the next two DVD's are based entirely on techniques from the first four volumes
if you haven't watched volumes 1 through 4 it's crucial that you do so first
on the last two Williams will first look at techniques for staging scenes and
then to a lot of scripts stagings
if you prefer to have printed scripts and blocking diagrams in addition to the
animations you can download them in PDF format it hollywood camerawork .us large
download study HTML
the No
by now it's clear that the type a blocking working within this course can
be improvised on the set but has to be planned
to do that we need a system for blocking on paper
here will propose a system that is extremely easy to draw
either free hand with the template that can draw circles and triangles which is
available at most of its stores
we're usually starting with the layout on the set
which we either get from the production designer from a sketch the location
will illustrate characters the circles here will create two characters and give
them each a collar
since colors are hard to erase make sense to not add the colors before we're
sure the characters positions
to illustrate which way they're facing Boudreau line inside the circle
in this course we have men and women at the same colors so to avoid confusion
will illustrate the women with an extra line
will illustrate cameras is two sides of a triangle showing the rough angle the
camera shooting
if this is not over the shoulder will add a matching rivers here
next we'll have the blue women turn away from the red man
to show that will simply draw another face inside the circle
and an arrow to show the turn
to show character movement will simply draw another circle in the new location
and an error to show the movement
the Aero can be any color here were drying at the same colors the character
for clarity
during a separate character for its top is the same as we did on volume 2
and it makes managing the line phenomenally easier
to show tracking shots will draw another camera over here in connection with the
line
will draw on a road to show the direction of the track
this camera now starts in an over the shoulder and pulls ahead over she walks
will additionally add small dots to show it to the stops on the track
this is useful because if we have complicated panning while tracking we
might wanna draw that is extra cameras on the track that function as guides
instead of stops
next we'll have the man walk over here so we can draw another circle in a line
to show the walk
to cover that will have a tracking camera pivot on the woman
the ending keyframe will be here soldier another camera on the track in at a dot
for the stop
to show the moval first time all draw smaller over the reuse the track
second alright P IV for pivot for a very simple tracks in a row or two is enough
to remember the order we need to track between keyframes in
but for very complicated tracks it usually works better to write numbers
bite stop
if we then returned to the diagram in a month or two we can quickly get a
picture what we meant
here's then with this test scene looks like
we start by cutting the dialogue between the characters
the key to blocking like this is that we're not trying to create a
mathematically correct diagram
or even a rigid plan that we have to follow to the letter the plan just needs
to be close enough
and we can make the final tweaks on the setter discover things we hadn't thought
of
here we reframe is the woman turns away from the man
as she walks we pull ahead of her trying to keep the man in the frame
arriving by a small table
is the man walks to his second mark we reuse the track for the pivot
next we'll look at illustrating panning tilting in booming in this scene the
blue man walks over to the red man
to show up and will destroy the ending keyframe in an arrow into it which is
usually obvious enough to imply that there's a previous key frame with the
camera facing more to left
for more specific bands we can also dries keyframe
but we naturally want to avoid drawing too many cameras on top of each other
next the red man walks past the red woman who's sitting in a chair
we want to move with him in hand after the woman ending in this key frame so
lay a track between the two extremes
at an arrow to show the movement into doubts to show the stops
but because she sitting in a chair will want to be low at the end
to illustrate the boom action will read the elevation of the camera did stop
so behind the first location we write up and behind the second alright DN for
down
was so tilting up and down as an arrow in front of the camera
to tell down will show in a row going into the camera
a good analogy is deceit is tilting towards the feet
detailed up will show an arrow going out in up
to tell both up and down will draw an arrow going both ways
to use this list have the Blue Man walk over to the woman as he arrives we want
to tilt up sold Ryanair away from the camera
at the end the blue man walks away and we tell down again so we'll add another
airhead pointing towards the camera
let's first look at the camera movement we start by panning into the first
dialogue
again we'll just let the written blocking be close enough to make the
final adjustments on the set
here is the man walks the diagram says to bring down during the track but in
reality will stay level with him for the first half
and then begin craning down halfway through the move
as the Blue Men steps in which held up
as he leaves whittled down in the scene on the woman
since the track and Ali are the hardest to move around will set up the shot so
it's about right
and then tweak the characters marks and even rearrange the set to perfect the
framing
as we track with the red men in hand after the woman we might have found on a
first run through the framing wasn't completely right
at this point it's much easier to move her than it is to move the track
the Blue Man steps in and we tailed up
he leaves and we told downed and on the woman
the last thing to look at is how to illustrate many things happening in the
same spot starting with characters changing elevation
in this scene the red characters sitting behind a table in the blue character is
standing
so we'll put into reverses this one is low because the red character is sitting
and this one is high because the blue character standing but we don't need to
write that because we can just as well make that decision on the set
if the Red character stands up will simply make a note that he stands up
which implies the be sitting down before that
if the river son im told up with them we would just run a row out in up
but if we're booming up with two elevations in the same spot
so by writing both elevations is down up 10 to start down and then boom up
another thing that can be hard to write down is when characters reviews each
other stops which is a very effective way to save cameras because we don't
need any new coverage
here the blue man walks over to the grey man will set up to reverses
but when he walks out the red man walks over where he stood so we can use the
same cameras
no matter which way we'd rather see if we return to it in a month will need a
moment to understand what we meant
so let's simply draw dot in the middle the character to remember the dead to do
you stop
and leave it in the caller the first character standing there
we also need a way to write down during several versions overtake
in a typical situation we've set up an over-the-shoulder to do a slope course
during the dialogue
if we want to go wide again after the Porsche will need a full lock take from
the wide position
so right L for locked by that keyframe
if we wanted lock low shot is well we're I tell by the close keyframe
we then have three takes to lock him on the tracks
sometimes a lot take needs to have very different behavior than the tracking
version
before the main dialogue let's say that the red character walks in and we want
to come up from his feet while panning into the over-the-shoulder
we'd write this is both down up in a row for the pan
but if this is only meant for the lock version it can be confusing
