Making Better Movies with Moviestorm Vol 1: Basic Camerawork

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FOREGROUND OBJECTSFilm the scene, using a shot placing the main characters in one third of the frame. Now add in foreground objectson the opposite side of the frame to balance the shot. The foreground object should be simple set dressing, notsignificant to the story.ReviewWhat difference does it make?What size and shape object worked well?Follow-up exercisesAdd foreground objects to tracking and panning shots to add extra movement to the shot.Experiment <strong>with</strong> focus to see what difference it makes when the foreground object is blurred.Use the foreground object to obscure something in the shot.Use an extra instead of an object as the foreground object.Create a scene where the foreground element is significant to the story. For example, have a photograph of a man‟sfamily in the foreground while he‟s talking about them.Try using the foreground object as a pivot point: start on the object and move the camera to show the full scene, orstart on the background and move the camera to bring the foreground object into view. If the foreground object is amoving object such as a car, have it move into position.30
REVEALSTechniqueFilm a scene, and at the end reveal something that changes the meaning of the scene oradds significant new information.The reveal is a powerful technique that puts the viewer off balance and keeps them watching closely. For dramaticpieces, particularly thrillers or mysteries, the reveal is often used to add menace or to spring a plot twist: forexample, we see two people talking, and at the end the reveal shows a hidden observer watching their conversation,or there‟s a body on the floor at their feet, or we see the contents of a document they have been discussing. Incomedy, this can act as the punchline to a gag when we see that the context isn‟t as expected.The reveal relies on a change in framing: the viewer is shown a scene, and then is shown the same thing from adifferent viewpoint, which adds extra information.A fairly simple two-stage reveal. First, we see a couple kissing. Next, the camera pulls out and we see that sheis in her underwear. We are also now looking through a window, which implies that they are being observed.Finally, the camera shows us the man outside watching them. We still can't see his face, so we don't yet knowwho he is or how he is reacting to what he sees.Use a scene in a single location – either interior or exterior. Ideally, it should be1-2 minutes long, including 2 or more people. This works best <strong>with</strong> dialogscenes.31
Page 2 and 3: CONTENTSFOREWORD ..................
Page 6 and 7: EXERCISESHow to use this bookThe bo
Page 8 and 9: STATIC VS MOVING CAMERASFirst film
Page 10 and 11: LONG SHOTS VS CLOSEUPSFilm the scen
Page 12 and 13: USING CU/ECU - TELEPHOTO VS CLOSE C
Page 14 and 15: EXTENDED SHOT DURATIONFilm the enti
Page 16 and 17: EMPHASIS ON DIFFERENT CHARACTERSFil
Page 18 and 19: CONVERSATIONFilm the scene with a t
Page 20 and 21: TELEPHONEFilm the conversation thre
Page 22 and 23: FOLLOWING WALKSFilm the character w
Page 24 and 25: WALKING OFF - OUT OF SHOT OR OUT OF
Page 26 and 27: DEPTH OF FIELDShoot and edit the sc
Page 28 and 29: RACK FOCUSFilm the scene with the t
Page 32 and 33: REVEALSFilm the scene and at the en
Page 34 and 35: POV SHOTSHave one character walk th
Page 36 and 37: IMPLIED VS SEENFilm the scene and s
Page 38 and 39: THE CROWD ILLUSIONFilm the scene, a
Page 40 and 41: CONSTRAINTS ON NUMBER OF CAMERASSho
Page 42: Matt Kelland is one of the founders

Making Better Movies with Moviestorm Vol 1: Basic Camerawork

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