Fantastic West Side Story Scene- Gym Dance.

Camera angles and techniques that are so basic to today's standards, but I have yet to see any more effective for what they are trying to convey. It's little wonder this movie won ten Oscars!

Also a very topical time to show this with the upcoming Rathmore production of West Side Story!

Even more AWESOME definitions on Camera Stuff!!

Transition of Image and Sound- Important in editing. A cut makes the transition by connecting the last shot of one scene to the first shot of the next. Sometimes a transition is executed by a cut from a transition shot, such as a plane taking off or a building, to the first shot of the next scene. In a swish pan, the scene ends with the camera suddenly panning so fast that the image blurs. A cut to the next scene follows.
Overlapping sound can help to smooth transitions by anticipating a scene's visual beginning with its auditory beginning: a character may refer to the location of the next scene while a cut to it is made, and the conversation continues while the visual image of the new location comes into view.
Offscreen narration, or voice-over, usually by a character, can help keep the film together and maintain our interest while communicating a story economically. Offscreen sounds, such as crowd noises, an echo, amplified heartbeats, or a scream may increase anticipation, suspense, or excitement, revealing a private emotional experience and raising our level of involvement in the characters' dilemma.
Other transitional devices include special effects like fades, wipes, and dissolves.



Jump cut: This is a cut in editing where the middle section of a continuous shot is removed, and the beginning and end of the shot are then joined together. The technique breaks continuity in time and produces a startling effect.




Eyeline Match- Editing employs the eyeline match to preserve continuity and make the cut less noticeable. In an eyeline match 'shot 1' shows a character looking offscreen and 'shot 2' shows what the character is looking at. The character's gaze is directed precisely so that it corresponds to the layout established in earlier shots. This matching keeps the relations among characters and objects consistent from one shot to the next. At the same time, the eyeline match makes the cut slightly smoother, since the viewer expects the cut and is eager to see what the next shot will show.



Graphic Match- Two successive shots joined so as to create a strong similarity of compositional elements, for example, colour or shape. Used in transparent continuity styles to smooth the transition between two shots. Graphic matches can also be used to make metaphorical associations. Furthermore, some directors like use graphic matches as an integral part of their film style.



Action Match- Editing typically embeds cuts in the middle of an action - a technique known as a match on action. This technique helps "hide" the cut, since the viewer is paying attention to the action rather than the edit.



Shot/Reverse Shot: This is a film technique wherein one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other.



Continuity System- Virtually universal in film and tv, the continuity system aims to present a scene so that the editing is "invisible" (not consciously noticed by the viewer) and the viewer is never distracted by awkward jumps between shots or by any confusion about the layout of the scene. Classical editing achieves a "smooth" and "seamless" style of narration, both because of its conventionality (it is "invisible" in part because we are so used to it) and because it employs a number of powerful techniques designed to maximize a sense of continuity. A key element of the continuity system is the 180 degree rule, which states that the camera must stay on only one side of the actions and objects in a scene. An invisible line, known as the 180 degree or axis of action, runs through the space of the scene. The camera can shoot from any position within one side of that line, but it may never cross it. This convention ensures that the shot will have consistent srelations and screen directions. In other words, characters and objects never "flip flop" ;) A key aim of the continuity system is to ensure that no edit calls attention to itself or strikes the viewer as confusing, inconsistent or awkward. The 180 degree and the conventionality of the editing formula described above do a great deal to achieve this end.



Non Continuity System- By breaking down continuity, filmmakers reveal that film is ‘constructed’, not ‘natural’, and also challenge the relationship between cause and effect and the assumed ideologies of Hollywood.
CUTTING- A cut is a change from one shot to the next. It may be from a wide shot to a close-up, from an exterior to an interior scene, from someone starting an action to completing it, or from one scene to the next. Cuts connect people, places, and objects. There might be a cut from the street to the inside of a car driven by one of the characters, or from a person going up in an elevator to being inside a room high in a skyscraper. Another cut may then be from the character in the car to the car's involvement in a chase or accident or to the person in the room jumping out the window, cuts like these also allow for the use of stunt people or dummies.



