dialogue scene in a professional way, I often feel struggle about how to film the dialogue scene in my own way depending on some professional criteria. So I have to investigate them in a specific way.

Firstly, I will emphasize the usage of angels of film. In general, the most of dialogue scenes are begin with a wide shot for all people. The common and simplest way of two people’s conversation might have three basic camera angels: the wide shot of both subjects, two over the shoulder shots, move to each other’s shots. There is no doubt that those three angels are useful to construct the dialogue scene. The wide shot establish the environment and the relationship between the two characters, the shots of one each person change a perspective, some times can be a pov shot. But, it is enough? The answer must be negative. We can use more types of angels, for example, the special angels used in some films, the director utilize a angel from prof, such as parallel or a little bit under the table, through the door and so on. This camera angel may show a perspective of peep, which emphasize some emotion the characters have in this scene, or the specific atmosphere this scene have. I think it is so good and creative, I am so willing to use it in my future project. In addition, even some dialogue scenes are beginning with a wide shot, but I really like beginning with a close up for some things. I think it give an opportunity to viewers to have more expect and imagination about the situation.

The second basic element of dialogue scene frame which is the composition. Rule of thirds is the most popular principle used in composition. Rule of thirds is simply divides the screen to three equal parts vertically and horizontally. We need frame our subjects on those lines or in one of the third proportion screen. This rule can make the shot balance better. Also, when we put a two people in one frame, putting the less important people in one third proportion of a screen is a balance way. I always use this rule when I do the framing, I must keep using it in next project.

Moreover, I got a problem in the choice of using a long take to show dialogue scene or using several shots to show it. Finally, according to the exercise of phone scene, and some examples from famous films, such as the supermarket scene in Chungking Express, I realized how is the important of actor’s movements. Even though I prefer use several shots construct dialogue scene in my project, but I still need using the actor’s movement to instead of the frequent cuts. This way may makes my scene not too boring.

I mainly say some aspects of dialogue scene between two people. Actually, I also consider other parts about the dialogue over two people. Especially the more complicated usage of camera position, and the importance of action lines in the scene. However, I do not have enough time to explain it in here. I am keep posting on my blog. Also, I still have many problems need to consider in future days, I will investigate it, and got more feedback from the work I have done. I believe I am able to continually achieve different good points in this rest of semester.

Method #6

I already talked some aspects of two people’s dialogue scene. However, there are many scenes have more than two people. I am so struggle with the camera and character position in the dialogue scene of many actors. So I did some research about it from books and our exercises.

Basically, if the dialogue scene have three actors, we may have three simply ways to put the camera.

Three basic liner composition:

1. Straight liner

It means three actors stand on one straight line, in this time I will ensure the camera close to the line, through one people’s shoulder or head (it depends which size shot we used) viewers can see other actor’s face. It may seems like this:

 

2. The “L” shape

Some time we can make the space be more dimensional, the three actors do not need set in one plane, and they may stand in different planes. Such as this one:

The camera put on this position able to record their interaction in a wide and dimentional space.

My method#5

In dialogue scene, the role of 180 axis of action is so important. This rule mainly talks about the positions of camera and two characters in a conversation. For example, if something on the left side of the screen should stay on the left side of the screen, even if the camera moves. It’s particularly important to maintain this relationship when shooting characters interacting.

We can see it through a picture of this principle.

This rule requires the position of camera should be putted in any area of the semi-circles that 180 degrees on that side of the axis of action.

However, I still think it is not a strict thing we must follow. For example, in the exercise of Train, we had tried broken the 180 axis of action. It is give an audience a new perspective, it is actually open the space. In my own project, I won’t refuse to break the rule of 180 axis of action. Undoubtedly, I also will depend on the concrete situation.

 

Found scene of my edited “stairs”

 

Shot list

1. Camera following with their movements. Martha and Lucy walking in the street, medium shot.
2. Martha and Lucy talking to each other. And Lucy looks back, medium shot.
3. Medium close up of Charlie.
4. Lucy looks back one more time, medium shot.
5. Medium close up or Charlie, he looks around.
6. Lucy looks back, the turn back, and still walking, medium shot.
7. High angle and wide shot, they walking to the building.
8. C/U of foot.
9. Martha and Lucy climbing the stairs, medium shot.
10. High angel, wide shot, Martha and Lucy climbing the stairs.
11. Wide shot, low angel, Lucy suddenly stop, Martha keep going.
12. Medium C/U form Lucy’s shoulder.
13. POV of Charlie.
14. Medium C/U form Lucy’s shoulder. And she leaved, Charlie show his struggle emotion, and also leave.

 

The shot from 1 to 7 all from the scene 1, which present Charlie following with Lucy and Martha on the street. I cut their walking shot and medium C/U of Charlie alternately to emphasize the situation between them. Also, when I cut shot 2 to shot 3, I clearly notice the eye line of Lucy when she looks back. However, to be honest, the shots of scene1 are too many, I haven’t cut this series of actions in a tight way.

The shot of 7 uses a wide shot with a high angel to show the whole surroundings, and the states of both three characters. In the shot from 1 to 6, we just respectively see the action of Charlie and Lucy, Martha. However, this shot let us see them together, also see the concrete situation that Charlie following with them.

The shot 8 is a C/U of Lucy and Martha’s foot. I use this shot to remind audiences they start climbing stairs. Shot 12 and shot 14 are kind of interesting, the camera is behind of Lucy, so, the C/U shot from her shoulder, this position ensure audience can see her face expression, also can see Charlie walking into the frame. As a result, this frame has two planes, which forms a deep depth of field.

