Manipulation of Time and Space

The purpose of manipulation of time and space is when the editor produces something that can't be filmed. The procedure must be done whilst it's being edited. The purpose of this procedure is to show time moving visibly. The procedure demonstrates characters, environment or an article change over a timeframe, a case of this could be a man getting older or more youthful. This technique is utilized in various films; in order to allow the audience to see the change visibly.

·         Time can be shortened and extended.

·         Space can be compacted and extended.

·         Wide angles can be utilized to restrain expansive spaces to the dimensions of aspect ratio and frame.

·         Deep focus can be utilized as a part of conjunction with lighting effects to enhance colossal depth and detail to inside spaces.

·         Cutting starting with one location then onto the next location can make the two seem associated.

·         Editorial techniques, for example, ellipsis and expansion of time manipulation as it is experienced by the audience.  

·         Flashbacks exhibiting recalled occasions in a character's memory can be utilized to uncover key parts of plot;

·         Flash forwards into the future can uncover what a character is planning/envisaging/expecting.

This clip is from Harry Potter and the Prisoner of Azkaban. This time travel clip portrays both manipulation of time and space within the same frame. The minute when Hermoine starts to rotate the time turner we can see both Harry and Hermoine in the centre in present time, and soon a lot of other characters are “seen” in the frame in fast motion, or in speeded up motion. That is a manipulation of time and action as we can see time is speeded up. The manipulation of diegetic time and space alludes to a scope of techniques utilized as a part of filmmaking to change the dimensions of space and time in ways that would not be conceivable, in actuality.

Manipulation of Diegetic Space (HISTORY):

DW Griffith's movies utilized early models of this strategy, in that they understood that not all in a plot must be shot for it to make sense. One of the first scene of The Musketeers, leads right onto another where a lady and a man from the first scene appear from a doorway yet you don’t see them really go through it. The reason for it is to make pace in the film and make it additionally intriguing, as we don't need to observe each and every point of detail to understand a plot.

Edwin Porter's film 'Life of an American Fireman' was a development in some of its editing methods.

It was one of the first movies to use manipulation of diegetic space as its well-known scene that moves from the fourth wall drama set up, to a scene of genuine life fire engines hurrying to a fire, driving the viewer to connect the two occasion together. Utilizing the same thoughts from The Musketeers, Porter created on the utilization of manipulation of diegetic space, making a more intriguing film with an improved pace, an unmistakable change of prior inspiration for the film.

The first scene additionally displays a more modern form of special effects; the "vision" the man is having, is a projection; yet it seems to be an idea "bubble" of his thoughts.

The film likewise utilizes transition, for example, fades and screen wipes. These have been evolved throughout the years yet are extremely elementary, based on the fact that it was taken in 1903.

Manipulation of Diegetic Time (HISTORY):

Manipulation of diegetic time is the procedure utilized as a part of film making when time is utilized in a non-conventional way; film makers use it to either demonstrate that time has passed and moved more rapidly than it would ordinarily (Hollywood) or have a greater amount of prominence on the connection between a specific occasion or picture and the impact on the viewer (Soviet).

Montages (chains of short shots are edited into a sequence to shorten space, time, and information) began in Soviet Russia at the peak of the revolution. This tool is exceptionally artistic as it can be utilized to convey in the cinema what is the equal to literary metaphor. For instance, the workers are being executed in the film 'Strike', Eisenstein rapidly cut to a shot of a bull being butchered, in this manner giving the discernment that the masses were being butchered like animals.

Edwin Porter was recognised for utilizing an assortment of shots, making his movies, for example, the Great Train Robbery and the Life of an American Fireman all the more intriguing and improved editing. This motivated Griffith to likewise utilize an assortment of shots in his works, for example, Birth of a Nation for variety and to make a more stimulating film. In the long run this all lead to the advancement of the soviet montage as they took the foundation of moving time yet created it to depict more challenging subjects in an artistic manner.

Soviet film maker Sergei Eisenstein was thought to be the 'father of montages' as he utilized them as a part of his movies in the early 1900s.

