Unformatted text preview: vg. 5 seconds)
shot duration - shot duration (8 min: longer then average)
“long take” or “sequence shot” : an uninterrupted shot in a film which lasts much longer than the
as an alternative to editing conventional editing pace either of the film itself or of films in stills and links to images:
- dolly or tracking shot - general, usually lasting several minutes. It can be used for
dramatic and narrative effect if done properly, and in moving
shots is often accomplished through the use of a dolly or Steadicam.
Long takes of a sequence filmed in one shot without any editing are
rare in films. manned crane shot - cam movement = increase knowledge of image’s space, setting, perspective changes,
anticipates story action, change spacial relations
- mobile framing = can be motif, strengthen/support plot, or making it non-existent - crane shot by remote Still 1: The Shining: helicopter shot
- early use of the hand-held camera: The Lord of the Flies (Brook, 1963) Still 2: hand-held camera in Cloverfield (Reeves, 2008) Still 3: The Blair Witch Project (Myrick and Sánchez, 1999): hand-held camera shot
- Steadicam - Steadicam for 35mm camera - “Photo of director Stanley Kubrick with Steadicam inventor/operator Garrett
Brown on the hedge-maze set of The Shining” Still 4: tracking shot with Steadicam Still 5: tracking shot with Steadicam Stills 6 and 7: The Shining: Steadicam shots in the maze Stills 8-11: zoom-in shot: notice how the background seems to come closer as we zoom
in on Jack Stills 12-20: track-in shot Stills 21-23: zoom-in on Danny (21 and 22), cut to a point-of-view shot showing Danny’s
perspective (23) Stills 24-29: the unmotivated cut from Wendy to a tracking shot watching her from
behind suggests that the tracking shot is from Jack’s point of view, but then Jack steps
into the frame at the extreme front right,
revealing that the shot has been an indirect perspective...
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This document was uploaded on 02/25/2014.
- Fall '14
- Film Studies