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01:00:01,458 --> 01:00:02,458
This DVD continues
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01:00:02,541 --> 01:00:03,666
from a previous volume.
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01:00:04,583 --> 01:00:05,708
If you haven't watched the previous
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01:00:05,791 --> 01:00:06,541
volumes, it's highly
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01:00:06,625 --> 01:00:08,166
recommended that you do so first.
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01:00:14,333 --> 01:00:15,833
Panning and tracking handoffs are almost
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01:00:15,916 --> 01:00:16,916
identical moves and are
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01:00:17,000 --> 01:00:17,833
often interchangeable.
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01:00:18,916 --> 01:00:20,333
However, the tracking handoff can be
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01:00:20,416 --> 01:00:21,625
considered the enhanced version.
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01:00:23,208 --> 01:00:24,958
As we do tracking versions of some of the
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01:00:25,041 --> 01:00:26,416
handoffs from the panning chapter,
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01:00:26,500 --> 01:00:27,250
we track with the
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01:00:27,333 --> 01:00:29,916
characters ending on a sign.
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01:00:32,375 --> 01:00:33,166
Here we handoff from
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01:00:33,250 --> 01:00:34,291
one character to another.
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01:00:35,708 --> 01:00:37,375
Since we're not handing off by panning,
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01:00:37,458 --> 01:00:39,375
but instead by moving the entire dolly,
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01:00:39,458 --> 01:00:41,125
we're physically moving to a new area and
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01:00:41,208 --> 01:00:42,791
have a much easier time separating the
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01:00:42,875 --> 01:00:44,166
characters and keeping a good angle.
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01:00:46,083 --> 01:00:47,666
Here we're using a switch to do a
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01:00:47,750 --> 01:00:48,666
document handover as we
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01:00:48,750 --> 01:00:49,541
track through the scene,
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01:00:49,875 --> 01:00:50,916
moving with a red man,
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01:00:52,291 --> 01:00:53,250
switching to the woman,
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01:00:57,000 --> 01:00:58,041
and switching to the blue man.
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01:00:59,333 --> 01:01:01,125
If we did this with a pan, our angle on
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01:01:01,208 --> 01:01:02,625
the characters would get worse and worse,
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01:01:02,833 --> 01:01:04,000
but on track we're able to
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01:01:04,083 --> 01:01:05,416
continuously keep a good angle.
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01:01:07,958 --> 01:01:08,625
Tracking handoffs also
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01:01:08,708 --> 01:01:10,166
produce a great deal of parallax.
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01:01:11,458 --> 01:01:12,500
Here we track with a waiter.
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01:01:14,166 --> 01:01:15,958
As we handoff to the guests, we get very
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01:01:16,041 --> 01:01:17,750
pronounced parallax, which a lock camera
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01:01:17,833 --> 01:01:18,625
could never produce.
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01:01:20,291 --> 01:01:21,583
Or if we're starting parked on the
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01:01:21,666 --> 01:01:22,541
restaurant guests, we
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01:01:22,625 --> 01:01:23,416
pick up on the waiter,
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01:01:25,166 --> 01:01:26,000
walk with them,
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01:01:27,125 --> 01:01:28,208
then end on a character in the
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01:01:28,291 --> 01:01:30,250
foreground, again creating heavy parallax
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01:01:30,333 --> 01:01:31,625
and a quick and surprising reveal.
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01:01:33,833 --> 01:01:35,333
The great thing about tracking handoffs
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01:01:35,416 --> 01:01:36,708
is that with minor consideration,
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01:01:36,958 --> 01:01:38,458
they can come by as an almost automatic
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01:01:38,541 --> 01:01:39,250
consequence of
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01:01:39,333 --> 01:01:40,500
tracking between keyframes.
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01:01:41,750 --> 01:01:43,000
In this scene, one of the things that
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01:01:43,083 --> 01:01:44,791
happen is that the man walks over here.
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01:01:45,958 --> 01:01:47,458
We'll presumably have many different
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01:01:47,541 --> 01:01:48,625
keyframes in the scene,
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01:01:48,708 --> 01:01:50,291
but the two we would be interested in are
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01:01:50,375 --> 01:01:51,958
a shot on the man and
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01:01:52,041 --> 01:01:52,708
a shot on the woman.
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01:01:54,250 --> 01:01:55,625
If these keyframes are connected for
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01:01:55,708 --> 01:01:56,791
tracking with his walk,
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01:01:56,875 --> 01:01:58,541
we get an automatic handoff as we end in
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01:01:58,625 --> 01:01:59,500
the second keyframe.
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01:02:02,291 --> 01:02:03,708
This creates very three-dimensional
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01:02:03,791 --> 01:02:05,416
blocking and is very easy to do.
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01:02:06,708 --> 01:02:07,708
Starting in the man's shot,
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01:02:07,791 --> 01:02:08,875
we pull with him as he walks,
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01:02:10,250 --> 01:02:11,125
handing off to the woman.
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01:02:12,500 --> 01:02:14,083
Since both keyframes would probably be
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01:02:14,166 --> 01:02:14,750
needed for cutting
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01:02:14,833 --> 01:02:16,416
dialogue before the actual move,
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01:02:16,500 --> 01:02:17,791
we would likely also shoot a locked
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01:02:17,875 --> 01:02:19,375
version staying on the woman as well.
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01:02:21,875 --> 01:02:23,708
Another very everyday use for a tracking
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01:02:23,791 --> 01:02:24,708
handoff comes as a
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01:02:24,791 --> 01:02:26,416
byproduct of not having enough track
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01:02:26,500 --> 01:02:28,250
or wanting to avoid the edge of the set.
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01:02:29,458 --> 01:02:30,916
In this shot, we're restricted by needing
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01:02:31,000 --> 01:02:32,666
to keep the studio lamp out of the shot
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01:02:32,750 --> 01:02:34,125
as well as the length of the track.
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01:02:35,291 --> 01:02:37,083
So we simply pick up on him as soon as he
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01:02:37,166 --> 01:02:38,000
steps into the shot.
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01:02:39,750 --> 01:02:41,250
When we reach the end of the track, we
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01:02:41,333 --> 01:02:43,000
stop and let him walk out of the shot.
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01:02:45,250 --> 01:02:46,666
So we're effectively handing off from the
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01:02:46,750 --> 01:02:48,375
set to the character or vice versa,
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01:02:48,500 --> 01:02:49,916
which creates the same kind of attention
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01:02:50,000 --> 01:02:51,125
shift as any handoff.
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01:02:52,708 --> 01:02:53,458
He steps in.
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01:02:54,625 --> 01:02:55,541
We track with him.
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01:02:56,875 --> 01:02:58,333
And just before we go over the edge of
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01:02:58,416 --> 01:02:59,666
the track, we stop and let
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01:02:59,750 --> 01:03:00,625
him walk out of the shot.
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01:03:03,041 --> 01:03:04,208
This move comes from a technical
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01:03:04,291 --> 01:03:06,000
restriction, but it looks so good that we
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01:03:06,083 --> 01:03:07,000
ought to do it on purpose.
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01:03:07,958 --> 01:03:09,583
And the way to do that is simply to start
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01:03:09,666 --> 01:03:11,166
or stop short of character movement.
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01:03:13,083 --> 01:03:14,583
In this shot from a previous chapter,
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01:03:14,666 --> 01:03:15,708
we're tracking with the characters
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01:03:15,791 --> 01:03:16,958
through a park as they talk.
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01:03:18,791 --> 01:03:19,791
Instead of just cutting to
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01:03:19,875 --> 01:03:21,083
another scene when they're done,
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01:03:21,166 --> 01:03:22,458
we'll stop the track and let them walk
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01:03:22,541 --> 01:03:23,791
out of the shot, effectively
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01:03:23,875 --> 01:03:24,958
handing off to the scenery.
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01:03:27,333 --> 01:03:28,666
In this shot, we're really just supposed
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01:03:28,750 --> 01:03:29,500
to track with the man
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01:03:29,583 --> 01:03:30,875
from point A to point B,
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01:03:30,958 --> 01:03:32,208
but we'll instead pretend that we're
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01:03:32,291 --> 01:03:33,541
restricted and park on the woman.
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01:03:35,125 --> 01:03:36,750
So we don't begin tracking with the man
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01:03:36,833 --> 01:03:38,125
until he passes this point,
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01:03:38,208 --> 01:03:39,625
again creating an attention shift that
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01:03:39,708 --> 01:03:40,541
makes the shot just a
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01:03:40,625 --> 01:03:41,333
little more interesting.
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01:03:43,458 --> 01:04:02,500
When she walks back to the man, we again
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01:04:02,583 --> 01:04:03,875
push in to tighten the shot.
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01:04:07,416 --> 01:04:08,750
We're calling this opening and closing
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01:04:08,833 --> 01:04:10,791
space because one of the best uses is to
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01:04:10,875 --> 01:04:11,916
make room for characters as
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01:04:12,000 --> 01:04:13,125
they enter and exit shots.
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01:04:14,916 --> 01:04:15,791
Here we're on the man.
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01:04:17,708 --> 01:04:18,875
We open the space to make
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01:04:18,958 --> 01:04:20,000
room for the woman entering.
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01:04:22,250 --> 01:04:23,250
And when she leaves, we
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01:04:23,333 --> 01:04:24,250
close the space again.
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01:04:27,250 --> 01:04:28,541
Looking at it from above, we're getting
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01:04:28,625 --> 01:04:29,416
the camera out of the
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01:04:29,500 --> 01:04:30,250
way to make room for her.
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01:04:31,291 --> 01:04:34,416
When she leaves, we close the gap again.
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01:04:35,708 --> 01:04:37,250
This is useful for several things.
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01:04:39,166 --> 01:04:40,791
Opening space is helpful as we just saw
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01:04:40,875 --> 01:04:42,083
to bring more characters in.
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01:04:44,083 --> 01:04:45,541
Here we're having dialogue between the
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01:04:45,625 --> 01:04:46,541
two women and the man.
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01:04:48,250 --> 01:04:49,833
When he walks over to them, we widen
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01:04:49,916 --> 01:04:50,875
their shot to make room,
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01:04:52,958 --> 01:04:53,375
and then add a
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01:04:53,458 --> 01:04:54,625
reverse three shot to match.
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01:04:57,500 --> 01:04:59,041
Closing the space when a character leaves
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01:04:59,125 --> 01:05:00,500
gives us a reason to push in on the
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01:05:00,583 --> 01:05:01,333
remaining character.
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01:05:05,291 --> 01:05:06,833
If we think about it, any time a
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01:05:06,916 --> 01:05:08,416
character walks away it makes sense to
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01:05:08,500 --> 01:05:09,916
identify with the remaining character.
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01:05:11,208 --> 01:05:12,791
So as the red woman walks to a different
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01:05:12,875 --> 01:05:14,791
mark, closing the space does double duty.
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01:05:18,250 --> 01:05:19,916
Another use for closing space is to
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01:05:20,000 --> 01:05:21,125
simply tighten a shot at a
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01:05:21,208 --> 01:05:22,250
certain point in a scene.
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01:05:23,666 --> 01:05:25,541
As the woman sits down, we push in, ready
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01:05:25,625 --> 01:05:26,875
for the next part of the dialogue.
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01:05:29,083 --> 01:05:30,083
This move is so simple
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01:05:30,166 --> 01:05:31,041
it's easy to overlook.
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01:05:32,291 --> 01:05:33,833
We pan with a woman over to the table.
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01:05:35,000 --> 01:05:36,458
As she sits down, we push in
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01:05:36,541 --> 01:05:37,500
and tighten the atmosphere.
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01:05:40,583 --> 01:05:42,333
An interesting move is to start a scene
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01:05:42,416 --> 01:05:43,958
by opening the space and then have the
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01:05:44,041 --> 01:05:45,000
characters fill the frame.
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01:05:46,750 --> 01:05:47,833
We start on the blue man.
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01:05:49,541 --> 01:05:51,166
As we pull out, the red man and the woman
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01:05:51,250 --> 01:05:52,166
step into the frame.
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01:05:55,666 --> 01:05:56,916
In this variation we'll have the
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01:05:57,000 --> 01:05:58,458
surrounding characters flood the frame.
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01:06:00,291 --> 01:06:03,333
We pull out, the red man stands up, and
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01:06:03,416 --> 01:06:04,708
as he walks to the woman the surrounding
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01:06:04,791 --> 01:06:06,083
extras spill into the frame.
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01:06:10,083 --> 01:06:11,458
In this example we start on the
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01:06:11,541 --> 01:06:12,208
characters and then pull
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01:06:12,291 --> 01:06:13,458
out slowly as they talk.
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01:06:18,708 --> 01:06:20,125
What we're doing is making room for the
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01:06:20,208 --> 01:06:22,000
blue man as he secretly steps in,
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01:06:22,083 --> 01:06:22,625
certainly a meaningful
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01:06:22,708 --> 01:06:23,750
character in the story.
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01:06:28,166 --> 01:06:29,791
A less overt way of opening and closing
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01:06:29,875 --> 01:06:31,875
space is to offset the dolly based on one
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01:06:31,958 --> 01:06:32,666
character's movement.
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01:06:34,500 --> 01:06:36,708
As the man walks away we close the space.
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01:06:41,041 --> 01:06:41,958
And as he walks back to
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01:06:42,041 --> 01:06:43,000
her we open the space.
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01:06:46,625 --> 01:06:47,250
This technique is
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01:06:47,333 --> 01:06:48,625
subtle but extremely useful.
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01:06:49,708 --> 01:06:51,250
We can go back and forth any number of
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01:06:51,333 --> 01:06:52,083
times and cover the
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01:06:52,166 --> 01:06:53,250
entire scene this way.
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01:06:57,583 --> 01:06:58,958
Shooting in tight spaces it's very
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01:06:59,041 --> 01:07:00,583
effective to place the camera in the path
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01:07:00,666 --> 01:07:02,208
of moving characters and then move it to
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01:07:02,291 --> 01:07:03,500
the side to make room for them.
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01:07:06,166 --> 01:07:07,625
We start in the middle of their path.
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01:07:09,250 --> 01:07:10,166
As the characters come
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01:07:10,250 --> 01:07:11,250
closer we move out of their way.
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01:07:12,291 --> 01:07:15,583
In this example the characters pass by
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01:07:15,666 --> 01:07:16,583
but the move is just as
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01:07:16,666 --> 01:07:18,041
useful if they move in and stop.
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01:07:21,583 --> 01:07:23,125
Let's put together a quick scene where we
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01:07:23,208 --> 01:07:24,208
open and close space to
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01:07:24,291 --> 01:07:25,250
assist character movement.
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01:07:27,000 --> 01:07:28,208
As the woman moves to a new
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01:07:28,291 --> 01:07:29,541
position we open the space.
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01:07:32,250 --> 01:07:34,000
The red man leaves the scene and we open
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01:07:34,083 --> 01:07:35,208
the space to cover his movement.
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01:07:35,291 --> 01:07:40,708
He leaves and we close the space to
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01:07:40,791 --> 01:07:42,375
identify with the remaining characters.
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01:07:50,625 --> 01:07:52,000
In the next two chapters we'll look at
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01:07:52,083 --> 01:07:52,625
the effect of the
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01:07:52,708 --> 01:07:53,750
track angle on a character.
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01:07:55,208 --> 01:07:56,416
There are two distinctly different ways
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01:07:56,500 --> 01:07:58,041
to look at this, the first of which is
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01:07:58,125 --> 01:07:58,541
that the angle
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01:07:58,625 --> 01:08:00,250
determines how personal a move is.
211
01:08:02,083 --> 01:08:03,458
With the track angled directly on the
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01:08:03,541 --> 01:08:05,041
character we're essentially moving along
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01:08:05,125 --> 01:08:06,166
her eye line making us
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01:08:06,250 --> 01:08:07,541
emotionally involved with her.
215
01:08:08,583 --> 01:08:10,166
So when we move in we're becoming more
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01:08:10,250 --> 01:08:11,333
identified with her and
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01:08:11,416 --> 01:08:12,416
feel what she's feeling.
218
01:08:15,000 --> 01:08:15,750
When we're pulling out
219
01:08:15,833 --> 01:08:17,250
we're detaching from her.
220
01:08:18,416 --> 01:08:20,000
Both moves are about her so we'll call
221
01:08:20,083 --> 01:08:21,041
this a personal angle.
222
01:08:23,000 --> 01:08:24,041
Here the blue man leaves
223
01:08:24,125 --> 01:08:25,250
and we push in on the red man.
224
01:08:26,291 --> 01:08:28,541
The track is directly angled at him so
225
01:08:28,625 --> 01:08:29,916
it's a completely personal move.
226
01:08:32,500 --> 01:08:34,166
When we lay the track side to side we
227
01:08:34,250 --> 01:08:35,833
more or less maintain the distance to the
228
01:08:35,916 --> 01:08:37,833
character making the shot impersonal.
229
01:08:40,083 --> 01:08:41,541
This creates a more disconnected or
230
01:08:41,625 --> 01:08:42,416
indifferent feeling.
231
01:08:43,750 --> 01:08:44,958
So it doesn't mean that the move is
232
01:08:45,041 --> 01:08:46,500
without emotion but simply that we're
233
01:08:46,583 --> 01:08:47,375
keeping our distance.
234
01:08:50,541 --> 01:08:51,958
Here the red man is in the hospital
235
01:08:52,041 --> 01:08:53,291
waiting to hear if his wife will survive.
236
01:08:57,041 --> 01:08:58,625
In this scene staying at a distance is
237
01:08:58,708 --> 01:08:59,625
the best way to show how
238
01:08:59,708 --> 01:09:01,333
alone and helpless he is.
239
01:09:06,583 --> 01:09:08,083
If we angle the track anywhere between
240
01:09:08,166 --> 01:09:09,708
personal and impersonal we get a move
241
01:09:09,791 --> 01:09:10,916
that is a mixture of both.
242
01:09:12,833 --> 01:09:14,208
So if we're in a situation where the
243
01:09:14,291 --> 01:09:15,000
character is in trouble
244
01:09:15,083 --> 01:09:16,125
because of her own doing,
245
01:09:16,708 --> 01:09:18,291
we might be pushing in because the shot
246
01:09:18,375 --> 01:09:19,791
is about her but we're also being
247
01:09:19,875 --> 01:09:21,250
impersonal because she's on her own.
248
01:09:22,291 --> 01:09:26,041
The more we angle the track on the
249
01:09:26,125 --> 01:09:27,666
character the more we connect with her.
250
01:09:30,625 --> 01:09:31,791
This move is more personal
251
01:09:31,875 --> 01:09:33,000
but still slightly detached.
252
01:09:35,250 --> 01:09:36,625
The closer we're moving along the eye
253
01:09:36,708 --> 01:09:38,166
line of a character the more we connect
254
01:09:38,250 --> 01:09:39,708
with her which is a sliding scale that
255
01:09:39,791 --> 01:09:41,125
can be adjusted for the situation.
256
01:09:43,375 --> 01:09:44,916
But another consequence of the track
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01:09:45,000 --> 01:09:45,291
angle is the amount of parallax.
258
01:09:52,291 --> 01:09:53,958
When we're keeping the character in a
259
01:09:54,041 --> 01:09:55,500
fixed position in the frame we get the
260
01:09:55,583 --> 01:09:56,958
parallax from the passing background
261
01:09:57,041 --> 01:09:58,500
instead of the passing foreground.
262
01:09:59,791 --> 01:10:01,208
We'll call this back parallax.
263
01:10:03,583 --> 01:10:05,375
If we first push directly in on the man
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01:10:05,458 --> 01:10:07,000
we get virtually no parallax.
265
01:10:09,958 --> 01:10:11,583
But if we angle the track even just a
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01:10:11,666 --> 01:10:12,833
little bit we get parallax
267
01:10:12,916 --> 01:10:13,875
from the moving background.
268
01:10:17,000 --> 01:10:18,750
This has the very particular effect of
269
01:10:18,833 --> 01:10:19,625
making a character's
270
01:10:19,708 --> 01:10:20,291
world seem unrestful.
271
01:10:23,625 --> 01:10:25,291
Let's angle the track even more and say
272
01:10:25,375 --> 01:10:26,833
that the red man is being told that his
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01:10:26,916 --> 01:10:27,625
fraud scheme has been
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01:10:27,708 --> 01:10:29,083
discovered and he could go to prison.
275
01:10:32,416 --> 01:10:33,416
As we push his world
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01:10:33,500 --> 01:10:34,750
seems suddenly torn up.
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01:10:38,541 --> 01:10:39,583
What we're seeing is the background
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01:10:39,666 --> 01:10:41,166
passing by but it's as if we
279
01:10:41,250 --> 01:10:42,333
can see his troubled thoughts.
280
01:10:46,625 --> 01:10:48,083
We're calling this phenomenon unrest
281
01:10:48,166 --> 01:10:49,208
which is a powerful and
282
01:10:49,291 --> 01:10:50,291
accurate way to look at it.
283
01:10:51,666 --> 01:10:53,291
As we push directly in on the dialogue
284
01:10:53,375 --> 01:10:55,041
the scene is completely calm except for
285
01:10:55,125 --> 01:10:55,708
the height and focus
286
01:10:55,791 --> 01:10:56,666
we get from tracking.
287
01:10:59,041 --> 01:11:00,500
The more we angle the track the more
288
01:11:00,583 --> 01:11:01,875
unrest we add to their world.
289
01:11:05,291 --> 01:11:06,666
Usually we'll want to angle all personal
290
01:11:06,750 --> 01:11:07,791
tracks a little bit.
291
01:11:08,791 --> 01:11:10,375
Here the slide angle causes a small
292
01:11:10,458 --> 01:11:11,375
amount of unrest in the
293
01:11:11,458 --> 01:11:12,958
background which elevates the push.
294
01:11:16,875 --> 01:11:18,916
Unrest is again a sliding scale so if we
295
01:11:19,000 --> 01:11:20,458
angle the track a lot we go beyond
296
01:11:20,541 --> 01:11:21,541
unrestful to hectic.
297
01:11:23,500 --> 01:11:24,958
In this reference move we're pushing
298
01:11:25,041 --> 01:11:26,041
directly in on the man.
299
01:11:27,875 --> 01:11:28,958
The lack of parallax makes
300
01:11:29,041 --> 01:11:30,083
it look almost like a zoom.
301
01:11:33,791 --> 01:11:35,250
Here we've angled the track so we get
302
01:11:35,333 --> 01:11:37,416
very heavy back parallax especially at
303
01:11:37,500 --> 01:11:38,083
the end which makes
304
01:11:38,166 --> 01:11:38,208
the scene very hectic.
305
01:11:38,291 --> 01:11:44,125
The effect is amplified
306
01:11:44,208 --> 01:11:45,458
with a longer focal length.
307
01:11:46,666 --> 01:11:47,500
Here we're doing an angled
308
01:11:47,583 --> 01:11:48,791
push with a regular lens.
309
01:11:52,333 --> 01:11:54,041
But with a longer lens keeping him fixed
310
01:11:54,125 --> 01:11:55,625
in the frame causes very pronounced
311
01:11:55,708 --> 01:11:56,666
movement in the background.
312
01:12:00,708 --> 01:12:02,583
Back parallax or unrest is an integral
313
01:12:02,666 --> 01:12:04,000
part of many of the moves we'll look at
314
01:12:04,083 --> 01:12:05,250
in the next chapters so we'll keep working with it as we make choices about how to angle tracks.
315
01:12:14,416 --> 01:12:16,083
Regrouping is a very effective way of
316
01:12:16,166 --> 01:12:17,666
directing our attention during a shot.
