the in this scene where to research facility is a fusion experiment for a
new kind of spacecraft is being conducted
the experiment is going bad possibly due to sabotage by the character Nigel who's
not in the scene
before this scene we've seen Nigel do some strange things but we're still not
convinced that is the saboteur
the man in the suit is Howard the financial muscle behind the operation
the experiment is very dangerous and could potentially turn into a bomb
instead
Howard his bed isn't I reputation on its exceeding is a little on the edge when
problems began to arise
the red man is Raymond the main operator
and the Blue Man is John another technician who only has a single line
but is still a significant part of the scene for blocking purposes
let's to read through
Rehman stairs flabbergasted at the computer screen is Rosa boarding lights
flare-up
hang on what the hell's going on here
white the security perimeter is going on across the board
go fine Nigel okayed powers going down
John stop short at the doors the whole control room suddenly shuts off
the of reason the tracks realizing the seriousness
well get it back up use Nigel's terminal
Ramin quickly rose is chaired Nigel screen why is this one still on
John steps forward alarmed tell me the containment field is in town
nope it's still on why the hell would return the perimeter of
the is in the under attack scene we're dealing with a hectic situation
so we'll try to give the scene as much flow is possible by doing constant
subtle camera moves
by doing transitions like and us to glue together lines of dialogue
and by countering are converging
the great characters Howard who is placed in the middle of the room since
he's the one who came up with the money and probably doesn't know how to operate
the equipment
the red characters Raymond who replaced by this terminal so we can literally
over to Nigel's terminal which is here
week a place John anywhere but we've placed in here to assist remain for the
first half at the scene which allows us to group them together into fewer shots
the basic character movement comes from the script although I have some more
movement to create opportunities for handouts
since Howard is stationary in the middle of the room his entire movement consists
a turning left and right to follow the action
it some points on walks out and stop short at the door then turns
this script says the steps towards one is lying comes up but we'll be doing a
slow push on in later which will have the same effect
also at some point ray minerals chair over tonight as terminal
will build a blocking by first place in key frames
and then deciding on how to connect them in the beginning we would need a shot on
the monitor
and then one on remand later when the control room shuts down we would need to
be back on the monitor is it turns off
and since we don't need the shots at the same time let immediately combine them
on a track
the result is that we start on the monitor and track around to Raymond
we could then just sit here and when the monitors go bad trackback around the
monitor again
but since we're looking for opportunities to do slow pushes let's
start the return move right away
resulting in a slow push on Raymond in ending by suddenly panning around to the
monitors
to remember how we intend to use the strap a label the stops one two and
three
to look for some other key frames one shot on Howard for his dialogue with
Raymond
you can also be interesting to cut why just as all the monitors turn off so
lets plays a key frame for that here
when john has walked to the door will also one shot on him but this is where
we want to do a slope or Spurs realization
let other starting key frame for that which we intend to connect on a track
outside the door this presumably a wall which can make the shots or two flat
so to add some more depth will place an extra outside will maybe be a guard
a pattern that's emerging here is that for the last after the scene we have the
potential for several stagger deep staging shots
starting out here we have one with Ramin in the foreground and Howard John the
extra staggered in the background
howard's lock shot is probably frame with him to the left for the beginning
at the scene
but if we were framed this camera when John walked to the door
it'll become a staggered Eve staging shot with John in the extra in the
background
alright the reframing out here to know that relates to Johns moving in the
background
since this is where the characters stand in the last half the scene we can easily
cover this section at the script by cutting closer wider between these three
cameras
at the same time avoiding any line considerations
looking again at the widest cities cameras will need this as soon as Raman
his role as chair tonight as terminal
the wide shot we placed here was used immediately before is the monitors
failed
if we can buy meson attract the result will be a sort of counter converges ray
minerals chair over
however this mobile be pretty fast and we're also moving very close behind the
monitors which might make the move seem very sudden
so let's shorten a move by moving wide keyframe a little closer
in the beginning will still get a fairly wide shot
and the shorter travel make the move fit better into the scene
well we're in this area women s why not just terminal is still on