Cross Cutting: This is an editing technique used in films to establish continuity. In a cross-cut, the camera will cut away from one action to another action. Because the shots occur one after another, cross-cutting is used to suggest simultaneity of action.

Parallel Editing: Parallel editing, or crosscutting, a cinematic convention in which two or more concurrent scenes are interwoven with each other. It can be used to show the differences between two separate experiences, e.g. two separate peoples journey to the same party.

Camera Movement

Pan- A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.

Pan Example-



Tilt- A movement which scans a scene vertically, otherwise similar to a pan.

Tilt Example-



Track- Tracking is often defined as movement parallel to the action, or at least at a constant distance. Usually the camera is mounted on a cart which travels along tracks.

Track Example-



Dolly- Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object. Complicated dolly shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley (good method for independent film-makers looking to save a few dollars). A dolly shot may be a good way of portraying movement, the journey of a character for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character.

Dolly Example-



Crane- Basically, dolly-shots-in-the-air. A crane is a useful way of moving a camera - it can move up, down, left, right, swooping in on action or moving diagonally out of it.

Crane Example-



Steadicam- The Steadicam is a camera stabilization device that, in the hands of a skilled operator, combines the image steadiness of a dolly with the freedom of movement of a hand-held shot.

Steadicam Example-



Hand-Held- Hand-held camera or hand-held shooting is a film and video technique in which a camera is literally held in the camera-operator's hands--as opposed to being placed on a tripod. The result is an image that is perceptibly shakier than that of a tripod-mounted camera.

Hand-Held Example-



Zoom- The zoom lens means that the camera need not be moved (and saves a lot of time and trouble). The zoom lens can zip a camera in or out of a scene very quickly. The drawbacks include the fact that while a dolly shot involves a steady movement similar to the focusing change in the human eye, the zoom lens tends to be jerky (unless used very slowly) and to distort an image, making objects appear closer together than they really are. Zoom lenses are also drastically over-used by many directors (including those holding palmcorders), who try to give the impression of movement and excitement in a scene where it does not exist.

Zoom Example-



Reverse Zoom- This shot moves you farther away into a Medium Shot or a Wide Shot. If you have a close up shot of a flower, and want to see the entire field that the flower is in, you will reverse zoom.

Reverse Zoom Example-



Framing- Shots are all about composition. Rather than pointing the camera at the subject, you need to compose an image. Framing is the process of creating composition.

Framing Example-



Rule Of Thirds- The rule of thirds is a compositional rule of thumb in photography and other visual arts such as painting and design.[1] The rule states that an image can be divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines. The four points formed by the intersections of these lines can be used to align features in the photograph. Proponents of this technique claim that aligning a photograph with these points creates more tension, energy and interest in the photo than simply centering the feature would.

Rule Of Thirds Example-



Depth Of Field- Depth of field is the range of distance within the subject that is acceptably sharp. The depth of field varies depending on camera type, aperture and focusing distance, although print size and viewing distance can influence our perception of it. This section is designed to give a better intuitive and technical understanding for photography, and provides a depth of field calculator to show how it varies with your camera settings.

Depth Of Field Example-



Deep Focus- Deep focus is a photographic and cinematographic technique incorporating a large depth-of-field. Depth-of-field is the front-to-back range of focus in an image — that is, how much of it appears sharp and clear. Consequently, in deep focus the foreground, middle-ground and background are all in focus. This can be achieved through knowledgeable application of the hyperfocal distance of the camera lens being used.



Shallow Focus- Shallow focus is a photographic and cinematographic technique incorporating a small depth of field. In shallow focus one plane of the image is in focus while the rest is out of focus. Shallow focus typically is used to emphasize one part of the image over another. Photographers sometimes refer to the area that is out of focus as bokeh.

Video With Examples of Deep and Shallow Focus-




Focus Pulls- The focus pull (AKA rack focus) is a creative camera technique in which you change focus during a shot. Usually this means adjusting the focus from one subject to another.

Example of Focus Pulls-

British Television Drama Camera Angles/Shots.