317
01:12:18,000 --> 01:12:19,250
It comes in three variations including as we add more characters to the shot, isolating as we single out characters, and shifting as we select a different section of the scene.
318
01:12:35,083 --> 01:12:37,750
A typical way of
319
01:12:37,833 --> 01:12:39,458
including is as a start on reveal.
320
01:12:40,833 --> 01:12:42,791
As the red woman talks we slowly add the
321
01:12:42,875 --> 01:12:43,958
other character to the scene.
322
01:12:44,250 --> 01:12:47,291
As the red man has lines we regroup to include him. In the red man we have a red man, a red man, and a red man. We're using a red man to create a red man that is very flexible and very lightweight. We're also using a white man to create a red man. As the Red Man has lines,
323
01:12:47,500 --> 01:12:48,666
we regroup to include him.
324
01:12:51,333 --> 01:12:52,666
With isolating, we again have a
325
01:12:52,750 --> 01:12:53,750
motivation for pushing.
326
01:12:55,250 --> 01:12:57,041
As the dialog centers around the women,
327
01:12:57,125 --> 01:12:58,208
we slowly single them out.
328
01:13:00,583 --> 01:13:02,041
If the Over the Shoulder is our starting
329
01:13:02,125 --> 01:13:02,833
point, we'll slowly
330
01:13:02,916 --> 01:13:03,916
single out the Red Woman.
331
01:13:08,250 --> 01:13:09,958
Shifting works the same way as a Panning
332
01:13:10,041 --> 01:13:11,250
regroup, but gives us more freedom.
333
01:13:13,833 --> 01:13:15,458
As the Blue Man turns to the woman, we
334
01:13:15,541 --> 01:13:17,041
pull back to focus on their dialog.
335
01:13:19,750 --> 01:13:21,583
As he turns back to the Red Man, we again
336
01:13:21,666 --> 01:13:23,208
use him as the common denominator.
337
01:13:25,291 --> 01:13:27,125
When the Red Man leaves, we again offset
338
01:13:27,208 --> 01:13:28,083
the shot back to the
339
01:13:28,166 --> 01:13:29,083
dialog with the woman.
340
01:13:32,500 --> 01:13:33,958
The move works on its own, but a better
341
01:13:34,041 --> 01:13:35,458
time to use it is when the characters in
342
01:13:35,541 --> 01:13:36,833
the scene are also regrouping.
343
01:13:38,708 --> 01:13:40,416
As in the chapter on Panning regroups, it
344
01:13:40,500 --> 01:13:41,958
first of all comes naturally to regroup
345
01:13:42,041 --> 01:13:42,541
on the remaining
346
01:13:42,625 --> 01:13:44,000
characters when a character leaves.
347
01:13:46,000 --> 01:13:47,208
As the Blue Man walks out,
348
01:13:47,291 --> 01:13:48,125
we regroup to the couple.
349
01:13:49,833 --> 01:13:51,083
The move amplifies the effect
350
01:13:51,166 --> 01:13:52,291
of what is already happening.
351
01:13:54,916 --> 01:13:56,416
Characters isolating themselves is again
352
01:13:56,500 --> 01:13:57,583
amplified with a regroup.
353
01:13:59,541 --> 01:14:01,041
Here we single out the women at the same
354
01:14:01,125 --> 01:14:02,791
time as they isolate themselves, bringing
355
01:14:02,875 --> 01:14:04,291
more emphasis to that action.
356
01:14:08,208 --> 01:14:09,916
Here the Red Man turns and takes a step
357
01:14:10,000 --> 01:14:11,375
towards us as we single him out.
358
01:14:14,291 --> 01:14:15,833
We could do this with either a character
359
01:14:15,916 --> 01:14:17,708
or a camera movement, but by doing both
360
01:14:17,791 --> 01:14:19,291
our intention becomes much clearer.
361
01:14:21,833 --> 01:14:23,750
A very expressive way to regroup is to
362
01:14:23,833 --> 01:14:25,625
mix it with Unrest by angling the track.
363
01:14:28,291 --> 01:14:29,666
If we have two characters sitting in a
364
01:14:29,750 --> 01:14:31,208
control panel, we'll first isolate the
365
01:14:31,291 --> 01:14:32,125
Blue Man with the track
366
01:14:32,208 --> 01:14:33,416
angled directly at him.
367
01:14:37,000 --> 01:14:38,375
But if we angle the track, we make their
368
01:14:38,458 --> 01:14:39,416
world seem unrestful.
369
01:14:42,375 --> 01:14:43,500
When we regroup now, the
370
01:14:43,583 --> 01:14:45,041
situation is much more dramatic.
371
01:14:49,791 --> 01:14:51,000
Pulling out from the Blue Man, we're
372
01:14:51,083 --> 01:14:52,500
including the Red Man in the shot.
373
01:14:55,041 --> 01:14:58,500
But if we instead angle the track, the
374
01:14:58,583 --> 01:14:59,791
world seems much more hectic.
375
01:15:11,000 --> 01:15:12,583
With a tracking reframe, we nudge the
376
01:15:12,666 --> 01:15:14,250
camera to accommodate character movement.
377
01:15:16,250 --> 01:15:18,125
As the man walks to the left, if we don't
378
01:15:18,208 --> 01:15:18,875
do anything, the
379
01:15:18,958 --> 01:15:20,125
framing becomes slightly odd.
380
01:15:21,750 --> 01:15:24,541
So we'll put the camera on a track and
381
01:15:24,625 --> 01:15:26,041
adjust the framing as he moves.
382
01:15:29,458 --> 01:15:31,166
As he moves between points on the set, we
383
01:15:31,250 --> 01:15:32,791
nudge the dolly a little to the side.
384
01:15:35,541 --> 01:15:37,458
As he walks back, we nudge the other way.
385
01:15:40,791 --> 01:15:42,416
Similar to how we used a panning reframe
386
01:15:42,500 --> 01:15:43,458
to adjust the framing as
387
01:15:43,541 --> 01:15:44,750
characters moved in and out,
388
01:15:44,833 --> 01:15:46,500
a tracking reframe is all about adjusting
389
01:15:46,583 --> 01:15:48,166
our position to keep a balanced shot.
390
01:15:49,291 --> 01:15:51,041
We wouldn't have been able to cover this
391
01:15:51,125 --> 01:15:52,083
movement with a pan,
392
01:15:52,166 --> 01:15:53,000
at least not as well.
393
01:15:55,750 --> 01:15:57,500
As the men walk to the woman, we reframe
394
01:15:57,583 --> 01:15:58,083
to get the best
395
01:15:58,166 --> 01:15:59,291
framing for both extremes.
396
01:16:02,416 --> 01:16:04,166
Reframing by tracking instead of panning
397
01:16:04,250 --> 01:16:05,291
gives us more control and
398
01:16:05,375 --> 01:16:06,500
a motivated camera move.
399
01:16:09,750 --> 01:16:11,291
Reframing is very effective for creating
400
01:16:11,375 --> 01:16:12,333
a master that stays
401
01:16:12,416 --> 01:16:13,500
useful throughout the scene.
402
01:16:14,583 --> 01:16:16,375
Here we have one wide master on a track
403
01:16:16,458 --> 01:16:18,000
and a few closer cameras for coverage.
404
01:16:20,041 --> 01:16:21,875
As the blue man walks over to the desk,
405
01:16:21,958 --> 01:16:23,541
we reposition the master slightly to
406
01:16:23,625 --> 01:16:24,583
maintain a good framing.
407
01:16:27,000 --> 01:16:27,625
We're only using the
408
01:16:27,708 --> 01:16:28,750
master when it's moving.
409
01:16:30,166 --> 01:16:31,625
Here we're starting in closer coverage
410
01:16:31,708 --> 01:16:32,916
between two lock cameras.
411
01:16:35,416 --> 01:16:37,083
While the red man talks, we cut to the
412
01:16:37,166 --> 01:16:37,875
master to cover the
413
01:16:37,958 --> 01:16:39,041
blue man walking away.
414
01:16:40,291 --> 01:16:42,875
In the second keyframe, we've added one
415
01:16:42,958 --> 01:16:44,250
more lock camera for dialogue.
416
01:16:46,500 --> 01:16:48,208
As he walks over to the woman, we again
417
01:16:48,291 --> 01:16:49,916
cover his move in the reframing master.
418
01:16:52,666 --> 01:16:54,250
This is called an occasional master
419
01:16:54,333 --> 01:16:56,166
because we cut to it for specific moves,
420
01:16:56,458 --> 01:16:57,041
something we'll look at
421
01:16:57,125 --> 01:16:58,125
more in the next chapter.
422
01:17:04,291 --> 01:17:06,375
A timed master move is repositioning a
423
01:17:06,458 --> 01:17:08,291
master at specific times during a scene.
424
01:17:09,750 --> 01:17:11,375
There are two basic ways to do this, the
425
01:17:11,458 --> 01:17:13,041
occasional master and
426
01:17:13,125 --> 01:17:14,166
the continuous master.
427
01:17:15,875 --> 01:17:17,541
Starting with the occasional master, in
428
01:17:17,625 --> 01:17:19,250
this scene the red man walks over to a
429
01:17:19,333 --> 01:17:20,583
control panel and back again.
430
01:17:22,000 --> 01:17:23,750
We're using the master as a backbone and
431
01:17:23,833 --> 01:17:25,416
we've timed the dolly to follow him.
432
01:17:26,958 --> 01:17:28,041
At each mark we've set up
433
01:17:28,125 --> 01:17:29,416
a pair of reverses as well.
434
01:17:31,541 --> 01:17:33,000
However, with the occasional master,
435
01:17:33,083 --> 01:17:34,333
we're only interested in cutting to the
436
01:17:34,416 --> 01:17:35,625
master for the actual move.
437
01:17:36,958 --> 01:17:37,791
Here we're cutting dialogue
438
01:17:37,875 --> 01:17:39,208
between the first reverse pair.
439
01:17:41,708 --> 01:17:43,250
As he walks, we go to the master and
440
01:17:43,333 --> 01:17:44,500
follow him to the second mark,
441
01:17:47,708 --> 01:17:48,458
where we cut between
442
01:17:48,541 --> 01:17:49,583
the second reverse pair.
443
01:17:52,875 --> 01:17:54,500
When he walks back, we again go to the
444
01:17:54,583 --> 01:17:55,833
master just for the move.
445
01:17:58,166 --> 01:17:59,791
This technique is an extremely easy way
446
01:17:59,875 --> 01:18:01,375
to get motivated movement at just the
447
01:18:01,458 --> 01:18:02,375
right time using a
448
01:18:02,458 --> 01:18:03,458
minimum number of cameras.
449
01:18:06,833 --> 01:18:08,291
Here we've designed the master to only
450
01:18:08,375 --> 01:18:09,791
move during major stage business.
451
01:18:11,208 --> 01:18:13,000
We've set several stops along the way and
452
01:18:13,083 --> 01:18:13,666
will only be in the
453
01:18:13,750 --> 01:18:15,041
master for the actual moves.
454
01:18:18,166 --> 01:18:19,000
First we walk with the
455
01:18:19,083 --> 01:18:20,166
characters into the scene.
456
01:18:25,833 --> 01:18:27,291
They stop and we go to two reverse
457
01:18:27,375 --> 01:18:28,166
cameras for dialogue.
458
01:18:33,000 --> 01:18:34,541
As they sit down, we go back in the
459
01:18:34,625 --> 01:18:36,458
master and do a time push to coincide
460
01:18:36,541 --> 01:18:37,208
with their movement.
461
01:18:40,375 --> 01:18:41,916
Between moves we leave the master running
462
01:18:42,000 --> 01:18:43,291
in case we want to cut wide.
463
01:18:46,250 --> 01:18:47,583
We go back into the master as one
464
01:18:47,666 --> 01:18:50,041
character leaves and use the remaining
465
01:18:50,125 --> 01:18:51,250
dolly track for a push.
466
01:18:52,833 --> 01:18:54,333
We've now been back in the master three
467
01:18:54,416 --> 01:18:55,375
times each time to
468
01:18:55,458 --> 01:18:56,625
cover major stage business.
469
01:18:58,291 --> 01:18:59,708
Even though the master is occasional,
470
01:18:59,916 --> 01:19:00,708
it's the silver lining
471
01:19:00,791 --> 01:19:01,958
that binds the scene together.
472
01:19:04,375 --> 01:19:05,708
With a continuous master, the
473
01:19:05,791 --> 01:19:06,875
master is our main coverage.
474
01:19:08,166 --> 01:19:09,458
We time the track to start at an
475
01:19:09,541 --> 01:19:10,625
important beat in the script.
476
01:19:12,791 --> 01:19:14,166
For this to work, it's important that
477
01:19:14,250 --> 01:19:15,583
we've been in the master for a while
478
01:19:15,666 --> 01:19:16,875
prior to the move so that we
479
01:19:16,958 --> 01:19:18,083
notice a beginning to move.
480
01:19:19,833 --> 01:19:21,250
Here we watch the characters through a
481
01:19:21,333 --> 01:19:23,041
window as they discuss a strange issue.
482
01:19:25,291 --> 01:19:26,750
Suddenly some startling information comes
483
01:19:26,833 --> 01:19:27,958
up on the computer screen.
484
01:19:29,291 --> 01:19:30,208
As they talk, we track
485
01:19:30,291 --> 01:19:31,083
to a different angle.
486
01:19:33,625 --> 01:19:34,625
Timing the move to an important
487
01:19:34,708 --> 01:19:36,583
development brings elevated focus to a
488
01:19:36,666 --> 01:19:37,500
certain part of the scene.
489
01:19:39,041 --> 01:19:40,458
That's reason enough to do it, however
490
01:19:40,541 --> 01:19:42,250
it's even better to end somewhere useful.
491
01:19:43,833 --> 01:19:45,375
For instance, ready for a new dialogue.
492
01:19:48,375 --> 01:19:50,000
Here we're again in a parked master.
493
01:19:51,291 --> 01:19:52,916
The conversation is progressing normally
494
01:19:53,000 --> 01:19:54,541
until the red man suddenly begins to
495
01:19:54,625 --> 01:19:55,958
reveal some sensitive information.
496
01:19:57,958 --> 01:19:59,291
It's the fact that we see the beginning
497
01:19:59,375 --> 01:20:00,000
of the move that makes
498
01:20:00,083 --> 01:20:01,416
the time master move work.
499
01:20:03,458 --> 01:20:05,416
As we slowly reposition, we give extra
500
01:20:05,500 --> 01:20:07,125
attention and importance to what he says.
501
01:20:10,125 --> 01:20:11,416
Again we make sure to end somewhere
502
01:20:11,500 --> 01:20:12,916
useful, here and over the shoulder.
503
01:20:23,041 --> 01:20:24,666
It's very effective to open or even
504
01:20:24,750 --> 01:20:25,791
completely cover a scene
505
01:20:25,875 --> 01:20:27,208
by doing a slow master push.
506
01:20:29,333 --> 01:20:30,458
As the characters go about their
507
01:20:30,541 --> 01:20:32,000
business, we float into the scene.
508
01:20:35,166 --> 01:20:36,875
The move adds a level of drama and is
509
01:20:36,958 --> 01:20:38,458
extremely easy to block because the
510
01:20:38,541 --> 01:20:39,875
characters can move freely and even
511
01:20:39,958 --> 01:20:40,666
improvise without
512
01:20:40,750 --> 01:20:41,791
affecting the camera move.
513
01:20:46,250 --> 01:20:47,416
But since we're shooting in the direction
514
01:20:47,500 --> 01:20:48,958
of the track, we need to look out for
515
01:20:49,041 --> 01:20:50,000
shooting the track itself.
516
01:20:52,208 --> 01:20:54,041
So let's look at some ways to avoid that.
517
01:20:56,625 --> 01:20:58,291
First of all, if we're on a crab dolly,
518
01:20:58,375 --> 01:20:59,916
we're tracking directly on the floor, in
519
01:21:00,000 --> 01:21:01,541
which case the track is not a problem.
520
01:21:05,791 --> 01:21:07,291
Secondly, if we're shooting widescreen or
521
01:21:07,375 --> 01:21:08,750
scope, it's easier to get the track
522
01:21:08,833 --> 01:21:09,833
outside the frame because
523
01:21:09,916 --> 01:21:11,291
our aspect is more horizontal.
524
01:21:15,458 --> 01:21:16,791
But regardless of aspect, it's
525
01:21:16,875 --> 01:21:17,916
surprisingly effective to
526
01:21:18,000 --> 01:21:19,125
only lay just enough track.
527
01:21:20,875 --> 01:21:22,125
Here we'll end the track where we are
528
01:21:22,208 --> 01:21:26,708
now, and then pull the dolly back to just
529
01:21:26,791 --> 01:21:27,875
before we see the track.
530
01:21:31,041 --> 01:21:31,916
Our wide push will then
531
01:21:32,000 --> 01:21:33,208
be between these two marks.
532
01:21:33,291 --> 01:21:39,166
Another way to avoid shooting the track
533
01:21:39,250 --> 01:21:40,458
is to put the camera on a jib
534
01:21:40,541 --> 01:21:41,791
and lay the track to the side.
535
01:21:44,375 --> 01:21:45,958
Now we don't have any problems and we can
536
01:21:46,041 --> 01:21:47,125
get very far back without
537
01:21:47,208 --> 01:21:48,333
getting the track and the shot.
538
01:21:52,250 --> 01:21:53,958
A very effective use for the master push
539
01:21:54,041 --> 01:21:55,791
is to slowly track into a scene as the
540
01:21:55,875 --> 01:21:57,083
action envelops the camera.
541
01:21:58,500 --> 01:22:00,208
Here we'll track into a hectic office as
542
01:22:00,291 --> 01:22:01,250
the red man and the women have dialogue.
543
01:22:02,291 --> 01:22:05,500
For the master push camera to not be
544
01:22:05,583 --> 01:22:07,333
isolated, we'll start by deciding on a
545
01:22:07,416 --> 01:22:09,375
useful place to end up, in
546
01:22:09,458 --> 01:22:10,500
this case an over the shoulder.
547
01:22:13,208 --> 01:22:13,958
Here we'll do a lot of
548
01:22:14,041 --> 01:22:15,291
things at once to create movement.
549
01:22:16,875 --> 01:22:18,333
In the beginning we'll walk with two
550
01:22:18,416 --> 01:22:19,500
extras into the office.
551
01:22:21,291 --> 01:22:22,791
As they walk to the left, the blue man
552
01:22:22,875 --> 01:22:24,666
walks across the room to the male extra.
553
01:22:26,083 --> 01:22:27,833
At the end we'll have the red man mirror
554
01:22:27,916 --> 01:22:28,833
the intended over the
555
01:22:28,916 --> 01:22:30,291
shoulder to get even more movement.
556
01:22:32,166 --> 01:22:33,791
Since most of the movement is arbitrary,
557
01:22:34,000 --> 01:22:35,208
we'll just do whatever is easy.
558
01:22:37,583 --> 01:22:39,333
In the beginning we tilt up on the extras
559
01:22:39,416 --> 01:22:40,666
to avoid shooting the track.
560
01:22:42,625 --> 01:22:44,208
The off-camera characters can take their
561
01:22:44,291 --> 01:22:45,458
cue from the dolly position.
562
01:22:47,583 --> 01:22:49,458
The red man is facing away and would need
563
01:22:49,541 --> 01:22:51,000
to take his cue from the dialogue which
564
01:22:51,083 --> 01:22:51,916
can be worked out in a
565
01:22:52,000 --> 01:22:52,875
couple of rehearsals.
566
01:22:55,541 --> 01:22:57,000
From here on out we would just continue
567
01:22:57,083 --> 01:22:58,041
with regular coverage.
568
01:23:00,916 --> 01:23:02,333
Tracking slowly into a scene as the
569
01:23:02,416 --> 01:23:03,916
action happens around us gives us a
570
01:23:04,000 --> 01:23:05,333
unique vantage point as if we're
571
01:23:05,416 --> 01:23:06,958
witnessing the event from a higher plane.
572
01:23:10,250 --> 01:23:11,625
Here we're pushing slowly as police
573
01:23:11,708 --> 01:23:13,250
officers fill the frame from left and
574
01:23:13,333 --> 01:23:14,166
right during a raid.
575
01:23:19,541 --> 01:23:20,916
But the most elegant move comes from
576
01:23:21,000 --> 01:23:22,500
again treating panning and tracking as
577
01:23:22,583 --> 01:23:23,250
completely separate moves.
578
01:23:24,291 --> 01:23:26,875
Here we're doing one
579
01:23:26,958 --> 01:23:28,375
continuous push into the scene.
580
01:23:30,041 --> 01:23:30,791
Then pan with the red
581
01:23:30,875 --> 01:23:31,958
man over to the blue man.
582
01:23:33,500 --> 01:23:34,916
Pan with him over to the desk.
583
01:23:37,500 --> 01:23:39,708
Switch to the red man and
584
01:23:39,791 --> 01:23:40,958
ending in an over the shoulder.
585
01:23:44,083 --> 01:23:45,791
This move is surprisingly easy to do
586
01:23:45,875 --> 01:23:47,250
because all we have to do is pan with the action while pushing.
587
01:23:48,291 --> 01:23:51,458
That allows us to give stage direction
588
01:23:51,541 --> 01:23:52,416
that's based on character
589
01:23:52,500 --> 01:23:53,875
motivation and simply follow.
590
01:23:56,958 --> 01:23:58,791
As the framing becomes tighter we have to
591
01:23:58,875 --> 01:24:00,125
coordinate their movement more,
592
01:24:00,208 --> 01:24:01,208
especially for the ending.
593
01:24:08,375 --> 01:24:09,958
The close push is one of the most useful
594
01:24:10,041 --> 01:24:11,708
and expressive moves we can do and there
595
01:24:11,791 --> 01:24:12,458
are good reasons to
596
01:24:12,541 --> 01:24:13,250
use it in most scenes.
597
01:24:14,291 --> 01:24:18,125
It's tempting to do slow pushes as often
598
01:24:18,208 --> 01:24:19,666
as possible because of the production
599
01:24:19,750 --> 01:24:20,958
value, but it's when we stick to
600
01:24:21,041 --> 01:24:21,916
motivated pushes that
601
01:24:22,000 --> 01:24:22,958
we bring out the story.
602
01:24:25,416 --> 01:24:26,708
Most people choose when to push
603
01:24:26,791 --> 01:24:28,416
intuitively, but we'll try to put words
604
01:24:28,500 --> 01:24:30,250
to that by suggesting that close pushes
605
01:24:30,333 --> 01:24:31,458
are for meaningful moments.
606
01:24:32,875 --> 01:24:34,541
Most of what goes on in this scene is of
607
01:24:34,625 --> 01:24:35,958
course not a meaningful moment.
608
01:24:37,791 --> 01:24:39,125
Here the red man is talking about
609
01:24:39,208 --> 01:24:40,833
something that has no meaning at all,
610
01:24:40,916 --> 01:24:41,250
maybe the pizza he had for lunch.
611
01:24:42,291 --> 01:24:45,083
But let's do a close push anyway.
612
01:24:48,250 --> 01:24:49,750
As he talks about the double cheese crust
613
01:24:49,833 --> 01:24:51,458
and the extra layer of pepperoni, the
614
01:24:51,541 --> 01:24:53,125
push assigns meaning to the situation
615
01:24:53,208 --> 01:24:54,458
even if there isn't any.
616
01:24:59,375 --> 01:25:01,000
But a close push is extremely powerful
617
01:25:01,083 --> 01:25:02,083
when we intend to show
618
01:25:02,166 --> 01:25:02,250
that something is meaning.
