color palette breakdown

http://thedesigninspirationalist.com/color-in-films-the-design-inspirationalist/

http://www.colourlovers.com/blog/2009/12/29/color-in-film-m-night-shyamalan

http://www.lightextreme.com/ColorInFilm.html

http://www.youtube.com/playlist?list=PL6FCAD558C6B7098B

http://www.jgeoff.com/godfather/oranges.html

http://hearthisyoucreators.blogspot.com/2013/01/color-in-film-amelie.html

rhythm and pacing

http://movieclips.com/7KbQH-the-matrix-movie-virtual-combat/

• Contrast and Affinity:
• 1st shot - deep
• 2nd shot - deep 
• 3rd shot - flat
• Plenty of creative 180 switches/cuts here
• Everything here is ying/yang - 
• Morpheous wears black, neo white. 
• Morpheous' gestures are subdued, neon's elaborate
• Neo's camera into shot pushes in (to suggest he is the learner, the absorber)
• M's shot pulls out (to suggest he is the teacher, and has info to give)

http://movieclips.com/RQv5A-the-island-movie-good-job/

• Shaky cam everywhere!!!
• Note the many ways the directors frame the train wheels flying off the flatbed. Variety and contrast = visual intensity!
• Note how the quick pacing in the beginning is contrasted by the slow pacing at the end, where the bad guy's vehicle is destroyed.

http://movieclips.com/dSF4-bolt-movie-scooter-chase/

• Breakdown first 1:30 - note camera moves, framing, pacing.
• Note how the camera moves, follows, starts, stops, etc
• Note the surprises the camerawork allows the audience to experience
• Note how the camera stops moving after certain portions of the chase, allowing the actors to keep moving in the frame and the audience to rest and absorb.

http://www.youtube.com/watch?feature=player_embedded&v=lOaV06ruMqg

• The camera leads Loiotta's character to Deniro
• The zolly (zoom + dolly) changes the perspective and suggests that the relationship between the two characters has just changed
• The zolly also puts the audience in a strange space, specially...similar to what Loiotta's character is going through.

http://movieclips.com/Yk4A-zodiac-movie-the-diner/

• Gyllenhal's character uses the salt and pepper shakers to illustrate the abstract geometry of the crime scene they are talking about.
• The waitress delivers the check at the moment Ruffalo's character realizes who the killer is.
• This helps emphasize the beat - check please = realization that the case is solved!

http://movieclips.com/xdVp-the-social-network-movie-i-deserve-some-recognition/

• the cuts in the first sequence are matched to the rhythm of the accusations
• Zuckerberg is centered in all of the shots, and everything in the room is used as a means of zeroing in on him

http://movieclips.com/WSZRr-midnight-in-paris-movie-pseudo-intellectual/

• woody allen intentionally separates the two actors in this shot to show the divide between them
• Owen Wilson's character is a blurred reflection in the shot featuring the girlfriend
• Are these characters being brought together or pushed apart?

http://movieclips.com/CqfDv-amelie-movie-love-at-first-sight/

• This sequence features some really really really lovely camera moves
• The moves of both the camera and actors tends to be upwards, complementing the uplifting feeling of being in love

http://movieclips.com/cHS6-amelie-movie-helping-a-blind-man/

• The pacing in the beginning of the sequence is slow - this is the setup.
• The pacing during the blind man walk sequence is quick - suggesting the fleeting glimpses the blind man is getting from Amelie
• Group boarding exercise - start to 1:25

Colors and their meanings

http://filmdirectingtips.com/archives/157

Incredibles observations, part 1.

You should be able to following along with the timecode for these notes while watching your Incredibles DVD.

2:05 - 2:16 - great title transition - gets you right into the action - great economy of information in the shot; it tells a lot with very little.

2:30-3:02 - 

- During the chase/pursuit sequence, Mr. Incredible only travels left - to -right

- The Mr. Incredible transform sequence is a set of quick shots, bookmarked by a set of longer shots at the start and end, which help to show the setup and result

- The car transform sequence contrasts this with a long shot from outside, keeping things fresh, showing off the car, and showing the speed of the pursuit with clearly receding objects (buildings) zipping by.

3:25 -

economy of information - CU of Mr. incredible reacting to computer in car, pull back to show computer display in car.

