CNM 190 CNM 190 Advanced Digital Animation Advanced Digital Animation Lec Lec 08 : Cinematography & Editing Techniques 08 : Cinematography & Editing Techniques Dan Garcia Dan Garcia , EECS (co-instructor) , EECS (co-instructor) Greg Niemeyer, Art (co-instructor) Greg Niemeyer, Art (co-instructor) Jeremy Huddleston, EECS (TA) Jeremy Huddleston, EECS (TA) The rig used for The rig used for “ Bullet Time Bullet Time” in in The The Matrix Matrix
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The rig used for “Bullet Time” in The Matrix CNM 190inst.eecs.berkeley.edu/~cs194-8/Fa06Sp07/lectures/... · cinematography & editing Why study classical techniques? Film & Editing
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CNM 190CNM 190Advanced Digital AnimationAdvanced Digital Animation
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 youWhat you’’ll learn todayll learn today CClassic lassic techniques oftechniques of
cinematography & editingcinematography & editing Why study classical techniques?Why study classical techniques? Film & Editing ResourcesFilm & Editing Resources ReviewReview ContinuityContinuity EditingEditing DurationDuration Camera DirectionCamera Direction
Why Study Classic Techniques?Why Study Classic Techniques?
Those who cannotThose who cannotremember the past areremember the past arecondemned to repeat it. -condemned to repeat it. -SantayanaSantayana
You donYou don’’t wantt want youryourcamera and editing tocamera and editing toobstructobstruct your storytelling your storytelling
Instead, use them as toolsInstead, use them as toolsto to advance narrativeadvance narrative!!
If you want to break theIf you want to break therules, you need to knowrules, you need to knowwhat they are first!what they are first! Do it for a good, artisticDo it for a good, artistic
Film Art : An IntroductionFilm Art : An Introduction by David by David Bordwell Bordwell & Kristin Thompson& Kristin Thompson McGraw-Hill, 2003McGraw-Hill, 2003 $38 on Amazon$38 on Amazon
In the Blink of an Eye (2nd Edition)In the Blink of an Eye (2nd Edition) Walter Walter MurchMurch Silman-James Silman-James Press, 2001Press, 2001 $11 on Amazon$11 on Amazon
Six Main Criteria of Film EditingSix Main Criteria of Film Editing
Walter Walter MurchMurch Four Academy nominationsFour Academy nominations
for films edited on differentfor films edited on differentsystemssystems
Film editing Pioneer!Film editing Pioneer!
He He ranks 6 editing criteriaranks 6 editing criteria1.1. 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
invisible as possibleinvisible as possible The viewer should notThe viewer should not
notice the cutsnotice the cuts Shots should flowShots should flow
together naturallytogether naturally(direction, position, time)(direction, position, time)
Sequence of shots shouldSequence of shots shouldappear to be appear to be continuouscontinuousin time and space toin time and space toadvance narrativeadvance narrative
If you notice (editor,If you notice (editor,temperature in a room),temperature in a room),something is wrong.something is wrong.
Often called Often called The LineThe Line or or Line ofLine ofActionAction, it allows the camera to, it allows the camera tostay in the stay in the greengreen area area
If the camera violates thisIf the camera violates this((crossing the linecrossing the line into the into the redred),),the the chararacters chararacters will swapwill swapplaces on screen!places on screen!
Subjects should be spatiallySubjects should be spatiallyconsistent, with consistent consistent, with consistent axisaxisof actionof action
You You cancan cross the line with cross the line withintermediate head-on shot,intermediate head-on shot,POV or reestablishing shot, butPOV or reestablishing shot, buttry to avoid this if possibletry to avoid this if possible
CE : Shot/Reverse Shot & CE : Shot/Reverse Shot & Eyeline Eyeline MatchesMatches
A shot fromA shot from the opposite sidethe opposite sideof the green 180º areaof the green 180º area Often used as establishingOften used as establishing 30º rule : Camera moves at30º rule : Camera moves at
least that much between shotsleast that much between shots
An An eyeline eyeline matchmatch is one that is one thatassociates what a characterassociates what a characteris looking atis looking at You see what they sawYou see what they saw It often associates matchingIt often associates matching
close-upsclose-ups
In film, characters donIn film, characters don’’t event evenhave to be in same room!have to be in same room!
CE : Match/Cut on Action (MOA)CE : Match/Cut on Action (MOA)
Cuts between shots are moreCuts between shots are moreseamless if they occur on actionseamless if they occur on action
Definition: A cut which splicesDefinition: A cut which splicestwo different views of the sametwo different views of the sameaction together at the sameaction together at the samemoment in the movementmoment in the movement
E.g., if A is getting up and walksE.g., if A is getting up and walksto the window, cut AS heto the window, cut AS he’’ssgetting up, not before.getting up, not before. Cutting after could be Cutting after could be eyeline eyeline matchmatch
MOA can help with a jumpy cutMOA can help with a jumpy cut MOAMOA can be a subtle motion toocan be a subtle motion too
Cut-inCut-in Instantaneous cut to a close-up ofInstantaneous cut to a close-up of
something already in something already in frameframe
Cut awayCut away Close-upClose-up to something in to something in scenescene but but
not in the frame (usually)not in the frame (usually)
E.g., if you had a characterE.g., if you had a charactergetting up to answer the door,getting up to answer the door,you might cut away to a knock.you might cut away to a knock.