619
01:25:03,291 --> 01:25:06,666
As we push in on the man, we know that
620
01:25:06,750 --> 01:25:08,000
whatever is happening has special
621
01:25:08,083 --> 01:25:09,583
meaning, something is important or
622
01:25:09,666 --> 01:25:11,458
significant, or that something is going
623
01:25:11,541 --> 01:25:13,375
on even if we don't know what it is.
624
01:25:15,208 --> 01:25:16,791
This by itself is a great use for the
625
01:25:16,875 --> 01:25:18,458
close push because it creates questions
626
01:25:18,541 --> 01:25:20,500
in participation and it tells us we need
627
01:25:20,583 --> 01:25:21,666
to pay extra attention.
628
01:25:24,083 --> 01:25:25,583
But there are many other reasons to do a
629
01:25:25,666 --> 01:25:27,500
close push and in this chapter we want to
630
01:25:27,583 --> 01:25:29,083
create a list of meanings and moments to
631
01:25:29,166 --> 01:25:29,250
look for in the script as motivations.
632
01:25:30,291 --> 01:25:33,875
This list is not meant as a rule book but
633
01:25:33,958 --> 01:25:35,666
is a guide to find reasons for pushing.
634
01:25:37,083 --> 01:25:38,791
We'll look at 11 meaningful moments which
635
01:25:38,875 --> 01:25:42,416
are focus, tension, significance,
636
01:25:43,750 --> 01:25:47,416
consequence, opening up, taking in,
637
01:25:48,333 --> 01:25:52,000
trying to understand, realizing, trying
638
01:25:52,083 --> 01:25:55,250
to decide, resolve, and anticipation.
639
01:25:56,291 --> 01:25:58,833
As with all other lists we've made, none
640
01:25:58,916 --> 01:26:00,083
of these exist in a vacuum
641
01:26:00,166 --> 01:26:01,625
and often overlap or combine.
642
01:26:05,083 --> 01:26:05,583
Focus is the most
643
01:26:05,666 --> 01:26:06,750
generic form of pushing.
644
01:26:08,708 --> 01:26:10,458
As we slowly push in, the attention is
645
01:26:10,541 --> 01:26:12,166
elevated both for the characters and for
646
01:26:12,250 --> 01:26:13,958
us and our senses are sharpened.
647
01:26:17,958 --> 01:26:19,416
Almost regardless of what a scene is
648
01:26:19,500 --> 01:26:21,250
about, focus increases our alertness.
649
01:26:22,291 --> 01:26:24,583
So if we're after a push and we don't
650
01:26:24,666 --> 01:26:25,541
exactly know why,
651
01:26:25,625 --> 01:26:26,791
we're probably after focus.
652
01:26:29,541 --> 01:26:31,083
Focus works well for situations that
653
01:26:31,166 --> 01:26:32,416
demand focus of the characters.
654
01:26:34,666 --> 01:26:36,333
Here the man is a submarine captain in
655
01:26:36,416 --> 01:26:36,791
the middle of a
656
01:26:36,875 --> 01:26:38,000
dangerous strategic battle.
657
01:26:43,416 --> 01:26:45,125
Tension is similar to focus in that it
658
01:26:45,208 --> 01:26:46,250
involves heightened awareness.
659
01:26:47,583 --> 01:26:48,958
Here the characters are trying to shut
660
01:26:49,041 --> 01:26:50,291
down a leaking nuclear reactor.
661
01:26:52,916 --> 01:26:54,458
As we cut between four simultaneous
662
01:26:54,541 --> 01:26:56,166
pushes, we're compressing the space
663
01:26:56,250 --> 01:26:58,583
between us and the characters and we feel
664
01:26:58,666 --> 01:26:59,833
the pressure they're under.
665
01:27:03,708 --> 01:27:05,166
Tension works for any situation where
666
01:27:05,250 --> 01:27:06,666
there's emotional mental struggle.
667
01:27:08,333 --> 01:27:09,541
Here the woman is struggling with
668
01:27:09,625 --> 01:27:11,375
conflicted emotions about a relationship.
669
01:27:13,166 --> 01:27:15,000
As we compress the space, we again create
670
01:27:15,083 --> 01:27:15,291
the feeling of pressure.
671
01:27:21,666 --> 01:27:23,416
Significance shows that something has a
672
01:27:23,500 --> 01:27:24,291
great deal of meaning.
673
01:27:25,791 --> 01:27:27,125
Here the woman is giving a speech about
674
01:27:27,208 --> 01:27:28,625
something that means a lot to her.
675
01:27:30,166 --> 01:27:31,833
As she talks about how many children are
676
01:27:31,916 --> 01:27:33,416
suffering from a certain disease and how
677
01:27:33,500 --> 01:27:35,250
easily we can help them, we feel how
678
01:27:35,333 --> 01:27:36,541
important this is to her.
679
01:27:39,666 --> 01:27:40,875
From a more technical blocking
680
01:27:40,958 --> 01:27:42,833
perspective, significance simply tells us
681
01:27:42,916 --> 01:27:43,583
that something is an
682
01:27:43,666 --> 01:27:44,708
important bit of information.
683
01:27:46,041 --> 01:27:47,666
Here the man leaves and we push in on a
684
01:27:47,750 --> 01:27:49,333
document he's forgotten and since we're
685
01:27:49,416 --> 01:27:50,291
pushing, it must be significant.
686
01:27:53,541 --> 01:27:55,416
Consequences about the seriousness of a
687
01:27:55,500 --> 01:27:57,375
situation or the potential far-reaching
688
01:27:57,458 --> 01:27:59,041
impact something will have.
689
01:28:00,375 --> 01:28:01,708
Here the couple are being informed by
690
01:28:01,791 --> 01:28:03,041
their banker that they have lost their
691
01:28:03,125 --> 01:28:04,125
entire life's savings.
692
01:28:05,583 --> 01:28:07,333
We push in slowly as the gravity of the
693
01:28:07,416 --> 01:28:09,125
situation begins to dawn upon them and
694
01:28:09,208 --> 01:28:11,000
they begin to see how the war looks now.
695
01:28:15,500 --> 01:28:17,125
Here the president informs his cabinet
696
01:28:17,208 --> 01:28:17,958
that the only remaining
697
01:28:18,041 --> 01:28:18,291
option is to go to war.
698
01:28:21,708 --> 01:28:23,583
Obviously, such a situation is serious
699
01:28:23,666 --> 01:28:25,166
and has far-reaching consequences.
700
01:28:31,000 --> 01:28:32,541
With or without characters, consequence
701
01:28:32,625 --> 01:28:33,583
underlines the potential
702
01:28:33,666 --> 01:28:35,125
impact that something can have.
703
01:28:36,625 --> 01:28:38,000
Here we push in on a missile that's
704
01:28:38,083 --> 01:28:39,291
rigged to explode by timer.
705
01:28:43,666 --> 01:28:45,250
Consequence doesn't have to be negative.
706
01:28:46,291 --> 01:28:48,250
Here the character watches children of
707
01:28:48,333 --> 01:28:50,083
different races and religions play and
708
01:28:50,166 --> 01:28:51,666
sees the possibility of peace.
709
01:28:57,500 --> 01:28:59,333
On an equally philosophical level, we
710
01:28:59,416 --> 01:29:00,541
push in as the characters are
711
01:29:00,625 --> 01:29:01,833
watching a monumental event.
712
01:29:05,666 --> 01:29:07,125
Here the consequence is how this will
713
01:29:07,208 --> 01:29:08,208
change the world forever.
714
01:29:08,291 --> 01:29:16,125
Opening up is when a character opens up
715
01:29:16,208 --> 01:29:17,291
emotionally or mentally.
716
01:29:18,958 --> 01:29:19,916
Here the man begins to open
717
01:29:20,000 --> 01:29:21,208
up about his deeper feelings.
718
01:29:22,875 --> 01:29:23,583
As he makes himself
719
01:29:23,666 --> 01:29:25,291
vulnerable, we push in slowly.
720
01:29:27,625 --> 01:29:29,416
Opening up works for any situation where
721
01:29:29,500 --> 01:29:31,208
the characters become more sincere and
722
01:29:31,291 --> 01:29:32,958
really begin to connect with each other,
723
01:29:33,041 --> 01:29:33,250
becoming more sensitive and open.
724
01:29:34,291 --> 01:29:38,541
On a more mental level, opening up works
725
01:29:38,625 --> 01:29:40,166
for situations where characters begin
726
01:29:40,250 --> 01:29:41,666
revealing important information.
727
01:29:43,333 --> 01:29:44,958
Here the blue man is being interrogated.
728
01:29:46,250 --> 01:29:47,625
As he suddenly begins revealing the
729
01:29:47,708 --> 01:29:48,458
information they've been
730
01:29:48,541 --> 01:29:49,958
after, we push in slowly.
731
01:29:52,583 --> 01:29:54,333
Either way, opening up is about thoughts
732
01:29:54,416 --> 01:29:55,083
and feelings coming
733
01:29:55,166 --> 01:29:56,083
out from the character.
734
01:29:58,625 --> 01:30:00,208
Taking in is about thoughts and feelings going into the character.
735
01:30:00,291 --> 01:30:04,625
Here the woman leaves and we push in on
736
01:30:04,708 --> 01:30:06,250
the man as he takes in the conversation.
737
01:30:09,083 --> 01:30:10,708
This is a typical reaction shot.
738
01:30:12,875 --> 01:30:14,291
Here the woman is a senator who learns
739
01:30:14,375 --> 01:30:15,625
that she's lost the election.
740
01:30:17,916 --> 01:30:19,625
We push in as she accepts defeat.
741
01:30:27,666 --> 01:30:29,291
Taking in again works for any situation where a character is not able to be taken into the conversation.
742
01:30:30,291 --> 01:30:33,666
Here the man is in a hospital waiting
743
01:30:33,750 --> 01:30:35,458
room as the doctor informs him that his
744
01:30:35,541 --> 01:30:36,958
wife isn't likely to survive.
745
01:30:42,250 --> 01:30:43,833
The last five motivations are really
746
01:30:43,916 --> 01:30:45,666
steps in the decision-making process.
747
01:30:47,208 --> 01:30:48,791
Starting with trying to understand, a
748
01:30:48,875 --> 01:30:50,458
detective investigating a murder is
749
01:30:50,541 --> 01:30:52,208
trying to piece together a complex case.
750
01:30:52,291 --> 01:30:57,958
On an emotional level, trying to
751
01:30:58,041 --> 01:30:59,416
understand is about trying to find
752
01:30:59,500 --> 01:31:01,125
meaning and sense in a situation.
753
01:31:02,625 --> 01:31:04,208
Returning to the man in the hospital, his
754
01:31:04,291 --> 01:31:05,000
wife might have been run
755
01:31:05,083 --> 01:31:06,208
down by a drunk driver.
756
01:31:08,125 --> 01:31:09,416
We push in as he tries to
757
01:31:09,500 --> 01:31:11,000
understand what the meaning is.
758
01:31:16,708 --> 01:31:18,291
Also, when a character is nostalgically
759
01:31:18,375 --> 01:31:19,916
remembering the past, what she's really
760
01:31:20,000 --> 01:31:21,291
trying to do is make sense of it.
761
01:31:23,458 --> 01:31:25,000
So as the woman is thinking back, trying
762
01:31:25,083 --> 01:31:26,083
to understand the meaning of
763
01:31:26,166 --> 01:31:27,791
past events, we push in slowly.
764
01:31:38,500 --> 01:31:39,875
Again, trying to understand is
765
01:31:39,958 --> 01:31:41,291
excellent for reaction shots.
766
01:31:42,500 --> 01:31:44,041
Here the man has been behaving oddly.
767
01:31:45,541 --> 01:31:46,916
When he walks out, we push in
768
01:31:47,000 --> 01:31:48,291
on her as she stands puzzled.
769
01:31:54,125 --> 01:31:55,708
Trying to understand also works when a
770
01:31:55,791 --> 01:31:57,041
character is trying to find out if
771
01:31:57,125 --> 01:31:57,958
something has meaning.
772
01:31:59,500 --> 01:32:00,916
Here the man hears his colleague say
773
01:32:01,000 --> 01:32:02,041
something that rings a bell.
774
01:32:04,500 --> 01:32:06,250
He walks over to get more information.
775
01:32:10,125 --> 01:32:11,625
Where trying to understand is about
776
01:32:11,708 --> 01:32:13,708
trying to find meaning, realizing is the
777
01:32:13,791 --> 01:32:14,500
moment of breakthrough.
778
01:32:16,083 --> 01:32:17,916
Here the detective is given a casual bit
779
01:32:18,000 --> 01:32:19,541
of information, which happens to be the
780
01:32:19,625 --> 01:32:21,291
last piece he needs to solve the puzzle.
781
01:32:25,208 --> 01:32:26,583
Here the woman is telling the red man
782
01:32:26,666 --> 01:32:27,250
what his friends are
783
01:32:27,333 --> 01:32:28,333
saying behind his back.
784
01:32:30,333 --> 01:32:31,291
He suddenly sees everything
785
01:32:31,375 --> 01:32:32,541
in light of this new meaning.
786
01:32:38,833 --> 01:32:39,583
Here the women say
787
01:32:39,666 --> 01:32:40,791
something to the man and leave.
788
01:32:42,833 --> 01:32:43,833
We push in
789
01:32:43,916 --> 01:32:49,458
as he turns, suddenly realizing the true
790
01:32:49,541 --> 01:32:50,291
meaning of what they said.
791
01:32:56,208 --> 01:32:57,166
Separate from the characters,
792
01:32:57,375 --> 01:32:58,666
we might be the ones realizing.
793
01:33:00,000 --> 01:33:00,791
In the same shot as
794
01:33:00,875 --> 01:33:02,166
before, the man rushes out.
795
01:33:03,583 --> 01:33:05,291
We suddenly hand off and push in on an
796
01:33:05,375 --> 01:33:06,791
important document he's forgotten.
797
01:33:11,000 --> 01:33:12,000
We might also be realizing
798
01:33:12,083 --> 01:33:13,166
something about a character.
799
01:33:14,583 --> 01:33:16,083
In the story, the man in the suit has
800
01:33:16,166 --> 01:33:17,791
been cruel, but as he forecloses his
801
01:33:17,875 --> 01:33:18,250
friend's house and takes joy in it, we realize just how mean he is.
802
01:33:24,958 --> 01:33:27,291
Trying to decide is when a character has
803
01:33:27,375 --> 01:33:29,208
all the facts and needs to make a choice.
804
01:33:30,750 --> 01:33:32,250
Here we push in as the man tries to
805
01:33:32,333 --> 01:33:33,541
decide whether or not to quit
806
01:33:33,625 --> 01:33:35,000
his job and follow his dream.
807
01:33:40,875 --> 01:33:42,208
Here the submarine captain in a standoff with another ship is trying to decide whether or not to fire.
808
01:33:42,291 --> 01:33:54,333
Here the submarine captain in a standoff with another ship is trying to decide whether or not to fire. Resolve is when a decision is made.
809
01:33:55,750 --> 01:33:57,041
The classic use for this is when a
810
01:33:57,125 --> 01:33:58,458
character rises to the occasion.
811
01:34:00,333 --> 01:34:01,833
Here the man talks about how he's going
812
01:34:01,916 --> 01:34:02,583
to stand up to the
813
01:34:02,666 --> 01:34:03,708
fat cats in Washington.
814
01:34:05,041 --> 01:34:06,333
The push shows his conviction.
815
01:34:09,083 --> 01:34:10,208
Here an army captain is preparing his soldiers for war.
816
01:34:10,291 --> 01:34:11,541
The man is trying to get his way back to the ship. The man is trying to get his way back to the ship. He's trying to get his way back to the ship. He's preparing his soldiers for war.
817
01:34:12,750 --> 01:34:14,375
We push in as he motivates them,
818
01:34:14,458 --> 01:34:15,875
reminding them of the reason for the war
819
01:34:15,958 --> 01:34:17,166
and strengthening the resolve.
820
01:34:21,208 --> 01:34:22,916
Finally anticipation is watching him
821
01:34:23,000 --> 01:34:24,291
waiting for what will happen next.
822
01:34:25,791 --> 01:34:27,083
Here the characters have launched a
823
01:34:27,166 --> 01:34:28,708
rocket to destroy an asteroid that's
824
01:34:28,791 --> 01:34:29,541
threatening the planet.
825
01:34:32,333 --> 01:34:33,750
Their senses are alert as they can do
826
01:34:33,833 --> 01:34:34,833
nothing but watch him wait.
827
01:34:41,333 --> 01:34:42,833
Here the parents of a kidnapped child
828
01:34:42,916 --> 01:34:44,416
have decided to give the kidnappers the
829
01:34:44,500 --> 01:34:45,458
money and are waiting for
830
01:34:45,541 --> 01:34:46,458
answers on the exchange.
831
01:34:49,000 --> 01:34:50,041
At this point nothing they
832
01:34:50,125 --> 01:34:51,291
do can change the outcome.
833
01:34:57,541 --> 01:34:59,208
From our perspective anticipation is
834
01:34:59,291 --> 01:34:59,916
probably the most
835
01:35:00,000 --> 01:35:01,125
generic reason for pushing.
836
01:35:03,083 --> 01:35:04,708
If we think about it almost all pushes
837
01:35:04,791 --> 01:35:05,708
create this feeling of
838
01:35:05,791 --> 01:35:07,000
wondering what will happen next
839
01:35:07,083 --> 01:35:08,583
and it's this alertness of the immediate
840
01:35:08,666 --> 01:35:09,291
future that draws us in.
841
01:35:15,833 --> 01:35:17,291
So the next thing we need to look at is
842
01:35:17,375 --> 01:35:19,000
how the track angle affects the push.
843
01:35:20,833 --> 01:35:22,333
A track that is angled directly on the
844
01:35:22,416 --> 01:35:23,833
character brings a sense of clarity.
845
01:35:25,708 --> 01:35:27,458
But even for direct pushes it's best to
846
01:35:27,541 --> 01:35:29,250
angle the track slightly to get parallax
847
01:35:29,333 --> 01:35:30,208
or the move feels like a zoom.
848
01:35:30,291 --> 01:35:36,875
Depending on the meaning of the push
849
01:35:36,958 --> 01:35:38,458
angling the track either makes the world
850
01:35:38,541 --> 01:35:39,708
more unrestful or it makes
851
01:35:39,791 --> 01:35:41,041
the characters more confused.
852
01:35:43,250 --> 01:35:44,625
As the engineers try to shut down the
853
01:35:44,708 --> 01:35:46,625
reactor the situation is now both more
854
01:35:46,708 --> 01:35:47,791
unrestful and confusing.
855
01:35:54,125 --> 01:35:56,000
As the detective has a realization a
856
01:35:56,083 --> 01:35:56,958
direct push makes the
857
01:35:57,041 --> 01:35:57,208
realization appear clear.
858
01:35:57,291 --> 01:36:04,333
But as we angle the track the detective
859
01:36:04,416 --> 01:36:06,041
has a much more vivid eruption of
860
01:36:06,125 --> 01:36:10,416
thoughts becoming clear at the end.
861
01:36:13,375 --> 01:36:14,541
Regardless of the meaning of the push
862
01:36:14,625 --> 01:36:15,916
angled track shows increased
863
01:36:16,000 --> 01:36:17,500
mental or emotional activity.
864
01:36:19,666 --> 01:36:21,625
As we push in on the man opening up the
865
01:36:21,708 --> 01:36:23,208
angled track amplifies the drama.
866
01:36:23,291 --> 01:36:30,208
The most extreme angled push is to have
867
01:36:30,291 --> 01:36:31,416
the character turn in the opposite
868
01:36:31,500 --> 01:36:33,125
direction of the camera which makes the
869
01:36:33,208 --> 01:36:35,208
background seem to rush by twice as fast.
870
01:36:38,000 --> 01:36:39,583
Here the detective realizes that the
871
01:36:39,666 --> 01:36:40,625
killer must be nearby.
872
01:36:42,125 --> 01:36:44,125
We get an enormous twisting effect and an
873
01:36:44,208 --> 01:36:45,041
extreme realization.
874
01:36:45,291 --> 01:36:49,958
But another useful way to look at angled
875
01:36:50,041 --> 01:36:51,916
track in close pushes is to see it as
876
01:36:52,000 --> 01:36:53,666
changing our distance to the eye line
877
01:36:53,750 --> 01:36:55,708
which will make the shot more or less
878
01:36:55,791 --> 01:36:56,875
personal during the move.
879
01:36:59,083 --> 01:37:00,458
So as we're pushing in with the track
880
01:37:00,541 --> 01:37:02,375
pretty much directly angled on him we're
881
01:37:02,458 --> 01:37:04,208
essentially moving along the eye line and
882
01:37:04,291 --> 01:37:05,250
the move is personal throughout.
883
01:37:06,291 --> 01:37:09,750
But if we angle the track we're gradually
884
01:37:09,833 --> 01:37:11,708
moving closer and closer to the eye line
885
01:37:11,791 --> 01:37:13,041
which makes the move more and more
886
01:37:13,125 --> 01:37:14,583
personal which very effectively
887
01:37:14,666 --> 01:37:15,791
emphasizes the push.
888
01:37:18,333 --> 01:37:19,375
The extreme of this is
889
01:37:19,458 --> 01:37:20,625
to track in from the side.
890
01:37:21,958 --> 01:37:23,458
Here we're pushing in from the left and
891
01:37:23,541 --> 01:37:24,958
move very hard towards the eye line
892
01:37:25,041 --> 01:37:25,958
making the shot radically
893
01:37:26,041 --> 01:37:27,291
more personal at the end.
894
01:37:29,583 --> 01:37:31,291
But we could actually go even further and
895
01:37:31,375 --> 01:37:32,250
track around from the back.
896
01:37:33,291 --> 01:37:35,750
So here the move becomes drastically more
897
01:37:35,833 --> 01:37:36,583
personal as we make
898
01:37:36,666 --> 01:37:37,541
it around to the front.
899
01:37:40,583 --> 01:37:42,208
Becoming less personal during a move is
900
01:37:42,291 --> 01:37:43,500
considerably less useful
901
01:37:43,583 --> 01:37:45,083
but let's quickly look at it.
902
01:37:46,500 --> 01:37:48,125
Here we're starting out personal but as
903
01:37:48,208 --> 01:37:50,083
we move closer we become less personal.
904
01:37:53,916 --> 01:37:55,333
This has more the effect of keeping our
905
01:37:55,416 --> 01:37:56,708
distance as if there's an invisible
906
01:37:56,791 --> 01:37:58,250
barrier we can't move closer then.
907
01:37:59,291 --> 01:38:03,708
A better use for this is to reveal other
908
01:38:03,791 --> 01:38:04,625
characters which we'll
909
01:38:04,708 --> 01:38:05,500
look at a little later.
910
01:38:08,458 --> 01:38:09,708
So the last thing we'll look at is a
911
01:38:09,791 --> 01:38:10,041
technical
912
01:38:10,125 --> 01:38:11,541
consideration when shooting pushes.
913
01:38:13,375 --> 01:38:15,083
Very often we're using a camera for the
914
01:38:15,166 --> 01:38:16,583
push that's already set up for a certain
915
01:38:16,666 --> 01:38:18,375
shot size here and over the shoulder.
916
01:38:19,708 --> 01:38:21,333
But the problem is that as soon as we
917
01:38:21,416 --> 01:38:23,333
push that camera into a close shot we no
918
01:38:23,416 --> 01:38:24,250
longer have an over the shoulder.