6:00 - 6:16

contrast and affinity in depth - 

setup shots have lots of depth and perspective (note diagonals everywhere)

the action and follow-through shots are flatter, bringing the audience in along for the ride.

The cut on glass break adds impact, as the camera appears to reverse its Z motion here, pulling backwards on the next shot. It makes the viewer almost feel as if they hit the glass too.

Mr. I forms a pyramid shape at the end. The warm color of the buildings provide a middle ground that helps to separate I from the dark blue sky behind him.

The shape of the windows suggest that I is trapped!

7:10

When Buddy says "be true to yourself" he is standing in front of a reflective object.

7:23

Mr I + bomb voyage + the spotlighted hole in the window form a triangle, which Buddy sits in the middle of.

8:10 

Brad Bird likes to derail trains, see also Iron Giant! Mr. I moves right-to-left, which makes it feel dangerous/awkward.

9:40

Clever framing emphasizes not only the size difference between the characters, but also shows the subtext….I is late for his own wedding….to his wife-to-be, it's like he's not really there. This also foreshadows I's travels later in the film, she he ventures away from his family to go on secret missions.

13:30 -

The pencils falling stand out against the largely still background, and add a subtle comic beat

18:50 - 19:30

The quick, comedic and action-packed shots of the table sequence help to get the audience engaged and then provide contrast to the slow, drawn out reveal of information in the shots where Bob reads the paper. Mrs. I yelling "Bob…I need you to engage!" provides great subtext. foreshadowing I's upcoming need to take action re: the info being presented in the newspaper.

19:46

Lucious's arrival is marked with a gag involving an icicle. Note the shot choice when Lucious catches the icicle - the framing intentionally leaves space for the icicle to fall into. Note how the quick cuts are buffered by longer setup and result shots at the start and end of this sequence.

20:40 

economy of info

The shot starts on the radio and pulls back. The emphasis on the radio and resulting triangle in the comp foreshadows its importance in the plot in this scene.

21:00 - 21:10

Crossing the 180 here (very subtle - watch I and L's positions change!) helps to suggest that things are about to change - our heroes are about to be plunged into real danger!

23:10 - foreshadowing and delaying

The officer yelling "Freeze" reenforces what the audience wants to happen; delaying the visual result (the frozen officer) makes the payoff greater.

24:50 - cool camera move…

Bob in MG

Mrs. I in BG

Cam in FG

Cam and Mrs. I both move in depth to meet in the middle

25:00 The triangles formed between Bob, Mrs. I and the edge of the ceiling beam provide a great framing element for the bit of rubble she holds in her hand.

25:15 - 25:45

The edge formed by the corner of the wall provides a great  tonal separation element, to emphasize the conflict between the characters.

31:50 

During this sequence, many of the shots where Mr.I is receiving "important" information, the camera orbits and spins on an axis around the iPad-thingy, adding to the fantastic nature of the mission being described. When I is responding to Mrs. I, the camera is more static and grounded, suggesting being the real world. The fanciness of the spiraling shots suggest that the information being delivered is desirable - it gives Mr. I a chance to relive his youth, etc. - and challenging - defeating the robot will be difficult. 

33:00 - nice, long, dramatic shot helps sell the importance of what just happened, and showcase what Mr. I wants - to relive his past. The diagonally crisscrossing crossfades add drama as well.

42:05, 42:24, 42:32, 42:33, 42:37, 42:55, 43:07, 43:35, 43:51, 44:02

Color is used as a thematic element a lot in the Incredibles. Blue is used a lot in the earlier shots of Mr. I, reenforced by his costume color (blue). Red is the color of the transformed, reborn Mr. I.

Now, Mr. I has changed…has become reborn….but he needs a new suit. All of the above shots feature his new suit color, red, helping prepare the audience for the color change.

1:00 - 

The cross cutting between Mr. I in the computer room and Mrs. I with Edna helps to build tension. Both characters are discovering shocking new information - Mr. I discovers Syndrome's plan, while Mrs. I discovers that Bob is living a double life and may be in danger. Ingeniously, Mrs. I's efforts to find Bob with the tracking device backfires, leading to his discovery.

1:02:15 ---->1:02:50

Very interesting sequence for pacing. The rhythm of the guns is paced very well, and reenforces the danger. The pacing of the cuts gets quicker as Bob runs, then settles back down; then increases again to a breakneck pace before settling down at the end with two long-duration shots. Contrast and Affinity!