CE : Cross-cuttingCE : Cross-cutting A series of cutaways & cutbacksA series of cutaways & cutbacks Also known as Also known as Parallel Editing Parallel Editing oror
Parallel MontageParallel Montage Alternating shots of Alternating shots of ““two or moretwo or more lineslines
of action occurring in different places,of action occurring in different places,usually simultaneouslyusually simultaneously””
E.g., a chase scene. First theE.g., a chase scene. First the cops, thencops, thenthe robbers, then the copsthe robbers, then the cops……
Can also be used symbolicallyCan also be used symbolically Show a 1930s man in line for bread,Show a 1930s man in line for bread,
then a rich man getting into athen a rich man getting into a RollsRolls In film, this can be used to cheatIn film, this can be used to cheat
A man running from a train doesnA man running from a train doesn’’t havet haveto be anywhere near it!to be anywhere near it!
The The Simpsons Simpsons used to do this a lot untilused to do this a lot untilFamily Guy started too, then they quit!Family Guy started too, then they quit!
A shot transition thatA shot transition that omits parts ofomits parts ofan event, as if had ellipses (an event, as if had ellipses (……) in plot) in plot Also a cut with too-similar framingAlso a cut with too-similar framing Or with straight angle but differentOr with straight angle but different
people (they look like they morph!)people (they look like they morph!) ItIt’’s what you would do if you had nos what you would do if you had no
training in editing and just cut piecestraining in editing and just cut piecesof a story togetherof a story together It usually looks like a mistake!It usually looks like a mistake! This is what This is what iTunes iTunes does when itdoes when it
summarizes asummarizes a game into 10 min!game into 10 min! In the sixties, there was a wave of itIn the sixties, there was a wave of it
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 photographereven from a photographer’’ssstandpointstandpoint
Have a smooth camera!!Have a smooth camera!! Use a variety ofUse a variety of shots and CE!shots and CE!
““The single most commonThe single most commonmistake in beginning studentmistake in beginning studentproductions is that they haveproductions is that they haveno, or not enough close-upsno, or not enough close-ups””
Thanks to editing, timeThanks to editing, timeis completely in youris completely in yourcontrol. You cancontrol. You can…… have a very long takehave a very long take cut boring events outcut boring events out
(compress time)(compress time) Extend one event to theExtend one event to the
whole film! (24)whole film! (24) revisit it over and overrevisit it over and over change the rhythmchange the rhythm explore theexplore the
classes.yale.edu/film-analysis/htmfiles/editing.htmLong Take (Plan-sequence)Long Take (Plan-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 areShots above 1 minute are
now considered a long takenow considered a long take Extremely hard to shoot inExtremely 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!
ExamplesExamples Orson Orson WellesWelles’’ Touch of EvilTouch of Evil Robert AltmanRobert Altman’’s s The PlayerThe Player David FincherDavid Fincher’’s s Panic RoomPanic Room
Lots of CG tricksLots of CG tricks!!
The Player (1992) 8-minute shot!
Touch of Evil, The Player, Forrest Gump, Goodfellas
Cuts that recall part of theCuts that recall part of theaction, as if instant replayaction, as if instant replay Draws attention to itself,Draws attention to itself,
again very distinctiveagain very distinctive Usually associated withUsually associated with
experimental filmmakingexperimental filmmaking Usually foundUsually found in films wherein films where
action >> plotaction >> plot Common in Hong KongCommon in Hong Kong
action films of the 80s / 90saction films of the 80s / 90sMI:2 (2000) John Woo comes to Hollywood
Rhythm is the Rhythm is the ““perceivedperceived””rate of sounds, movementsrate of sounds, movements& series of shots& series of shots Usually itUsually it’’s the cuts thats the cuts that
determines the rhythmdetermines the rhythm Just as the story has rhythm,Just as the story has rhythm,
so does the editingso does the editing #3 of #3 of MurchMurch’’s s six main criteriasix main criteria
when it comes to film editingwhen it comes to film editing ThereThere’’s a feeling that this fines a feeling that this fine
art has been lost asart has been lost as we caterwe caterto the ADD MTV generationto the ADD MTV generation
Changing the focus of aChanging the focus of alens so that one elementlens so that one elementgoes out and anothergoes out and anothercomes into focuscomes into focus
By default, CG imagesBy default, CG imagesare through a pinholeare through a pinholecameracamera Infinite depth of field!Infinite depth of field!
Done in Maya via aDone in Maya via achoice of choice of Depth of FieldDepth of Fieldin Camera and adjustingin Camera and adjustingthe the Focus DistanceFocus Distance Render times explode!Render times explode! Can be cheated in post byCan be cheated in post by
Creating a turntable,Creating a turntable,or or ““how to rotate ahow to rotate acamera around thecamera around thecenter of the worldcenter of the world”” Select camera groupSelect camera group Set Set keyframes keyframes to theto the
start and end with 0start and end with 0degrees and 360degrees and 360degreesdegrees Y rotationY rotation