919
01:38:25,291 --> 01:38:27,708
Unless we're completely sure of not only
920
01:38:27,791 --> 01:38:29,666
the timing but also which shot sizes we
921
01:38:29,750 --> 01:38:30,750
need when we have to
922
01:38:30,833 --> 01:38:31,625
shoot three versions.
923
01:38:34,166 --> 01:38:35,541
First we shoot a full take that remains
924
01:38:35,625 --> 01:38:36,458
an over the shoulder.
925
01:38:38,916 --> 01:38:40,791
Repositioning the dolly for a new take we
926
01:38:40,875 --> 01:38:41,958
shoot a locked close up.
927
01:38:44,500 --> 01:38:45,875
Finally we shoot a take where we do the
928
01:38:45,958 --> 01:38:47,000
push at the right time.
929
01:38:50,541 --> 01:38:52,083
With these three options we don't paint
930
01:38:52,166 --> 01:38:53,791
ourselves into a corner and we can always
931
01:38:53,875 --> 01:38:57,500
cut wide again or close again.
932
01:39:03,458 --> 01:39:04,958
When we're pushing in on a character we
933
01:39:05,041 --> 01:39:06,333
need to look out for what happens if
934
01:39:06,416 --> 01:39:07,250
we're not at eye level.
935
01:39:10,000 --> 01:39:11,500
As we push in normally the shot is
936
01:39:11,583 --> 01:39:12,208
balanced from start to finish.
937
01:39:12,291 --> 01:39:17,416
But while we're in the over the shoulder
938
01:39:17,500 --> 01:39:19,208
it's not as clear what our level is.
939
01:39:20,833 --> 01:39:21,583
So lowering the camera
940
01:39:21,666 --> 01:39:22,666
the level seems fine.
941
01:39:24,458 --> 01:39:26,291
But as we push in we suddenly have to
942
01:39:26,375 --> 01:39:27,791
tilt upwards to keep her in the frame
943
01:39:27,875 --> 01:39:28,291
which can look
944
01:39:28,375 --> 01:39:29,666
unpleasant if we get close.
945
01:39:32,666 --> 01:39:34,250
Back in the over the shoulder we'll go up
946
01:39:34,333 --> 01:39:35,833
to what is still an acceptable level.
947
01:39:38,666 --> 01:39:40,208
As we push in we now have to tilt
948
01:39:40,291 --> 01:39:41,291
downwards which can get a little unusual.
949
01:39:42,291 --> 01:39:47,791
A practical use for being below the
950
01:39:47,875 --> 01:39:48,666
characters that is eye
951
01:39:48,750 --> 01:39:50,000
line goes out over us.
952
01:39:51,958 --> 01:39:53,583
As we push in he appears to be dreaming
953
01:39:53,666 --> 01:39:54,541
or visualizing which
954
01:39:54,625 --> 01:39:55,583
can be very effective.
955
01:39:58,750 --> 01:40:00,375
When we start to get a lot lower the
956
01:40:00,458 --> 01:40:02,125
beginning of the push seems normal but at
957
01:40:02,208 --> 01:40:03,458
the end of the push the character can
958
01:40:03,541 --> 01:40:04,750
become extremely imposing.
959
01:40:06,125 --> 01:40:07,208
This is usually not what
960
01:40:07,291 --> 01:40:08,250
we want for a character.
961
01:40:09,291 --> 01:40:12,375
But for scenes that are supposed to be
962
01:40:12,458 --> 01:40:13,958
impressive this works very well.
963
01:40:15,750 --> 01:40:17,583
As we push in on the palace the closer we
964
01:40:17,666 --> 01:40:19,416
get the more we have to tilt up.
965
01:40:24,000 --> 01:40:25,708
Towards the end this causes us to look
966
01:40:25,791 --> 01:40:27,500
hard up on both the palace and the robots
967
01:40:27,583 --> 01:40:29,291
and is great for establishing shots that
968
01:40:29,375 --> 01:40:30,208
need to be imposing.
969
01:40:30,291 --> 01:40:37,375
With an angled low push it's worth
970
01:40:37,458 --> 01:40:39,041
noticing that we get both vertical and
971
01:40:39,125 --> 01:40:40,208
horizontal parallax.
972
01:40:42,500 --> 01:40:44,000
An angled track at eye level causes
973
01:40:44,083 --> 01:40:45,500
horizontal movement in the background
974
01:40:45,583 --> 01:40:46,708
especially at the end.
975
01:40:51,250 --> 01:40:52,916
And a directly angled low push causes
976
01:40:53,000 --> 01:40:54,291
vertical movement in the background.
977
01:41:00,666 --> 01:41:02,083
When we both angle the track and lower
978
01:41:02,166 --> 01:41:04,083
the camera we get both at the same time
979
01:41:04,166 --> 01:41:05,875
which makes for a very dynamic move.
980
01:41:10,166 --> 01:41:11,750
When we need to push in on objects it
981
01:41:11,833 --> 01:41:13,041
works well to come in at a higher
982
01:41:13,125 --> 01:41:15,000
elevation and simply pan and tilt to keep
983
01:41:15,083 --> 01:41:16,083
the object in the frame.
984
01:41:18,041 --> 01:41:19,666
Here we're pushing in on a tape recorder.
985
01:41:21,583 --> 01:41:23,500
Our height doesn't change only pan tilt.
986
01:41:26,958 --> 01:41:28,708
Especially towards the end we get heavy
987
01:41:28,791 --> 01:41:29,833
vertical parallax and
988
01:41:29,916 --> 01:41:30,666
a bit of horizontal.
989
01:41:34,666 --> 01:41:36,291
When objects are on the floor we either
990
01:41:36,375 --> 01:41:38,208
have to be on a crab dolly or a crane so
991
01:41:38,291 --> 01:41:39,208
we don't shoot the track.
992
01:41:41,958 --> 01:41:43,875
As we push in the height stays the same
993
01:41:43,958 --> 01:41:45,500
and we're still only panning and tilting.
994
01:41:54,916 --> 01:41:56,250
A lot of the moves we've already done
995
01:41:56,333 --> 01:41:58,083
involve some form of pulling for instance
996
01:41:58,166 --> 01:41:59,208
starting on and revealing
997
01:41:59,291 --> 01:42:00,916
or opening and closing space.
998
01:42:02,791 --> 01:42:04,333
Additionally we can naturally pull ahead
999
01:42:04,416 --> 01:42:05,166
of a character as he
1000
01:42:05,250 --> 01:42:06,166
moves through a location.
1001
01:42:08,125 --> 01:42:09,666
The only thing to note about this is that
1002
01:42:09,750 --> 01:42:11,375
it's very hard to do on a track because
1003
01:42:11,458 --> 01:42:13,333
people actually walk quite fast and the
1004
01:42:13,416 --> 01:42:14,541
track would soon be revealed.
1005
01:42:16,041 --> 01:42:17,583
So if we want to pull ahead of someone
1006
01:42:17,666 --> 01:42:19,541
steady camera crab dolly is the better
1007
01:42:19,625 --> 01:42:20,375
choice unless of
1008
01:42:20,458 --> 01:42:21,250
course we shoot at an angle.
1009
01:42:22,291 --> 01:42:25,541
In this chapter we'll simply look at two
1010
01:42:25,625 --> 01:42:26,625
motivations for pulling
1011
01:42:26,708 --> 01:42:27,708
that can be less obvious.
1012
01:42:29,291 --> 01:42:30,291
The first is detaching.
1013
01:42:32,916 --> 01:42:34,250
In this scene we're with a man in the
1014
01:42:34,333 --> 01:42:35,708
hospital as his wife has died.
1015
01:42:37,916 --> 01:42:39,875
At this point he's terribly alone and no
1016
01:42:39,958 --> 01:42:41,416
one can help him or comfort him.
1017
01:42:43,916 --> 01:42:45,333
So detaching from him is the most
1018
01:42:45,416 --> 01:42:46,750
impactful way to show the sudden
1019
01:42:46,833 --> 01:42:47,291
emptiness in his life.
1020
01:42:52,791 --> 01:42:54,333
In this scene the woman was supposed to
1021
01:42:54,416 --> 01:42:55,916
meet an old love at a train station.
1022
01:42:57,750 --> 01:42:58,416
The meeting had been
1023
01:42:58,500 --> 01:42:59,583
arranged for many years.
1024
01:43:01,791 --> 01:43:02,791
But he never shows up.
1025
01:43:05,333 --> 01:43:07,125
As we detach from her we again show the
1026
01:43:07,208 --> 01:43:08,791
emptiness and aloneness in her life as
1027
01:43:08,875 --> 01:43:09,458
she becomes smaller
1028
01:43:09,541 --> 01:43:10,625
and smaller in the frame.
1029
01:43:15,291 --> 01:43:16,875
If relevant to the story we could turn
1030
01:43:16,958 --> 01:43:18,708
this meeting upside down by pulling to in
1031
01:43:18,791 --> 01:43:21,000
fact open the space for him to step in.
1032
01:43:24,833 --> 01:43:26,416
Detaching almost always results in the
1033
01:43:26,500 --> 01:43:28,041
aloneness or emptiness and less worth the
1034
01:43:28,125 --> 01:43:29,500
end of his story at which point we'll be
1035
01:43:29,583 --> 01:43:31,125
naturally detaching from the characters.
1036
01:43:33,458 --> 01:43:34,750
At the end of this last scene we've
1037
01:43:34,833 --> 01:43:36,291
enjoyed a couple of hours in the company
1038
01:43:36,375 --> 01:43:37,958
of the characters. They got each other
1039
01:43:38,041 --> 01:43:39,291
and we're now letting go.
1040
01:43:45,000 --> 01:43:46,708
The second reason for pulling is relaxing
1041
01:43:46,791 --> 01:43:47,875
which serves to release the
1042
01:43:47,958 --> 01:43:49,208
pressure created by pushing.
1043
01:43:50,875 --> 01:43:52,291
This move doesn't have a lot of everyday
1044
01:43:52,375 --> 01:43:54,083
uses but can be very effective at the
1045
01:43:54,166 --> 01:43:55,125
right point in the story.
1046
01:43:57,541 --> 01:43:59,041
Returning to the leaking nuclear reactor
1047
01:43:59,125 --> 01:44:00,541
scenario we're pushing in on the
1048
01:44:00,625 --> 01:44:01,958
characters as the tension peaks.
1049
01:44:03,500 --> 01:44:04,916
The problem is unfixable and
1050
01:44:05,000 --> 01:44:06,250
the plant is about to explode.
1051
01:44:07,291 --> 01:44:11,625
Until suddenly the problem fixes itself.
1052
01:44:13,458 --> 01:44:15,166
We pull out from the engineer as he looks
1053
01:44:15,250 --> 01:44:16,416
over his panels puzzled.
1054
01:44:18,125 --> 01:44:19,708
All meters are suddenly returning to
1055
01:44:19,791 --> 01:44:21,458
normal and the danger is averted.
1056
01:44:28,916 --> 01:44:30,416
Next we'll look at two basic moves that
1057
01:44:30,500 --> 01:44:31,666
we really should have looked at earlier
1058
01:44:31,750 --> 01:44:33,458
but have placed here because they lead us
1059
01:44:33,541 --> 01:44:34,250
into the next chapters.
1060
01:44:35,291 --> 01:44:37,500
Converging is the action of opposing
1061
01:44:37,583 --> 01:44:39,291
characters movement by moving closer to
1062
01:44:39,375 --> 01:44:41,000
them as they move closer to us which
1063
01:44:41,083 --> 01:44:42,875
effectively doubles the perceived speed.
1064
01:44:45,250 --> 01:44:46,833
As the characters rush in looking for
1065
01:44:46,916 --> 01:44:48,625
someone both the characters in the story
1066
01:44:48,708 --> 01:44:50,416
converge to create a crucial moment.
1067
01:44:53,333 --> 01:44:55,166
The primary thing converging does is
1068
01:44:55,250 --> 01:44:56,208
create extra tension.
1069
01:44:57,916 --> 01:44:59,416
As the man rolls from terminal to
1070
01:44:59,500 --> 01:45:01,333
terminal we oppose his move making the
1071
01:45:01,416 --> 01:45:03,000
situation appear twice as hectic.
1072
01:45:05,625 --> 01:45:06,416
There are really only two
1073
01:45:06,500 --> 01:45:07,541
ways to create a converge.
1074
01:45:09,166 --> 01:45:10,791
Here the character was already moving and
1075
01:45:10,875 --> 01:45:12,500
we decided to oppose that movement.
1076
01:45:15,875 --> 01:45:17,166
The other way is to move the character
1077
01:45:17,250 --> 01:45:18,291
when we're already moving.
1078
01:45:19,666 --> 01:45:21,000
Here we're already doing a push for
1079
01:45:21,083 --> 01:45:22,541
whatever reason the story provides.
1080
01:45:25,666 --> 01:45:27,125
But to create more tension and emphasize
1081
01:45:27,208 --> 01:45:28,875
the push let's have the character step
1082
01:45:28,958 --> 01:45:30,250
forwards at the same time.
1083
01:45:33,208 --> 01:45:34,625
This compressing feeling is useful
1084
01:45:34,708 --> 01:45:36,458
anytime we want a moment to have a higher
1085
01:45:36,541 --> 01:45:37,958
level of focus and concentration.
1086
01:45:40,041 --> 01:45:41,416
Here the woman will step closer to the
1087
01:45:41,500 --> 01:45:43,083
man to say something very important.
1088
01:45:45,291 --> 01:45:46,958
As she does we tighten the shot by
1089
01:45:47,041 --> 01:45:48,125
opposing her movement and
1090
01:45:48,208 --> 01:45:49,458
thereby sharpen the attention.
1091
01:45:52,625 --> 01:45:54,541
Converging is a very general action and
1092
01:45:54,625 --> 01:45:56,291
all we're after is the overall feeling of
1093
01:45:56,375 --> 01:45:56,625
everything
1094
01:45:56,708 --> 01:45:57,208
compressing into a single point.
1095
01:45:57,291 --> 01:45:59,166
So a converge doesn't
1096
01:45:59,250 --> 01:46:00,666
necessarily need to be head on.
1097
01:46:03,125 --> 01:46:04,791
Here the blue man walks to the terminal.
1098
01:46:06,875 --> 01:46:08,500
We're not necessarily pushing in directly
1099
01:46:08,583 --> 01:46:09,666
but the general direction
1100
01:46:09,750 --> 01:46:11,208
still gives us the same feeling.
1101
01:46:13,708 --> 01:46:15,416
This makes converging an extremely useful
1102
01:46:15,500 --> 01:46:16,375
move that can be applied
1103
01:46:16,458 --> 01:46:17,625
to a host of situations.
1104
01:46:20,458 --> 01:46:21,916
Here we're doing an angled or diagonal
1105
01:46:22,000 --> 01:46:23,583
converge where both us and the character
1106
01:46:23,666 --> 01:46:24,291
approach each other at an angle.
1107
01:46:28,291 --> 01:46:30,166
This is useful for any situation where we
1108
01:46:30,250 --> 01:46:31,083
already want to track to
1109
01:46:31,166 --> 01:46:32,041
another part of the set.
1110
01:46:34,333 --> 01:46:35,791
By angling the track inwards we
1111
01:46:35,875 --> 01:46:36,708
simultaneously get
1112
01:46:36,791 --> 01:46:37,750
the converging feeling.
1113
01:46:41,750 --> 01:46:43,375
Or as in this shot where we already want
1114
01:46:43,458 --> 01:46:44,166
to track with the character
1115
01:46:44,250 --> 01:46:45,625
to the side to isolate him.
1116
01:46:47,125 --> 01:46:49,083
By angling the track inwards and his move
1117
01:46:49,166 --> 01:46:50,916
outwards we simultaneously get the
1118
01:46:51,000 --> 01:46:52,750
feeling of converging which enhances our
1119
01:46:52,833 --> 01:46:54,250
original choice to single him out.
1120
01:46:55,291 --> 01:46:58,208
This kind of converging is effective for
1121
01:46:58,291 --> 01:46:59,125
any scene that needs a
1122
01:46:59,208 --> 01:47:00,208
higher level of action.
1123
01:47:01,666 --> 01:47:03,166
Here an army sergeant rushes out with
1124
01:47:03,250 --> 01:47:04,166
important new information
1125
01:47:04,250 --> 01:47:05,541
needed for a critical mission.
1126
01:47:07,916 --> 01:47:09,500
We could of course just track with him to
1127
01:47:09,583 --> 01:47:10,750
where he needs to go but we've
1128
01:47:10,833 --> 01:47:12,458
deliberately angled both his walk and the
1129
01:47:12,541 --> 01:47:14,125
track to compress the attention and make
1130
01:47:14,208 --> 01:47:15,416
the situation more crucial.
1131
01:47:18,250 --> 01:47:19,583
A different kind of converges that lends
1132
01:47:19,666 --> 01:47:21,125
itself very well to long and calm
1133
01:47:21,208 --> 01:47:22,166
tracking in a scene as
1134
01:47:22,250 --> 01:47:23,291
a right angle converge.
1135
01:47:25,583 --> 01:47:27,125
With this converge we track at a right
1136
01:47:27,208 --> 01:47:27,875
angle into the path
1137
01:47:27,958 --> 01:47:28,875
of walking characters.
1138
01:47:30,708 --> 01:47:32,250
This kind of move can go on for a long
1139
01:47:32,333 --> 01:47:33,916
time and the effect is that the framing
1140
01:47:34,000 --> 01:47:35,416
starts out slightly off key.
1141
01:47:37,375 --> 01:47:38,958
And then slowly becomes clearer and more
1142
01:47:39,041 --> 01:47:40,666
focused as we approach a clean angle,
1143
01:47:41,666 --> 01:47:43,041
which makes the dialog become more
1144
01:47:43,125 --> 01:47:44,250
focused at this point.
1145
01:47:46,833 --> 01:47:48,416
Doing the same move at a different angle
1146
01:47:48,500 --> 01:47:50,166
with both characters and track, a right
1147
01:47:50,250 --> 01:47:51,958
angle converge makes it very easy to get
1148
01:47:52,041 --> 01:47:52,750
subtle and relaxed
1149
01:47:52,833 --> 01:47:53,958
parallax in the foreground.
1150
01:47:55,208 --> 01:47:56,583
If we were tracking on the side of the
1151
01:47:56,666 --> 01:47:58,208
characters any foreground would pass
1152
01:47:58,291 --> 01:47:59,500
through the shot very fast.
1153
01:48:01,375 --> 01:48:02,791
But here we're almost tracking in
1154
01:48:02,875 --> 01:48:04,166
parallel which means that we're not
1155
01:48:04,250 --> 01:48:05,708
traveling very far compared to the
1156
01:48:05,791 --> 01:48:07,333
distance the characters are traveling so
1157
01:48:07,416 --> 01:48:08,250
the foreground moves much slower.
1158
01:48:09,291 --> 01:48:12,000
Again as we approach a clean angle on the
1159
01:48:12,083 --> 01:48:13,125
characters path the shot
1160
01:48:13,208 --> 01:48:14,291
becomes clearer and clearer.
1161
01:48:15,666 --> 01:48:17,000
So it can be a good idea at a time a
1162
01:48:17,083 --> 01:48:18,458
right angle converges to end in a
1163
01:48:18,541 --> 01:48:19,916
motivated stop for the characters.
1164
01:48:23,041 --> 01:48:24,708
Like converging, countering doubles the
1165
01:48:24,791 --> 01:48:26,291
apparent speed of a move but where with
1166
01:48:26,375 --> 01:48:27,750
converging the goal is to meet up with
1167
01:48:27,833 --> 01:48:29,083
the characters in a single point,
1168
01:48:29,500 --> 01:48:30,250
countering is opposing
1169
01:48:30,333 --> 01:48:31,250
their movement from the side.
1170
01:48:32,291 --> 01:48:35,083
The result is again the perception that
1171
01:48:35,166 --> 01:48:36,833
everything is moving much faster so
1172
01:48:36,916 --> 01:48:38,583
anytime a scene needs more action it
1173
01:48:38,666 --> 01:48:39,375
makes sense to lean
1174
01:48:39,458 --> 01:48:40,583
towards countering moves.
1175
01:48:42,958 --> 01:48:43,875
Here the man walks in to
1176
01:48:43,958 --> 01:48:45,000
find that something is wrong.
1177
01:48:46,875 --> 01:48:47,875
By countering we again
1178
01:48:47,958 --> 01:48:49,125
bring more action to the scene.
1179
01:48:51,583 --> 01:48:52,625
Here the blue man becomes
1180
01:48:52,708 --> 01:48:53,958
displeased with the red man.
1181
01:48:55,375 --> 01:48:57,083
By countering as he walks over we add
1182
01:48:57,166 --> 01:48:57,958
intensity to whatever
1183
01:48:58,041 --> 01:48:59,291
is already happening.
1184
01:49:01,583 --> 01:49:03,083
Additionally since countering moves
1185
01:49:03,166 --> 01:49:04,750
opposite the character it's very
1186
01:49:04,833 --> 01:49:05,708
effective for getting the
1187
01:49:05,791 --> 01:49:07,375
maximum use of a small location.
1188
01:49:08,500 --> 01:49:10,208
As here where the man walks in and we
1189
01:49:10,291 --> 01:49:12,000
move to keep the widest possible shot.
1190
01:49:14,833 --> 01:49:15,833
As the man walks in we
1191
01:49:15,916 --> 01:49:17,083
start in this part of the room.
1192
01:49:18,916 --> 01:49:20,750
The countering again adds more action but
1193
01:49:20,833 --> 01:49:22,541
the main purpose is to create more space.
1194
01:49:23,875 --> 01:49:25,541
So as we end up over here we're still
1195
01:49:25,625 --> 01:49:27,125
getting a wide shot which makes the room
1196
01:49:27,208 --> 01:49:28,083
appear more spacious.
1197
01:49:34,708 --> 01:49:36,166
Pivoting with track is a move that shares
1198
01:49:36,250 --> 01:49:37,875
a number of technical similarities with
1199
01:49:37,958 --> 01:49:38,958
pivoting and editing which
1200
01:49:39,041 --> 01:49:40,333
is why it has the same name.
1201
01:49:41,875 --> 01:49:43,375
In pivoting we would create overlapping
1202
01:49:43,458 --> 01:49:45,208
groups by placing cameras that each have
1203
01:49:45,291 --> 01:49:46,916
a particular character visible in both
1204
01:49:47,000 --> 01:49:48,083
shots preferably in the
1205
01:49:48,166 --> 01:49:49,041
same part of the frame.
1206
01:49:51,000 --> 01:49:52,125
Which would smooth out the cut
1207
01:49:52,208 --> 01:49:53,625
and create spatial continuity.
1208
01:49:56,291 --> 01:49:57,750
Pivoting on track can do the same by
1209
01:49:57,833 --> 01:49:58,916
replacing those two lock
1210
01:49:59,000 --> 01:49:59,250
cameras with one on a track.
1211
01:50:00,291 --> 01:50:03,041
And actually tracking
1212
01:50:03,125 --> 01:50:04,208
between the two positions.
1213
01:50:07,000 --> 01:50:08,541
The effect is that we keep the man locked
1214
01:50:08,625 --> 01:50:10,125
in the same part of the frame during the
1215
01:50:10,208 --> 01:50:10,708
move while the
1216
01:50:10,791 --> 01:50:12,000
background is being replaced.
1217
01:50:14,333 --> 01:50:15,916
But while the end result in this case is
1218
01:50:16,000 --> 01:50:17,541
the same as with pivot editing this is
1219
01:50:17,625 --> 01:50:19,083
where the similarities end because
1220
01:50:19,166 --> 01:50:20,625
pivoting would track as such an essential
1221
01:50:20,708 --> 01:50:21,250
move that it deserves to stand on its own.
