CNM 190 CNM 190 Advanced Digital Animation Advanced Digital Animation Lec 06 : Cinematography & Editing Lec 06 : Cinematography & Editing Techniques Techniques Dan Garcia Dan Garcia , EECS (co-instructor) , EECS (co-instructor) Jeremy Huddleston, EECS (co-instructor) Jeremy Huddleston, EECS (co-instructor) The rig used for “Bullet Time” in The rig used for “Bullet Time” in The Matrix The Matrix
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CNM 190 Advanced Digital Animation Lec 06 : Cinematography & Editing Techniques Dan Garcia, EECS (co-instructor) Jeremy Huddleston, EECS (co-instructor)
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CNM 190CNM 190Advanced Digital AnimationAdvanced Digital Animation
Dan GarciaDan Garcia, EECS (co-instructor), EECS (co-instructor)
Jeremy Huddleston, EECS (co-instructor)Jeremy Huddleston, EECS (co-instructor)
The rig used for “Bullet Time” in The rig used for “Bullet Time” in The MatrixThe Matrix
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C10 Hearst Field Annex; 642-9920
CNM190 2/30Cinematography & Editing Techniques
OverviewOverview What you know alreadyWhat you know already Basic cinematographyBasic cinematography Distance of shotDistance of shot
Extreme close upExtreme close up close up (CU)close up (CU) Medium close up (MCU)Medium close up (MCU) Medium shot (MS)Medium shot (MS) Long shotLong shot Point of view (POV) shotPoint of view (POV) shot Birds eye view shotBirds eye view shot
Camera AnglesCamera Angles Low angle (fear)Low angle (fear) High angle (weakness)High angle (weakness) Straight AngleStraight Angle
What you’ll learn todayWhat you’ll learn today Classic techniques of Classic techniques of
cinematography & editingcinematography & editing Why study classical Why study classical
techniques?techniques? Film & Editing ResourcesFilm & Editing Resources ReviewReview Continuity EditingContinuity Editing DurationDuration Camera DirectionCamera Direction
Procedural techniques of Procedural techniques of cinematography & editingcinematography & editing Motion InterpolationMotion Interpolation Quaternions & SlerpingQuaternions & Slerping SplinesSplines
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Why Study Classic Why Study Classic Techniques?Techniques?
Those who cannot Those who cannot remember the past are remember the past are condemned to repeat it. condemned to repeat it. -Santayana-Santayana
You don’t want your You don’t want your camera and editing to camera and editing to obstructobstruct your storytelling your storytelling
Instead, use them as Instead, use them as tools to tools to advance advance narrativenarrative!!
If you want to break the If you want to break the rules, you need to know rules, you need to know what they are first!what they are first! Do it for a good, artistic Do it for a good, artistic
reason, not ignorance!reason, not ignorance!
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Film & Editing Film & Editing ResourcesResources
Film Art : An IntroductionFilm Art : An Introduction by David Bordwell & Kristin by David Bordwell & Kristin
ThompsonThompson McGraw-Hill, 2003McGraw-Hill, 2003 $38 on Amazon$38 on Amazon
In the Blink of an Eye (2nd In the Blink of an Eye (2nd Edition)Edition) Walter MurchWalter Murch Silman-James Press, 2001Silman-James Press, 2001 $11 on Amazon$11 on Amazon
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Six Main Criteria of Film Six Main Criteria of Film Editing Editing
Walter MurchWalter Murch Four Academy Four Academy
nominations for films nominations for films edited on different edited on different systemssystems
Film editing Pioneer! Film editing Pioneer! He ranks 6 editing He ranks 6 editing
criteriacriteria1.1. EmotionEmotion2.2. StoryStory3.3. RhythmRhythm4.4. Eye traceEye trace5.5. 2D place of the screen2D place of the screen6.6. 3D space of action3D space of action
Make the editor as Make the editor as invisible as possibleinvisible as possible
The viewer should not The viewer should not notice the cutsnotice the cuts
Shots should flow Shots should flow together naturally together naturally (direction, position, time)(direction, position, time)
Sequence of shots Sequence of shots should appear to be should appear to be continuous in time and continuous in time and space to advance space to advance narrativenarrative
If you notice (editor, If you notice (editor, temperature in a temperature in a room), something is room), something is wrong.wrong.
