Making Better Movies with Moviestorm Vol 1: Basic Camerawork

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POV SHOTSHave one character walk through the set while the other one watches them from hiding. Film it with the viewer ableto see both characters, then film it again using POV shots. For added tension, have the victim stop and look back asthough they are aware they are being followed, and show the watcher‟s reaction.ReviewHow does the POV shot make you feel?Does it feel artificial or forced?Does the scene work better with the POV shot or the standard shot?How effectively can you mix POV with other shots?What effect does music and sound have on the scene?Follow-up exercisesComplicate the process by having the watcher move, instead of a static POV.Continue the scene so that we find out who the watcher is at the end of the scene.Try some of the other scenarios mentioned above.34
IMPLIED VS SEENTechniqueFilm a scene so that the viewer perceives much more than you actually show. Use shadows,reaction shots, or sounds to make the viewer imagine what you want them to see.For various reasons you may not wish to show something on screen, but still have it part of the story. This may befor budget or technical reasons (you can‟t actually get the shot you want), for ratings reasons (you can‟t show whatyou want), or artistic reasons (you want the viewer to be looking at something else).When done well, the viewer may not even realize they haven‟t seen what they think they‟ve seen. A classic exampleis the end of Rosemary‟s Baby. Most people are shocked by the powerful shot at the end where we see the baby inits crib with horns. However – and check this out if you don‟t believe me – the shot isn‟t there. We see peoplelooking into the crib, and we see their horrified reaction, but the actual baby is never actually shown. This ismasterful filmmaking by Polanski.Left: two people talking about something. We need not actually see the dead body on the floor to know whatthey are talking about. Right: the woman is obviously seeing something disturbing. The guard's description orthe sound of something happening off screen, combined with her expression, may be sufficient to convey thesense of disgust and horror.Use a scene with a dramatic moment in. Ideally, it should be under 1 minutelong. You can use either an action or a dialog scene, as they will give youdifferent challenges.35
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 30 and 31: FOREGROUND OBJECTSFilm the scene, u
Page 32 and 33: REVEALSFilm the scene and at the en
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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