and we're better off trying it is a separate camera nearby the original key
frame
even though will physically shooter with the same camera on the same track
this way makes it easier for us to remember what we met when we drew it if
you use Adobe Illustrator you can download our template for creating
blocking diagrams on the computer instead of on paper
to download go to Hollywood camera work .us slash download studied shemale
the in this chapter will create a checklist for a way to attack scenes
which produces great results for the vast majority of scenes
let's start by listing missteps and then go over them in more detail
starting with finding stops a movement finding moves in transitions
finding keyframes in deep staging finding coverage
connecting keyframes finding lead ins and extensions
and coordinating foreground and background
this method is best for scenes that lend themselves to being covered in parallel
in from several angles at once
if you're blocking a very sick when she was seen for example a chase we're
better off with the more storyboard approaching covering each but have
action is a separate shot
a crucial point regarding this checklist is that we're really doing all steps at
the same time
each with an eye for the others and not necessarily in order the only exception
is maybe the first step which is finding stops a movement because finding the
basic action is usually the best place to start
in this scene will assume the scrip provide some hints about character
positioning first at the Red woman in the gray matter having a conversation
over table
and that the Red Menace somewhere in the background
besides that we're on our own which is where the motivations for care to move
not we looked at on volume to become extremely useful
let's say that the situation is very confrontational because the grey man is
selling out on his partners
the subtext to the scene is that he's doing it because he's being blackmailed
so we want some shots where we get a private view his facial expression to
shows trouble feelings
we could do that by creating a stop or he walks over here facing away which we
recovered a camera facing this way
after the conversation is continue here the red woman charges over to get a
straight answer
he then turns sewer and after a bit of conversation she walks out which was the
only other stage direction that was obvious in the scripture that we decided
to keep
putting this diagram on hold for a moment it's worth placing characters
with an eye on how we want to shoot them
this becomes especially important if we want to create moves the past by
characters just in time for their line
here the characters have consecutive lines and is not particularly important
where we place them so we'll arrange them by their order
will be tracking this way since starting with the Blue Man
he works this way: to the red woman
who begins walking past the red man
Hui handoff to and continue tracking
resulting in a pivot revealed the blue woman in the background
here we've put in the camera in track immediately but even if we didn't
arranging the characters like this would make that very easy later on
this very simple strategy creates an enormously complex move
wheat wrap with the Blue Man past the red woman who takes over as movement
hand off to the red man and never reveal the blue woman
there's probably no way we could happen upon a move like this without
deliberately arranging the characters for it
finding moves in transitions often follows immediately after
these rumours that need to be in a particular place at a particular time so
we might as well build them into the central structure the scene
in an example on volume 3 the man was standing next to the woman
and then walked over to sit in a chair opposite her the move we wanted tracked
from one over the shoulder to another so we put that in first
and build the scene around by adding to reverses
these moves could just as easily come about as a consequence of connecting
keyframes but that's usually not how we get the idea
so it makes sense to simply put them in
transitions are meant for shots the tell a specific story and we can't leave to
chance
here the red man walks past the Blue Man and would serve the story with the
camera that hands off so we'll put one in very early
whatever else happens in the scene were sure to get this shot
and to integrate it will simply find something to use it for before and after
may be having this camera be a lock shut on the red man before the handoff
another transition can be a bit reveal which is again an extremely specific
move that needs to go in early
as we push in on the red man and pivot reveal the blue woman the cameras now
River shot we can weave it into the scene by adding a matching one here
we can expand on that by having the woman arrived as the reveal happens but
the point is that we put the move in first
and then what ford's in backwards in time to give the camera more function
other very specific moves are basing is seen on a particular technique
in this scene the woman is sitting by a table
and the man walks back and forth which one to cover in one continuous pivoting
camera
for the man's first stop the dalai is here
for the second is here for the third it's here
and for the fourth it's here this camera is no central park at the scene
and all other cameras going according to that
returning to the diagram we were working on let's say that we'd imagine one
particular move which is close push on the grey man is the woman walks out
will started in what will be an over-the-shoulder before the move
becoming a close up after the push and we've now locked the move right into the
scene
moving on to find the key frames in deep staging this is one of the most
important techniques in this course
our purpose now is to simply places many key frames as we can think up for all
the shots and angles we might want to be in at some point
the keys that were placing virtual cameras as placeholders and then first
later decide which ones to connect on tracks
in the first part of the dialogue around the table we could easily won a parable
for the shoulders
a pair close-ups would also come naturally
to get the red man in the background into the scene let's create a deep
staging shot with a woman in the foreground
for the grey man facing away let's create a personal shot with him in the
foreground
but as we put in key frames were beginning to tie down the blocking
this is fine for most types shots except the more complicated deep staging shots
which are often created by deliberately arranging characters for the camera
so lets users last opportunity to rearrange the characters by moving the
grey man stop over here which will create an elegant stagger deep staging
shot as he steps away
the moving him of course means that the woman stop has to change as well
with that done will place a keyframe here which is a staggered deep staging
shot as long as the woman is by the table
for the Sega this chapter let's delete the clothes push on the grey man because
we have another opportunity to create one later on that we also need to look
at
so for now as she walks over to the grey man on his new mark but simply place a
reverse pair
finding coverage is an extension a place in key frames in is simply about adding
detail to the coverage by looking for inserting close-ups
this is a very simple scene and we already have the close-ups we need so
there's not a lot to find
but we could place an insert on a document on the table which is an active
prop in the scene
we could also place a close up on the red man and see if we end up using it
this step could be considered a moot point beginning to tail is easy to
forget which is why it's on the list
connecting keyframes is the payoff to placing virtual cameras for all the
places we want to be
the goal now is to find interesting ways to connect these key frames on track
we could for example connect the close upon the red man with a deep staging
shot with the woman in the foreground
which will create a start on reveal we could maybe connected to the over the