1:09:30 - 1:10:34 - 

Contrast and Affinity - shot pacing builds up, then releases after plane explodes with super long shot of the family falling.

Maslow's hierarchy of needs

http://en.wikipedia.org/wiki/Maslow's_hierarchy_of_needs

Looking for drama everywhere

http://sevencamels.blogspot.com/2012/06/looking-for-drama-everywhere.html

Iron Giant notes + group boarding exercise!

Iron Giant notes

8:00 - rather than show H fully climb tree, they cut through the tree

8:33 - H's "getting ready" sequence foreshadows IG's hidden side by showing the red menace comic.

10:34 - great camera shot/move here - starts leaving space behind H to suggest vulnerability, then pulls back on IG reveal to show difference in size

11:00 - 11:10 - cross cutting

11:20 - back to mom at the house - mega cross cutting here - this whole sequence cuts back and forth between mom and H in the forest.

11:30 - cause and effect - power outage because of H's actions

12:20 - great weight animation on power switch

13:24 - great arcing animation on the way down.

15:55 - red trees and red tractor frame the actors in the center

16:22 - great reveal on KM starts with the logo on the car, pans up to KM's face, then follows badge gesture

18:50 - H meets G beats:

 - H goes to forest and sets "trap" 

 - H falls asleep

 - H wakes up to see the bait is gone

 - Look of terror on H's face, bumps into destroyed "bait"

- H looks up to reveal IG

- H runs from IG

- H slams into tree

22:45 - note the cut on spinning action - KM's gesture matches H's perfectly

24:14 - train tracks in shot foreshadow event about to happen

24:23 - framing here is perfect - tree line leads eye from IG to H to tracks

24:45 - hope and fear!

26:25 - cuts from KM on phone to car speeding away - brilliant!

28:00 - hope and fear in the kitchen!

29:11 - characters solving problems

34:35 - foreshadowing!

34:55 - 35:10 - great camera moves to show size/scale

41:42 - curved line of junk serves as pillow for IG (and leads eye there too)

42:50 - H's phone conversation becomes increasingly more difficult as KM is eavesdropping. Getting H tangled up in the cord enhances this visually.

1:03 - weather change reenforces story change!

1:06:35 - scramble the jets - amazing cut from phone to white house to jet after burner!

1:06:50 - 1:07:30 - group boarding exercise!

Finding tone in your drawings

http://sevencamels.blogspot.com/2010/09/quick-primer-on-values.html

http://sevencamels.blogspot.com/2012/01/tones-values-and-using-them-and-your.html

http://evanerichards.com/2012/2794

http://evanerichards.com/2012/2789

http://evanerichards.com/2012/2736

Film clips

Ways to safely cross 180:

1. Camera crosses the line
2. Actor crosses the line
3. New actor enters the scene and establishes new line

Creating and re-establishing new 180 lines:

http://www.youtube.com/watch?v=qTIc6y5mojw&feature=share&list=PL8F3444EC493C0C85


180 degree triangle:

http://www.youtube.com/watch?v=EFgCZDRkacU&feature=share&list=PL8F3444EC493C0C85

180 degree rule CAN be broken intentionally...

The Matrix subway fight (0:00 - 1:50)

http://www.youtube.com/watch?v=DMx-Az5Da4M

http://en.wikipedia.org/wiki/180-degree_rule

http://www.brighthub.com/multimedia/video/articles/60379.aspx

Paprika explains the 180 degree rule:

http://www.youtube.com/watch?v=e9xD_YYZrbA&feature=share&list=PLIxpDLIQpXvN5tJaBijnngE25u305l-hU


American Beauty:

http://www.youtube.com/watch?v=Vt0rz5iPuaA

http://www.youtube.com/watch?v=qw0kuEG7NR8&list=PL7B08A44C4D74CF75




No Country for Old Men (framing, pacing, camera push-in):

http://www.youtube.com/watch?v=d1U3MyX0pmE&list=PL0871E80F80989E56

breakdown and board ( 1:15 - 2:12 )
http://www.youtube.com/watch?v=fBqbMZ23n5o&list=PL0871E80F80989E56



The Godfather - note camera push in right before shooting:

http://www.youtube.com/watch?v=ppjyB2MpxBU


Amelie - puts camera in the mental space of the blind man:

http://www.youtube.com/watch?v=Wuntz3KDIAk&list=PL0CBD56D41228F70F&index=2



Midnight in Paris:

http://www.youtube.com/watch?v=Ln6Mdjs6dEE - separation of characters

Billy Ellliot - reveal of info:

http://www.youtube.com/watch?v=i0p2X2rQ6Ag (0:55 - 1:20)


2001: reveal of info:

http://www.youtube.com/watch?v=1s-PiIbzbhw

Line and Shape

edge, contour, closure, intersection of planes, imita- tion through distance, axis, and track.

