SHOT BY SHOT
For this week's assignment, we had to collect a number of different shots. My friend Mickey and I decided to partner up, so most of the shots below are going to feature him in some capacity. We decided to have some fun with it, so we came up with a (very loose) plot and decided to go from there.
This is an example of a CHOKER. It was pretty difficult to get close enough to fill the frame without falling out of focus, just due to technology constraints, but it was definitely fun to shoot!
Here is a LOW-ANGLE SHOT, which I most definitely had to scuff my jeans to get. Since we didn't have a tripod or a gimbal or anything like that, it was hard to keep the camera steady for long enough to get a good shot.
This is an OVER-THE-SHOULDER, because we wanted to show some dialog and we figured this was the best way to do so. We roped in another one of our friends to guest star, but I wasn't sure how to judge how much of the frame should be filled with his shoulder, and how much with the person speaking.
Here we filmed a HEAD-ON SHOT, although I do track him a bit after he passes by me. For this one, it was a little scary to have to jump out of the way as he sprinted towards me, and I'm sure there is a better way to film it so that he doesn't have to dodge and neither do I.
This is a FULL SHOT, despite the slight cropping of his head by the top of the frame. It was difficult to fit him in completely without getting too far away, which was also slightly hampered by the resolution of our cameras. With a higher-resolution camera we likely could have fit more into the frame before losing detail.
Although we didn't actually use one, this is a BOOM SHOT, and it was actually really fun to shoot! It was interesting to try and fit in the different angles and levels that we had planned, while keeping a steady camera and movement. If we had an actual boom or a gimbal or something similar, it probably would have been easier to keep the camera from shaking with my hands.
This is a CLOSE-UP of our friend Lily's hands as she typed up this assignment on her blog! Like the CHOKER from earlier, this shot was hard to film from close enough without dropping out of focus, but once we figured out how to turn off auto-focus it became much easier.
This is a FOLLOW SHOT of my friend Miranda, and the only real issue with this one is the slight shakiness of my hands.
This PAN SHOT following our friend Kiley was probably my favorite of all of the shots, at least to film. It seems to be slightly underrepresented in modern movies, and whenever a movie does incorporate a good pan shot it is always fun to watch! With this one, it's important to make sure that you're moving the camera at a steady rate, so it doesn't seem jumpy or jerky.
This REACTION SHOT of Kiley is supposed to be in response to her best friend falling down the stairs, but - well, with unpaid actors you can only get so much! If you're going to film a reaction shot, just make sure that the actor is good enough to pull one off, and that you edit it down to get only the reaction, and none of the surrounding expressions.
This is a HIGH ANGLE SHOT of Miranda, the "best friend" who fell down the stairs. It was hard to incorporate this shot while keeping everything else in perspective, because from too high or too low the surrounding objects seem either shrunken or lengthened.
This, our final shot, is an EXTREME CLOSE-UP of Mickey, his eyes specifically. Like the other close shots, the only real difficult was keeping focus.
This is an example of a CHOKER. It was pretty difficult to get close enough to fill the frame without falling out of focus, just due to technology constraints, but it was definitely fun to shoot!
Here is a LOW-ANGLE SHOT, which I most definitely had to scuff my jeans to get. Since we didn't have a tripod or a gimbal or anything like that, it was hard to keep the camera steady for long enough to get a good shot.
This is an OVER-THE-SHOULDER, because we wanted to show some dialog and we figured this was the best way to do so. We roped in another one of our friends to guest star, but I wasn't sure how to judge how much of the frame should be filled with his shoulder, and how much with the person speaking.
Here we filmed a HEAD-ON SHOT, although I do track him a bit after he passes by me. For this one, it was a little scary to have to jump out of the way as he sprinted towards me, and I'm sure there is a better way to film it so that he doesn't have to dodge and neither do I.
This is a FULL SHOT, despite the slight cropping of his head by the top of the frame. It was difficult to fit him in completely without getting too far away, which was also slightly hampered by the resolution of our cameras. With a higher-resolution camera we likely could have fit more into the frame before losing detail.
Although we didn't actually use one, this is a BOOM SHOT, and it was actually really fun to shoot! It was interesting to try and fit in the different angles and levels that we had planned, while keeping a steady camera and movement. If we had an actual boom or a gimbal or something similar, it probably would have been easier to keep the camera from shaking with my hands.
This is a CLOSE-UP of our friend Lily's hands as she typed up this assignment on her blog! Like the CHOKER from earlier, this shot was hard to film from close enough without dropping out of focus, but once we figured out how to turn off auto-focus it became much easier.
This is a FOLLOW SHOT of my friend Miranda, and the only real issue with this one is the slight shakiness of my hands.
This PAN SHOT following our friend Kiley was probably my favorite of all of the shots, at least to film. It seems to be slightly underrepresented in modern movies, and whenever a movie does incorporate a good pan shot it is always fun to watch! With this one, it's important to make sure that you're moving the camera at a steady rate, so it doesn't seem jumpy or jerky.
This REACTION SHOT of Kiley is supposed to be in response to her best friend falling down the stairs, but - well, with unpaid actors you can only get so much! If you're going to film a reaction shot, just make sure that the actor is good enough to pull one off, and that you edit it down to get only the reaction, and none of the surrounding expressions.
This is a HIGH ANGLE SHOT of Miranda, the "best friend" who fell down the stairs. It was hard to incorporate this shot while keeping everything else in perspective, because from too high or too low the surrounding objects seem either shrunken or lengthened.
This, our final shot, is an EXTREME CLOSE-UP of Mickey, his eyes specifically. Like the other close shots, the only real difficult was keeping focus.
I liked looking at the high angle shot, it definitely produced an ominous or threatening sort of emotion, especially as the shot was of someone who had just fallen down the stairs. It lets you know whats going on while also shocking the viewer.
ReplyDeleteI also liked the boom shot as I felt like I was right there with the subject, trailing along. It creates a feeling of friendship with the subject.
I liked the full shot because you can see all the way down the empty hallway behind the subject. It makes me feel slightly afraid, as if something bad is going to happen to them.
I enjoyed the low angle shot for a similar reason. You could definitely feel as if you were there and because of the subjects clear height over you, it is interpreted as scary and ominous.