Steenbeck film editing machine rollers
en.wikipedia.org/wiki/Continuity_editing
Neighbors, 1920
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CE : (Re)Establishing CE : (Re)Establishing ShotShot
As the name As the name implies, it implies, it “establishes” the “establishes” the scene and/or its scene and/or its participantsparticipants
E.g., Seinfeld’s E.g., Seinfeld’s restaurant exterior restaurant exterior shot before an shot before an interior sceneinterior scene
What is What is youryour establishing shot?establishing shot?
en.wikipedia.org/wiki/Establishing_shot
Exterior of “Monk’s” restaurant from Seinfeld
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CE : 180 degree ruleCE : 180 degree rule Often called Often called The LineThe Line or or
Line of ActionLine of Action, it allows the , it allows the camera to stay in the camera to stay in the greengreen areaarea
If the camera violates this If the camera violates this ((crossing the linecrossing the line into the into the redred), the chararacters will ), the chararacters will swap places on screen!swap places on screen!
Subjects should be spatially Subjects should be spatially consistent, with consistent consistent, with consistent axis of actionaxis of action
You You cancan cross the line with cross the line with intermediate head-on shot, intermediate head-on shot, POV or reestablishing shot, POV or reestablishing shot, but try to avoid this if but try to avoid this if possiblepossible
en.wikipedia.org/wiki/180_degree_rule
The green camera preserves Left/Right positions
Saturday Night Fever
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CE : Shot/Reverse Shot & Eyeline CE : Shot/Reverse Shot & Eyeline
MatchesMatches A shot from the opposite A shot from the opposite
side of the green 180º areaside of the green 180º area Often used as establishingOften used as establishing 30º rule : Camera moves at 30º rule : Camera moves at
least that much between least that much between shotsshots
An An eyeline matcheyeline match is one is one that associates what a that associates what a character is looking atcharacter is looking at You see what they sawYou see what they saw It often associates matching It often associates matching
close-upsclose-ups In film, characters don’t In film, characters don’t
even have to be in same even have to be in same room!room!
Two successive shots Two successive shots joined so as to suggest a joined so as to suggest a similaritysimilarity ColorColor ShapeShape LocationLocation
Some feel they are “heavy-Some feel they are “heavy-handed”, not subtlehanded”, not subtle
Kubrick’s classic Kubrick’s classic 2001 A 2001 A Space Odyssey:Space Odyssey: bone bone spaceshipspaceship
Scenes from Women on the Vergeof a Nervous Breakdown, 1988
Finding Nemo Main Titles
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CE : Match/Cut on Action CE : Match/Cut on Action (MOA) (MOA)
Cuts between shots are more Cuts between shots are more seamless if they occur on action seamless if they occur on action
Definition: A cut which splices Definition: A cut which splices two different views of the same two different views of the same action together at the same action together at the same moment in the movementmoment in the movement
E.g., if A is getting up and walks E.g., if A is getting up and walks to the window, cut AS he’s to the window, cut AS he’s getting up, not before. getting up, not before. Cutting after could be eyeline matchCutting after could be eyeline match
MOA can help with a jumpy cutMOA can help with a jumpy cut MOA can be a subtle motion tooMOA can be a subtle motion too
Cut-inCut-in Instantaneous cut to a close-up Instantaneous cut to a close-up
of something already in of something already in frameframe Cut awayCut away
Close-up to something in Close-up to something in scenescene but not in the frame (usually)but not in the frame (usually)
E.g., if you had a character E.g., if you had a character getting up to answer the getting up to answer the door, you might cut away to door, you might cut away to a knock. a knock.