Edge - edge of a 2d surface creates the line. Only visible if there is tonal or color contrast to pop it out.

examples: sheet of white paper against black, shadows cast on wall

Contour - the apparent line around the border of a 3d object

Closure - connect the dots, etc. Viewers create lines through connecting dots on screen

Intersection of planes - When two planes meet, they appear to form a line

Imitation through distance - complex objects recede into lines at a distance

Axis - invisible axis that runs through people, objects, etc

Track - the path an object makes as it moves across the screen

Linear motif - any pic can be reduced to simple lines. A pic's linear motif can be circular, straight, horiz, vert, or diagonal, or any combination of.

Horizontal - calming, least intense of all line motifs

Verticial - authoritarian, more intense

Diagonal - dynamic, most intense of all line motifs

Straight lines:

• direct

• aggressive

• bland

• honest

• industrial

• ordered

• strong

• unnatural

• adult

• rigid

Curved lines:

• indirect

• passive

• natural

• childlike

• romantic

• soft

• organic

• safe

• flexible

• Actors - when reduced to silhouette, what are the basic shapes?

• Scenery

• Set dressing - furniture, etc

• Simplify

Shapes:

2D:

3 basic shapes - circle, square, equilateral triangle

3D:

3 basic shapes - sphere, cube, 3 sided pyramid

All objects/shapes can be reduced to these basic shapes

Circle - benign, innocent, cute

Square - less cute than circle, rigid

Triangle - most dynamic of the shapes, because:

1. contains diagonal

2. Can be used to POINT in a direction - it's an arrow!

triangles often are described as bold, aggressive, dynamic, angry, menacing, scary, chaotic, disorienting, and unorganized

Contrast and affinity - circle and triangle have maximum contrast

Creating a linear motif storyboard to help discover/plan contrast/affinity in your shots

Space

SPACE

• Deep 
• offers illusion of 3d depth on a 2d screen
• no real depth in screen space, illusion is conveyed through depth cues
• perspective - 1, 2, and 3 point (draw buildings)
• perspective creates VANISHING POINTS and LONGITUDINAL PLANES
• Audience's eye will be usually drawn to and on-screen vanishing point (
• draw railroad tracks)
• draw two vanishing planes, with actor on outside, then actor on inside, at VP. Compare the two.
• size difference
• separating objects/actors into FG, MG and BG helps create depth
• movement
• moving parallel to the picture plane:
• objects further away will appear to move slower across screen
• objects closer will appear to move faster
• draw track runners to demonstrate
• moving perpendicular to picture plane
• objects appear to move faster the closer they are to the camera
• camera movement
• dolly in/out = moving camera closer or farther from the subject
• draw scene with FG actor and two BG actors, then dolly in
• FG actor will get larger faster
• tracking shot - camera dollies left/right
• with one FG and three BG actors, FG actor appears to move faster horizontally in screen space.
• crane shot - camera is moved vertically up or down.
• same FG/BG actor combo - FG actor will drop out of frame faster than BG guys
• Textural diffusion
• objects that are closer to the camera will have more visible texture
• Arial diffusion
• fog
• must have objects affected and unaffected in both the same shot in order to be an effective depth cue
• Tonal separation 
• light objects generally appear closer, dark objects generally recede
• can also be reverse, depending on lighting and arial diffusion
• Color seperation
• warm colors generally appear to be closer
• cool colors generally appear to be further away
• Up/Down position
• objects lower in the frame appear to be closer than objects higher in the frame (maybe because they appear more accessible?)
• Overlap
• overlapping objects in the frame create depth
• Focus
• blur vs sharp
• Flat
• emphasizes the 2d aspects of the screen space
• flat cues:
• frontal planes and NO LONGITUDINAL PLANES
• size consistency
• movement
• movement parallel to picture plane = good
• camera movement - pans, tilts and zooms
• help emphasize flat space because the relative distance between/size of objects does not change in the shot.
• textural affinity
• same amount of textural detail
• reduced tonal seperation
• reduced color separation (affinity of color)
• reduced overlapping shapes
• inverted depth cues
• inverting or reversing depth cues can help flatten deep space
• tone: placing brighter  obis in the BG and darker ones in the FG
• color: warm BG, cool FG
• textural diffusion: make BG obis have more texture and FG ones have less
• size difference: place larger objs farther away, and small ones closer.
• Limited
• combo of deep and flat space cues
• Ambiguous
• occurs when viewer is unable to understand the actual size/spatial relationships between objects in the frame
• lack of movement -
• objects of unknown size or shape
• tonal and textural camouflage
• mirrors and reflections
• disorienting camera angles