The intention of Soviet Montages are to get the audience to make the association between the juxtaposed ideas.

REFERENCE: https://prezi.com/md1tkb0ds-vr/no-touchy/

19 Camera Shot Examples

AERIAL SHOT:

The Sound Of Music (1965).

BRIDGING SHOT:

Raiders Of The Lost Ark (1981).

CLOSE-UP:

The Passion Of Joan Of Arc (1928).

MEDIUM SHOT:

John Ford film (The Searchers).

LONG SHOT:

David Lean's Lawrence Of Arabia (1962).

DEEP FOCUS SHOT:

Citizen Kane (1941).

DOLLY ZOOM:

Jaws (1975).

ESTABLISHING SHOT:

Shawshank Redemption (1994).

HANDHELD SHOT:

Scorsese's Mean Streets (1973).

LOW-ANGLE SHOT:

Star Wars Episode IV A New Hope (1977).

HIGH-ANGLE SHOT:

OVER-THE-SHOULDER-SHOT:

The Godfather (1972).

PAN:

Brian de Palma's Blow Out (1981).

POV SHOT:

Halloween (1978).

STEADICAM SHOT:

Goodfellas (1990).

TILT:

Robert Altman's Nashville (1975).

TRACKING SHOT:

Stanley Kubrick's Paths Of Glory (1957).

ZOOM:

The Conversation (1974).

CRANE SHOT:

Gone With The Wind (1939).

Camera Angles, Movements, Framing by Varshini

Camera shots, Angles, Movement

Shot Variation (CONT'D)

Shot Variation

Shot variation is used a lot in action films when a fast paced scene is being shot. In addition to a high number of cuts in a short space of film time the variation of shots and dynamism also help to fasten the pace of the scene.

Shot variation is a strategy utilized in filmmaking to accomplish the best scope of a whole sequence of action. Shots utilized incorporate wide shot, extreme long shot, long shot, medium long shot, and medium full shot, medium shot, medium close shot, close-shot, close-up and extreme close-up.

A wide shot is typically utilized towards the begin of a sequence to:

•         Sets the tone of the scene;

•         Familiarises us to the location;

•         Allow the audience to comprehend the idea of the scene.

Long shots are utilized to show a new location.

Medium shots are usually used to demonstrate the dynamics of two or three person interaction;

Closer scope is utilized for:

•         Intensity

•         Intimacy

•         Detail

Shot variation is utilized in a lot of action movies when a quick paced scene is being shot. In addition to a high number of cuts in a short space of film time the variety of shots and dynamism likewise benefit to fasten the pace of the scene.

In this particular sequence there is a variety of shot variation used. A close-up shot of Harry's face is first shown in the starting of the sequence in order to create a dramatic entrance and to underscore the subject's emotion. Medium close-up shot of the "audience" is frequently shown to project their feelings and to express the vibe that is contained within the arena. During the chase that took place outside of the arena, I witnessed a regular use of wide/long shot to highlight the location and the surroundings around the subject. The use of the wide/long shot is also used to express the depth of the situation that is taking place within the sequence. It is specifically used when the horntail is chasing Harry outside of the arena in order to show the audience that the subject is in a vulnerable and unstable position; this is a clever strategy to use especially for that particular scene. This would automatically stir up the emotions and tenses atmosphere within the audience. 3:02 into the clip, there is a regular use of medium close-up shot and close-up shots till the end of the sequence; this was when the "audience" finally sees Harry and celebrates the victory of winning the golden egg.

Multiple Points of View Analysis (CONT'D)

The starting scene of the extract slightly gives the idea of whose point of view we a looking at, but it doesn’t confirm whether if it is from Jamal’s point of view or Latika’s. However, 8 seconds into the clip it clearly shows that we are looking from Jamal’s point of view; the way everything surrounding her is out of focus, everything around her is moving really fast expect his focus on her. 25 seconds into the clip, the point of view is changes when Latika focuses into Jamal; perhaps stating that he is her subject. 35 seconds into the clip the point of view is back to where it started, however, this time there are two points of view. One is from Jamal’s perspective and the other is of his brother and his gang. Nevertheless, by the end of this clip it clearly portrays that Latika has been the subject all this time, as both Jamal’s and his brother’s point of view haven’t changed. One’s trying to retrieve Latika from danger, and the other perspective is to try hunt her down and pull her back to danger.  