1222
01:50:22,291 --> 01:50:26,500
The key distinction in pivoting is that
1223
01:50:26,583 --> 01:50:28,083
we're locking onto something as we move
1224
01:50:28,166 --> 01:50:29,458
and keep it fixed in the frame.
1225
01:50:30,958 --> 01:50:32,291
This is an effective way to reveal
1226
01:50:32,375 --> 01:50:33,083
something which we'll
1227
01:50:33,166 --> 01:50:34,291
look at in the next chapter.
1228
01:50:35,291 --> 01:50:36,708
But in this chapter we'll look at using
1229
01:50:36,791 --> 01:50:38,333
it to follow a second character while
1230
01:50:38,416 --> 01:50:39,416
pivoting around the first.
1231
01:50:42,500 --> 01:50:44,458
As the woman walks we pivot on the man to
1232
01:50:44,541 --> 01:50:45,250
keep her in the frame.
1233
01:50:46,291 --> 01:50:49,250
We're essentially countering around the
1234
01:50:49,333 --> 01:50:51,041
man and the result is that we keep both
1235
01:50:51,125 --> 01:50:52,583
characters in the frame almost no matter
1236
01:50:52,666 --> 01:50:53,833
where the woman moves as
1237
01:50:53,916 --> 01:50:55,083
long as the man is stationary.
1238
01:50:57,750 --> 01:50:59,375
So a pivot is really able to cover an
1239
01:50:59,458 --> 01:51:01,333
entire scene between two characters and
1240
01:51:01,416 --> 01:51:02,625
it can be useful to base the whole
1241
01:51:02,708 --> 01:51:04,250
coverage on one pivoting camera as a
1242
01:51:04,333 --> 01:51:06,125
backbone and then add locked reverses to
1243
01:51:06,208 --> 01:51:07,166
fill in at each stop.
1244
01:51:08,208 --> 01:51:09,958
So let's create three stops for the woman
1245
01:51:10,041 --> 01:51:10,250
starting at the door.
1246
01:51:11,291 --> 01:51:15,083
Then in front of the man, then over here,
1247
01:51:16,250 --> 01:51:17,750
and add two locked reverses.
1248
01:51:19,625 --> 01:51:21,125
As the woman walks from the door into the
1249
01:51:21,208 --> 01:51:22,791
scene we then pivot around the man.
1250
01:51:24,916 --> 01:51:26,708
And as she comes to a stop we cut to the
1251
01:51:26,791 --> 01:51:27,583
first locked reverse.
1252
01:51:30,166 --> 01:51:31,833
Back in the pivot the woman walks to her
1253
01:51:31,916 --> 01:51:32,958
second mark and we keep
1254
01:51:33,041 --> 01:51:34,208
countering around the man.
1255
01:51:36,250 --> 01:51:37,416
Until she arrives and we cut
1256
01:51:37,500 --> 01:51:38,250
to the other locked reverse.
1257
01:51:39,291 --> 01:51:42,916
As the scene goes on we've covered almost
1258
01:51:43,000 --> 01:51:45,333
180 degrees of movement, the pivot camera
1259
01:51:45,416 --> 01:51:47,083
works throughout the scene and the two
1260
01:51:47,166 --> 01:51:48,000
easy locked reverses
1261
01:51:48,083 --> 01:51:48,875
fill in the coverage.
1262
01:51:50,791 --> 01:51:52,208
So this is one useful move.
1263
01:51:54,625 --> 01:51:56,166
The range of movement a pivot can cover
1264
01:51:56,250 --> 01:51:57,291
is actually even wider.
1265
01:51:59,166 --> 01:52:00,750
Here the woman walks to stand in front of
1266
01:52:00,833 --> 01:52:02,250
the man which is the same as we just did.
1267
01:52:03,291 --> 01:52:05,875
As she walks in and out of the depth of
1268
01:52:05,958 --> 01:52:07,625
the shot we of course don't need to move.
1269
01:52:10,500 --> 01:52:12,375
But we do again as she moves over here.
1270
01:52:16,708 --> 01:52:18,250
So the woman can in fact move around the
1271
01:52:18,333 --> 01:52:19,958
whole area in the top of the screen which
1272
01:52:20,041 --> 01:52:21,833
makes basing an entire scene on a pivot
1273
01:52:21,916 --> 01:52:23,250
as a backbone very flexible.
1274
01:52:25,375 --> 01:52:27,083
But pivots are also great problem solvers
1275
01:52:27,166 --> 01:52:28,958
on a much smaller scale if we add pivots
1276
01:52:29,041 --> 01:52:30,500
to tracks that are already laid in order
1277
01:52:30,583 --> 01:52:31,291
to cover extra character movement.
1278
01:52:33,333 --> 01:52:34,083
Here we track with the
1279
01:52:34,166 --> 01:52:35,458
man between two key frames.
1280
01:52:36,958 --> 01:52:38,541
As the man now walks to the table we
1281
01:52:38,625 --> 01:52:39,375
reuse the track to
1282
01:52:39,458 --> 01:52:40,208
cover him with a pivot.
1283
01:52:42,833 --> 01:52:43,833
And back again.
1284
01:52:47,875 --> 01:52:49,250
This can be done almost as soon as we
1285
01:52:49,333 --> 01:52:50,375
have a track in the scene and
1286
01:52:50,458 --> 01:52:51,583
regardless of how it's laid.
1287
01:52:53,000 --> 01:52:54,666
As we arrive by the red woman the move
1288
01:52:54,750 --> 01:52:56,041
would ordinarily have ended here.
1289
01:52:57,541 --> 01:52:59,166
But because the man needs to walk to the
1290
01:52:59,250 --> 01:53:00,833
table we simply tack on a pivot.
1291
01:53:03,375 --> 01:53:04,958
This move can be easily added to most
1292
01:53:05,041 --> 01:53:06,625
tracks and often be put in at the last
1293
01:53:06,708 --> 01:53:07,375
minute because the
1294
01:53:07,458 --> 01:53:08,416
track is already there.
1295
01:53:10,916 --> 01:53:12,666
An even simpler version of this that does
1296
01:53:12,750 --> 01:53:14,291
need to be planned is to pivot what would
1297
01:53:14,375 --> 01:53:15,583
otherwise have been a locked reverse.
1298
01:53:17,125 --> 01:53:18,750
Here we'll put this locked reverse on a
1299
01:53:18,833 --> 01:53:20,583
track and pivot as the red man leaves.
1300
01:53:23,458 --> 01:53:25,208
He stops on the way out which the pivot
1301
01:53:25,291 --> 01:53:27,208
covers easily and as he leaves we pivot
1302
01:53:27,291 --> 01:53:28,291
around to the front of the blue man.
1303
01:53:33,875 --> 01:53:35,333
Putting the locked reverse on a track is
1304
01:53:35,416 --> 01:53:37,000
naturally better than doing two separate
1305
01:53:37,083 --> 01:53:38,041
shots because we only
1306
01:53:38,125 --> 01:53:39,291
have one shot to do.
1307
01:53:40,500 --> 01:53:42,000
So as the camera has now been locked
1308
01:53:42,083 --> 01:53:43,541
throughout the scene we pivot with the
1309
01:53:43,625 --> 01:53:44,666
red man as he leaves.
1310
01:53:46,583 --> 01:53:47,125
Stopping here.
1311
01:53:49,041 --> 01:53:50,541
When he leaves completely we use the
1312
01:53:50,625 --> 01:53:52,083
remaining track to pivot around to the
1313
01:53:52,166 --> 01:53:53,666
front of the blue man which creates the
1314
01:53:53,750 --> 01:53:54,958
same kind of reaction shot
1315
01:53:55,041 --> 01:53:56,250
feeling that a close push would.
1316
01:53:57,291 --> 01:54:00,458
If we set this up differently we could of
1317
01:54:00,541 --> 01:54:02,125
course capture both a reaction and the
1318
01:54:02,208 --> 01:54:03,041
other character leaving.
1319
01:54:04,875 --> 01:54:06,291
Here we're again in half of a reverse
1320
01:54:06,375 --> 01:54:08,333
pair although this camera is on a track.
1321
01:54:10,083 --> 01:54:11,958
As the red man leaves we pivot around to
1322
01:54:12,041 --> 01:54:13,583
the front of the blue man getting both a
1323
01:54:13,666 --> 01:54:14,416
reaction and covering
1324
01:54:14,500 --> 01:54:15,375
the red man leaving.
1325
01:54:18,875 --> 01:54:20,750
Since pivoting is so close to converging
1326
01:54:20,833 --> 01:54:21,833
and countering most of
1327
01:54:21,916 --> 01:54:22,250
the same logic applies.
1328
01:54:23,291 --> 01:54:26,625
Here we want the woman's entry to be more
1329
01:54:26,708 --> 01:54:28,333
hectic and as we oppose her movement
1330
01:54:28,416 --> 01:54:29,916
we're really doing a converged pivot
1331
01:54:30,000 --> 01:54:31,625
counter and it's hard to tell which one
1332
01:54:31,708 --> 01:54:32,708
because they're so similar.
1333
01:54:34,125 --> 01:54:35,666
What makes a move a pivot is simply that
1334
01:54:35,750 --> 01:54:36,708
we lock onto something
1335
01:54:36,791 --> 01:54:38,000
and counter around it.
1336
01:54:39,333 --> 01:54:40,958
But to extend this idea we can really
1337
01:54:41,041 --> 01:54:42,291
lock onto anything we want.
1338
01:54:43,166 --> 01:54:44,958
So let's pivot around the woman instead.
1339
01:54:46,125 --> 01:54:47,250
As the man walks she's now the fix.
1340
01:54:48,291 --> 01:54:51,416
So for these bits of movement the scene
1341
01:54:51,500 --> 01:54:52,416
revolves around her.
1342
01:54:56,166 --> 01:54:58,125
A converge also easily turns into a pivot
1343
01:54:58,208 --> 01:54:59,166
if the track is angled.
1344
01:55:01,208 --> 01:55:03,041
A straight converge by itself compresses
1345
01:55:03,125 --> 01:55:04,291
the attention of the scene.
1346
01:55:07,500 --> 01:55:09,166
But if we angle the track the move
1347
01:55:09,250 --> 01:55:10,250
becomes a pivot converge.
1348
01:55:11,291 --> 01:55:14,208
As we converge we're now moving more to
1349
01:55:14,291 --> 01:55:15,833
the right as the woman moves more to the
1350
01:55:15,916 --> 01:55:17,291
left keeping the man fixed in
1351
01:55:17,375 --> 01:55:18,333
the right side of the frame.
1352
01:55:20,583 --> 01:55:22,125
Angling the track like this adds even
1353
01:55:22,208 --> 01:55:23,458
more to the energy of the converge
1354
01:55:23,541 --> 01:55:24,333
because the passing
1355
01:55:24,416 --> 01:55:25,583
background creates unrest.
1356
01:55:28,333 --> 01:55:29,833
Needless to say we don't have to be
1357
01:55:29,916 --> 01:55:30,916
pivoting around people.
1358
01:55:32,083 --> 01:55:33,791
If a character is moving we can pick a
1359
01:55:33,875 --> 01:55:35,500
foreground object to pivot around.
1360
01:55:37,166 --> 01:55:37,916
Here we've picked an
1361
01:55:38,000 --> 01:55:39,291
arbitrary foreground object.
1362
01:55:41,833 --> 01:55:43,375
We can just leave it at that but we might
1363
01:55:43,458 --> 01:55:44,583
as well pick an object that has
1364
01:55:44,666 --> 01:55:46,500
significance in the scene later on.
1365
01:55:49,000 --> 01:55:50,125
In this scene we're really just
1366
01:55:50,208 --> 01:55:51,625
countering on the man as he walks to the
1367
01:55:51,708 --> 01:55:53,166
woman but by starting on the pumpkin
1368
01:55:53,250 --> 01:55:55,000
which is a completely arbitrary object
1369
01:55:55,083 --> 01:55:55,958
the first half of the
1370
01:55:56,041 --> 01:55:56,875
move becomes a pivot.
1371
01:56:01,916 --> 01:56:03,458
Because these moves are so similar it's
1372
01:56:03,541 --> 01:56:04,458
extremely easy to go
1373
01:56:04,541 --> 01:56:05,250
from one to the other.
1374
01:56:06,291 --> 01:56:08,666
Even with a red man not visible yet it's
1375
01:56:08,750 --> 01:56:09,458
still a pivot which
1376
01:56:09,541 --> 01:56:10,541
then becomes a counter.
1377
01:56:13,000 --> 01:56:13,583
Combinations like
1378
01:56:13,666 --> 01:56:14,750
these can be quite elegant.
1379
01:56:16,958 --> 01:56:18,458
Another interesting way to pivot around
1380
01:56:18,541 --> 01:56:19,416
objects is to pivot
1381
01:56:19,500 --> 01:56:20,708
around a gap in the foreground.
1382
01:56:23,291 --> 01:56:24,750
Here we counter the man's movement by
1383
01:56:24,833 --> 01:56:26,208
pivoting around the hole in the wall.
1384
01:56:30,958 --> 01:56:32,125
If he walks back we simply
1385
01:56:32,208 --> 01:56:33,291
pivot in the opposite direction.
1386
01:56:38,250 --> 01:56:45,041
The other half of pivoting is its ability
1387
01:56:45,125 --> 01:56:46,791
to reveal which is a move that's so
1388
01:56:46,875 --> 01:56:48,583
effective it can be used in most scenes.
1389
01:56:50,416 --> 01:56:51,958
Here we're opening a scene on a man as
1390
01:56:52,041 --> 01:56:53,166
he's contemplating something.
1391
01:56:55,083 --> 01:56:56,958
As we share in his experience and reflect
1392
01:56:57,041 --> 01:56:58,958
with him we do a calm and slow track,
1393
01:56:59,041 --> 01:57:00,250
angle just enough to get a bit of
1394
01:57:00,333 --> 01:57:01,208
movement in the background.
1395
01:57:01,291 --> 01:57:04,833
But while it seems like we're only doing the move to create a movement in the background, we can just move it around. We can just move it around and move it around and move it around and move it around and move it around. Here we're opening a scene on a man as he's contemplating something. But while it seems like we're only doing
1396
01:57:04,916 --> 01:57:06,541
the move to create this feeling, the more
1397
01:57:06,625 --> 01:57:08,250
important purpose is to end here and
1398
01:57:08,333 --> 01:57:09,500
bring the woman into the scene.
1399
01:57:10,833 --> 01:57:12,833
So this is again an extremely useful move
1400
01:57:12,916 --> 01:57:14,666
considering how many scenes start on one
1401
01:57:14,750 --> 01:57:15,916
character and bring in another.
1402
01:57:18,333 --> 01:57:19,166
Here we're doing a similar
1403
01:57:19,250 --> 01:57:20,500
move but from the other side.
1404
01:57:23,166 --> 01:57:24,500
Again the slow tracking creates a
1405
01:57:24,583 --> 01:57:26,291
reflective mood and it's fine to let a
1406
01:57:26,375 --> 01:57:27,833
move like this go on for even half a
1407
01:57:27,916 --> 01:57:28,791
minute because it gives us
1408
01:57:28,875 --> 01:57:29,291
a moment to think and feel.
1409
01:57:32,791 --> 01:57:34,041
In this scene we've timed the other
1410
01:57:34,125 --> 01:57:34,958
character's arrival to
1411
01:57:35,041 --> 01:57:36,416
coincide with the end of the move.
1412
01:57:41,000 --> 01:57:41,708
But it works just as
1413
01:57:41,791 --> 01:57:42,791
well if we do it faster.
1414
01:57:44,000 --> 01:57:45,416
Here we're essentially doing it as a
1415
01:57:45,500 --> 01:57:47,125
start on reveal but it still gives us a
1416
01:57:47,208 --> 01:57:48,333
moment to identify with a
1417
01:57:48,416 --> 01:57:51,375
man before the woman steps in.
1418
01:57:52,875 --> 01:57:53,708
Surprisingly many scenes
1419
01:57:53,791 --> 01:57:54,250
can be opened this way.
1420
01:57:55,291 --> 01:57:58,500
To do an even faster one we start on the
1421
01:57:58,583 --> 01:58:01,125
woman, then quickly
1422
01:58:01,208 --> 01:58:02,291
pivot reveal the others.
1423
01:58:05,083 --> 01:58:06,666
But beyond that with the track already
1424
01:58:06,750 --> 01:58:08,541
laid we might as well use the same track
1425
01:58:08,625 --> 01:58:09,666
to pull back into the scene
1426
01:58:09,750 --> 01:58:11,125
as the new character walks in.
1427
01:58:13,083 --> 01:58:14,041
Here we're ending up by
1428
01:58:14,125 --> 01:58:15,208
pivot revealing the woman.
1429
01:58:18,291 --> 01:58:19,875
As she starts walking closer we then
1430
01:58:19,958 --> 01:58:20,791
continue pivoting to
1431
01:58:20,875 --> 01:58:21,250
bring her into the scene.
1432
01:58:22,291 --> 01:58:24,916
Altogether this can easily give us a
1433
01:58:25,000 --> 01:58:26,625
whole minute of coverage from just one
1434
01:58:26,708 --> 01:58:28,000
camera that never gets boring.
1435
01:58:30,708 --> 01:58:32,083
Pivot revealing isn't limited to the
1436
01:58:32,166 --> 01:58:33,000
beginning of a scene.
1437
01:58:34,375 --> 01:58:35,750
Here we're doing the first half of the
1438
01:58:35,833 --> 01:58:36,833
scene in reverse dialogue
1439
01:58:36,916 --> 01:58:38,000
between the man and the woman.
1440
01:58:39,583 --> 01:58:41,291
But halfway through we pull this camera
1441
01:58:41,375 --> 01:58:42,416
over here to pivot reveal
1442
01:58:42,500 --> 01:58:43,208
another character entering.
1443
01:58:43,291 --> 01:58:47,166
From a blocking perspective this comes
1444
01:58:47,250 --> 01:58:48,958
about automatically if we simply connect
1445
01:58:49,041 --> 01:58:49,666
the over the shoulder
1446
01:58:49,750 --> 01:58:51,458
keyframe with one frame like this.
1447
01:58:53,375 --> 01:58:55,250
And again if the woman leaves we might as
1448
01:58:55,333 --> 01:58:56,875
well reuse the track to pivot the blue
1449
01:58:56,958 --> 01:58:58,583
man the rest of the way into the scene.
1450
01:59:00,833 --> 01:59:02,375
Over to the woman's mark which means that
1451
01:59:02,458 --> 01:59:03,750
the locked reverse still works.
1452
01:59:06,333 --> 01:59:07,833
Again in this shot we're coming from a
1453
01:59:07,916 --> 01:59:08,708
close up which is part
1454
01:59:08,791 --> 01:59:09,250
of a previous dialogue.
1455
01:59:10,291 --> 01:59:13,625
We pivot reveal the red woman as she
1456
01:59:13,708 --> 01:59:15,333
enters, time to the end of her walk.
1457
01:59:19,500 --> 01:59:21,458
Here the man is being interrogated and as
1458
01:59:21,541 --> 01:59:23,916
we slowly pivot reveal we constantly know
1459
01:59:24,000 --> 01:59:24,500
that there's something
1460
01:59:24,583 --> 01:59:26,083
outside the frame that's important.
1461
01:59:32,208 --> 01:59:34,166
At the end we reveal the panel of inquiry
1462
01:59:34,250 --> 01:59:35,916
and in the meanwhile we've covered half a
1463
01:59:36,000 --> 01:59:36,291
page in a single shot.
1464
01:59:40,333 --> 01:59:42,041
Pivot reveals work especially well when a
1465
01:59:42,125 --> 01:59:42,916
reveal is supposed to
1466
01:59:43,000 --> 01:59:44,125
be scary or surprising.
1467
01:59:46,625 --> 01:59:48,375
If we think he's alone suddenly pivot
1468
01:59:48,458 --> 01:59:49,333
revealing the murderer
1469
01:59:49,416 --> 01:59:50,416
can be very unsettling.
1470
01:59:53,583 --> 01:59:55,208
Also in many fantasy or science fiction
1471
01:59:55,291 --> 01:59:57,166
stories characters appear out of nowhere.
1472
01:59:58,541 --> 02:00:00,041
Pivot revealing is a very effective way
1473
02:00:00,125 --> 02:00:00,875
to cover this without
1474
02:00:00,958 --> 02:00:02,000
a single visual effect.
1475
02:00:03,541 --> 02:00:05,250
Here we just seem to be pushing in.
1476
02:00:07,250 --> 02:00:09,041
To both a man's surprise and ours the
1477
02:00:09,125 --> 02:00:10,375
woman has appeared in the background.
1478
02:00:12,833 --> 02:00:14,583
And again we might as well pivot back to
1479
02:00:14,666 --> 02:00:15,583
walker into the scene.
1480
02:00:21,291 --> 02:00:22,875
Finally covering a walking character in a
1481
02:00:22,958 --> 02:00:24,500
regular pivot can cause other characters
1482
02:00:24,583 --> 02:00:25,833
to be revealed simply by the
1483
02:00:25,916 --> 02:00:27,166
fact that he walks over to them.
1484
02:00:29,291 --> 02:00:30,916
So as we cover the man's walk normally
1485
02:00:31,000 --> 02:00:32,583
the other characters are forced in and
1486
02:00:32,666 --> 02:00:33,416
out of the frame based
1487
02:00:33,500 --> 02:00:34,291
on his interest in them.
1488
02:00:37,208 --> 02:00:38,833
As he walks to the red woman she's again
1489
02:00:38,916 --> 02:00:39,875
brought in by default.
1490
02:00:42,916 --> 02:00:44,541
As soon as he's no longer focused on her
1491
02:00:44,625 --> 02:00:45,458
she's out of the shot.
1492
02:00:53,875 --> 02:00:55,250
Tracking around is not about using
1493
02:00:55,333 --> 02:00:56,916
circular track as one would think but
1494
02:00:57,000 --> 02:00:58,750
about tracking slowly from one side of a
1495
02:00:58,833 --> 02:00:59,250
character to the other.
1496
02:01:00,291 --> 02:01:03,166
Here we're covering a whole scene in one
1497
02:01:03,250 --> 02:01:04,375
long shot that starts by
1498
02:01:04,458 --> 02:01:05,416
pushing in on the woman.
1499
02:01:07,500 --> 02:01:08,875
Halfway through the shot we'll accelerate
1500
02:01:08,958 --> 02:01:10,708
the pan over to the man and stay on him
1501
02:01:10,791 --> 02:01:11,791
for the rest of the dialogue.
1502
02:01:14,750 --> 02:01:16,333
What this does is create movement out of
1503
02:01:16,416 --> 02:01:17,750
a scene that would otherwise be standing
1504
02:01:17,833 --> 02:01:19,500
still and it's a very economical way to
1505
02:01:19,583 --> 02:01:20,250
cover a scene that has lots of production value.
1506
02:01:21,291 --> 02:01:28,083
Since we're tracking from one over the
1507
02:01:28,166 --> 02:01:29,916
shoulder to another moving the dolly back
1508
02:01:30,000 --> 02:01:31,583
here for a lock take allows us to
1509
02:01:31,666 --> 02:01:33,500
continue cutting dialogue and this may be
1510
02:01:33,583 --> 02:01:35,000
enough coverage for some scenes.