• DEEP SPACE
• dramatic
• exciting
• edgy
• can be used to release tension
• FLAT SPACE
• calming
• comedic
• disarming
• can be used to build tension/claustrophobia and awkwardness
• wes anderson!
• LIMITED
• combo of both
• AMBIGOUS
• mysterious
• disorienting
• chaotic

Film compositions #1

Frame still sites

http://www.hitchcockwiki.com/wiki/1000_Frames_of_Hitchcock

http://mikegrost.com/zmath.htm

http://image-par-image.blogspirit.com/

http://evanerichards.com/

movieclips youtube channel

Tons and tons and tons of viewable clips from amazing films....all on youtube!!!

http://www.youtube.com/movieclips

Sneakers

http://www.youtube.com/watch?v=coDtzN6bXAM&feature=share&list=PL1E9342504260D7F2

• This scene involves two characters having a conversation about changing the world. As the sequence begins, we realize that they are under surveillance. They move to a smaller room to continue the dialog.
• First two shots are closeups of the actors, then we go to wide shots as the actors lead us into the "safe" area. The camera pulls back to a very wide shot, before cutting inside the room to a series of closeups and OTS shots.
• The color scheme changes as the characters enter the "safe" area. Blue is used for the area where they can't talk out loud, red and neutral are used in the safe area.
• The tone changes as well. Unsafe area = dark tones, safe area = bright tones. 
• The "safe" area is where Ben Kingsley's character explains his seemingly benevolent plan to Redford's character.

Cider House Rules

http://www.youtube.com/watch?v=JES2fQLPoGU&feature=share&list=PL1E9342504260D7F2

• This is a time-lapse sequence involving Toby M's character reading through a series of letters he has received/sent.
• Fades are used to signify the passage of time between shots.
• In addition, at the end of each shot, the focal element in the shot is framed in a way that it spacially overlaps the focal element in the NEXT shot.

Pi

http://www.youtube.com/watch?v=SzfQ2Bwhkcc&list=PL1E9342504260D7F2&index=116

• This is a moment of discovery for the main character.  He is about to discover a nautilus shell, which will inspire him to mathematically decode the stock market.
• The first shots are super-high contrast in tone. 
• The shots are also ambiguous in their framing. We are in a disorienting, yet inspiring space with the character.
• As the sequence continues, we are put into a more recognizable space, when the main character sees the treasure hunter inspecting the nautilus shell.
• Note how the director chooses to SHOW the main character LOOKING at the hunter/nautilus shell, and then cross cuts to shots of what he is looking at.

Jurassic Park 3

http://www.youtube.com/watch?v=M7tNqjsclhs&list=PLF4CD53B8ECA3BB87&index=1

• Tons of deep space in this shot. 
• The camera work during the dino fight is made to feel as though a documentary filmmaker is there. Just enough camera movement to sell the presence of the camera, not so much to distract from the animation.
• There are several shots where one element is in the shot (human running away), and they react to something off-screen (falling dino), which then enters the frame. Very cool!

The Shining

http://www.youtube.com/watch?v=CMbI7DmLCNI

• The flatness of the shot = super awkward. 
• Going from framing Danny far away to super closeup = awkward/jarring
• Letting Danny lead the camera around the corner to reveal the girls heightens the audience's suspense.
• Danny's sweater is one of the most color saturated elements in the scene - blood red
• The close up non-moving camera on Danny's reaction to the girls heightens the horror - he is literally paralyzed with fear.