Multiple Points of View

During the editing period, the editor will switch between camera angles based on what the subject is doing. This impact of differing distances and angles, instead of adhering to one shot completely through, brings shape, texture and profundity to the scene. The editor utilizes action matches to maintain continuity, makes the cuts undetectable and the audience gets a multi-faceted viewpoint on occasions which connects them in the action.

Multiple Points of View is a strategy where various number of camera angles are utilized to film a solitary event.

The contrast between ‘following the action’ and ‘multiple points of view’ is that in the latter we are fixated on a solitary piece of action and seeing that activity action from a wide range of vantage focus. 

The multiple points of view strategy can:

Ø  Enable the audience to see a greater picture and help them comprehend completely what is going on;

Ø  Add dynamism to the action in order to make the scene all the more captivating;

Ø  Manipulate time: watching the same action from different points of view lengthens time;

Ø  Reveal key data from alternate points of view.

Following The Action

Following the action is a directing practice which catches every one of the movements a character makes when he/she moves from location to location.

There will typically be more than one camera shooting the action in the different locations.

This furnishes the editor with a scope of footage to make choices from when the entire sequence is being assembled.

Following the action (CONT’D)

During the editing stage, the editor will switch between camera angles relying upon what the subject is doing and what scope the director and editor choose best advances the narrative.

This impact of shifting distances and angles, instead of adhering to one shot all the way through, creates shape, texture and profundity to the scene.

The editor utilizes action matches to safeguard continuity, making cuts undetectable, and the audience gets a multi-faceted point of view on occasions which draws in them in action.

In this sequence, quick cuts were used to make the scene intense and CGI to manipulate the views in some scenes in the sequence. There is a wide range of cuts utilized in this sequence, however, the variety of cuts used didn’t lose its touch with the smooth flow that carried throughout the entire sequence. 2:20 into the sequence the view shows of the expansive structure and demonstrates an extraordinary pan of the encompassing area, even though cuts are vital in an action sequence, angles is what that gives definition to the subject’s action and stirs up the excitement or intensity within the viewers in that particular scene. 2:28 into the clip, an eye level angle used when he looks back at Bond; this shows that they both are on the same level and that they are neutral. Neither of them have power over each other. An aerial shot is used at 2:16, it demonstrates an angle higher than the crane; giving a good perspective of what is going on and where they are. Even though an excessive amount of cuts is being used, the clip doesn’t show that, instead it gives the sequence a very flawless finish. Sound is very important in any film genres, and during this clip synchronous sound is evident and, and the non-diegetic sound fits perfectly in the sequence as they ran; and somehow using non-diegetic sound made the scene very realistic. At 0:26, diegetic sound is used when Bond crashes into the shed; this gave the scene a very realist and natural outlook.  

In-Camera Editing Homework

In-Camera Editing:

The terms in-camera editing is a video editing strategy that is usually done within the camera. In my video I have proven that I acquire the basic knowledge of in-camera editing, I have used different shots and angles and I have also improved my timing which is a principle rule in-camera editing.

In-Camera Editing

In-Camera Editing:

v  In-camera editing is one of a video editing technique that is usually done “inside” the camera.

v  Rather than waiting for the post-production procedure to start, the cinematographer shoots each unit of narrative sequentially, filming shots in an exceptionally precise way, so that “edit” evolves as filming advances.

v  This implies that the film is now finished before the end of production.

v  Planning shots with the goal that they can be filmed in the exact order they will be displayed in requires a lot of fore-thought.

v  Some of the asset is paid back, but the fact that no extra editing times is vital to remove or re-order scenes later on.

v  In an in-camera edit circumstance the last scene is shot as the production is finished.

v  If footage has been recorded digitally, the film can be projected straight from the camera.