1511
02:01:37,541 --> 02:01:38,958
Tracking around allows us to do some
1512
02:01:39,041 --> 02:01:40,541
unusually long takes that stay
1513
02:01:40,625 --> 02:01:41,250
interesting and give
1514
02:01:41,333 --> 02:01:42,625
subtle movement to the dialogue.
1515
02:01:44,083 --> 02:01:45,958
In this scene in a cafe the man begins to
1516
02:01:46,041 --> 02:01:47,250
open up about his deeper feelings.
1517
02:01:48,291 --> 02:01:51,708
Starting in and over the shoulder the man
1518
02:01:51,791 --> 02:01:53,541
begins opening up and we slowly begin
1519
02:01:53,625 --> 02:01:54,750
tracking around to his front
1520
02:01:54,833 --> 02:01:55,833
simultaneously both
1521
02:01:55,916 --> 02:01:57,500
regrouping and pushing in.
1522
02:02:04,000 --> 02:02:05,625
Doing a long move allows us to avoid
1523
02:02:05,708 --> 02:02:06,458
cutting which works
1524
02:02:06,541 --> 02:02:07,875
well for a sensitive scene.
1525
02:02:11,708 --> 02:02:12,708
And even if the move is a
1526
02:02:12,791 --> 02:02:14,291
minute long it never gets dull.
1527
02:02:21,208 --> 02:02:23,041
If the scene continues after the push we
1528
02:02:23,125 --> 02:02:24,166
find ourselves without the
1529
02:02:24,250 --> 02:02:25,208
previous over the shoulder.
1530
02:02:25,958 --> 02:02:27,375
So we'll again move back for a locked
1531
02:02:27,458 --> 02:02:28,708
version of the starting position.
1532
02:02:31,500 --> 02:02:33,000
Here we're again doing a slow track to
1533
02:02:33,083 --> 02:02:34,791
bring subtle movement to a scene, in this
1534
02:02:34,875 --> 02:02:36,333
case a long and slow line cross.
1535
02:02:39,250 --> 02:02:40,958
It's sometimes much more elegant to cover
1536
02:02:41,041 --> 02:02:42,750
a scene in a single slow moving camera
1537
02:02:42,833 --> 02:02:44,291
than it is to put in tons of cameras.
1538
02:02:47,541 --> 02:02:49,083
But unless the move covers the entire
1539
02:02:49,166 --> 02:02:50,791
scene it's best to make sure the camera
1540
02:02:50,875 --> 02:02:52,708
and some were useful so the camera can be
1541
02:02:52,791 --> 02:02:54,000
part of the subsequent coverage.
1542
02:02:56,791 --> 02:02:58,375
The previous moves were done mostly for
1543
02:02:58,458 --> 02:03:00,250
the sake of luxury but tracking around
1544
02:03:00,333 --> 02:03:01,833
becomes a more practical need when a
1545
02:03:01,916 --> 02:03:02,541
character turns his
1546
02:03:02,625 --> 02:03:03,958
attention from side to side.
1547
02:03:06,083 --> 02:03:07,666
As he shifts his attention to a panel on
1548
02:03:07,750 --> 02:03:08,666
the other side we'll move
1549
02:03:08,750 --> 02:03:10,250
over on the other side as well.
1550
02:03:15,333 --> 02:03:16,875
Finally, tracking around can work very
1551
02:03:16,958 --> 02:03:17,791
well as a counter to
1552
02:03:17,875 --> 02:03:18,875
cover character movement.
1553
02:03:21,083 --> 02:03:22,583
Here the two blue characters are a young
1554
02:03:22,666 --> 02:03:24,333
couple and the man in the suit, the
1555
02:03:24,416 --> 02:03:25,333
girl's father, is trying
1556
02:03:25,416 --> 02:03:26,375
to end their relationship.
1557
02:03:28,333 --> 02:03:29,875
As the girl walks over to stand by the
1558
02:03:29,958 --> 02:03:31,458
boy we counter her movement,
1559
02:03:31,541 --> 02:03:32,208
effectively tracking around.
1560
02:03:32,291 --> 02:03:40,833
In keeping with having focus be one of
1561
02:03:40,916 --> 02:03:42,166
the last decisions we make before
1562
02:03:42,250 --> 02:03:43,958
shooting, let's now go back over the last
1563
02:03:44,041 --> 02:03:45,625
two volumes and pick some shots to make
1564
02:03:45,708 --> 02:03:46,750
focus decisions for.
1565
02:03:48,625 --> 02:03:50,583
Obviously the vast majority of moves only
1566
02:03:50,666 --> 02:03:52,416
require follow focus, as here where we
1567
02:03:52,500 --> 02:03:53,458
converge at an angle is
1568
02:03:53,541 --> 02:03:54,250
the blue man steps forwards.
1569
02:03:55,291 --> 02:03:57,708
The only difference between this and the
1570
02:03:57,791 --> 02:03:59,625
locked follow focus from volume 1 and 2
1571
02:03:59,708 --> 02:04:01,000
is that there are more elements that need
1572
02:04:01,083 --> 02:04:02,250
to hit their marks exactly.
1573
02:04:04,500 --> 02:04:05,541
So let's pick some moves that
1574
02:04:05,625 --> 02:04:07,125
specifically have action on several
1575
02:04:07,208 --> 02:04:08,750
planes and require racking focus.
1576
02:04:10,041 --> 02:04:11,666
In this shot from the chapter on tracking
1577
02:04:11,750 --> 02:04:13,416
between deep staging shots we'll start
1578
02:04:13,500 --> 02:04:14,958
with focus on the foreground layer.
1579
02:04:16,375 --> 02:04:17,916
As the man in the suit enters the room
1580
02:04:18,000 --> 02:04:19,625
racking focus to him very effectively
1581
02:04:19,708 --> 02:04:20,916
emphasizes the attention
1582
02:04:21,000 --> 02:04:21,250
shift that's already happening.
1583
02:04:22,291 --> 02:04:24,750
After that we simply
1584
02:04:24,833 --> 02:04:26,333
follow focus as he walks over.
1585
02:04:28,500 --> 02:04:30,375
When he walks out we nudge focus over on
1586
02:04:30,458 --> 02:04:33,958
the blue man until we reveal the woman in
1587
02:04:34,041 --> 02:04:35,708
the background and rack focus to her.
1588
02:04:37,541 --> 02:04:39,208
Again as she walks over we follow focus.
1589
02:04:39,291 --> 02:04:46,375
For this shot from opening and closing
1590
02:04:46,458 --> 02:04:48,541
space we start with focus on the blue man
1591
02:04:48,625 --> 02:04:51,583
and then rack focus on the red man as he
1592
02:04:51,666 --> 02:04:54,500
steps up into the shot and keep it on him
1593
02:04:54,583 --> 02:04:55,583
until the red woman steps
1594
02:04:55,666 --> 02:04:56,875
in slightly further back.
1595
02:04:59,166 --> 02:05:00,791
In this shot from the chapter on pivoting
1596
02:05:00,875 --> 02:05:02,250
this camera spend the over the shoulder
1597
02:05:02,333 --> 02:05:03,958
on the red man throughout the scene so
1598
02:05:04,041 --> 02:05:05,250
naturally focus is on him.
1599
02:05:06,291 --> 02:05:09,000
As we pivot or converge on his way out
1600
02:05:09,083 --> 02:05:12,625
we'll keep the focus on him and then rack
1601
02:05:12,708 --> 02:05:14,708
focus out to the blue man for reaction.
1602
02:05:19,000 --> 02:05:20,458
In this shot from pivot reveal we're
1603
02:05:20,541 --> 02:05:22,125
naturally keeping focus on the foreground
1604
02:05:22,208 --> 02:05:23,791
character for the first part of the move
1605
02:05:23,875 --> 02:05:27,250
and then rack to the woman as she enters.
1606
02:05:28,291 --> 02:05:31,208
For this scene where we were deciding who
1607
02:05:31,291 --> 02:05:32,750
to stay on during a move the camera
1608
02:05:32,833 --> 02:05:34,416
starts out as a locked over the shoulder
1609
02:05:34,500 --> 02:05:35,833
so focus is on the woman.
1610
02:05:37,583 --> 02:05:39,333
As we move to the other key frame we're
1611
02:05:39,416 --> 02:05:40,000
following focus
1612
02:05:40,083 --> 02:05:41,250
because we're moving closer.
1613
02:05:42,791 --> 02:05:44,458
And towards the end we rack focus to the
1614
02:05:44,541 --> 02:05:45,333
man since we're again
1615
02:05:45,416 --> 02:05:46,083
and over the shoulder.
1616
02:05:48,083 --> 02:05:49,166
When he walks back we
1617
02:05:49,250 --> 02:05:50,875
likewise follow focus on him.
1618
02:05:53,375 --> 02:05:54,833
And at the end rack focus to the woman
1619
02:05:54,916 --> 02:05:55,708
because we're once more
1620
02:05:55,791 --> 02:05:56,291
and over the shoulder.
1621
02:05:59,208 --> 02:06:00,750
In this shot the woman is walking into
1622
02:06:00,833 --> 02:06:01,708
her apartment and will
1623
02:06:01,791 --> 02:06:03,208
ultimately reveal the man up front.
1624
02:06:05,875 --> 02:06:06,791
As he slides into the
1625
02:06:06,875 --> 02:06:08,375
frame we rack focus out on him.
1626
02:06:09,833 --> 02:06:11,416
And back to the woman as the shot becomes
1627
02:06:11,500 --> 02:06:12,500
irregular over the shoulder.
1628
02:06:14,875 --> 02:06:16,458
In this shot from panning from key frame
1629
02:06:16,541 --> 02:06:18,000
to key frame we're again dealing with
1630
02:06:18,083 --> 02:06:18,958
irregular deep staging
1631
02:06:19,041 --> 02:06:20,250
shot towards the end.
1632
02:06:22,083 --> 02:06:23,708
As the man walks we're simply following
1633
02:06:23,791 --> 02:06:25,125
focus which can be a little tricky
1634
02:06:25,208 --> 02:06:26,916
because his change in depth isn't linear.
1635
02:06:28,916 --> 02:06:30,166
Nearing the end we'll lean the focus
1636
02:06:30,250 --> 02:06:31,791
towards the red woman since she's the new
1637
02:06:31,875 --> 02:06:32,625
character in the shot.
1638
02:06:34,250 --> 02:06:35,458
And as the blue woman in the background
1639
02:06:35,541 --> 02:06:37,000
turns her attention we're naturally
1640
02:06:37,083 --> 02:06:38,791
racking focus to her which brings a lot
1641
02:06:38,875 --> 02:06:40,208
more attention to her than if we had a
1642
02:06:40,291 --> 02:06:41,250
wider depth of field.
1643
02:06:43,458 --> 02:06:45,000
By the same token in this shot from
1644
02:06:45,083 --> 02:06:46,958
blocking transitions the woman sits down
1645
02:06:47,041 --> 02:06:48,583
and will again use focus to bring in a
1646
02:06:48,666 --> 02:06:49,916
character deeper into the scene.
1647
02:06:51,750 --> 02:06:52,458
As she turns to the
1648
02:06:52,541 --> 02:06:53,916
man we rack focus to him.
1649
02:06:56,416 --> 02:06:58,166
Finally here from pan start on reveal
1650
02:06:58,250 --> 02:07:01,625
we're following focus with a man and end
1651
02:07:01,708 --> 02:07:03,125
up racking focus to the woman in the
1652
02:07:03,208 --> 02:07:04,666
foreground when she suddenly becomes the
1653
02:07:04,750 --> 02:07:05,291
most important character in the shot.
1654
02:07:13,875 --> 02:07:15,500
As we now begin to look at boom and crane
1655
02:07:15,583 --> 02:07:16,916
moves we'll spend this first chapter
1656
02:07:17,000 --> 02:07:18,416
looking at some essentials of craning.
1657
02:07:20,416 --> 02:07:22,125
The primary reason for doing crane moves
1658
02:07:22,208 --> 02:07:24,000
is the obvious production value and the
1659
02:07:24,083 --> 02:07:25,666
ability to do these soaring and majestic
1660
02:07:25,750 --> 02:07:27,791
shots that give us an elevated feeling as
1661
02:07:27,875 --> 02:07:28,500
if we're watching the
1662
02:07:28,583 --> 02:07:29,208
story from a higher plane.
1663
02:07:29,291 --> 02:07:36,125
The main difference between a boom or a
1664
02:07:36,208 --> 02:07:37,916
jib and a crane is again really just the
1665
02:07:38,000 --> 02:07:39,458
length of the arm so we'll go back and
1666
02:07:39,541 --> 02:07:40,791
forth between them at random and
1667
02:07:40,875 --> 02:07:42,166
collectively call them cranes.
1668
02:07:43,625 --> 02:07:45,166
Cranes are usually mounted on a track or
1669
02:07:45,250 --> 02:07:47,083
some form of transportation and by moving
1670
02:07:47,166 --> 02:07:48,583
the base while booming we can vastly
1671
02:07:48,666 --> 02:07:49,916
increase the range of motion.
1672
02:07:52,041 --> 02:07:53,583
This can create some impressive shots
1673
02:07:53,666 --> 02:07:55,083
even with very small cranes.
1674
02:07:56,333 --> 02:07:57,291
Here we're using a simple jib.
1675
02:08:00,708 --> 02:08:02,291
By tracking and using the boom to
1676
02:08:02,375 --> 02:08:04,291
essentially only control elevation we're
1677
02:08:04,375 --> 02:08:05,916
covering an enormous range of motion.
1678
02:08:07,541 --> 02:08:09,166
The end result is a move that creates a
1679
02:08:09,250 --> 02:08:10,833
sweep that is very close to what a 100
1680
02:08:10,916 --> 02:08:12,375
foot crane would produce except there's
1681
02:08:12,458 --> 02:08:14,041
of course a limit to how high we can go.
1682
02:08:15,333 --> 02:08:16,916
This is an effective way to get a lot of
1683
02:08:17,000 --> 02:08:17,875
production value from
1684
02:08:17,958 --> 02:08:19,208
even very basic equipment.
1685
02:08:21,708 --> 02:08:23,416
It's also possible to move the base of a
1686
02:08:23,500 --> 02:08:24,958
very large crane which can create a
1687
02:08:25,041 --> 02:08:26,208
staggering range of motion.
1688
02:08:26,291 --> 02:08:28,791
But a note of caution is that large
1689
02:08:28,875 --> 02:08:30,541
cranes are extremely heavy especially if
1690
02:08:30,625 --> 02:08:31,958
camera operators are sitting on a
1691
02:08:32,041 --> 02:08:33,500
platform at the end of the crane balanced
1692
02:08:33,583 --> 02:08:34,375
with counterweights.
1693
02:08:35,625 --> 02:08:37,208
Just swinging the boom can sometimes take
1694
02:08:37,291 --> 02:08:38,791
several people and if we're moving the
1695
02:08:38,875 --> 02:08:40,625
base at the same time it can be hard to
1696
02:08:40,708 --> 02:08:41,791
do precise movements like
1697
02:08:41,875 --> 02:08:43,291
ending in very specific places.
1698
02:08:44,541 --> 02:08:46,208
So moving the base of large cranes works
1699
02:08:46,291 --> 02:08:47,875
better for moves where we intend to cut
1700
02:08:47,958 --> 02:08:49,250
in and out of the middle of the move.
1701
02:08:50,291 --> 02:08:52,833
A certain type of crane called the
1702
02:08:52,916 --> 02:08:54,791
telescopic crane allows total freedom of
1703
02:08:54,875 --> 02:08:56,166
movement because the length of the boom
1704
02:08:56,250 --> 02:08:57,833
itself can be changed on the fly.
1705
02:08:59,333 --> 02:09:00,750
This is great if we need more precision
1706
02:09:00,833 --> 02:09:02,666
or if we want to do dolly shots in places
1707
02:09:02,750 --> 02:09:03,833
where we can't lay track.
1708
02:09:05,208 --> 02:09:06,791
However these types of cranes can be both
1709
02:09:06,875 --> 02:09:08,583
expensive and noisy and we're able to
1710
02:09:08,666 --> 02:09:10,083
produce the vast majority of shots
1711
02:09:10,166 --> 02:09:11,916
without them so we won't cover them here.
1712
02:09:14,083 --> 02:09:15,666
But of course the most normal move is
1713
02:09:15,750 --> 02:09:16,250
booming with a crane standing still.
1714
02:09:17,291 --> 02:09:20,250
An inherent issue with cranes is that the
1715
02:09:20,333 --> 02:09:22,125
motion is circular and not straight which
1716
02:09:22,208 --> 02:09:23,458
means that if we keep booming in a
1717
02:09:23,541 --> 02:09:24,500
direction the crane will
1718
02:09:24,583 --> 02:09:25,958
ultimately begin to move backwards.
1719
02:09:27,583 --> 02:09:29,208
The first part of the move seems fairly
1720
02:09:29,291 --> 02:09:31,958
straight but as we reach the top of the
1721
02:09:32,041 --> 02:09:32,750
circle we gradually
1722
02:09:32,833 --> 02:09:33,958
begin to move backwards.
1723
02:09:36,250 --> 02:09:37,875
So we usually want to avoid the parts of
1724
02:09:37,958 --> 02:09:38,750
a move where the circular
1725
02:09:38,833 --> 02:09:39,250
motion is most apparent.
1726
02:09:40,291 --> 02:09:43,125
In the beginning the move is fine but as
1727
02:09:43,208 --> 02:09:44,708
we make it towards the top we're suddenly
1728
02:09:44,791 --> 02:09:45,750
moving backwards which
1729
02:09:45,833 --> 02:09:47,291
produces a strange experience.
1730
02:09:50,291 --> 02:09:51,750
This artifact looks a little bit better
1731
02:09:51,833 --> 02:09:53,375
when we're moving forwards because it
1732
02:09:53,458 --> 02:09:54,291
creates the feeling of
1733
02:09:54,375 --> 02:09:55,250
pushing while craning.
1734
02:09:57,041 --> 02:09:57,666
But it still brings
1735
02:09:57,750 --> 02:09:59,166
attention to the equipment itself.
1736
02:10:02,458 --> 02:10:04,291
Again as we swing the arm to the side the
1737
02:10:04,375 --> 02:10:05,208
first part of the move seems straight.
1738
02:10:05,291 --> 02:10:07,958
But as we get over on the
1739
02:10:08,041 --> 02:10:09,375
side we're now moving backwards.
1740
02:10:11,166 --> 02:10:12,833
The morale is that it's better to get a
1741
02:10:12,916 --> 02:10:14,750
longer crane and avoid using the extreme
1742
02:10:14,833 --> 02:10:16,500
positions because the motion in these
1743
02:10:16,583 --> 02:10:17,958
areas is usually undesirable.
1744
02:10:20,583 --> 02:10:22,125
Two things are essential to do to really
1745
02:10:22,208 --> 02:10:23,666
get the effect of a crane move.
1746
02:10:24,541 --> 02:10:26,208
The first is to be sure to get as many
1747
02:10:26,291 --> 02:10:28,000
moving perspective lines as possible.
1748
02:10:29,125 --> 02:10:30,791
Here we're craning down on an empty scene
1749
02:10:30,875 --> 02:10:32,333
and without objects to create clear
1750
02:10:32,416 --> 02:10:33,458
perspective lines we get
1751
02:10:33,541 --> 02:10:34,291
almost nothing from the move.
1752
02:10:36,875 --> 02:10:38,500
But if we do the same move with crates in
1753
02:10:38,583 --> 02:10:39,875
the shot we have tons of moving
1754
02:10:39,958 --> 02:10:41,666
perspective lines at different elevations
1755
02:10:41,750 --> 02:10:42,541
which makes the change
1756
02:10:42,625 --> 02:10:43,541
of height much clearer.
1757
02:10:47,875 --> 02:10:49,500
We get the maximum effect by swinging
1758
02:10:49,583 --> 02:10:51,458
sideways as well as up and down which
1759
02:10:51,541 --> 02:10:53,125
makes the perspective lines move both
1760
02:10:53,208 --> 02:10:54,958
right to left as well as down to up
1761
02:10:55,041 --> 02:10:56,041
creating a much more
1762
02:10:56,125 --> 02:10:57,375
vivid perspective change.
1763
02:10:59,666 --> 02:11:00,875
This is an extremely useful
1764
02:11:00,958 --> 02:11:02,291
distinction that many forget.
1765
02:11:08,541 --> 02:11:09,958
It's also useful to notice that the
1766
02:11:10,041 --> 02:11:11,583
better choice for focal length is usually
1767
02:11:11,666 --> 02:11:13,416
a wide angle lens because we get to see
1768
02:11:13,500 --> 02:11:14,875
more perspective lines which are what
1769
02:11:14,958 --> 02:11:16,166
give us the feeling of motion.
1770
02:11:17,583 --> 02:11:19,500
With a long lens we get to see many fewer
1771
02:11:19,583 --> 02:11:21,458
perspective lines, the perspective of the
1772
02:11:21,541 --> 02:11:23,375
shot seems much flatter and the move
1773
02:11:23,458 --> 02:11:25,500
could in bad cases be mistaken for a pan.
1774
02:11:26,750 --> 02:11:28,375
The best reason for using long focal
1775
02:11:28,458 --> 02:11:29,875
lengths on a crane is that we get much
1776
02:11:29,958 --> 02:11:31,708
faster parallax from passing foreground
1777
02:11:31,791 --> 02:11:33,416
and can also do more sudden surprise
1778
02:11:33,500 --> 02:11:34,291
reveals at the end of a move.
1779
02:11:37,416 --> 02:11:39,208
Secondly, as with tracking shots it's of
1780
02:11:39,291 --> 02:11:40,750
course crucial to either utilize the
1781
02:11:40,833 --> 02:11:42,166
foreground already there or to
1782
02:11:42,250 --> 02:11:42,791
deliberately put
1783
02:11:42,875 --> 02:11:44,208
something in there for parallax.
1784
02:11:46,291 --> 02:11:47,791
Here the branches are fake but we've
1785
02:11:47,875 --> 02:11:48,833
placed the crane so we would
1786
02:11:48,916 --> 02:11:50,041
move behind the water tower.
1787
02:11:51,708 --> 02:11:52,958
Everything else we looked at in the
1788
02:11:53,041 --> 02:11:54,500
chapters on foreground applies equally
1789
02:11:54,583 --> 02:11:55,750
well to crane only on
1790
02:11:55,833 --> 02:11:56,250
a much larger scale.
1791
02:11:57,291 --> 02:11:59,500
Here we're doing a partially obscured
1792
02:11:59,583 --> 02:12:00,916
move as we listen to the walking
1793
02:12:01,000 --> 02:12:02,833
characters which creates the same type of
1794
02:12:02,916 --> 02:12:04,291
elegant shot and makes the characters
1795
02:12:04,375 --> 02:12:05,708
blend better into the environment.
1796
02:12:11,458 --> 02:12:13,041
As with pivoting on track as soon as
1797
02:12:13,125 --> 02:12:14,833
we've locked on a foreground object or a
1798
02:12:14,916 --> 02:12:16,083
character the parallax comes
1799
02:12:16,166 --> 02:12:17,291
from the background instead.
1800
02:12:18,708 --> 02:12:20,333
On a track we would have to pan harder
1801
02:12:20,416 --> 02:12:21,250
and harder to keep the
1802
02:12:21,333 --> 02:12:22,250
subjects in the frame.
1803
02:12:23,291 --> 02:12:25,375
On a crane we instead have to tilt harder
1804
02:12:25,458 --> 02:12:27,875
and harder causing the maximum amount of
1805
02:12:27,958 --> 02:12:29,208
parallax at the end of the move.
