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The ABCs of Cinematography - An Intro to Filmmakingdid you know that cinema is a language,the truth
Updated on Jan 14,2023
The ABCs of Cinematography - An Intro to Filmmaking
did you know that cinema is a language,the truth is most moviegoers don't,really think about it that much,but then again they shouldn't have to,the whole point of cinema is to walk,into a theater and lose yourself over to,the movie up on screen and go on a,journey into a life that is not your own,so why would they worry about the,distracting artifice behind it I mean,not Ian's in theory understands that,there's a lot of people putting in time,and work but because of that invisible,magic of cinema they also assume you can,just sort of put a camera in front of,some subjects and/or some fancy scenery,or whatever and it'll all magically work,out it doesn't heck if you've ever tried,making your own stuff in high school you,learn this really quickly,Hollywood efforts don't just come to,life because of production value or,lavish sets it's because most filmmakers,understand the language of,cinematography they understand that,certain shots angles and colors don't,just show you what you're seeing they,communicate how you should feel about it,too and often those shots have meaning,in enough themselves and if you want to,know you should be able to learn it too,and it often makes me upset how little,critics talk about the basics of,cinematography maybe they don't even,know themselves but I just know how,little we give the glossary of simple,terms for the audience so that they can,actually understand what they're seeing,because there really is a proverbial,ABCs of cinematic language so let's talk,about it to that here's the glossary of,moves and cinematography and how they,affect the audience there are six larger,groupings let's start with the first,section one shot types now what actually,judges what defines a traditional shot,by the size of the subject relative to,the frame for instance a wide shot means,the viewer can see a lot of the space,where the scene is set whether it be a,landscape or even just a room it is most,often used to establish the scope of the,place the subjects are located in the,geography between the subjects and the,emotional context of the space at large,then on the other end of the spectrum,there is the close-up which is one of,the most powerful tools a filmmaker has,at their disposal it brings us near an,actor to see every bit of emotion,on their face their pain their sorrow,their yearning or their desire and yes,those are the only four emotions but,there's a delicate art to the close-up,letting us close to an actor's face,makes for such a uniquely intimate,moment if you use them too much over the,course of a movie you can actually lose,the potency of this powerful effect use,it too little you will take away the,audience's crucial need to connect in a,mote with a moment now a medium shot is,of course the halfway point between a,wide and a close-up,it generally shows an actor from the,waist up the intent of this shot is to,get some of the benefits of each you're,close enough to get some intimacy with,their facial expression but you can also,see the actors relationship with the,space that is their interaction with,objects in the scene or most importantly,of all other people which brings us to,the two-shot this is really just the,general term for anytime two actors are,in screen at once there are a host of,variations within this that mostly have,to do with where a subject is facing in,relationship to the camera for instance,in an American two-shot the two subjects,will face directly toward each other and,we'll see them both in profile Wes,Anderson has a lot of shots like this,often to highlight the distance between,the two people in question or there's,another variation called a dirty two,shot in which we're really emphasizing,one subject in a medium or close-up but,we can also see bits of the other,character in frame usually just over,their shoulder this gives us more,context for understanding the space,between the characters often it is used,to gently remind us how much of the,other person is present or has a bearing,on the scene Zack Snyder reminds you,about other things lastly an insert shot,is any close-up of an object or gesture,that gives us a piece of information,sometimes it's an object the characters,are fixating on sometimes it's what a,character is doing like making coffee or,sometimes it's about someone trying to,hide something imagine two people,talking over dinner but then we see a,quick shot of one of them pulling a gun,from out of their pocket below the table,this would make us feel dread and a,sense of dramatic irony all from an,insert shot now as I go through all,these examples note that I'm not,strike two describe the shots in and of,themselves I'm trying to show you the,way that these shots have a direct,effect on us as a viewer in the,information that we will take away from,them section two camera angles now let's,talk about the angle of a shot which,implies where the camera is in,relationship to the subject not just the,size of the subject a low angle shot is,when the camera i
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