shoulders in close-ups by the table and start pushing both cameras during the
dialogue
but every time we make these connections we preclude other connections
now we wouldn't be able to connect this deep staging shot with this close up
because he to the key frames are already used on tracks a different angles
it also wouldn't be a very interesting move
over by the second position we could do a very effective move them
starting this dagger deep staging shot we could track into this over the
shoulders the woman walks over resulting in a pivot
this move is easy because we don't need the over the shoulder before she's
walked over
and we don't need the staggered deep staging shot after but if we did we
would simply put in hours to get lock versions as well
moving on defining lead ins and extensions this is a step that produces
a lot a production value very quickly
with what we lay down now let's look for additions to make before and after the
main business for each camera
first let out a big piece affection to the beginning at the scene by having the
red men start by table over here
and then walked to his first real mark
will cover that starting in a keyframe here and let's connect that to this deep
staging shot resulting in a move that starts away
and tracks into a very deliberate framing
this will also produce a lot apparel X towards the end to the movies we track
behind the red woman
because the key frames are on opposite sides of the line
actually let's add another leading by starting on the papers
then tilt up on the red man and then track into the first real key frame
at the end the scene let's recreate the clothes push on the gray man
this time is an extension which is usually the better way to create a close
push
so far this camera is just been a lot rivers but as the woman leaves let's
extend this camera by pushing in
will additionally have the woman leave in this direction instead to get more
movement in the foreground
a final bill thing we could do is buy this camera which is the over the
shoulder on the grey man when there by the table
let's ban it is he walks away to get that covered
for this part of the scene we can then come between this camera this dagger
deep staging shot
and the tighter deep staging shop which will allow us to cut fairly rich
dialogue
the last step which is again really done at any time during blocking is
coordinating foreground and background
many foreground decisions can of course easily be made on the set but the more
we prepared the easy will be to give useful direction on the set
for the mood in the beginning at the scene were tracking through a section of
empty space
so this would be a good place to put in some foreground maybe an extra
coordinating background is more about decorating the framing by rearranging
the center placing extras in gaps in the frame
we've plenty of deep staging over here let's put in an extra in the back row
this shot for one we have tilted up to create more depth
before we go ahead and shoot it one thing we might want to do is clean up by
removing keyframes that ended up not serving a purpose
this is a short scene and we have plenty of coverage so the close up on the red
man as may be overkill
we can leave it in there and drop it if we go over time on the set but let's
just get rid of it permanently
the end result is a scene with a camera's 5 locked in three then tracking
it looks a little confusing when all the cameras are slept on top of each other
but when we look at each of the cameras their individual actions are fairly
simple
the first camera look at is the one that opens the scene this camera started is
simply a deep staging keyframe over by the woman
and everything we're doing in the beginning is a lead in starting on the
paper
up on the man with the extra in the background and tracking over the main
keyframe passing by the other extra to get more para lacks
here the camera simply a lot shot
after the man in the suit is what a way to be more private the woman walks over
as well
it some point she would have to walk through the camera which is where we'll
cut
the lot cameras are simply reverses in two sizes and an insert on a piece a
paper on the table
these will be easy to shoot so let's move on to the only one to the cameras
that has action which is the over the shoulder on the man in the suit
as he walks away were panning with them to make sure we have that action covered
from this camera will probably coming to the staggered upstaging shot so let's
look at that now
this camera is really just supposed to be locked in the deep staging shot until
the woman walks over it which point it pits
but since we're coming from a panning camera let's also be moving in this
camera to get a smoother cut
will do that by creating another lead in
will create a prior key frame with the track a little further to the left so
that when the man walks over we know slightly into the deep staging shot
almost like a timed master move
when the woman walks over we give it a follower
ending in an over-the-shoulder this useful for the remainder
the scene
the last cameras the matching rivers that could have been locked but that we
put on attracted to a close Porsche is an extension at the end
so for the major part in this section it's locked
and when the woman leaves this time in front of the camera we pushin for
reaction
in the following script stagings will also look at the takes reach camera
but since this scene is just a demo let's come together right away
starting the lead in we told %uh from the papers
then track with a man behind the extra
ending in the smaller deep staging shot
an unexpected byproduct of the extra replace repair lax is that she also
becomes part of a staggered deep staging shot here
here we simply come between a la cameras
some of which are close-ups
if we want to bring the red men back into the scene we still have this
camelot on a track
the man in the suit walks away and weep and this over the shoulder
in cuts what will become a staggered upstaging shot here
you will cut dialogue between this camera the closer deep staging shot
and the reverse which is shooting the man from the back
back in a staggered shot the woman charges over and we picked it into an
over-the-shoulder
the man turns to her and we continue the dialogue with the reverse which is on a
track for the clothes push coming up
the woman walks out and we push in on the mound for reaction
for the remaining part of the course will now staged scenes to put everything
together
the the first two scenes will work with take place aboard a starship in are made
to resemble a Star Trek type scenario
in this story captain bradley the red woman
was investigating a mysterious dark cloud the cause the death of a crew
member
but was quickly ordered to assist in some boring and pointless negotiations
which he found very strange
in this scene the captain is receiving a call from a colonel in is glad to be
interrupted
the red man Jeremy is second in command
and the Blue Man outside the doors a guard order to prevent anyone from
communicating outside negotiating room
lead story through
on monitor Colonel Stephen Patel an aging officer speaking from behind a
desk
the transmission occasionally breaks up no matter what we try or die cutting
through
might just be the atmosphere but I think we're being blocked
pulling out from the monitor were in a small creek order Jeremy picks up
archaeological artifacts while he waits
a guard stands watch outside the door
have you track down the cause of the explosion it's inconclusive
but we also have a survey team missing below the planet's surface
I don't think this is a coincidence kernel we can be at your position in
less than a day
are you trying to get out of those negotiations of course not
anyway you're not equipped for the darker we
are having some problems what kinda problems
strange phenomenon this whole sectors involved in some for a blackout
it's like the space just absorbs energy Bradley and Jeremy become puzzled
for use in 35 percent a ship's power just for this transgression
anyway where he those locks will send them