This picture is an example of the aerial shot of East-London used in the opening credits of Eastenders.

The Ways in Which I Consume Music!!

Being a huge music fan, I would obtain it any way I could. But I try to look for the best ways to get what I want to listen to.

Now, before I go any further, I must share my painful music tragedy. In a recent virus scan of my computer, all of the three years worth of music downloads got completely wiped, gone, shinay! So I will talk about my OLD system of obtaining music before that terrible, terrible incident....

If I heard a song I liked, I would just download it for free on Morpheus. I didn't see the point in paying for something when I could get it for free. I would download a lot of music, drag it in to Itunes and put it on my Ipod. Unless that counts, i dont think that I would 'share' my music.

However, if a band or artist I REALLY liked were to bring out a new album, I would make a point to buy that. For example, if one of my favourites, such as U2, Red Hot Chilli Peppers or Bon Jovi, or even a legend returning to release a much anticipated new album, such as Ozzy Osbounrne, Michael Jackson, ect then I would make a point of buying it, as I would want to hear every song, released or not. But for your every day music, I would just download it.

I do however go and see concerts whenever and wherever I can. No matter how fast or far technology develops and music becomes more convenient to listen to, NOTHING can or will ever beat the experience of seeing experiencing a live performance! NOTHING can match that atmosphere and give you as memorable an experience! I would rarely spend money on shirts or posters, although I would buy the occassional live DVD of a band I was a fan of.

I think that artists should most definately recieve money for their music, as it is, of course, their livelyhood. However, from my experience most of the artists I listen to are multiple times richer than me! So I don't see why me, a fairly working/middle class person, should go out of my way to buy music for their benefit, when I can get it myself for free. When there are starving children in the world and homeless people in the streets, I don't see why I should treat rich pop and rock stars as the charity case!

Can everybody be happy when it comes to cosuming music?? Realistically, no. Consumers will want everything either free or as cheap as possible, musicions will want to get paid as much as they can for what they do, and the people on the business side will want to get as much money from the consumers as possible tso as to pay the artists and themselves big fat checks. So it all results in a vicious cycle which resolves in each party trying to cheat the other as much as they can for their own benefit, which will no doubt result in stricter and stricter law and enforcement over the distribution of music as time goes on.

But on the bright side, i don't have to worry about that, because I now have no music left, and can't be bothered downloading or buying everything again, so I am out of this whole mess! YEEEYYYY..... I think?

Camera Angles.

Top 10 Camera Angles of LeBron's Jam (BasketBall)-



High Angle- In film, a high angle shot is usually when the camera is located high (often above head height) and the shot is angled downwards (in contrast to a low-angle shot). This shot is used sometimes in scenes of confrontation and fights to show which person has the higher power. The subject of a high angle shot looks vulnerable or insignificant; if the shot represents a character's point of view the shot can also be used to make the character tall, more powerful or threatening.



Low Angle- In cinematography, a low-angle shot, is a shot from a camera positioned low on the vertical axis, often at knee height, looking up. This technique is sometimes used in scenes of confrontation to illustrate which character holds the higher position of power, and is a common element in the aesthetic texture of certain genres such as film noir.



Canted Angle- Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability (any Michael Bay movie ). This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character,seeing what they see - a hand held camera is often used for this).

Examples of different Camera Shots.

Different Camera Shots-



Extreme Long Shots- when the subject is small in the overall image. This framing is sometimes referred to as an Establishing Shot and is perfect for emphasising the background and environment the character is against, especially as the first shot within a sequence. When shooting at this kind of distance, it is hard to see the subtle dramatic performances of the character - (so gestures may need to be played big if this wide framing is to be continued for a long length of time). It is when the camera is at its furthest distace forom the subject.



Long Shots- typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings; however, it is not as far away as an extreme long shot would be. It has been suggested that long-shot ranges usually correspond to approximately what would be the distance between the front row of the audience and the stage in live theatre.