we ought to show Nigel's monitors well so lets plays a key frame here for that
the last big construction areas up by John in the door with John moving behind
Howard we have some excellent opportunities for handouts sincere
dialogue is consecutive
so at the end to the scene before howard asked when I too would turn the
perimeter of
let's have John walked back to the control panel and track with them into
essentially the same key frame is Howard's la camera
this will result in a tracking handoff to Howard and since we're using howard's
keyframe
and since all the key frames are pretty much in line let's combine them on the
track
but Howard has dialogue throughout the scene will still need a full lot take on
him
so let's play soon now by this key frame
and update the refrain with another elder show that it relates to the lock
version
the tracking version then start on this stop and pushes in slowly on John by the
door
work out the exact timing of when he turns
and when he talks while we're shooting it when he walks back to the console we
track with them
handing off to Howard for his last line
the scene is now over let's find a way to integrate a prop we've had made for
this scene which is a poster about the safety of using technology
if we hang a poster on the wall over here
we can have Howard walk over to the console as well into an ironic and after
the poster
in order to not have this hand of be on the nose let's place another console
over here with some extra technicians which make it seem like a more casual
party the scene
let's look at the takes
the result of this blocking is three tracks and one lakh camera
we're doing a lot take on Howard is a separate la camera
even though will technically be shot with the track at least towards the door
to John
so to look at each the cameras the first is the one that starts on the monitor
tracks around arraignment and slowly back again in the beginning it simply
start on reveal which we use to open the scene
here we had the choice of holding on Raman and going back on the monitor the
last minute
but to get the general effective constant slope pushes we immediately
begin pushing in on Raman for the duration of his dialogue here
and at the very end we're almost back in the original key frame we pay him back
on the monitors is they fail
which is where the take ends
hang on
on what the hell's going on here what
the security perimeter is going on across the board
go fine Nigel
okayed powers going down
throughout the tape will keep focus on whatever is the subject to the shot
the lock take on Howard is technically mounted on a track but this is more a
matter of convenience since we could just as well shoot it on a tripod
this camera belongs to Howard throughout the scene and will keep focus on him
throughout as well
the only direction for this camera is that we keep our din the left side of
the frame %uh the dialogue is to the right
and when John walks in the door we were from Howard to the right creating a
staggered deep staging shot with the extra in the background
hang on what the hell's going on here
what the security perimeter is going down across the board
go fine Nigel okayed powers going down
well get it back up
use models terminal we're doing the handouts and the tracking version so
we'll cut here
the tracking version of this camera has a little more to do the first move is
pushing in on John by the doors he realizes that disaster would strike at
the containment feel went down
the timing for this party the shot is pretty arbitrary
we just wanna be pushing well returns and later while he has his line
since the last after the shot has very specific timing we might wanna break to
take up here which we can do because we're cutting way to Raymond for his
line before John begins walking again
starting a pickup take we track with John as he walks back to the console
doing a tracking handoff on Howard in writing focus tomb is well
after his line he also has an arbitrary movement over to the console
which we're just going to have a reason for handing off to the poster and again
racking focus to that
well
up use Nigel's terminal
why is this one still on tell me the containment field is in town
nope it's still on
why the hell would return
perimeter of the NEX cameras the one that starts out as a wide master which
will be great for showing the whole control room having turned off
will leave the camera running throughout the beginning but we might only cut to a
once in this position
is Ramin roses chair over we converge a counter which will both ed Rahman bring
us into a great stagger deep staging shot here
since we're cutting dialogue between this camera
howard's in John's pushing close shot believe it running
but as john wants back to the console we might as well cut since will be in the
tracking hand off camera
hang on what the hell's going on here what
the security perimeter is going on across the board
go fine Nigel okayed powers going down
well
up use models terminal
why is this one still on
tell me the content
field is in town nope it's still on throughout the table keep focus on
Raymond
the final cameras the insert on Nigel's monitor it'll be interesting to see an
editing where we can fit it in
because the best time to cut to it is also the time we counter on Raymond
which is a far more preferable take