good to hear from me again likewise Patel out the screen returns to logo
Germany's walked over to the captain's desk Bradley gets up
Shannon logs Jeremy acknowledges
over min sir report to the mediator that I will be able to attend the remaining
negotiations
urgent matters sir carry on that's an order
the guard looks mystified then leaves Jeremy walks over to Bradley
sir how should we end this without taking off the delegates
how wanna stop by 6481 wait around for
they are in different directions sir
you don't say I make the necessary preparations
Jeremy leaves Bradley ponders her next move
their marks out the in this scene we're starting with the diagram in the set
the grey box here's the desk where the captain will sit
and the black line is the monitor with the Colonels transmission is shown
Bradley sit in the chair by the monitor
the gray score to the left is a table with artifacts which Jeremy will examine
as he waits for the captain so will place him here
that table could be anywhere but we've put it here's a German can be away from
the captain's conversation
and then walk over wanna dance
the guard is outside the door for most at the scene will probably have shots on
both Germany captain so we'll try to keep him in the background to help the
spatial continuity
when Bradley is done with a conversation with the kernel Jeremy walks over
Bradley stands up then calls for the guard who walks into the room
she walks over to meet him after brief conversation she dismisses the guard who
leaves
Jeremy their marks over we've placed the characters like this because we have an
idea being at a right angle masters the captain talks to the guard
and when he leaves reframe into an over-the-shoulder for the dialogue with
Jeremy
after the conversation here Jeremy works out
the captain stands for a moment to collect yourself then walks out as well
in this scene there some specific moves in wanna get but will generally cover by
for speaking all the key frames we want to be in
and then later deciding which ones to connect on track and which ones to leave
is lock cameras
will probably want a wide shot or a master here for the first-ever the scene
this key from a cover the captain with the guard the background
when Jeremy walks over we would need a wider shots will place a wider keyframe
here
this creates a line here in our cameras for the first half at the scene need to
be on this side a bit
will also need a close up on the monitor for the kernel as well as a close up on
the captain
this group says that we're pulling out from the monitor so we can either pull
out into the wide keyframe
or we could track around from the monitor to the close upon the captain
which could also be a good move
in each case we would need to do a full lock take on the monitor is well for the
colonel
when Jeremy is by the artifacts will place a keyframe here
like the white masters this key frame has the guard in the background for
spatial continuity
is your me ways for the captain to finish the call he picks up artifacts on
the table
will shift up and down with this handsome will put in both the Panera
until tomorrow
when Jeremy walks to the captain we connect this key frame with one other
white masters and track with him as he walks
but for now we just want to find out where we need to be
let's prepare for coupled specific moves with imagined
during the captain's conversation with the colonel in the first half at the
scene
there's an important beat is the kernel begins talking about a mysterious black
out
this is very puzzling to both the captain Jeremy
and we want to do slow close pushes on both
for Jeremy will put in a closer keyframe ready to be connected with track
over by the captain will want to push her close up as well this key frame is
already as close as it gets will put in a keyframe for the beginning
another with emergencies the because Jeremy walks over to the captain just
when the communication ans we could create a transition from the monitor up
on him
we already have a close up on the monitor so we could simply tilt up
but this would be a very steep tilt so let's instead create a keyframe a little
further back
with an arrow to market held up this key frame will additionally have Jeremy in
the background for the first half at the scene which again helps the spatial
continuity
the captain now stands up in calls for the guard here with imagine another move
in a camera position right about here we'd like to come up with the captain
and then track with her over to the dialogue by the door
but the starting cue from is already supposed to be part of a close push on
the captain
here we would need either seriously bent tracker crab dahling
but apart from that the push we want to do ends in this closure keyframe so we
have to do a separate a two-track with the captain in the other direction
let's instead split it up will plan on making the clothes push a separate take
starting in a new keyframe here
within star wide in on the right be begin pushing
in this key frame were now free to boom up with the captain which will create a
good deal apparel action Jeremy in the foreground
again as we trap with the captain over to the guard will get good pay relaxes
we pass behind Jeremy
this move create a new line here and we wouldn't be able to cut any of these
cameras
but that's okay because we won't need to go back is the guard walks out
Jeremy walks over we were frame is we originally planned
and we're now in an over-the-shoulder that was the line over here so we'll add
a match rivers for the remaining dialogue
so let's connect these key frames we've already decided to connect these key
frames for the captain's walk
we've also pretty much decided to connect these for clothes push on the
captain
over by the artifacts were journey starts we can either go with a close
Porsche
or we can track with a min what are the white masters over here as he walks to
the desk
the latter is just a walk and we really need the poor so we'll go with the first
choice
for the pullout from the monitor will then connect these three key frames and
start the scene by pulling up to the first stop
is Jeremy walks over will pull even wider open the space more
will cover the kernel on the monitor through this la camera which transitions
up on jeremy is the conversation ends
so that's about it one last thing will add is an extension at the very end the
scene where the captain Jeremy have the last conversation
when Jeremy walks out we could be in this camera
and then track around to and from the captain for a more personal shot after
which she walks out to
let's look at the takes
we have a total five tracks in one lakh camera
let's go through the cameras one by one
starting with the camera the pulls out from the monitor we end in the shop its
wide enough for this part at the scene
here we stay locked and we leave this camera rolling is cutting option
the last thing that happens in this camera is that we pull out when Jeremy
walks over
since we're tracking for the wall to get wide enough this while needs to be wild
from here in our again locked
since the girl on the monitors shot is a separate element Corp Indian will simply
match the speed at the pool to blank the busline
no matter what we try what are getting through
might just be the atmosphere I think we're being blocked
have you track down the cause of the explosion it's inconclusive
but we also have a survey team missing below the planet's surface
I don't think this is a coincidence kernel we can be at your position in
less than a day
here the dialogue goes on for a while so a fast forward to the next time
something happens in this camera
anyway we need those locks will send them
good to hear from you again likewise but lol
Shannon the large
alderman sir
report to the mediator that I will be able to attend the remaining
negotiations
urgent matters as soon as she walks will be tracking in the camera behind Jeremy
that puts this camera on the wrong side line from here on out so we'll cut
jeremy has no dialogue and is closer by the artifacts I will shoot without sound
we only have to make sure to get to things for some general footage if