CE : Cross-cutting CE : Cross-cutting A series of cutaways & cutbacksA series of cutaways & cutbacks Also known as Also known as Parallel Editing Parallel Editing or or
Parallel Montage Parallel Montage Alternating shots of “two or more Alternating shots of “two or more
lines of action occurring in different lines of action occurring in different places, usually simultaneously”places, usually simultaneously”
E.g., a chase scene. First the cops, E.g., a chase scene. First the cops, then the robbers, then the cops…then the robbers, then the cops…
Can also be used symbolicallyCan also be used symbolically Show a 1930s man in line for Show a 1930s man in line for
bread, then a rich man getting into bread, then a rich man getting into a Rollsa Rolls
In film, this can be used to cheatIn film, this can be used to cheat A man running from a train doesn’t A man running from a train doesn’t
have to be anywhere near it!have to be anywhere near it! The Simpsons used to do this a lot The Simpsons used to do this a lot
until Family Guy started too, then until Family Guy started too, then they quit!they quit!
Scenes from Yi Yi, 2000The father and daughter are both on first dates (different
countries)
Yi Yi
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CE Rule #1 : Avoid CE Rule #1 : Avoid Jump/Elliptical Cuts!Jump/Elliptical Cuts!
A shot transition that omits parts A shot transition that omits parts of an event, as if had ellipses (…) of an event, as if had ellipses (…) in plotin plot Also a cut with too-similar framingAlso a cut with too-similar framing Or with straight angle but different Or with straight angle but different
people (they look like they morph!)people (they look like they morph!) It’s what you would do if you had It’s what you would do if you had
no training in editing and just cut no training in editing and just cut pieces of a story togetherpieces of a story together It usually looks like a mistake!It usually looks like a mistake! This is what iTunes does when it This is what iTunes does when it
summarizes a game into 10 min!summarizes a game into 10 min! In the sixties, there was a wave of In the sixties, there was a wave of
itit To avoidTo avoid
Zoom instead of cutZoom instead of cut Make the framing more differentMake the framing more different Use the match techniquesUse the match techniques
This is a good idea in general, This is a good idea in general, even from a photographer’s even from a photographer’s standpointstandpoint
Have a smooth camera!!Have a smooth camera!! Use a variety of shots and CE!Use a variety of shots and CE! Watch: “Watch: “Quick Tips: Using Quick Tips: Using
the rule of thirds” on the rule of thirds” on YouTubeYouTube
““The single most common The single most common mistake in beginning student mistake in beginning student productions is that they have productions is that they have no, or not enough close-ups”no, or not enough close-ups”
Montage:French for “editing”Montage:French for “editing” In this context, we mean In this context, we mean
disparate images/shots that tell disparate images/shots that tell a storya story
Developed by 1920s Soviet Developed by 1920s Soviet theorists, e.g., Sergei Eisensteintheorists, e.g., Sergei Eisenstein
Five varieties of montage:Five varieties of montage: MetricMetric (# of frames) (# of frames) rhythmicrhythmic (rhythm) (rhythm) tonaltonal (light-dark (light-dark contrastscontrasts), ),
overtonalovertonal (emotions) (emotions) intellectualintellectual (all 4 but for (all 4 but for
Thanks to editing, Thanks to editing, time is completely in time is completely in your control. You your control. You can…can… have a very long takehave a very long take cut boring events out cut boring events out
(compress time)(compress time) Extend one event to Extend one event to
the whole film! (24)the whole film! (24) revisit it over and over revisit it over and over change the rhythmchange the rhythm explore the explore the
Long Take (Plan-Long Take (Plan-sequence) sequence)
A shot of unusual lengthA shot of unusual length Draws attention to itself, Draws attention to itself,
very different from normvery different from norm Shots above 1 minute are Shots above 1 minute are
now considered a long now considered a long taketake
Extremely hard to shoot in Extremely hard to shoot in real life, but trivial in CGreal life, but trivial in CG
Depending on movement, Depending on movement, can make film intense, can make film intense, carefree, or stagnant!carefree, or stagnant!