so we'll probably go to a before/after ramen rolls over but not for his actual
movement
still it to take that provides a lot of information about when I so maybe doing
so we definitely needed in there
let's be the cut the no next
text hang on what the hell's going on here
white the security perimeter is going on across the board
go fine I told
okay did powers going down she since
well get it back up use models terminal
why is this one still on
tell me to continue the field into
nope it's still on
why the hell would on the perimeter of the
the next scene takes place in a courtroom during a custody battle
Martin the Blue Man has over a period of five years abandon his family to live a
self-indulgent in a responsible lifestyle with a variety of girlfriends
his wife Karen the blue woman has somehow held out hope that he would come
back but has finally been preparing to divorce
what has happened now is that Martin is found out that his estranged father is
dying and is leaving millions of dollars to Martin's children instead of to him
so Martin is suddenly shown up to try to get custody
the red woman is karen's attorney missus Rawlings
and both her and Karen know nothing about this the red man is Martin's
attorney haydn
let's to read through rolling's addresses Martin
missus and fed were you in any way forced out of your home or pressured by
you wash to leave
no I'm sure we can all see the logic
why missus ended without any prior warning would leave his wife and
children to go off somewhere and vanished for five years
objection missus n fit now that you suddenly in
and if the blue have returned to Chicago Inc do you plan to be responsible parent
yes I do how can you expect anyone to believe you given the you abandoned your
own children
I don't know doesn't matter
they're still my children I made a mistake but now I want to be there for
them
100 percent 20 missus and fit we please tell us all how you came to the
conclusion that you all of a sudden you're ready for that kind of commitment
did you many fears leave you lonely
the last girlfriend ditched you less than a month ago isn't that correct
missus and red
hine jumps up from his seat objection
overruled the witness will answer the question has nothing to do with it
and isn't it true missus and for the your constant for lending it started to
bore you in that
responsible parenting is nothing but United sped
i'm Jack Shen objection sustained please rephrase the question missus Rawlings
missus and said you wish to resume your role is responsible parent if the head
no it just ended how can you expect these court to grant you full capacity
up to children you barely know you
you what he's in has been an excellent mother said on this strike you as a
crazy demand
and I recall you having paid temporary insanity
least not yet i'm Jack Shen stop harassing the wetness
sustained please make your point no further questions your honor
the witness may be excused rolling sits down next to Karen
did you really have to pick you might that
sure to keep focus it if you children missus scented Martin gets down from the
witness stand and walk to the prosecution's table momentarily
exchanging looks with Karen
the
courtroom scenes can be some other more difficult to block because we have rapid
dialogue between character scattered across the scene
and at least one character moving around heavily but given everything we've
looked at it can actually be quite easy to block a scene like this simply by
drying in the stops for the moving characters
in examining the line consequences in slow motion in this scene both Karen
the prosecuting attorney and the judge receded throughout
Martin is on the witness stand for most the scene
and Rawlings is mainly in the area in front of Martin
so decide on a couple basic strategies the first will be that the action mainly
happens within this triangle
the only characters outside the strangler the judge in the jury which we
can easily cover from within
for alternative Lee cross the line is we would have with an L shape which is okay
because we don't really know how far back we are
another basic strategy that could be interesting is to have a row is
primarily move between two Mar place like this
creating two mirrored lines if we them place an over-the-shoulder here
a close-up on Martin and rivers close up on rolling she can move between the
martian definitely
and all three cameras will stay good throughout as long as we were friend to
keep this pace on the better side
this arrangement of cameras will then constantly be reducing line crosses
which essentially divides the scene in half giving us access to this after the
scene when Rawlings is in this position
and this after the scene when she's in this position
some other March that could be interesting to create for Rawlings
reversible one in front of the jury
to cover this we can simply penny to the reframing cameras to follow which means
that each of them will produce stakes that are useful almost throughout the
scene
an added benefit at least in this camera is the following Rawlings from the jury
in back to martin result in ending in a keyframe
another interesting stop could be here because we could frame a camera with
Karen in the background is rolling Sox about her
and this up again also be covered by pending with Rawlings in this camera so
we have two shot sizes have that