Jeremy examining the artifacts
on a queue which we can give verbally we pushin is here's the kernel talk about
the disturbance
he then walks out of the shot no for the captain which is where the take ends
like the master on the captain this shot has the car the background for spatial
continuity
is Jeremy touches the artifacts we pan and tilt with them
on RQ Jeremy here's the kernel and we begin pushing is Jeremy turns
finally walking out of the frame in the take ends
firming coverage %uh the kernel on the monitor we're using this lock camera
since the kernel is to be inserted imposed and we can see the captain's
face
will again shoot this without sound
let's do have a minute at the captain talking to the screen to get realistic
body movement and then have Jeremy walk over
we tilt up is Jeremy arrives
from here on out our coverage is better in the other cameras so we'll cut
this camera is our main coverage on the captain while she sitting
all the camera does is push in at a certain point
have you track down the cause of the explosion it's inconclusive
but we also have a survey team missing below the planet's surface
I don't think this is a coincidence kernel we can be at your position in
less than a day
are you trying to get out of those negotiations of course not
anyway you're not equipped for the factor we
are having some problems what kind of problems
strange phenomenon this whole sectors and gold
some for a blackout it's like the space just absorbs energy
reason 35 percent a ship's power just for this transgression
anyway we need those locks will send them
good to hear from me again likewise but lol
as she stands up to take ends
this camera is the one the booms up with the captain and tracks whether to the
conversation with the guard
even though we're not intending to use this camera for the first minute at the
scene
let shooter entire dialogue anyway so we have an extra angle
after that Jeremy walks over in the shot becomes an over the hip
when the captain gets up with him up with her which you give us some good
vertical para lacks
sheet in calls for the guard and we track with her as she walks over
ending at a right angle master
when she's on talking to the guard he leaves and jury walks over
by reframing were now an over-the-shoulder
this shot is done when Jeremy works out
anyway we need those locks will send them
good to hear from you again likewise Patel out
Shannon the law
alderman sir
report to the mediator that I will be able to attend the remaining
negotiations
urgent matters sir carry on that's an order
sir how should we end this without taking off the delegates
how one stop by 64 really wanna wait around for
date are in different directions sir you don't say
I make the necessary preparations
the last cameras the matching reversed for the previous camera
where active as soon as Jeremy steps into the over-the-shoulder then they
have their final conversation
and is Jeremy walks out we give it around to the front the captain
where she gathers yourself walks out of the shot
sir how should we end this without taking off the delegates
how one stop by 6481 wait around for
they are in different directions sir
you don't say on make the necessary preparations
was he the cut the
0 No
no matter what we try ordering troops might just be the atmosphere
but I think we're being blocked have you track down the cause of the explosion
it's inconclusive but we also have a survey team missing below the planet's
surface
I don't think this is a coincidence kernel we can be at your position in
less than a day
are you trying to get out of those negotiations of course not
anyway you're not equipped for the fuck we
hard having some probs what kinda problems
strange phenomenon this whole sectors involved in some sort of blackout
it's like the space just absorbs energy and
reason 35 percent a ship's power just from stress pressure
anyway review those locks
will send them good to hear from me again likewise
Patel out stand
Shannon the logs alderman
sir report to the mediator that I will be able to attend the remaining
negotiations
urgent matters sir
carry on that's an order and
sir passion can we end this without taking off the delegates
I wanna stop by 6481 wait around for
and date are in different directions sir
you don't change I make the necessary preparations
and
the no this scene is a later point this story from the previous crib staging
here the characters are on the bridge the starship is they scramble to respond
to an attack by invisible ships
lets you read through
Bradley initiate a rush under the bridge is the ship shutters status
we can't see a thing the shots are coming from empty space
the could be more than one ship we lost latitude controls at the first hit and
shields a crumbling
were sitting ducks are any other ships nearby
our community is being absorbed by the blackout the ship shakes heavily
John prepare full spectrum neutron shells all based on my mark
but sir we've got nothing name for I reconfigured the forward region ministry
maxi on particles by these readings should light up the shields
do it ashida pushes the final button
on the view screen to worship suddenly become visible
there they are locked in ready
Bradley steps forwards fire
the no a thing that could work great for this scene is to base a blocking on
transitions where we try to combine as many actions in lines as possible and a
single shots
which can give the sequence a tight flow this is easiest to do if we can arrange
the characters that will which in this you will be plausible because the
situation is chaotic
captain bradley an issue to start outside the automatic door
the captain rushes in and ask for status report after which Jonathan and Jeremy
each have a line
our goal was to create a truck pulling with her this way and then pass by each
the characters for their lines
so please Jonathan here as soon as we're past Jonathan
jeremy has a fairly long line so we'll have him start here checking a control
panel
and then rush over to the center console as he talks
by combining this into one long move will pass by you to the characters at
just the right time
we start here is the captain enters and pull with you over to Jonathan
by keeping on tracking we pick up on Jeremy in walk with them over here
the middle key frames are merely for remembering that our purpose is to pass
by Jonathan
and then Jeremy so we're only placing stock marks at the start and end
jonathan is sitting down but Jeremy is standing up so we need to work on the
cameras elevation
in the beginning the shot is wide enough that it doesn't matter how high or low
we are so we'll start low
ready for Jonathan is we pick up on Jeremy were still open
then boom up for the ending keyframe which would have to be at eye level
would also bring more action to the beginning by adding a lead in where we
start on some crew members
will have them walk past the door pen with them
and hand off as the door opens after which we start racking with the captain
next we have some great dialogue going between the captain John
with the captain having ended up here will put John by this control panel
which makes it possible to do some ships are handoffs between them
will do this with the stationary camera placed here
returning quickly to the script the dialogues from the captain to John
then the ship shakes and the dialogue again goes from the captain to John
so start the camera on the captain and shift to John
the ship shakes for the captain second line will have a step forward as we pan
back on her which will be a step in hand off
well she talks will have a walk past John in hand after him for his line
this series moves will be easy to do but the question is how to write it down
it would be nearly impossible to write anything by the camera that would make
sense later so let's instead read the camera action now by the characters
starting by the captain our first move is to shift over to John
our second movies depend back on the captain is she steps forward
our third movies to hand off back to John
next we'll look at what happens to a sheet a she starts with the captain