Examples Examples Orson Welles’ Orson Welles’ Touch of EvilTouch of Evil Robert Altman’s Robert Altman’s The PlayerThe Player David Fincher’s David Fincher’s Panic Panic
Cuts that recall part of Cuts that recall part of the action, as if instant the action, as if instant replayreplay Draws attention to itself, Draws attention to itself,
again very distinctiveagain very distinctive Usually associated with Usually associated with
experimental filmmakingexperimental filmmaking Usually found in films Usually found in films
where action >> plot where action >> plot Common in Hong Kong Common in Hong Kong
action films of the 80s / action films of the 80s / 90s90s
Rhythm is the Rhythm is the “perceived” rate of “perceived” rate of sounds, movements & sounds, movements & series of shotsseries of shots Usually it’s the cuts that Usually it’s the cuts that
determines the rhythmdetermines the rhythm Just as the story has Just as the story has
rhythm, so does the editingrhythm, so does the editing #3 of Murch’s six main #3 of Murch’s six main
criteria when it comes to criteria when it comes to film editingfilm editing
There’s a feeling that this There’s a feeling that this fine art has been lost as we fine art has been lost as we cater to the ADD MTV cater to the ADD MTV generationgeneration
The Good, the Bad and the Ugly (1966)
The Good, the Bad and the Ugly
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en.wikipedia.org/wiki/Bullet_timeBullet Time Bullet Time
Imagine time and space Imagine time and space as a two-dimensional as a two-dimensional graph:graph:
We can traverse We can traverse anywhere in this space! anywhere in this space! (easy in CG)(easy in CG)
The rig used for Bullet time in The Matrix
Making of The Matrix
space
time
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Inspired 3D Short Film ProductionCamera Direction Camera Direction
Lock-off cameraLock-off camera Simplest form of setupSimplest form of setup Position, angle, zoom, focus Position, angle, zoom, focus
fixed throughout the shotfixed throughout the shot A film consisting only of A film consisting only of
lock-off shots will feel dulllock-off shots will feel dull Camera moveCamera move
Rotating, moving, zooming, Rotating, moving, zooming, shifting focus or field of viewshifting focus or field of view
A film where the camera A film where the camera never stops moving can be never stops moving can be unsettling. unsettling.
When does this ride end?When does this ride end? ““Try not to get too carried Try not to get too carried
away with camera moves”away with camera moves” Mantra : smooth camerasMantra : smooth cameras
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Rack FocusRack Focus Changing the focus of a Changing the focus of a
lens so that one lens so that one element goes out and element goes out and another comes into another comes into focusfocus
By default, CG images By default, CG images are through a pinhole are through a pinhole cameracamera Infinite depth of field!Infinite depth of field!
Done in Maya via a Done in Maya via a choice of choice of Depth of FieldDepth of Field in Camera and adjusting in Camera and adjusting the the Focus DistanceFocus Distance Render times explode!Render times explode! Can be cheated in post by Can be cheated in post by
Linear vs Ease-in, Ease-Linear vs Ease-in, Ease-outout
Linear interpolation of Linear interpolation of motion produces very motion produces very unreal motion unreal motion (Lerping)(Lerping) P(t) = (1-t) PP(t) = (1-t) P00 + t P + t P11
Nothing has infinite Nothing has infinite acceleration!acceleration!
It’s important to understand the classical It’s important to understand the classical techniques of editing & cinematographytechniques of editing & cinematography Use them to facilitate Use them to facilitate
your narrative!your narrative! Smooth camera motions!!!Smooth camera motions!!!
Tremendous power if you code motion Tremendous power if you code motion yourself…yourself… Most SW does heavy lifting!Most SW does heavy lifting!