a less obvious you serve one of the stops we've already set is that in this
position will probably be able to frame this camera to get hiding in the
background
much what rolling's talks about seems to be men to irritate the prosecution and
getting hiding in the background will give us a built-in reaction shot
but consideration is that for Rawlings two stops here we want a frame for the
space closest to Martin which is most comfortable for dialogue
however to get hiding in the background we need to frame for the space behind
her
seles primarily frame a shot right
and then frame for hiding the times we want to show his reaction we would also
need a close-up on haydn
which will probably usually cuts you from one of these cameras
I think we get for free here's the Rawlingses movement creates two lines
here and as long as we please haydn's close-up sandwiched between them will be
able to use it regardless of which side to the line were on
but I think we might want to plan for Sat Hyden often stands up and sits down
as he yells objection
if we're this close will be tilting hard up and down
and one of his Heights will therefore be an extremely high or low angle
so let's move is closer further away in use a longer focal length which requires
much less change in angle to follow in
now would be a good time to find out the timing releases movement between the
marks
but before we do that one movie could be interesting to open a scene with his
just are close on Martin with Rawlings outside the frame
then open the spacing have a wrong step in
but was still need to close up on martin so let's not a lot take for the starting
position
row is also ultimately ends up walking back to her seat
at which point we could close the space again resulting in a close push on
Martin
we don't really know where in the script this is going to land so let's decide
when shooting and whether or not it feels motivated
if not we can just leave the camera wide
this scene and starts with Rawlings coming from outside the frame
stepping Tamar to issue cross-examines we open the space
besides that we simply want to create some arbitrary movement in our only
concern is standard mark 11 want to get hiding in the background
let's first ever stand in front of the jury fairly soon to reveal them
for her next line we'll have our walk back to mark two
he will simply do a bunch of movement between March 1 and two-time Tour lines
to make her drive the scene
so here will move back to mark one then the mark to
in back to mark one just in time for hiding to call objection in the
background
for which we might cut to his close up as well
a little later we'll have a walk to Mark to again
and later back to mark one
for the line where she mentions Karen more than anywhere else walk to Mark 4
which is in front of her
here she can do our last but a questioning
after which she works to the defense's table in sits down which will be a mark
5
her movement is them back and forth between March 12 in three
one way to mark 4 and ends on a new mark 5 by the table
with this is the basic structure let's put in some more cameras starting with
the camera on the judge before we forget
another vid camera would be shot on Karen setup is a close push to get the
feeling I'm listening
karen has no lines until the end so this would be a generic shot we could just do
for 20 seconds and cut to 11
likewise we could do slow sideways truck on the jury to show them listening which
again has no time reference so was simply shoot 20 seconds we can cut to a
will
we don't really have any wide shots in the scene one option would be wide over
the shoulder behind Karen which would be easy to get to
first ball when the line is here and secondly when the line is here
another option would be a slow push down to the right which captures the
questioning with the jury slightly in the foreground and will work when the
line is here
her here we would either have to do a slow push for two minutes
but we could just as well simply pick the times to be in the camera and push
then
in the beginning when Rawlings is on March 3 by the jury were already
planning to be in the other camera so it would have to be sometime Rawlingses on
mark 1
let's do it during Martin's line here which is a little long in could use an
interesting cut
the second time we might want to be in this camera's towards the end when the
judge says the witness may be excused
whether we're doing a push at this point is optional but it would be a useful
time to be back in this angle
near the end when Rawlings i sat down we would need to reverse this production
log
will place the first one here to capture both the defense and the prosecution
tables
if Martin's well from the witness stand then ends here we would be able to get
him in the background which might create interesting tension between the
characters
the other rivers would then be a mirror
we could use the ending position of Karen's push for this angle but we want
to push to be near the other cameras are the angle to get a little hard
and the coverage also seems a little more structured if these cameras Matt so
let's do short lot take
prior to this rolling's is on mark 4 and the line is here
for covering her walk to Mark five we could start in this camera
and track around the first rivers which could be classy move that would get us
to the other sideline