outside the door
by now this area is getting crowded so let's ever walk around this area
ashida hizbollah some technical magic to make the attacking ships visible so for
her line will have a go from this terminal
to this terminal is she lays in the programming after that the captain says
do it
it would for civil work well to converge with her she moves from terminal to
terminal to tense up the shot
this is the dialogues from her to the captain we could also pave it revealed
the captain at the end for smooth transition
the move then starts here as she walks to the other terminal we converge
we continue moving which will give us massive parallel action the background
into we pit reveal the captain behind her she says do it
after that as she presses a button so will shift down to the control panel
combining a lot of action into a single move
for the attacking ships wearing up on the view screen will need a place in
insert
as we end on a sheet in the captain the line is here and the next I like is over
by Jeremy which forces the insert in this area
to get as wide as possible let's back out over the first line which will come
across as a pivot on ashida
for the last three rapid fire lines let's keep the converging action going
the opening track ended on Jeremy so we already have an angle on him
but that track is angled the wrong way for converging on Jeremy in the captain
so let's do the ending is a separate shot
starting to track here jeremy has a line followed by John in the background
the captain steps towards and we converge on her she says fire
let's also converge vertically
bringing us closer and closer to the eye line in making the ending more intense
let's look at the takes
because the long transitions we very few cameras the scene is also very
sequential in the cameras literally take over from each other so by shooting them
in order we can iron out any wrinkles as we move along
will shoot the insert on the view screen last since the screen itself is a wild
while we need out for the first five cameras
starting with the first track as soon as we took the liberty to arrange the
characters by the order in the script the move became very easy to do
we start on the lead in with the extras then hand after the captain and she
coming out at the door
we pull past Jonathan for his line pick up on Jeremy
and boom up as we converge up here
Germany's only remaining line is covered in the converge at the end so we'll cut
here
for focus will simply wrap back and forth as each character becomes
important
status we can't see a thing the shots are coming from empty space
the could be more than one ship we lost latitude controls at the first hit and
shields a crumbling
were sitting ducks are let's get some general camera shake for the weapons
impact in the middle the scene
we can also do camera shake and posters will do in the cut but doing it live
alone as the characters to react to it
the lock camera the hands of between the captain john is a little difficult to
write down but very easy to execute
we start on the captain then shifted John at this point we know for a fact
that we're cutting away to the camera shake on Jeremy so we could break up the
shot here
is we continue we do is step in hand off back to the captain
as she walks and talks we do intend on hand off back on John
wrecking focus between them a lead nicely to the attention shifts that are
already happening
any other ships nearby our community is being absorbed by the blackout
John prepare full spectrum neutron shells all based on my mark
but sir we've got nothing to aim for
for the pit reveal track on a sheet or we want to be sure the dalai is rolling
before her dialogue because we want to cut into the move
we do a diagonal converge to the other monitor
the paper begins revealing the captain for her line
until down as she executes the order the main focus shift will be from a sheet
over on the captain is she says do it
and for everything else will just follow focus
I reconfigured the forward Richa ministry maxi on particles by these
readings should light up the shields
do it
here we skip the view screen into the converge at the end jeremy has a line
then John ending by converging on the captain for her final order
there they are locked in ready fire
finally the view screen is a completely lock shot with no pan until TSO here
will bring in the wild wall
it's always easy is to corner pin graphics in a completely lock camera
but since she does overlapping the view screen we depend on the screen being
cable
otherwise we need to move for more to the right
let's be the cut the No
the
status
we can't see a thing the shots are coming from empty space
there could be more than one ship
we lost latitude controls at the first hit and shields crumbling were sitting
ducks sir
any other ships nearby the or commenter geez being absorbed by the black
the John
their whole spectrum Tran shells all based on my mark but sir we got nothing
name poor
I reconfigured the border region ministry maxi on particles
by these readings should light up the Shiite deals
the
they are
marked in red
fire I'll the no this scene takes place in the hospital
the back story is that there have been over 50 mysterious patient deaths from
infections in our doctors have been quarantined and tested
better now gradually being let back in
at this point in the story it's clear that the people upstairs are looking for
a scapegoat to blame the whole thing on
but we're also beginning to get the feeling that there's some sort of cover
up in progress
Henry the Blue Man is a little on the edge because he privately suspects that
he might have cuz wanna the deaths but knows for a fact that he couldn't cause
more
however he's increasingly getting the feeling that someone is trying to frame
'em and is very jumpy since he passed testing is for now not a suspect
let's to read through
Henry dressed in scrubs walks past the station guard into the ICU and
approaches Solomon who is preparing some instruments
saw the refused me at the door you know I was told to be here this morning and
refused to you
hoskins later sorry every
you know that's later as the final word but why I passed all the tests
the preposterous at this point to assume I pose any danger
we can take any chances Henry I mean cuz it's all
you've got to understand that this is a routine investigation it's not about you
personally
then why am I not in their operating right now nobody suspects you henry
Henry spice Taylor giving some fluid medication to a patient in storms over
what did you just do wat
that's my patient nurse you better have a damn good reason for what you just did
I was taking the patient's pulse know you're giving her something
just her vitamins tell me what you gave your nothing
just the vitamins don't you dare lie to me I saw the whole thing
Solomon enters what is going on here
nothing doctor solomon icon for giving something to my patient
only vitamins doctor Salomon just the daily routine
give me the bottle Taylor gives them the bottle harm no label
Henry races over to a pilot medical paperwork index through it looking for
the label
Henry harry finds a vitamin label
he gets up and slowly moves a couple of steps backwards
I'm sorry I thought sorry nurse we please excuse me
Henry turns around and leaves embarrassed
then
this said we have to work with this scene has two major areas
first the area out here which is where Solomon and Henry have the first after
the dialogue
and secondly the enclosed area in here where Henry rushes in and accuses the
nurse Taylor
the enclosed area has windows that we have the option of shooting through
which can be helpful given the small size that room
however this entire wall is wildin taking it out for some shots will give
us more freedom to pick angles
this is a fairly small occasion so it would be a good idea to do everything we
can to maximize our use a DEP
one way to do that would be to use wide-angle lenses
however this is a 10 scene and we we create a more concentrated atmosphere
with long lenses
so to get the feeling of depth let's instead make it a goal to do as many
