Typical Two-Shots

The most dramatically interesting medium shot is the two-shot, in which two players con front each other and exchange dialogue. The two-shot originated in Hollywood, and is known in France, Italy and Spain as the "American-shot." A famous director has stated: "Regardless of the size of the picture, whether it boasts a cast of thousands or a modest number, the action always winds up in a two-shot featuring boy and girl, hero and villain, or hero and his buddy."

There are numerous variations of the two-shot. The most widely used, but not always the most pictorially interesting, is that in which both players sit or stand facing each other with their profiles to the lens. Young people with clean-cut profiles and good necklines will generally photograph well. Older persons with jowls, puffy faces or double chins should seldom be filmed in profile. The main problem with the profile two-shot is that neither player can dominate the composition if each is equally well lighted. Dominance is achieved through dialogue, action or favorable lighting, which captrues audience attention at the expense of the less favored player.

Two-shots may be angled and played in depth, so that nearest player is turned slightly away from the camera and the farther player positioned so that he is filmed in a three-quarter angle. Or, one player may appear in profile and the other in a three-quarter angle or facing the camera.

There is an unusual variation of the two-shot in which both players face the camera: the nearer player looks off screen while the farther player looks at the nearer player's back. This allows both players to be filmed facing the camera, in a single shot. Although it saves additional camera set-up, it is dramatically inadequate because the players do not truly relate with each other. One is dreamily looking away, while the other seems to be trying to get his attention, such as:

The picture is from "lifed" made by Pixar in 2006.

The picture is from The Five C's of  Cinematography.

For instance, like the picture above, typical profile boy-girl seated two-shots. Neither player dominates the scene from composition or lighting standpoint. Each player dominates in turn, as he or she speaks or performs an action that captures audience attention. Eye appeal is lessened in a profile shot.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.

Three Factors of Camera Angle- Subject Size

The image size, the size of the subject in relation to the over-all frame, determines the type of shot photographed. The size of the image on the film is determined by the distance of the camera from the subject, and the focal length of lens used to make the shot. The closer the camera; the larger the image. The longer the lens; the larger the image. The converse is also true.

Image size may vary during the shot by moving the camera, moving players, or employing a zoom lens. The camera may pan or dolly so that the subject is brought closer to or further away from the lens. The players may move toward or away from the camera. The zoom lens may be varied in focal length as the scene progresses. Thus, a long shot may graduate into a close-up; a close-up become a long shot, in a single shot.

Extreme long shot

An extreme long shot depicts a vast area from a great distance. It may be used whenever the audience should be impressed with the huge scope of the setting or event. An extremely wide angle static shot is usually more adaptable for extreme long shots than is a panning camera movement. The pan should be employed only when it increase in interest, or reveals more of the setting or action, as it progresses. The static shot should be used whenever a map type shot, which establishes the geography of the locale, is desirable. Extreme long shots are best filmed from a high vantage point, such as a high camera platform, the top of a building, a hilltop or a mountain peak; or from an airplane or helicopter. A large ranch, a farm, a city skyline, an industrial complex, a mountain range; or a mass movement such as a cattle drive, a ship convoy or a moving army, may be very impressive as opening shots to introduce a sequence or to begin a picture. Such massive shots set the scene for what follows by putting the audience in the proper mood, and providing them with the over-all picture before introducing characters and establishing story line. Whenever possible, extreme long shots should be filmed to open up the picture on a grand scale, and capture audience interest from the start.

Long shot

A long shot takes in the entire area of action. The place, the people, and the objects in the scene are shown in a long shot to acquaint the audience with their over-all appearance. A long shot may include a street, a house, or a room, or any setting where the event takes place. The long shot should be employed to establish all elements in the scene, so that viewers will know who is involved, where they are located as they move about, and when seen in closer shots as the sequence progresses.

Medium shot

A medium shot may be better defined as an intermediate shot because it falls between a long shot and a close-up. Players are filmed from above the knees, or from just below the waist. While several players may be close enough to record with clarity their gestures, facial expressions and movements.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.

All of pictures are from "lifted" made by Pixar in 2006.

learning agreement final

Aim:

By researching lighting design, I hope to get a comprehensive understanding about how to apply it to 3D animation to improve storytelling in terms of shaping the space, molding characters emotions within their role and rendering the appropriate atmosphere for a scene. My aim is to develop the expressive power with a 3D animation’s narrative.

I will also research cinematography related to lighting design. Through this I wish to heighten the audience’s understanding of the narrative and their enjoyment of the piece.

Using this understanding I will make an animated narrative piece of work which will be approximately three minutes in length.

Brief description of your project:

Central concern of the project:

My project is to understand and research Lighting Design and Cinematography in Three-Dimensional Animation and then apply them into my animation which will be approximately three minutes. From my research, I hope I can comprehensively understand these theories and correctly put them into use, which could improve 3D animation’s storytelling in terms of lighting distribution, intensity, lighting color, lighting angle, shadow, camera angle as well as composition. It is necessary to use them appropriately to heighten the audience’s understanding of the narrative and their enjoyment of the piece.

Scope:

My project will be researched in terms of lighting distribution, lighting intensity, lighting color, lighting angle, shadow, camera angle as well as composition.

Relevance:

{It is the balance between dramatic lighting and accurate lighting that is the focus of my study} how to apply lighting that is accurate enough to convince the audience of it reality with sufficient drama to enhance the narrative. Lighting helps the audience understand the predicament of character within a narrative and therefore heightens their emotional involvement with the story.

Learning outcomes:

LO1:

Demonstrate an understanding of Lighting Design within 3D Animation and apply it in the development of a shot animated project.

LO2:

Demonstrate an understanding of cinematography within 3D Animation and it placed in relation to story telling.

LO3:

Demonstrate an understanding of audience and their relationship to the narrative within 3D Animation and how lighting design and cinematography could enhance their experience.

Types of Camera Angles_ Point-Of-View Camera Angles

I have introduced objective camera angle and subjective camera angle before, and now I will talk about the last type of camera angle--point-of-view.

Point-of-view, or simply p.o.v., camera angles record the scene from a particular player's view-point. The point-of-view is an objective angle, but since it falls between the objective and subjective angle, it should be placed in a separate category and given special consideration.

A point-of-view shot is as close as an objective shot can approach a subjective shot-- and still remain objective. The camera is positioned at the side of a subjective player- whose viewpoint is being depicted- so that the audience is given the impression they are standing cheek-to-cheek with the off-screen player. The viewer does not see the event through the player's eyes, as in a subjective shot in which the camera trades places with the screen player. He sees the event from the player's viewpoint, as if standing alongside him. Thus, the camera angle remains objective, since it is an unseen observer not involved in the action. An on-screen player looking at the player whose view-point is depicted, looks slightly to the side of the camera- not into the lens, like picture 02.

"Presto.BDRE." made by Pixar in 2008. 01

"Presto.BDRE." made by Pixar in 2008. 02

Point-of-view shots may be used whenever it is desirable to involve the viewer more closely with the event. The audience steps into the picture, so to speak, and sees the players and the setting from the viewpoint of a particular player- by standing beside him. This creates a stronger identity with the screen player in the action, and provides the viewer with a more intimate glimpse of the event.

The shots often follow over-the-shoulder shots, when a pair of players face each other and exchange dialogue. Each player may be seen from the opposing player's point-of-view.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.

All of pictures are from "Presto.BDRE." made by Pixar in 2008.