SUMMARY
Role
Director
Intention (SMART Goal)
By January 13 as a part of team 5 and using How a Director Stages and Blocks a Scene as a guide as well as looking at the works of I will show evidence of blocking and decisions.
PRE-PRODUCTION – INQUIRY
Leader(s) in the Field / Exemplary Work(s)
Steven Spielberg
https://www.imdb.com/name/nm0000229/
Training Source(s)
- 1:40 Shooting with 2 cameras at the same angle with different focal lengths is simpler than filming with 2 opposing angles and also simplifies continuity
- 5:08 Close up shots raise the intensity while farther away shots, for example medium, allow for a break in the intensity
- 7:48 Giving an actor a second objective, or “business”, makes the scene feel more natural and can help communicate the emotional states of the characters
- 8:27 Eye lines can be used to add more layers to visual story telling
- 14:45 In one shot scene, you should use blocking to create small “compositions” in order to replace the various shots
- 14:54 To demonstrate a power hierarchy between 2 characters, one could be shown leading the other
- 15:52 Lighting can also be used to demonstrate who has the power in a relationship between characters
- 17:52 A more spacious aspect ratio feels friendlier than ratios that are more tight
- 19:04 Reversing the blocking between characters shows change in character motivation
- 22:22 It is an unspoken rule in film that you should keep all of your angles on one side of an interaction between characters
- 24:06 The 180 degree serves as a way to keep the audience from being confused about character placement in the scene, however it can be broken without any drawbacks if visual cues are provided to give context