delivered Eve staging shots as possible
using a shallow depth of field in racking focus will also create more
separation between depp's
and will also try to shoot across as much space as possible like shooting the
enclosed area from out here
shooting characters here with the door in hallway in the background we're
shooting characters here with the outer room and hallway in the background
one particular deep staging shut the comes to mind is that for the first
after this scene dinners taylor's tending to the patient which is what
Henry suddenly reacts to
if we play Solomon here Henry here
and a camera here we have an over-the-shoulder with her in the
background before she's needed
so let's use that as an anchor in bill the first half at the scene around it
starting with a matching rivers here
in the beginning Henry rushes in from the hallway
past the guard in over to Solomon
solomon's role is very indifferent so let's have them stand at a right angle
working with instruments and occasionally turn to Henry
Henry on the other hand we need to meditated movements let's create another
stopping walk to and from at least once
to cover that we could give it this camera to maintain an over-the-shoulder
and at a matching like reverse over here
with the line moving between these two positions will only be able to cut to
this camera when the line is crossed it
and because this is not the main position for Henry this will be a fairly
short take:
we also have some deep staging opportunity shooting towards the door
in the second have a position we automatically get the guard outside the
door in the background in a staggered shot similar to the shot with Taylor in
the background
in the first pivot position we could do the same by adding another guard
which were essentially just doing because we can
for covering henry's entry right now the first %uh for the pivoting cameras here
set up for one has arrived we're actually better off starting in the
second pivot position
and then pay but with them into the scene
let's keep working backwards by adding a lead in the gives us a moment to focus
on Solomon before Henry walks in
if we start with Solomon here and the camera friend away from the starting
position
he can be working with some instruments is a scrip suggests and then step to his
first real mark as we pan with him into the main keyframe
which will make it seem more like we just happen to catch Henry coming
through the door
what's actually add another lead into that in Solomon's new starting position
leads nurses in the control panel in the background
if he then starts outside the frame we get some general ambience first
we getting attention shifted the steps in
pen with them to the right just as Henry enters
then pivoting to the scene give it again as he watched was arbitrary stop
and back again so that's four stops on this track so far
with that down Henry sees Taylor giving something to the patient which would
make sense to get from this Cameron rack focus as well
he then walks in which would be most obvious to cover by extending the track
much further ending up in an over the shoulder through the window
will have to keep the tracking of from the pivot because that section is so
precisely adjusted the we better leave it and moving slightly wider probably
won't matter
naturally this move has more punch if we get some foreground
in the beginning Solomon provides para lacks like any object in a keyframe
after that was put in an IV then there's a wall
and on the table inside the first 10 will play some microscopes
between windows there's again a wall and after that will again put in various
medical equipment
will place the last four ground and left and right at the end in key frame so
we're shooting through the gap in the middle
let's look for a moment it shooting through the windows in the angle we've
picked will basically be shooting our own reflection
and would be hard angled shot another we can see ourselves one solution would be
to simply lower the reflection either by lowering the overall light on our site
or by using polarizers
but if or gramm reflection will a great for this shot
because it's a problem slayer it's actually so easy dad in post that it
cannot be done in the editing system
well then simply shoot it was square holes instead of windows and superimpose
an image for reflection
which will allow us to shoot directly through the windows
we would merely need to move the image slightly prepare lacks a mask out the
parts that are supposed to be a law
inside the enclosed room we have a stretch of dialogue between Henry and
Taylor
there's basically no stage direction for this part but it would diminish henry's
character to simply stand still at this point
so let's create a meditative movement him walking over to the desk looking for
something
and then over to Taylor's he wants to see the bottle
in the middle of this Solomon enters as what's going on
any free time Henry's first move to that it would be very easy to head up
whichever camera covers henry's walk over on Solomon
besides that lets do some pretty regular keyframe base coverage and then expand
on it would lead ins and extensions
for the first Apple start with a couple of external reverses which were putting
further back to use longer lenses for tighter atmosphere
although we'll probably shoot Ehlers cameras if it's from inside the room
we can do that without removing while wall because we're shooting the Windows
without glass will do the reflections imposed
when Henry's walked around the table let's put in a keyframe here creating a
shot with Taylor in the foreground
for their consecutive dialogue with Solomon this will create a great
opportunity for staying in the same shot wrecking focus between them
when Henry walks over to Taylor let's create a wider keyframe
these two Lasky friends really both cover the same business so let's go
ahead and connect them into attracted simply open spaces Henry walks over
in the first half covered in the two external reverses the dialogue is fairly
intense in a mic it will static to be locked so let's look for some ways to do
slow pushes
this is easily done in Henry's camera but the problem with doing this in
Taylors cameras that the other angle we have on her which has long tracked it
still rolling
can't push coming between two cameras from the same angle with only 1 I've
been pushing to get a little odd
so let's just push henry's camera which could work because he's the most intense
character
however that also means that we're cutting between two reverses were only
one of them is pushing which could also get i'd
we really have to go shooting cut it to find out if it works so let's kill lock
version of Henry's camera as well
with these cameras down let's pick which camera does the handoff to Solomon
at the end of Henry's walk to the table
both his in Taylors dialogues with Solomon and if we've handed of Henry's
camera will not only end up on the wrong side both lines
Henry would also obscures Solomon and would ultimately need to walk through
the camera as well
so let's do the handoff from the over the shoulder on Taylor within simply
stay locked for the static party the dialogue
pen with Henry Xerox and continue banning to reveal Solomon stepping in
solomon's line is very short and the next shot is almost certainly this one
so let's lead in this shot by starting pan in this direction
pick up on Henry in pan into the shower Taylor in the foreground for her line
which follows next
here with an rack focus back and forth and is Henry walks over we open the
space
as a yes to see the bottle let's extend the end in key frame by shifting down on
the bottle
the next thing that happens is that Henry walk somewhere else to look for a
label
if we make that place over here we can simply track this camera which is now
quickly becoming an occasional master
immediately after solomon has a line
and instead about a new cameras for that would simply have him step into the
background of Henry shop which he will then complete
is henry luce through the papers and labels late again shift down