1806
02:12:31,291 --> 02:12:32,541
This hard cranking at the end can
1807
02:12:32,625 --> 02:12:34,083
effectively be used for revealing.
1808
02:12:36,458 --> 02:12:37,916
But another way to look at vertical back
1809
02:12:38,000 --> 02:12:39,625
parallax is as vertical unrest.
1810
02:12:41,291 --> 02:12:43,458
Like regular unrest vertical unrest again
1811
02:12:43,541 --> 02:12:45,291
shows increased mental activity as if
1812
02:12:45,375 --> 02:12:46,916
something is moving in his world and
1813
02:12:47,000 --> 02:12:48,500
usually takes the form of a realization.
1814
02:12:50,416 --> 02:12:51,750
In order to find out what the direction
1815
02:12:51,833 --> 02:12:53,500
of the craning means whether upwards or
1816
02:12:53,583 --> 02:12:55,291
downwards we can take our cue from the
1817
02:12:55,375 --> 02:12:55,875
discussion on
1818
02:12:55,958 --> 02:12:57,291
placement of the horizon line.
1819
02:12:59,250 --> 02:13:00,916
When we placed the horizon line above the
1820
02:13:01,000 --> 02:13:01,833
eyes the woman appeared
1821
02:13:01,916 --> 02:13:02,916
submersed or suppressed.
1822
02:13:04,875 --> 02:13:06,416
When we placed it lower than the eyes she
1823
02:13:06,500 --> 02:13:07,916
appeared freer and more in command.
1824
02:13:10,125 --> 02:13:11,791
So applying that to the crane move as we
1825
02:13:11,875 --> 02:13:13,250
crane up the man has a realization.
1826
02:13:14,291 --> 02:13:16,416
But the gradual upward movement of the
1827
02:13:16,500 --> 02:13:18,166
horizon line creates the feeling that he
1828
02:13:18,250 --> 02:13:19,833
is being submersed in thoughts as if his
1829
02:13:19,916 --> 02:13:21,416
world is becoming more confusing.
1830
02:13:23,125 --> 02:13:25,000
If we crane down the downward movement of
1831
02:13:25,083 --> 02:13:26,666
the horizon line causes less and less
1832
02:13:26,750 --> 02:13:27,916
clutter around his head.
1833
02:13:28,791 --> 02:13:30,541
Which gives his realization more clarity.
1834
02:13:33,625 --> 02:13:35,416
We can of course mix both horizontal and
1835
02:13:35,500 --> 02:13:36,500
vertical unrest creating
1836
02:13:36,583 --> 02:13:37,250
some very dynamic shots.
1837
02:13:38,291 --> 02:13:41,208
Here we are again submersing the man but
1838
02:13:41,291 --> 02:13:42,833
the added horizontal unrest makes the
1839
02:13:42,916 --> 02:13:44,041
situation more hectic.
1840
02:13:47,416 --> 02:13:49,333
Maximizing back parallax is another good
1841
02:13:49,416 --> 02:13:50,166
reason to use a long
1842
02:13:50,250 --> 02:13:51,291
focal length on a crane.
1843
02:13:53,583 --> 02:13:55,166
This produces much more extreme movement
1844
02:13:55,250 --> 02:13:56,583
in the background and the compressed
1845
02:13:56,666 --> 02:13:57,583
space also makes the
1846
02:13:57,666 --> 02:13:59,291
shot more disorienting.
1847
02:14:01,500 --> 02:14:03,083
Meanwhile the foreground change is very
1848
02:14:03,166 --> 02:14:04,000
little which creates an
1849
02:14:04,083 --> 02:14:05,291
interesting mix of calm and action.
1850
02:14:07,750 --> 02:14:09,291
This works great for aerials too.
1851
02:14:13,375 --> 02:14:14,666
Many of the techniques we will look at in
1852
02:14:14,750 --> 02:14:16,583
these chapters on craning mere concepts
1853
02:14:16,666 --> 02:14:17,958
we have already looked at such as
1854
02:14:18,041 --> 02:14:19,833
pivoting or start on revealing only we
1855
02:14:19,916 --> 02:14:20,625
are using them vertically
1856
02:14:20,708 --> 02:14:21,791
instead of horizontally.
1857
02:14:23,208 --> 02:14:23,916
Here we might have done
1858
02:14:24,000 --> 02:14:25,166
a close push on a track.
1859
02:14:27,500 --> 02:14:29,250
Using the same logic with a crane we can
1860
02:14:29,333 --> 02:14:30,250
do a vertical push instead.
1861
02:14:31,291 --> 02:14:33,833
Whatever the motivation was for doing the
1862
02:14:33,916 --> 02:14:35,750
push we are simply turning it on its side
1863
02:14:35,833 --> 02:14:37,583
which creates great production value and
1864
02:14:37,666 --> 02:14:39,291
can be the right move at the right time.
1865
02:14:41,875 --> 02:14:43,250
Here we are opening and closing space
1866
02:14:43,333 --> 02:14:44,250
except with a crane.
1867
02:14:46,208 --> 02:14:48,083
As the characters pass by we are instead
1868
02:14:48,166 --> 02:14:49,000
moving up to get the
1869
02:14:49,083 --> 02:14:50,125
camera out of the way.
1870
02:14:51,083 --> 02:14:52,916
Creating an unusual move that might also
1871
02:14:53,000 --> 02:14:54,208
be the right move at the right time.
1872
02:14:54,291 --> 02:15:01,583
Additionally a great way to integrate big
1873
02:15:01,666 --> 02:15:03,416
crane moves into regular coverage is to
1874
02:15:03,500 --> 02:15:04,291
treat the crane as a
1875
02:15:04,375 --> 02:15:05,458
dolly for part of the move.
1876
02:15:06,833 --> 02:15:08,416
Here we are starting out craning down but
1877
02:15:08,500 --> 02:15:10,041
as we get closer to the characters we
1878
02:15:10,125 --> 02:15:11,666
continue booming ahead of them having
1879
02:15:11,750 --> 02:15:13,083
adjusted their path to be slightly
1880
02:15:13,166 --> 02:15:14,250
circular to follow the boom action.
1881
02:15:15,291 --> 02:15:22,041
A use for being on a crane that is less
1882
02:15:22,125 --> 02:15:23,958
obvious is to simply use a crane to place
1883
02:15:24,041 --> 02:15:25,500
locked cameras in places that would be
1884
02:15:25,583 --> 02:15:26,666
hard to get to otherwise.
1885
02:15:28,791 --> 02:15:30,250
Here we want to shoot straight down on
1886
02:15:30,333 --> 02:15:31,125
the knocked out character
1887
02:15:31,208 --> 02:15:32,666
which is easier to do with a crane.
1888
02:15:34,000 --> 02:15:35,500
But since we are on a crane we might as
1889
02:15:35,583 --> 02:15:36,833
well do a slow vertical push
1890
02:15:36,916 --> 02:15:38,250
and roll the camera as well.
1891
02:15:39,291 --> 02:15:41,916
With the addition of the trees we get
1892
02:15:42,000 --> 02:15:43,708
parallax on our way down as well which
1893
02:15:43,791 --> 02:15:45,250
creates a very dynamic shot.
1894
02:15:51,458 --> 02:15:53,041
In order to achieve a straight downward
1895
02:15:53,125 --> 02:15:54,875
path we have to pull back the base of the
1896
02:15:54,958 --> 02:15:55,666
crane slightly to
1897
02:15:55,750 --> 02:15:57,375
compensate for the circular motion.
1898
02:15:58,666 --> 02:15:59,333
In the beginning we
1899
02:15:59,416 --> 02:16:00,416
are pulling back faster.
1900
02:16:02,083 --> 02:16:02,958
Then slower is the
1901
02:16:03,041 --> 02:16:04,250
boom's arc straightens out.
1902
02:16:06,916 --> 02:16:08,291
This is obviously great for creating
1903
02:16:08,375 --> 02:16:09,375
shots where there is
1904
02:16:09,458 --> 02:16:10,500
literally nothing under the camera.
1905
02:16:11,666 --> 02:16:13,166
Here the blue man is threatening to jump
1906
02:16:13,250 --> 02:16:14,875
from the water tower and we want a crane
1907
02:16:14,958 --> 02:16:16,000
out over the edge to create
1908
02:16:16,083 --> 02:16:17,208
a dizzying feeling of height.
1909
02:16:19,041 --> 02:16:20,833
These types of moves work best if we plan
1910
02:16:20,916 --> 02:16:22,000
the shots that we are shooting almost
1911
02:16:22,083 --> 02:16:23,708
directly downwards before we go over the
1912
02:16:23,791 --> 02:16:25,416
edge because it is a sliding out over the
1913
02:16:25,500 --> 02:16:26,333
edge that makes us want
1914
02:16:26,416 --> 02:16:27,208
to hang on to something.
1915
02:16:27,291 --> 02:16:33,166
Cranes are also a great and simple aid in
1916
02:16:33,250 --> 02:16:34,458
getting the camera very low.
1917
02:16:35,625 --> 02:16:37,166
Here we are basically doing a dolly shot
1918
02:16:37,250 --> 02:16:38,041
but we have put it on a
1919
02:16:38,125 --> 02:16:39,125
crane to get the camera lower.
1920
02:16:41,875 --> 02:16:43,375
This could of course be done with a mount
1921
02:16:43,458 --> 02:16:44,833
directly on the dolly but it can
1922
02:16:44,916 --> 02:16:47,208
sometimes be easier to do on a small jib,
1923
02:16:47,291 --> 02:16:47,833
especially if we
1924
02:16:47,916 --> 02:16:48,208
already have one lined up.
1925
02:16:48,291 --> 02:16:55,541
Before we get started on building a small
1926
02:16:55,625 --> 02:16:57,333
crane language, the most basic language
1927
02:16:57,416 --> 02:16:58,666
is that of expanding or narrowing
1928
02:16:58,750 --> 02:17:00,291
perspective, which means that if we are
1929
02:17:00,375 --> 02:17:02,083
craning up we are increasing our overview
1930
02:17:02,166 --> 02:17:03,500
and taking in more of the scene.
1931
02:17:04,916 --> 02:17:06,375
And if we are craning down we are going
1932
02:17:06,458 --> 02:17:08,083
from a wide overview to singling out
1933
02:17:08,166 --> 02:17:09,041
something of importance.
1934
02:17:11,041 --> 02:17:12,750
This creates a very powerful change of
1935
02:17:12,833 --> 02:17:13,791
scale from the small to
1936
02:17:13,875 --> 02:17:14,875
the large or vice versa.
1937
02:17:16,333 --> 02:17:17,625
As we have moved with the characters,
1938
02:17:17,958 --> 02:17:19,750
they walk towards the farmhouse and we
1939
02:17:19,833 --> 02:17:21,875
crane up, expanding our perspective to a
1940
02:17:21,958 --> 02:17:23,166
much higher level of the story.
1941
02:17:24,750 --> 02:17:26,291
So where before we were focused on just
1942
02:17:26,375 --> 02:17:28,083
two characters, we are now focused on the
1943
02:17:28,166 --> 02:17:29,583
much larger world around them.
1944
02:17:33,791 --> 02:17:35,625
By the same token, craning down narrows
1945
02:17:35,708 --> 02:17:36,875
the perspective from the large and
1946
02:17:36,958 --> 02:17:38,375
objective to the small and personal.
1947
02:17:39,875 --> 02:17:41,208
Here we are craning down over a busy
1948
02:17:41,291 --> 02:17:43,375
scenario and we will end by focusing on
1949
02:17:43,458 --> 02:17:44,291
just a few characters.
1950
02:17:46,458 --> 02:17:47,916
It is common in writing to tell a story
1951
02:17:48,000 --> 02:17:49,916
on several levels, both a personal story
1952
02:17:50,000 --> 02:17:51,833
for one character, a group story for
1953
02:17:51,916 --> 02:17:53,666
several characters, and an objective
1954
02:17:53,750 --> 02:17:55,083
story that includes everybody.
1955
02:17:56,666 --> 02:17:58,375
Using a crane to expand or narrow the
1956
02:17:58,458 --> 02:17:59,708
perspective is very effective for
1957
02:17:59,791 --> 02:18:00,708
changing story levels
1958
02:18:00,791 --> 02:18:01,750
within a single shot.
1959
02:18:04,666 --> 02:18:06,541
A common mistake is to plan too much
1960
02:18:06,625 --> 02:18:07,541
coverage for scenes that
1961
02:18:07,625 --> 02:18:08,875
have big crane moves in them.
1962
02:18:10,000 --> 02:18:11,666
As we are doing a long move like this, it
1963
02:18:11,750 --> 02:18:13,333
would be very sad to have to cut away.
1964
02:18:15,291 --> 02:18:16,708
It is much better to simply decide to
1965
02:18:16,791 --> 02:18:18,458
cover this entire part of the scene in a
1966
02:18:18,541 --> 02:18:19,500
crane move alone so we
1967
02:18:19,583 --> 02:18:20,625
get to see the whole thing.
1968
02:18:23,416 --> 02:18:24,958
And then have the continuing coverage
1969
02:18:25,041 --> 02:18:26,416
take over when the move is done.
1970
02:18:32,916 --> 02:18:34,458
By adding crane to the logic of thinking
1971
02:18:34,541 --> 02:18:36,166
in keyframes, we have a way to create
1972
02:18:36,250 --> 02:18:37,875
some very elegant camera moves that are
1973
02:18:37,958 --> 02:18:39,541
completely integrated into the blocking
1974
02:18:39,625 --> 02:18:41,250
and come by almost automatically.
1975
02:18:42,291 --> 02:18:44,125
All we have to do is pick keyframes at
1976
02:18:44,208 --> 02:18:45,583
any height and angle and then connect
1977
02:18:45,666 --> 02:18:46,416
them indiscriminately.
1978
02:18:47,833 --> 02:18:49,500
In this scene the woman will start here,
1979
02:18:50,000 --> 02:18:51,000
and then move over here.
1980
02:18:52,333 --> 02:18:54,000
So to set up two keyframes we will start
1981
02:18:54,083 --> 02:18:55,708
with one here, with the blue man slightly
1982
02:18:55,791 --> 02:18:58,333
in the background, and a lower one over
1983
02:18:58,416 --> 02:19:00,166
here is a stagger deep staging shot.
1984
02:19:02,083 --> 02:19:03,750
Combining the keyframes on a track, the
1985
02:19:03,833 --> 02:19:05,416
change in height is very minute, so
1986
02:19:05,500 --> 02:19:07,125
chances are we can simply shoot this with
1987
02:19:07,208 --> 02:19:08,583
a dolly and go lower for the second
1988
02:19:08,666 --> 02:19:10,291
keyframe using the hydraulic arm.
1989
02:19:11,833 --> 02:19:13,291
Starting on the blue characters the woman
1990
02:19:13,375 --> 02:19:15,875
walks, and we easily end up
1991
02:19:15,958 --> 02:19:17,250
in the second lower keyframe.
1992
02:19:19,583 --> 02:19:21,375
As usual with keyframes, the blocking is
1993
02:19:21,458 --> 02:19:24,541
continuously tight, and we get an elegant
1994
02:19:24,625 --> 02:19:25,458
change in height as
1995
02:19:25,541 --> 02:19:26,666
an automatic byproduct.
1996
02:19:28,958 --> 02:19:30,250
The great thing about this approach is
1997
02:19:30,333 --> 02:19:31,166
that we can block without
1998
02:19:31,250 --> 02:19:32,500
any care about camera height.
1999
02:19:33,791 --> 02:19:35,458
Here we are doing a deep handoff from the
2000
02:19:35,541 --> 02:19:37,416
blue man to the red woman, and from above
2001
02:19:37,500 --> 02:19:39,166
the camera plot looks virtually the same
2002
02:19:39,250 --> 02:19:40,291
as if both characters were standing.
2003
02:19:42,708 --> 02:19:44,125
But as a consequence of one character
2004
02:19:44,208 --> 02:19:45,875
sitting, we get a classy move where we
2005
02:19:45,958 --> 02:19:47,583
boom down as we handoff to the woman.
2006
02:19:50,583 --> 02:19:52,166
By the same token, craning between
2007
02:19:52,250 --> 02:19:53,708
keyframes is effective for covering
2008
02:19:53,791 --> 02:19:55,416
character movement, is here where we pull
2009
02:19:55,500 --> 02:19:57,875
into and over the shoulder, and crane
2010
02:19:57,958 --> 02:19:59,125
down as he sits down.
2011
02:20:00,666 --> 02:20:02,208
This could easily be done with tilting or
2012
02:20:02,291 --> 02:20:03,916
with more cameras, but craning just has
2013
02:20:04,000 --> 02:20:04,833
more production value.
2014
02:20:06,708 --> 02:20:08,291
If we simply pick the keyframes we need
2015
02:20:08,375 --> 02:20:09,833
to be in, connecting them with a crane
2016
02:20:09,916 --> 02:20:11,375
and track is very straight forward.
2017
02:20:13,958 --> 02:20:15,708
A less obvious use for craning is as a
2018
02:20:15,791 --> 02:20:17,000
substitute for shots we would
2019
02:20:17,083 --> 02:20:18,916
traditionally do with tilting or separate
2020
02:20:19,000 --> 02:20:20,041
cameras like inserts.
2021
02:20:21,958 --> 02:20:24,875
Here we have one shot on the woman, and
2022
02:20:24,958 --> 02:20:26,541
we want an insert on the computer screen
2023
02:20:26,625 --> 02:20:28,291
which would work fine as separate shots.
2024
02:20:30,166 --> 02:20:31,666
But starting back on the woman will
2025
02:20:31,750 --> 02:20:33,416
instead crane down which creates a very
2026
02:20:33,500 --> 02:20:34,291
elegant perspective change.
2027
02:20:35,875 --> 02:20:36,666
Although maybe a lot of
2028
02:20:36,750 --> 02:20:38,041
panning towards the end.
2029
02:20:40,416 --> 02:20:41,625
In this scene from shifting we would
2030
02:20:41,708 --> 02:20:44,291
start on the man, and then shift down on
2031
02:20:44,375 --> 02:20:45,416
the gun which could just as
2032
02:20:45,500 --> 02:20:46,708
easily be done as an insert.
2033
02:20:48,875 --> 02:20:50,458
Again replacing that with booming will
2034
02:20:50,541 --> 02:20:52,208
instead boom down creating pronounced
2035
02:20:52,291 --> 02:20:54,041
parallax from the foreground and a very
2036
02:20:54,125 --> 02:20:55,250
expensive looking shot.
2037
02:20:58,791 --> 02:21:00,625
Finally here, the men will shake hands on
2038
02:21:00,708 --> 02:21:02,250
a business deal that troubles the woman.
2039
02:21:03,291 --> 02:21:04,958
So we want to do an insert on them
2040
02:21:05,041 --> 02:21:06,166
shaking hands while we keep
2041
02:21:06,250 --> 02:21:07,291
the woman in the background.
2042
02:21:09,625 --> 02:21:11,625
These keyframes again easily combine in a
2043
02:21:11,708 --> 02:21:12,833
one shot that pushes in
2044
02:21:12,916 --> 02:21:15,541
while booming down, ending here.
2045
02:21:18,500 --> 02:21:20,083
On a larger scale it's useful to have
2046
02:21:20,166 --> 02:21:21,833
crane moves and in an actual keyframe
2047
02:21:21,916 --> 02:21:23,541
instead of just craning down arbitrarily
2048
02:21:23,625 --> 02:21:24,458
and cutting close to
2049
02:21:24,541 --> 02:21:25,583
another set of cameras.
2050
02:21:26,541 --> 02:21:27,375
Here we're covering an
2051
02:21:27,458 --> 02:21:28,958
entire scene in one long move.
2052
02:21:30,125 --> 02:21:31,500
For the first part the foreground is
2053
02:21:31,583 --> 02:21:33,041
heavily obscured and the characters are
2054
02:21:33,125 --> 02:21:33,875
far enough away that
2055
02:21:33,958 --> 02:21:35,000
we can only hear them.
2056
02:21:37,583 --> 02:21:39,208
Ending in a keyframe gives purpose to the
2057
02:21:39,291 --> 02:21:40,916
move, but a thing to look out for is that
2058
02:21:41,000 --> 02:21:42,458
while a wide angle lens works best for
2059
02:21:42,541 --> 02:21:43,625
the upper part of the move, it
2060
02:21:43,708 --> 02:21:45,000
may be too wide for dialogue.
2061
02:21:47,875 --> 02:21:49,666
Craning directly up or down into dialogue
2062
02:21:49,750 --> 02:21:50,541
is also an excellent
2063
02:21:50,625 --> 02:21:51,750
way to get into a scene.
2064
02:21:53,250 --> 02:21:54,833
Here we're craning directly down as the
2065
02:21:54,916 --> 02:21:56,125
characters are trying to locate the
2066
02:21:56,208 --> 02:21:57,333
source of a strange sound.
2067
02:21:59,291 --> 02:22:00,708
In addition to functioning as a vertical
2068
02:22:00,791 --> 02:22:02,500
push, the move is disorienting in the
2069
02:22:02,583 --> 02:22:03,875
beginning because we can't see the
2070
02:22:03,958 --> 02:22:07,041
location, which is revealed by the heavy
2071
02:22:07,125 --> 02:22:09,958
back parallax towards the end, again
2072
02:22:10,041 --> 02:22:11,125
ending ready for dialogue.
2073
02:22:13,291 --> 02:22:14,958
Here we're craning up into a keyframe but
2074
02:22:15,041 --> 02:22:16,833
on a smaller scale, and again the move
2075
02:22:16,916 --> 02:22:18,291
functions as a vertical push.
2076
02:22:19,916 --> 02:22:21,250
When we're pushing vertically we're
2077
02:22:21,333 --> 02:22:22,875
essentially moving closer and closer to
2078
02:22:22,958 --> 02:22:24,375
the eye line, which makes the move seem
2079
02:22:24,458 --> 02:22:26,250
more and more personal towards the end.
2080
02:22:28,625 --> 02:22:30,250
Changing topics and moving on to craning
2081
02:22:30,333 --> 02:22:31,958
in parallel, this works the same as
2082
02:22:32,041 --> 02:22:32,958
tracking in parallel.
2083
02:22:34,541 --> 02:22:35,833
Here we would match the characters'
2084
02:22:35,916 --> 02:22:37,708
horizontal positions wherever they moved,
2085
02:22:37,791 --> 02:22:39,458
and moving closer to or further away from
2086
02:22:39,541 --> 02:22:41,250
the camera had no bearing on the move.
2087
02:22:44,125 --> 02:22:45,666
Craning in parallel works the same,
2088
02:22:45,750 --> 02:22:46,291
except we're mainly
2089
02:22:46,375 --> 02:22:47,708
matching their vertical position.
2090
02:22:48,875 --> 02:22:50,916
As we play this reference scene fast, the
2091
02:22:51,000 --> 02:22:52,291
fact that the characters are moving in
2092
02:22:52,375 --> 02:22:53,000
and out doesn't
2093
02:22:53,083 --> 02:22:54,250
result in any need to boom.
2094
02:22:55,291 --> 02:22:57,041
Only when their vertical position changes
2095
02:22:57,125 --> 02:22:58,333
do we need to boom down.
2096
02:23:01,208 --> 02:23:02,750
This is extremely useful for covering
2097
02:23:02,833 --> 02:23:04,041
characters walking through a large
2098
02:23:04,125 --> 02:23:05,541
location with several levels.