Medium Shots- a camera shot from a medium distance. The dividing line between "long shot" and "medium shot" is fuzzy, as is the line between "medium shot" and "close-up". In some standard texts and professional references, a full-length view of a human subject is called a medium shot; in this terminology, a shot of the person from the knees up or the waist up is a close-up shot. In other texts, these partial views are called medium shots. (For example, in Europe a medium shot is framed from the waist up.)Medium shots are relatively poor at showing facial expressions but work well to show body language. Depending where the characters are placed in the shot, a medium shot is used to represent importance and power.



Close Up Shots- a close-up tightly frames a person or object. The most common close-ups are ones of actors' faces. They are also used extensively in stills photography. Close-ups are often used as cutaways from a more distant shot to show detail, such as characters' emotions, or some intricate activity with their hands. Close-ups are also used for distinguishing main characters. Major characters are often given a close-up when they are introduced as a way of indicating their importance. Leading characters will have multiple close-ups. There is a long-standing stereotype of insecure actors desiring a close-up at every opportunity and counting the number of close-ups they received.



Mid Shot- The mid shot cuts off at the waist. It is a good shot to introduce people to your audience. You get a good image of the subject and their surroundings



Wide Shot- In the wide shot, the subject takes up the full frame. In this case, the girl's feet are almost at the bottom of frame, and her head is almost at the top. Obviously the subject doesn't take up the whole width and height of the frame, since this is as close as we can get without losing any part of her. The small amount of room above and below the subject can be thought of as safety room — you don't want to be cutting the top of the head off. It would also look uncomfortable if her feet and head were exactly at the top and bottom of frame.



Two Shot- A Two shot is a type of shot employed in the film industry in which the frame encompasses a view of two people (the subjects). The subjects do not have to be next to each other, and there are many common two-shots which have one subject in the foreground and the other subject in the background.The shots are also used to show the emotional reactions between the subjects. Like the two shot which comprises two persons in the frame there is another shot called as the three shot which has three people in the composition of the frame. In these shots the characters are given more importance; this type of image can also be seen in print advertising.



Aerial Shot- Aerial shots are usually done with a crane or with a camera attached to a special helicopter to view large landscapes. This sort of shot would be restricted to exterior locations. A good area to do this shot would be a scene that takes place on a building. If the aerial shot is of a character it can make them seem insignificant or vulnerable.



Point of View Shot- A point of view shot also known as POV shot or a subjective camera) is a short film scene that shows what a character (the subject) is looking at (represented through the camera). It is usually established by being positioned between a shot of a character looking at something, and a shot showing the character's reaction. The technique of POV is one of the foundations of film editing. A POV shot need not be the strict point-of-view of an actual single character in a film. Sometimes the point-of-view shot is taken over the shoulder of the character (third person), who remains visible on the screen. Sometimes a POV shot is "shared" ("dual" or "triple"), i.e. it represents the joint POV of two (or more) characters. There is also the "nobody POV", where a shot is taken from the POV of a non-existent character. This often occurs when an actual POV shot is implied, but the character is removed. Sometimes the character is never present at all, despite a clear POV shot, such as the famous "God-POV" of birds descending from the sky in Alfred Hitchcock's film, The Birds. Another example of a POV shot is in the movie Doom, which contains a fairly long POV shot which resembles a head-up display in a first-person shooter video game, with the viewer watching through a character who is venturing through hallways shooting and killing aliens. With some POV shots when an animal is the chosen character, the shot will look distorted or black and white.



Over The Shoulder Shot- In film or video, an over the shoulder shot (also over shoulder, OS, OTS, or third-person shot) is a shot of someone or something taken over the shoulder of another person. The back of the shoulder and head of this person is used to frame the image of whatever (or whomever) the camera is pointing toward. This type of shot is very common when two characters are having a discussion and will usually follow an establishing shot which helps the audience place the characters in their setting.

Welcome to The Snake Pit!

Ryt Skeets! This is Creed's awesome blog, The Snake Pit! Every now and again he'll throw another wee snake in to the pit, and the Snake Pit will have a new feature, be it videos, links, work pieces, projects, or just random sentiments like this introduction! Hopefully it can end up being a semi-respectable blog, and not just some crappy page made to hold his Media Studies work! lol Enjoy!

Have a Nice Day!