bethandrinaasmedia.files.wordpress.com€¦  · Web viewAs well as this, the camera shots do not switch back and forth with the dialogue, but rather to the character that has the

Rina Nayee and Beth Roskilly

Preliminary Research

Light Sleeper, 1992

The characters are lit dimly with most of the light coming from the right hand side, which creates a mellow and realistic tone. In the over the shoulder shot the person which is furthest from the camera is lit up whilst the person closest to the camera is dark and slightly out of focus, this is used to draw attention to the furthest characters face as you can clearly see their facial expressions. Therefore allowing the audience to read the character’s emotions and see their reactions to the dialogue. However, as they are opposite each other their faces cannot both be shown in the same shot and so a shot reverse shot is needed see both characters’ faces in turn. Both characters are positioned are in a similar posture and they move at the same time as each other, for example, both the characters had their hands rested on their chin, this suggests that they are similar to each other.

There are three main cameras that have been used in this scene. They are positioned behind the female character, on the left, behind the male character, on the right, and in the middle between them to give a more realistic feel to the shot. This encourages the audience as they are often looking from the perspective of the person who is talking. Furthermore the use of a three-camera set up helps create a sense of continuity because the shots are not changing as much and highlights the stability of the scene. They have used two over the shoulder shots and a mid-shot from one side to ensure that it does not break the 180-degree rule. The mid shot is used to set the scene and show the special distances between the characters, whilst the over the shoulder shots are used to show a character’s facial expression, whilst still connecting them to the other person by showing their eye contact and the character from the others point of view.

As well as this, the camera shots do not switch back and forth with the dialogue, but rather to the character that has the greater facial expression, sometimes switching between characters during dialogue. This helps the scene to flow and not feel stilted, as this eliminates pauses between camera changes. There are close ups on the subject that the characters

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Rina Nayee and Beth Roskilly

may be talking about, for example the characters were discussing the ring, which prompted a close up of the ring to reinforce the subject. This allows the audience to connect the dialogue to the picture, and follow the conversation more easily. It may also remind the audience of previous information around the ring, as they will remember seeing it before, whereas dialogue is often forgotten more.

This is a mid-shot; this shot is constantly used through this scene. This shot gives us the perfect angle to see both characters equally and gives us the spatial awareness between the two characters as well as allowing more of the setting to be shown, to establish their location. The character’s eye contact is established and their heads are almost level, showing that they are equal in power. Both are wearing dull coloured clothes to not distract from the image, as the eye is first brought centre by the bright sauce bottles, to highlight the touching of their hands.

Source: http://www.youtube.com/watch?v=QLkUHZ1qips&list=PLQOzh-8zLixWzyvyxvO5tGqSBzYvu5mye&index=34

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This is a close up. The man in this shot was talking about the ring that he is wearing. Then the camera cut to a close up of their hands. The ring is almost centred in the image for better visibility. And the plate and tray in opposite corners help balance the frame and reduce the amount of empty space. The close up is not as extreme as it could have been as it also shows their relationship through their hands.

Rina Nayee and Beth Roskilly

The woman is placed on the left hand side and is dimly lit in comparison to the man. This is to draw more attention to him and focuses the audience on his face. The female’s position is still visible showing her tilting her head down, in response to him.

The man is framed in a medium-close up, with his face slightly framed halfway up the shot, with a small gap above his head. The woman’s shoulder is only slightly obscuring the image of the man and her mid neck is visible with the edge of her face just shown. She is only taking up a third of the

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Rina Nayee and Beth Roskilly

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Rina Nayee and Beth Roskilly

The Hunger Games (2012)

A shot reverse shot is a camera technique in which two characters faces are who are in opposite directions, you may also see the back of someone’s body and the face of the person seated opposite them this create a realistic effect of the characters having a direct conversation which each other. Here are some images of a shot reverse shot form a movie manes “the hunger games” this is an intense shot reverse shot as the lighting insinuates a dull mood.

Source: https://www.youtube.com/watch?v=o1Ey0a6LJRA

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Rina Nayee and Beth Roskilly

Spider-Man (2002)

This clip is different because although shot reverse shot is used there is only one character present, as they are struggling with split personalities. The image of each character standing in front of each other is created by filming the ‘dark side’ of the character in a mirror. This helps to separate the personalities. However, as the dialogue between the personalities continue, the good side is also shot in the mirror but inverted back to normal to sustain the spatial awareness and two person effect but starts to confuse the two personalities and show the blurring of them both. As the dialogue intensifies the camera slowly zooms in until the mirror is no longer visible and the character is framed in a close up to convey more extreme emotions. The character is lit from two points, heavily from the front and slightly from the back to create the feeling of natural light sources from multiple windows.

Source: http://www.youtube.com/watch?v=h0xiCIMIwLY

Shot:

This particular shot reverse shot cannot be produced using over the shoulder shots as the camera would be visible in the mirror.

Mid Shots are used frequently.

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Rina Nayee and Beth Roskilly

With each cut between the mirror and the real world his personality changes with the shot, shown through his facial expressions and voice.

Even though his image is inversed in the mirror, the camera is still shooting from the same side, with his front to the camera following the 180 degree rule.

The use of the mirror allows the character to make direct eye contact, as though he is looking at someone else. It also allows the light to be projected from the front, enhancing the illusion that they are opposite each

Reverse Shot:

Shot again:

With the reflection, the camera switches his position in the frame between the upper left quarter and the upper right quarter to further create the effect of them being opposite each other.

He is positioned so that he is mostly on the left side of the frame, although still only occupying a third of the frame. The space on the right of the frame shows the foreground slightly out of focus, but is still visible enough to see the decadence of his home.

The edge of the mirror is always visible. This creates a sense of confusion towards whether he is being shot in the mirror or in the real world, to emphasise the confusion the character is feeling and the blurring between the two personalities.

Most of the dialogue does not overlap the shots as the same character is

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