Shot 13 is a pov shot of Charlie, the camera instead of his head looking up and looking down. This design is interesting, however, it is a little easily make viewers feel confused in the beginning.

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Wednesday class Robin and Paul both have shown how to do our proposal presentation in week 7. They both gave us really good examples. Also, honestly, their examples help us get out of the mess. I finally know what I will talk in next week.

Moreover, we watched the edited shot of last week exercise. I thought I pay more attention in the rhyme of this edit compare with the last one. However, I should be honest, I am not really like some usage of angel which used in this scene. I really like the last edit scene of other group. I think the change between different shots are aim to show the clue and the development of the plot in larger context. We should consider why we change it in this way (such as the angel, perspective). And the last edited cene of other group did it pretty good. So, in next time, whatever group exercise or individual exercise, I need to consider the necessity and reason before I design the different shots.

Investigation of Mise-en-Scene, Montage, Decoupage

Mise-en-Scene:

The vagueness definition of Mise-en-Scene means “put thing into the scene”, which origin in French. Firstly, it was used in practice of directing plays. Film scholars, extending the term to film direction, use the term to signify the director’s control over what appears in the film frame. (David Bordwell, Kristin Thompson, 2012)

To be more specific, Mise-en-Scene usually planned in advance. Filmmaker constructs a scene through using several elements in a natural and artistic way to present different interior meaning. Those elements are setting, costumes and make up, lighting and staging. In the setting area, the props, location and color seem as an important role. Filmmaker utilizes props to develop narration of story, or show the role’s emotion and so on. For example, the usage of light in Happy Together is so amazing. Director uses a light to show the protagonist’s emotion in some scenes. Also, filmmakers are able to choose existing locale for the action or construct one. In general, the constructed setting increase filmmaker’s control, they may achieve some unrealistic effect. For instance, the first master of Mise-en-Scene –Georges Melies, He construct his own studio, he clearly designed fantastic sets, costumes and props. As a result, he filmed lot of short fantasy and trick film through his strict control of every element.

 

Montage

Montage can seem as a synonym for editing. In France the word “montage” simply denotes cutting. It is a technique in film editing which make a series of short shots into a sequence. Also it is an approach to creative editing developed by the Soviet filmmakers of the 1920s, which mainly emphasize dynamic, discontinuous relationship between different shots. (David Bordwell, Kristin Thompson, 2012) in addition, British primarily have used “montage sequence” and American studios, which refers to the common technique as outlined in this article. (Reisz Karel 2010) Filmmakers usually use montage sequence to represent a lengthy time into few moments. For example, we often see the repeated gesture cut together to show a growing up process of one role in film.

Eisenstein states that two or three shot edited together will have new meaning. We may understand it through lots of examples. I still remember, in the edit media class in first year, our teacher show different sequence to us. Those sequence construct by two shots, the first shot is entirely same, which is a man look at some place with a smile. However, each sequence has a different second shot. For instance, one sequence use a beautiful girl shot to follow the first one, but another use a serious situation shot. As a result, we found that the different second totally make the sequence have a different meaning.

 

Decoupage

In French，decoupage can described as the last stage of scriptwriting, and the film structure after the final cut. In addition, ‘decoupage classique’ generally can seem as continuity editing. In other word, decoupage as a structural concept helps to place editing in a much broader context. (Valerie Orpen, 2003) Decoupage has a strong link between the shooting stage and postproduction. Director may precisely plan their shooting and editing through the Decoupage. The famous director Hark Tsui always shows his decoupage in a fantastic way, he designed it very precise and amazing.

 

 

 

Reference

Brodwell D, Thompson K, 2012, Film Art: An Introduction.

Karel R, 2010, The Technique of Film Editing. Burlington, MA: Focal Press.

Orpen V, 2003, Film Editing: The Art of the Impressive.

 

In the last post I mainly focused on the perfect dialogue scene, which directed by others. I analyzed the efficient ways they used in the dialogue scene between two people. Those ways both looks very fantastic and inspirited. Robin talked me that I need pay more attention on the parts of myself, like what I will do? How I do it? In fact, I have been thinking this question several times. Undoubtedly, it need firstly depend on the concrete script. But, in general, I guess I will start with a shot about the detail of some things. Because, I thought it might have more mysterious feeling compare with the classical wide shot. However, I am so struggle with the usage of angel, sometime, we use high angel or low angel seems a little unnecessary. For example, in the scene of stairs, we use a high angel when characters walking to building, it is not natural. So, I realized that the usage of high angel or low angel is usually emphasizes some specific emotion in the scene. If I use in next time, I will start think what the emotion I need to show.

I already discussed the simple and common way to film a dialogue between two people, but I also want know some creative way compare with the first one.

I rally like watch the film directed by Wong Kar-wai. He has a very symbolic style. Such as the big passion of handheld shot, the usage of canted level and some jump cuts. He also has his own way to film dialogue. For example, the scene of Chungking Express is a man talking with the shopper. Wong Kar-Wai just uses one single handheld long shot to complete it. The camera mainly follows with the movement of the shopper. Using the handheld shot to film it can show the so-called lifestyle of it. Also, trough the movements of that two character, viewers are able to see the frame change. It is same with what Robin said after we done the exercise of train, why we cannot use character movements to instead of the frequent cut? It is really different and interesting way!