Directing
Directing
Directing
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<strong>Directing</strong><br />
Professor Kimberly Schwartz
<strong>Directing</strong> Aesthetics<br />
• Aesthetics=Approach<br />
• Realism<br />
• Modernism<br />
• Postmoderism<br />
(Kindem, G. & Musburger, R., 2005, 73)
Aesthetics<br />
• Function-Why?<br />
• Form-How?<br />
• Content-What?<br />
• Realism involves Content over<br />
Form<br />
• Modernism involves Form over<br />
Function<br />
• Post Modernism is Audience<br />
involvement over Artist’s Form &<br />
Content<br />
(Kindem, G. & Musburger, R., 2005, 73)
Realism<br />
• Common experience<br />
• Smooth, continuous camera<br />
action<br />
• Continuity (follows logical<br />
sequence)<br />
(Kindem, G. & Musburger, R., 2005, 74)
Modernism<br />
• Less objectivity<br />
• Goes beyond illusion of reality<br />
• May lack Continuity (not in<br />
logical sequence)<br />
(Kindem, G. & Musburger, R., 2005, 74)
Postmodernism<br />
• Stresses viewer participation<br />
• Vaguely defined characters<br />
• Scattered images<br />
• May prove confusing to<br />
audience<br />
(Kindem, G. & Musburger, R., 2005, 74)
Camera shots<br />
• Long shot (LS)<br />
• Medium shot (MS)<br />
• Close up (CU)<br />
(Kindem, G. & Musburger, R., 2005, 74-75)<br />
K. Schwartz (personal communication, February 19, 2008)
Camera Angle<br />
• Point-of-View Shot (POV)<br />
• Reverse-Angle Shot<br />
• Low-Angle Shot<br />
• High-Angle Shot<br />
• Overhead Shot<br />
(Kindem, G. & Musburger, R., 2005, 76-77)<br />
K. Schwartz (personal communication, February 19, 2008)
Stationary or Mobile<br />
Shot?<br />
• Pan (camera side to side)<br />
• Tilt (camera up and down)<br />
• Pedestal (camera stand moves up &<br />
down)<br />
• Zoom (lens in & out w/out moving<br />
camera)<br />
• Dolly (camera stand moves toward<br />
& away)<br />
• Trucking (camera stand moves side<br />
to side)<br />
• Tracking (camera stand on tracks)<br />
• Crane/Boom (Camera from above)<br />
(Kindem, G. & Musburger, R., 2005, 78-79)<br />
K. Schwartz (personal communication, February 19, 2008)
Composition<br />
• Frame Dimensions<br />
Aspect Ratio (frame width to height,<br />
e.g.4:3)<br />
Essential Area (portion of frame<br />
actually viewed)<br />
Rule of Thirds (frame drawn into<br />
thirds)<br />
• Symmetry<br />
Balanced, spatial<br />
pattern=symmetrical<br />
Unbalanced pattern=asymmetrical<br />
(Kindem, G. & Musburger, R., 2005, 79)<br />
K. Schwartz (personal communication, February 19, 2008)
Combining Shots<br />
• Straight cut/take (one shot follows<br />
another)<br />
• Fade (black screen to shot or vice versa)<br />
• Dissolve (fade out followed by fade in)<br />
• Wipe (done in editing; one scene follows<br />
another on screen)<br />
• Split screen<br />
• Superimposition (two views at once)<br />
• Keying/Chroma Key (titles placed on<br />
video)<br />
(Kindem, G. & Musburger, R., 2005, 83-75)<br />
K. Schwartz (personal communication, February 19, 2008)
Combining Shots (cont.)<br />
• Blue screen (background blue;<br />
video replaces it…e.g. TV<br />
weather)<br />
• Negative image (positive and<br />
negative reverse)<br />
• Freeze frame (still image<br />
continues)<br />
(Kindem, G. & Musburger, R., 2005, 85)<br />
K. Schwartz (personal communication, February 19, 2008)
Reference<br />
Kindem, G. & Musburger, R.<br />
(2005). Introduction to Media<br />
Production: The Path to Digital<br />
Media Production, 3 rd ed.<br />
Oxford, UK: Elsevier Inc.
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