in solely up again as he realizes the Taylor was telling the truth
the last thing that happens is that Henry stands for a bit then walks out
embarrassed
here would make sense with the clothes push on Solomon in Taylors they stand
puzzled
but all we really need is some sort of move to give it more meaning so let's be
lazy and simply track the occasional master more to the right
and has Solomon step over here to look after Henry exiting
let's also have Taylor step into the background that shot looking after Henry
let's look at the takes
except for the camera the began as a pivot became a long master was seven
stops this blocking is pretty straightforward
most jobs have the same flexibility in setting marches in any other scene
except the deep stage in shots in the first half which only to be framed
extremely precisely
the most important shot here which we use is an anchor to find all other marks
from
is the over the shoulder with Taylor in the background
with the same character positions the matching rivers needs to get this card
in the background
so we'll need to go back and forth a couple times until we find some
character in camera positions I can do both
for Henry second mark we wanted to get the other guard the background at the
Pima camera
but this is a little easier because his mark is arbitrary and we can just place
it wherever the framing and a bright
the reverse for this angle is not a deep shot and doesn't need to be place that
carefully so will simply make it match the size and composition where for the
tracking shot lands
prior to Henry injuring we did the lead in on Solomon to identify for a moment
with him
in to make the revealed Henry more casual with the track in the starting
position this was simply a keyframe away from the main action with Solomon in the
foreground and the nurses in the background
and the lead into that started with Solomon outside the frame
to starting on the nurses Solomon steps into the foreground we wrap focus
he walks over to his first real mark
casually revealing Henry entering and we've given in to the second camera stop
is Henry works was arbitrary mark we prefer to the third stop which is the
same as we started in
and back again after a bit of dialogue
this would be a good time to break up the shot because the remaining action
belongs to the other half the scene
to starting a new take any walks into the enclosed room for spine Solomon
then the Ivy the wall the foreground inside the room
ending over here between the two pieces a foreground
here we sit lock for a while and we might actually cut again because the
next thing that happens after Henry is taking the bottle from Taylor and walks
over to the window
you will find when shooting that the framing isn't exactly right and will
need to reframe which is also easier to do if we cut
starting again we track with Henry over to the counter
and Solomon steps in incompletes the framing we ship down
then up again
and Henry leaves after which we track is far to the right as we can get
while Taylor steps over incompletes that framing
saw the refused me at the door you know I was told to be here this morning and
then refused to you
hoskins later sorry are you know the Slater is the final word
but why have passed all the tests is preposterous at this point to assume I
pose any danger
we can take any chances Henry I in cars it's all
you've got to understand that this is a routine investigation it's not about you
personally
then why am I not in their operating right now nobody suspects you henry
what did you just do wat that's my patient nurse
you better have a damn good reason for what you just did I was taking the
patient's pulse
know you're giving her something just her vitamins
tell me what you gave her nothing just the vitamins
don't you dare lie to me I saw the whole thing what is going on here
nothing doctor solomon icon for giving something to my patient
only vitamins doctor Salomon just the daily routine
give me the bottle
harm no label
Henry
I'm sorry I thought sorry nurse we please excuse me
back at the beginning let's quickly look at the two matching reverses
the first one was the anchor with Taylor in the background
will keep focus on Solomon the rap focus to tailor well saloman does his last
line
the dialogue is the same as before and you may wanna fast forward after while
saw the refused me at the door you know I was told to be here this morning and
then refused you
hoskin slater sorry are you know that Slater is the final word
but why have passed all the tests is preposterous at this point to assume I
pose any danger
we can take any chances Henry I didn't cuz it's all
you've got to understand that this is a routine investigation it's not about you
personally
then why am I not in their operating right now nobody suspects you henry
what did you just do
rivers is just a fill in while the line is on the second stop so this is a very
short take
to create more depth let's decorate the background with some consoles
sorry Henry you know that's later as the final word but why had passed all the
tests
the preposterous at this point to assume I pose any danger
we can take any chances Henry I didn't cuz it's all
you've got to understand that this is a routine investigation it's not about you
personally
over in the second half at the scene the NEX cameras the over the shoulder on
Taylor
this camera simply stays locked for the main part and pans with Henry as he
walks around to the table
handing off to Solomon
what did you just do wat that's my patient nurse
you better have a damn good reason for what you just did I was taking the
patient's pulse
know you're giving her something just her vitamins
tell me what you gave your nothing just the vitamins
don't you dare lie to me I saw the whole thing what is going on here
nothing doctor solomon icon for giving something to my patient
the over the shoulder on Henry is simply a slow push for the duration is dialogue
here
for this shot once a real glass in the windows because adding reflections in
the background would be much more difficult than it was in the foreground
for this angle we plan to do a lot take as well but let's keep that in only did
the push
however let's do a slow one in case it doesn't work so well
what did you just do white that's my patient nurse
you better have a damn good reason for what you just did I was taking the
patient's pulse
know you're giving her something just her vitamins
tell me what you gave your nothing just the vitamins
don't you dare lie to me I saw the whole thing what is going on here
the last cameras the closer shot on Taylor with Henry in the background
we're doing this one last because we need to get the wild while out
this camera starts away from the main keyframe picks up on Henry
pens into the deep stop where racks focus between them for their lines
when Henry walks over we open the space and then shift down on the bottle
what is going on here nothing doctor solomon
icon for giving something to my patient only vitamins doctor Salomon just the
daily routine
give me the bottle
harm no label lets you the cut
then
40 saw the refused me at the door
you know I was told to be here this morning and then refused to you
hoskin slater sorry every you know that Slater is the final word
but why I passed all the tests is preposterous at this point to assume I
pose any danger
we can take any chances Henry I mean cuz it's all
you've got to understand that this is a routine investigation it's not about you
personally
then why am I not in their operating right now nobody suspects you have read
what did you just do
way that's my patient nurse
you better have a damn good reason for what you just did I was taking the
visions boss
know you're giving her something just her vitamins
tell me what you gave your nothing just the vitamins
don't you dare lie to me I saw the whole thing what is going on here
nothing doctor solomon icon for giving something to my patient
only vitamins doctor Salomon just the daily routine
give me the bottle harm no label
Henry
I'm sorry I thought
soren as we please excuse me the No
you
0
the more
night
I'm
the move