2099
02:23:06,916 --> 02:23:08,625
In one grand sweeping move we're able to
2100
02:23:08,708 --> 02:23:10,583
capture a wide range of motions simply by
2101
02:23:10,666 --> 02:23:12,208
placing the crane to the side and booming
2102
02:23:12,291 --> 02:23:14,000
down softly as they change levels.
2103
02:23:19,000 --> 02:23:20,375
Starting back at the top and playing at
2104
02:23:20,458 --> 02:23:22,083
regular speed we're using a long enough
2105
02:23:22,166 --> 02:23:22,875
crane that we don't
2106
02:23:22,958 --> 02:23:24,041
feel the circular motion.
2107
02:23:25,583 --> 02:23:27,041
So we're really using the crane as a
2108
02:23:27,125 --> 02:23:28,041
dolly, except we're changing
2109
02:23:28,125 --> 02:23:29,083
height with the characters.
2110
02:23:31,500 --> 02:23:32,875
However, this move could have been just
2111
02:23:32,958 --> 02:23:34,791
as easily done with a smaller crane if we
2112
02:23:34,875 --> 02:23:36,208
moved the base during the shot, which
2113
02:23:36,291 --> 02:23:37,000
would create enormous
2114
02:23:37,083 --> 02:23:38,958
production value at a very low cost.
2115
02:23:45,875 --> 02:23:47,583
Using crane to start on and reveal is
2116
02:23:47,666 --> 02:23:49,291
first of all useful for enhancing moves
2117
02:23:49,375 --> 02:23:50,083
we might as well have
2118
02:23:50,166 --> 02:23:51,291
done with panning or tilting.
2119
02:23:52,708 --> 02:23:54,041
Here we're instead craning down from the
2120
02:23:54,125 --> 02:23:55,708
store sign to reveal the characters, and
2121
02:23:55,791 --> 02:23:57,208
we've of course made sure to get behind a
2122
02:23:57,291 --> 02:23:58,875
tree and a lamppost to get parallax.
2123
02:24:00,583 --> 02:24:02,208
We're also making sure to move both down
2124
02:24:02,291 --> 02:24:03,166
and sideways to get
2125
02:24:03,250 --> 02:24:04,541
parallax in both directions.
2126
02:24:07,125 --> 02:24:08,583
Here we're craning up from the ground,
2127
02:24:09,416 --> 02:24:11,708
past the grill of a large truck,
2128
02:24:13,583 --> 02:24:14,458
and up to reveal the
2129
02:24:14,541 --> 02:24:15,708
characters sitting in the compartment.
2130
02:24:17,500 --> 02:24:18,833
This could easily have been done with a
2131
02:24:18,916 --> 02:24:20,625
tilt, but the vertical parallax creates a
2132
02:24:20,708 --> 02:24:21,750
much more impressive move.
2133
02:24:23,375 --> 02:24:24,875
The problem with this shot though is that
2134
02:24:24,958 --> 02:24:26,500
because we're shooting the truck head on,
2135
02:24:26,583 --> 02:24:27,708
we have very few leaning perspective
2136
02:24:27,791 --> 02:24:29,541
lines, making the shot sort of flat.
2137
02:24:32,458 --> 02:24:33,958
So in this version we're doing a similar
2138
02:24:34,041 --> 02:24:35,541
move from the side, this time also
2139
02:24:35,625 --> 02:24:36,333
pushing the base as
2140
02:24:36,416 --> 02:24:37,500
well to cover more ground.
2141
02:24:38,291 --> 02:24:40,791
Here the foreground is much closer,
2142
02:24:40,875 --> 02:24:43,625
creating a sense of disorientation, which
2143
02:24:43,708 --> 02:24:44,500
cleans up as we get
2144
02:24:44,583 --> 02:24:45,583
above the hood of the truck.
2145
02:24:48,666 --> 02:24:50,333
Whether we use these moves just to make a
2146
02:24:50,416 --> 02:24:51,916
scene opening more interesting, or to
2147
02:24:52,000 --> 02:24:53,625
deliberately withhold information, they
2148
02:24:53,708 --> 02:24:55,291
can stay on screen far longer than
2149
02:24:55,375 --> 02:24:56,916
simpler moves, as here where a man steps
2150
02:24:57,000 --> 02:24:59,333
out of a car, puts out a
2151
02:24:59,416 --> 02:25:01,750
cigarette, then begins walking.
2152
02:25:03,291 --> 02:25:05,000
Of course we're really starting to miss a
2153
02:25:05,083 --> 02:25:07,916
walk cycle in the animation, but instead
2154
02:25:08,000 --> 02:25:09,291
of putting this together out of separate
2155
02:25:09,375 --> 02:25:10,416
shots, we get one long
2156
02:25:10,500 --> 02:25:11,541
move that keeps delivering.
2157
02:25:14,625 --> 02:25:16,250
Almost every other technique for starting
2158
02:25:16,333 --> 02:25:17,958
on and revealing we've previously worked
2159
02:25:18,041 --> 02:25:19,500
with applies equally well to Crane.
2160
02:25:21,166 --> 02:25:22,291
Here we're starting with the characters
2161
02:25:22,375 --> 02:25:24,416
off camera, and as we hear them talk, we
2162
02:25:24,500 --> 02:25:25,250
slowly Crane into the scene.
2163
02:25:26,291 --> 02:25:30,416
The move follows the same logic as it
2164
02:25:30,500 --> 02:25:31,458
would have on a track,
2165
02:25:31,541 --> 02:25:32,708
but on a much larger scale.
2166
02:25:38,000 --> 02:25:39,375
Here we're moving out from behind an
2167
02:25:39,458 --> 02:25:40,958
arbitrary foreground object to get
2168
02:25:41,041 --> 02:25:42,000
parallax in the beginning,
2169
02:25:42,250 --> 02:25:43,416
in this case a chandelier.
2170
02:25:45,166 --> 02:25:46,541
As we follow the characters, the
2171
02:25:46,625 --> 02:25:47,416
chandelier creates a
2172
02:25:47,500 --> 02:25:48,250
great sense of movement.
2173
02:25:49,291 --> 02:25:52,333
But towards the end we could actually use
2174
02:25:52,416 --> 02:25:53,833
some more foreground objects to get a
2175
02:25:53,916 --> 02:25:54,833
better sense of movement.
2176
02:25:58,208 --> 02:25:59,666
But it's really the parallax itself
2177
02:25:59,750 --> 02:26:01,041
that's most effective for creating
2178
02:26:01,125 --> 02:26:02,708
reveals with a crane, because the plane
2179
02:26:02,791 --> 02:26:04,208
that's closest to the camera is the one
2180
02:26:04,291 --> 02:26:05,041
that slides in and out
2181
02:26:05,125 --> 02:26:06,083
of the frame the fastest.
2182
02:26:07,458 --> 02:26:08,958
Here we crane down, and the background
2183
02:26:09,041 --> 02:26:10,208
stays virtually the same.
2184
02:26:10,833 --> 02:26:12,333
But the foreground changes much more
2185
02:26:12,416 --> 02:26:13,916
dramatically, which makes it perfect for
2186
02:26:14,000 --> 02:26:15,250
revealing characters or objects.
2187
02:26:16,291 --> 02:26:18,958
Here we're again back with the truck, and
2188
02:26:19,041 --> 02:26:19,916
as we crane down the
2189
02:26:20,000 --> 02:26:21,291
background changes very little.
2190
02:26:23,541 --> 02:26:24,500
But the foreground almost
2191
02:26:24,583 --> 02:26:25,875
slides in like a separate layer.
2192
02:26:30,083 --> 02:26:31,500
This is one of the times where a longer
2193
02:26:31,583 --> 02:26:33,166
focal length can be a better choice for a
2194
02:26:33,250 --> 02:26:34,750
crane move, because as we single out a
2195
02:26:34,833 --> 02:26:36,416
smaller part of the scene, the foreground
2196
02:26:36,500 --> 02:26:37,500
also moves much faster
2197
02:26:37,583 --> 02:26:38,250
and reveals more suddenly.
2198
02:26:39,291 --> 02:26:42,666
If we'd done this with a regular lens,
2199
02:26:42,750 --> 02:26:44,250
the reveal would be much more gradual,
2200
02:26:44,500 --> 02:26:45,958
and might not even have come across as a
2201
02:26:46,041 --> 02:26:47,416
reveal, but just a crane down.
2202
02:26:50,458 --> 02:26:52,166
By the same token, sliding obstructing
2203
02:26:52,250 --> 02:26:53,916
foreground out of the frame to reveal the
2204
02:26:54,000 --> 02:26:56,041
grander vista behind it also works great.
2205
02:26:57,291 --> 02:26:58,708
Here the foreground layer is a hill.
2206
02:27:00,083 --> 02:27:01,791
As we crane up, the background stays
2207
02:27:01,875 --> 02:27:03,583
virtually the same, and we're sliding the
2208
02:27:03,666 --> 02:27:04,416
foreground layer out
2209
02:27:04,500 --> 02:27:05,250
the bottom to reveal it.
2210
02:27:06,291 --> 02:27:08,625
Spectacularly expanding the perspective.
2211
02:27:14,000 --> 02:27:15,541
Moving on to converging, this again
2212
02:27:15,625 --> 02:27:17,208
mirrors what we did with track, except
2213
02:27:17,291 --> 02:27:18,291
we're converging vertically.
2214
02:27:19,625 --> 02:27:21,083
Many of the types of crane moves we've
2215
02:27:21,166 --> 02:27:23,041
already done automatically converge, as
2216
02:27:23,125 --> 02:27:23,958
here where we crane down
2217
02:27:24,041 --> 02:27:24,958
while the woman arrives.
2218
02:27:26,375 --> 02:27:27,458
We're really converging at a
2219
02:27:27,541 --> 02:27:28,250
right angle, but vertically.
2220
02:27:29,291 --> 02:27:32,166
The reason we're looking at this in the
2221
02:27:32,250 --> 02:27:34,000
same breath as "Start On" reveals is that
2222
02:27:34,083 --> 02:27:35,000
it's very easy to do
2223
02:27:35,083 --> 02:27:36,208
both at the same time.
2224
02:27:37,666 --> 02:27:38,500
Here we start behind
2225
02:27:38,583 --> 02:27:39,375
an unknown character.
2226
02:27:40,916 --> 02:27:42,916
As she walks closer we converge upwards,
2227
02:27:43,541 --> 02:27:44,833
simultaneously revealing the character.
2228
02:27:47,916 --> 02:27:49,625
We might also simply start a move behind
2229
02:27:49,708 --> 02:27:51,416
an arbitrary foreground object to get
2230
02:27:51,500 --> 02:27:54,291
parallax, and again converge up as the character steps closer.
2231
02:27:58,708 --> 02:28:00,208
Since people are usually standing on the
2232
02:28:00,291 --> 02:28:01,791
ground, doing a clean reveal of a
2233
02:28:01,875 --> 02:28:02,791
character is much easier
2234
02:28:02,875 --> 02:28:03,791
when coming from above.
2235
02:28:05,375 --> 02:28:06,791
Here we're converging down as the woman
2236
02:28:06,875 --> 02:28:09,958
walks to someone, and towards the end of
2237
02:28:10,041 --> 02:28:11,750
the move the parallax causes the other
2238
02:28:11,833 --> 02:28:12,916
character to be revealed.
2239
02:28:16,000 --> 02:28:17,833
This is great on a larger scale as well,
2240
02:28:17,916 --> 02:28:18,583
because we can bring in
2241
02:28:18,666 --> 02:28:19,500
things when they're needed.
2242
02:28:20,750 --> 02:28:22,250
Here a hijacked truck drives towards us.
2243
02:28:23,291 --> 02:28:25,416
At just the right moment the fence enters
2244
02:28:25,500 --> 02:28:27,375
the frame, and the
2245
02:28:27,458 --> 02:28:30,875
truck crashes through it.
2246
02:28:36,291 --> 02:28:38,000
Pivoting on crane again follows the same
2247
02:28:38,083 --> 02:28:39,000
logic as pivoting on
2248
02:28:39,083 --> 02:28:40,250
track, except vertically.
2249
02:28:41,750 --> 02:28:43,041
But where pivoting on track is for
2250
02:28:43,125 --> 02:28:44,750
keeping one character static as the other
2251
02:28:44,833 --> 02:28:46,916
one moves side to side, pivoting on crane
2252
02:28:47,000 --> 02:28:47,958
is for reframing as a
2253
02:28:48,041 --> 02:28:48,250
character steps closer.
2254
02:28:49,291 --> 02:28:52,708
As the woman steps closer we keep the man
2255
02:28:52,791 --> 02:28:53,625
locked vertically and
2256
02:28:53,708 --> 02:28:54,958
adjust for the woman's movement.
2257
02:28:57,000 --> 02:28:59,000
Set up like this the move is a tiny nudge
2258
02:28:59,083 --> 02:28:59,791
and can easily be
2259
02:28:59,875 --> 02:29:01,250
accomplished on a dolly.
2260
02:29:03,000 --> 02:29:04,708
We could of course just tilt up, but that
2261
02:29:04,791 --> 02:29:06,208
would force one of the characters to be
2262
02:29:06,291 --> 02:29:07,250
slightly oddly framed.
2263
02:29:09,958 --> 02:29:11,041
As the woman walks back
2264
02:29:11,125 --> 02:29:11,208
we pivot upwards again.
2265
02:29:11,291 --> 02:29:17,083
This is an extremely useful move, because
2266
02:29:17,166 --> 02:29:18,500
when characters who are not at the same
2267
02:29:18,583 --> 02:29:20,250
level get closer to each other, we need
2268
02:29:20,333 --> 02:29:21,916
to change the vertical angle quite a bit
2269
02:29:22,000 --> 02:29:23,125
to keep them both in the frame.
2270
02:29:24,833 --> 02:29:26,583
Here the woman walks closer, and we pivot
2271
02:29:26,666 --> 02:29:27,875
hard to maintain the framing.
2272
02:29:29,875 --> 02:29:31,166
We could just see it as a vertical
2273
02:29:31,250 --> 02:29:32,916
reframe, but it's technically a pivot
2274
02:29:33,000 --> 02:29:34,000
because the move rotates
2275
02:29:34,083 --> 02:29:34,208
around one of the characters.
2276
02:29:34,291 --> 02:29:39,875
This of course mixes very well with
2277
02:29:39,958 --> 02:29:40,875
horizontal pivoting.
2278
02:29:42,000 --> 02:29:43,666
Here the blue man is a doctor, and for
2279
02:29:43,750 --> 02:29:45,000
his walk to the patient we'll set the
2280
02:29:45,083 --> 02:29:46,291
first stop by the desk,
2281
02:29:46,375 --> 02:29:47,500
and the second stop here.
2282
02:29:49,458 --> 02:29:51,125
For this we'll need to do both horizontal
2283
02:29:51,208 --> 02:29:52,958
and vertical pivoting, so as the doctor
2284
02:29:53,041 --> 02:29:55,208
walks over we pivot sideways to capture
2285
02:29:55,291 --> 02:29:57,916
that axis of his move, and downwards to
2286
02:29:58,000 --> 02:29:59,250
continuously reframe vertically.
2287
02:30:00,458 --> 02:30:01,250
The shot then starts out as a deep staging shot.
2288
02:30:01,916 --> 02:30:07,458
As the doctor walks we're really just
2289
02:30:07,541 --> 02:30:09,250
moving between two arbitrarily placed
2290
02:30:09,333 --> 02:30:10,166
keyframes, but the
2291
02:30:10,250 --> 02:30:11,833
result is a pivot on two axes.
2292
02:30:15,791 --> 02:30:17,541
On a larger scale this is useful when
2293
02:30:17,625 --> 02:30:19,125
characters' angle of motion changes.
2294
02:30:20,583 --> 02:30:22,041
Here we're pivoting around a fictitious
2295
02:30:22,125 --> 02:30:23,875
point at the top of the hill, so as he
2296
02:30:23,958 --> 02:30:24,833
moves upwards we get a
2297
02:30:24,916 --> 02:30:25,875
straight angle on that.
2298
02:30:27,375 --> 02:30:28,958
And as his path levels out we get a
2299
02:30:29,041 --> 02:30:30,000
straight angle on that.
2300
02:30:32,750 --> 02:30:34,250
There's really no telling if this move is
2301
02:30:34,333 --> 02:30:36,083
a pivot, a reframe, or a converge.
2302
02:30:37,708 --> 02:30:39,250
We're pivoting on a virtual point at the
2303
02:30:39,333 --> 02:30:40,833
top, causing the shot to continuously
2304
02:30:40,916 --> 02:30:42,916
reframe to get the best possible angle,
2305
02:30:43,000 --> 02:30:44,750
but the downward movement also causes us
2306
02:30:44,833 --> 02:30:45,958
to meet up with him at the top.
2307
02:30:47,333 --> 02:30:48,666
This is additionally where we get the
2308
02:30:48,750 --> 02:30:50,125
heaviest reveal of the background,
2309
02:30:50,208 --> 02:30:50,750
because the angle
2310
02:30:50,833 --> 02:30:52,250
suddenly and quickly levels out.
2311
02:30:54,833 --> 02:30:56,333
Again, as when we were on a track,
2312
02:30:56,416 --> 02:30:58,166
pivoting creates the entire parallax from
2313
02:30:58,250 --> 02:30:59,625
the background, which makes it excellent
2314
02:30:59,708 --> 02:31:00,625
for revealing, and this
2315
02:31:00,708 --> 02:31:01,666
is the same on a crane.
2316
02:31:03,333 --> 02:31:04,833
Here we're starting on the patient, and
2317
02:31:04,916 --> 02:31:06,500
as we crane down even just a little bit
2318
02:31:06,583 --> 02:31:08,500
we get almost 45 degrees of movement in
2319
02:31:08,583 --> 02:31:09,416
the background, which is
2320
02:31:09,500 --> 02:31:10,625
enough for a complete reveal.
2321
02:31:12,833 --> 02:31:13,708
This is the same if
2322
02:31:13,791 --> 02:31:14,541
we're coming from below.
2323
02:31:16,250 --> 02:31:17,708
Even just a slightly different angle
2324
02:31:17,791 --> 02:31:18,833
causes an almost complete
2325
02:31:18,916 --> 02:31:19,250
replacement of the background.
2326
02:31:20,291 --> 02:31:23,708
And we again end by revealing the doctor.
2327
02:31:27,916 --> 02:31:28,875
This is naturally useful
2328
02:31:28,958 --> 02:31:30,125
for bringing characters in.
2329
02:31:31,250 --> 02:31:32,541
Here we're over the shoulder on the man
2330
02:31:32,625 --> 02:31:33,666
as he's reading a document.
2331
02:31:35,166 --> 02:31:38,958
The red woman is entering off camera, and
2332
02:31:39,041 --> 02:31:40,333
we pivot down to bring her in.
2333
02:31:42,333 --> 02:31:43,791
If we had tried to do something similar
2334
02:31:43,875 --> 02:31:45,166
with a tilt, at least one of the
2335
02:31:45,250 --> 02:31:46,416
characters would have ended up with an
2336
02:31:46,500 --> 02:31:47,291
extremely odd framing.
2337
02:31:50,291 --> 02:31:51,708
Pivot revealing with crane makes it very
2338
02:31:51,791 --> 02:31:53,541
easy to reveal objects or characters at
2339
02:31:53,625 --> 02:31:55,083
different altitudes, because it's simply
2340
02:31:55,166 --> 02:31:56,041
a matter of which height we
2341
02:31:56,125 --> 02:31:57,208
start and end the move at.
2342
02:31:58,500 --> 02:31:59,958
Here the woman is trying to escape a
2343
02:32:00,041 --> 02:32:01,208
colony of overgrown bugs.
2344
02:32:02,708 --> 02:32:04,708
As she rushes into a room to find safety,
2345
02:32:04,791 --> 02:32:06,166
we seem to just be craning down.
2346
02:32:08,750 --> 02:32:09,916
Until we reveal a giant
2347
02:32:10,000 --> 02:32:11,000
bug sitting on the ceiling.
2348
02:32:12,916 --> 02:32:19,666
In this final short chapter, let's look
2349
02:32:19,750 --> 02:32:20,250
at changing our
2350
02:32:20,333 --> 02:32:21,625
elevation while we push in.
2351
02:32:22,958 --> 02:32:24,291
This is first of all effective for
2352
02:32:24,375 --> 02:32:25,458
pushing in on objects that
2353
02:32:25,541 --> 02:32:26,708
are only visible from above.
2354
02:32:28,583 --> 02:32:30,291
As we push in and elevate, we're creating
2355
02:32:30,375 --> 02:32:31,875
a great deal of mystery at the beginning,
2356
02:32:33,833 --> 02:32:34,875
and not revealing what we're
2357
02:32:34,958 --> 02:32:36,250
pushing in on until the end.
2358
02:32:39,875 --> 02:32:41,458
Here we're pushing in on a piano that has
2359
02:32:41,541 --> 02:32:43,000
suddenly begun playing by itself.
2360
02:32:45,083 --> 02:32:46,625
As we're coming in from below, we really
2361
02:32:46,708 --> 02:32:48,208
can't see what's going on, which again
2362
02:32:48,291 --> 02:32:49,416
creates a sense of mystery.
2363
02:32:51,291 --> 02:32:52,875
As we elevate, we get better and better
2364
02:32:52,958 --> 02:32:54,333
access, and our curiosity
2365
02:32:54,416 --> 02:32:55,708
is more and more satisfied.
2366
02:32:58,541 --> 02:33:00,333
When we crane up while pushing in on a
2367
02:33:00,416 --> 02:33:01,583
character, the effect is that we're
2368
02:33:01,666 --> 02:33:03,208
moving closer and closer to the eye line,
2369
02:33:03,291 --> 02:33:06,458
which allows us to get deeper and deeper
2370
02:33:06,541 --> 02:33:08,083
insight into his thoughts and feelings.
2371
02:33:11,708 --> 02:33:13,416
When we're craning down while pushing in,
2372
02:33:13,500 --> 02:33:14,625
we get more and more of whatever the
2373
02:33:14,708 --> 02:33:15,916
effect is of shooting upwards.
2374
02:33:17,916 --> 02:33:19,416
This usually makes a character seem more
2375
02:33:19,500 --> 02:33:20,333
imposing, which then
2376
02:33:20,416 --> 02:33:22,000
increases as we push in and down.
2377
02:33:25,375 --> 02:33:26,666
But an interesting thing about shooting
2378
02:33:26,750 --> 02:33:28,250
characters from below is that even if
2379
02:33:28,333 --> 02:33:29,125
their eye line is level,
2380
02:33:29,333 --> 02:33:31,041
it goes out over us and can make it seem
2381
02:33:31,125 --> 02:33:32,000
like they're looking upwards.
2382
02:33:33,625 --> 02:33:35,458
In the right situation, the same push can
2383
02:33:35,541 --> 02:33:36,791
therefore be used to make the character
2384
02:33:36,875 --> 02:33:38,458
seem more and more dwarfed as they look
2385
02:33:38,541 --> 02:33:39,666
up on something much bigger.
2386
02:33:42,291 --> 02:33:43,500
If we know that the characters aren't
2387
02:33:43,583 --> 02:33:44,541
looking up on something,
2388
02:33:45,791 --> 02:33:47,416
pushing in and going below the eye line
2389
02:33:47,500 --> 02:33:48,833
can instead make a character appear
2390
02:33:48,916 --> 02:33:49,916
dreamy or imaginative.
2391
02:34:03,291 --> 02:34:28,250
The way that I feel feeling their presence in this game is far from Dixon - this is all I'm thinking of! I appreciate this point, Bourne. If things don't change, just watch back to the ibn's tracing stuff.
193069
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