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A single
shot is rarely used to tell a whole story. Series of shots are built into
sequences. The variety of the shots used describes the scene in more detail.
Rather than seeing everything from a distance (like in a theatre) we can
see many different elements at relatively close quarters. If these elements
are put together well there is an added dimension to your video - a visual
storytelling, one of the keys to making an 'interesting to watch' video.
Check out the good stuff on the television, analyze it a bit. You may
notice strong patterns amongst the diverse shots and sequences - there
are definite ways of working.
Here is a plan for
a sequence. It may not fit together like this in the edit - great shots
may be filmed on the day in addition to the planned shots and they will
be the shots that clinch you the Oscar! But if you have all of the required
shots they will fit together, even without your additional bits of inspired
genius. Plan it well, get what you need, then add to it.
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ECU
Text on Monitor
We see
an ECU of a computer screen. We can read the text.
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MS
Dutch MadDog
We cut
to an angled MS of our subject, MadDog. He is staring into his computer
screen, transfixed. We assume that we have just seen his POV - therefore
it must be the text that is holding his attention.
Suddenly he
seems to snap. He spins round in his chair and glares past the camera
whilst rising to his feet (moves his head out of frame). He raises
his right hand and we see him clench his fist as he moves out of
shot.
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MS
Working Man (POV MadDog)
We cut to a MS of to his point-of-view (POV) and see what he is
glaring at. A man is working frantically at his desk with a large
box of headphones in front of him.
He has not noticed
MadDog glaring at him. He reaches out to his walkman.
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OverShoulder
High Angle Working Man
We cut to Over-the Shoulder shot of the working man. We can see
that he is mending headphones with a soldering iron.
We hear the
sound of tinny music - the sound of a heavy rock track playing in
the working man's earpiece.
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Cut-In
Working Mans Hand
We cut to a CU of a hand turning the walkman up. The soundtrack of
tinny music crossfades to full music which becomes very loud as he
turns up the volume. |
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ECU
MadDog's Eyes
We see an ECU of MadDog's glaring eyes - he is red and he is twitching,
we can assume that he is in a rage.
We continue
to hear the loud rock track.
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MS
Working Man Travels in
We cut back to the MS of the working man (MadDog's POV). The camera
has changed to handheld and lurches forwards as the music gets heavier.
We assume from this that MadDog is moving towards the working man
in a fit of rage.
The camera moves
faster as it gets closer, the rock track builds to a peak.
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CU
POV Working Man Hands
We cut to a CU of the working man soldering. Straight away the hands
are dragged very rapidly out of frame to the left. The soldering iron
is dropped and all of the objects on the desk are knocked flying. |
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ECU
smoldering solder
We cut to an ECU of a drop of solder burning through the plastic
bag.
We hear a bloodcurdling,
drawnout scream of terror as the smoldering image fades to black,
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Planning an idea like
this as a crew gets the same idea of the work ahead across to everyone
concerned. Use a digital camera to make some fast, rough illustrations
of your shots to further your communication. It doesnt have to look like
the intended shot, just show the approximate framing and the positions
of the characters. Put them together with some description of how you
envisage the sequence to run and you have a storyboard which you will
probably find extremely useful.
Talk
About Sequences
You will need to know framings whether you are writing, using a camera,
holding a microphone, editing or any serious role. Shots of different
angles, framings, movement and composition need to fit together in the
edit to make a coherent sequence. The only way you are going to get all
the shots you need to make sense of a space, an action, the emotions that
the characters are displaying, is to plan in advance. Figure out what
shots you need and the order in which they will fit together. Talk about
this with the whole crew from writer to editor, each crewmember will need
something different to fulfill their role. How are you going to cause
the audience to experience your sequence of separate shots as an actual,
continuous event that they are witnessing? Now that you know some of the
terminology you will find it easier to think and talk about this.
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