we could then tie Martin's arrival to after their brief dialogue which we give
us time to have the character send each other looks
let's look at the takes
the results have this blocking is living cameras which five yr on tracks
however the lot camera here's the lock version and the camera the pulls out
from Martin so technically it's 10 set-ups
if you want to practice editing a scene with a lot of line issues this scene is
going to experiment with so will again play the full takes a beach camera
the first cameras the one the pulls out from Martin and opens a space is rolling
steps in
the next Pacific movies that we pan with Rawlings she walks over to the jury
she turns and we've been back to the dialogue ending in an over the shoulder
again
for the next long stretch the camera simply reframes for whichever side to
the line drawings put a sign
and finally issue walks to mark four we close the space again resulting in apush
throughout the table keep focus on Martin
acceptable rap focus to Rawlings for walk to the jury and back on Martin she
walks back
missus and federal you in any way forced out if your home or pressured by your
wife to leave
no I'm sure we can all see the logic
why missus ended without any prior warning would leave his wife and
children to go off somewhere and vanished for five years
objection missus n fit now that you suddenly in
and if the blue have returned to Chicago Inc do you plan to be responsible parent
yes I do how can you expect anyone to believe you given the you abandoned your
own children
I don't know
doesn't matter they are still my children
I made a mistake but now I want to be there for them 100 percent
20 missus and fit we please tell us all how you came to the conclusion that you
all the sudden you're ready for that kind of commitment
did you many affairs leave you lonely
the last girlfriend ditched you less than a month ago isn't that correct
missus and Jed
objection overruled the witness will answer the question
has nothing to do with it and isn't it true missus enter the your constant for
lending it started to bore you in that
responsible parenting is nothing but United sped
objection objection sustained please refer is the question missus Rawlings
is to send trainees you wish to resume your role is responsible parent if the
head
no me to send it had been you expect these court to grant you full capacity
up to children you barely know you
you what even has been an excellent mother said on this strike you as a
crazy demand
the la version of this camera stays close up on Martin throughout and his
friend at a slightly different height which is easy to do between takes
the only thing this camera does reframe to move this space to the left to right
missus and bed were you in any way forced out of your home or pressured by
your wife to leave
no I'm sure we can all see the logic
why missus ended without any prior warning would leave his wife and
children to go off somewhere and vanished for five years
objection missus n fit now that you suddenly in
and if the blue have returned to Chicago Inc do you plan to be responsible parent
yes I do how can you expect anyone to believe you given the you abandoned your
own children
I don't know
doesn't matter they're still my children
I made a mistake but now I want to be there for them 100 percent
20 missus and vid we pay so is all how you came to the conclusion that you all
of a sudden you're ready for that kind of commitment
did you many affairs leave you lonely
the last girlfriend ditched you less than a month ago isn't that correct
missus and Jed
objection overruled the witness will answer the question
has nothing to do with it and isn't it true missus and for the your constant
for lending it started to bore you in that
responsible parenting is nothing but United sped
I'm junction objection sustained please rephrase the question missus Rawlings
missus and trainees you wish to resume the role is responsible parent if I had
no me to send it had been you expect his call to grant you full capacity up to
children you barely know you
the NEX cameras the internal close upon Rawlings which again mainly reframes
in the beginning will frame the shot for ending position and have a step into it
well mainly keep focus on her except when she watched the jury for which
would make sense to nudge focus to them
and back on her she turns around she then walks back and the camera spends
the next two minutes simply reframing
the only detail is that we're making sure to get hiding in the background for
couple of lines was like before shooting
sis giving to the end this camera pans with Rawlings to mark 4 out in the room
for which we also have a closer la camera cut with
missus and fed were you in any way forced out of your home or pressured by
your wife to leave
no I'm sure we can all see the logic
why missus ended without any prior warning would leave his wife and
children to go off somewhere and vanished for five years
objection missus and fed now that you suddenly in
and if the blue have returned to Chicago Inc do you plan to be responsible parent
yes I do how can you expect anyone to believe you given the you abandoned your
own children
I don't know
doesn't matter they're still my children
I made a mistake but now I want to be there for them 100 percent
20 missus and vid we pay so us all how you came to the conclusion that you all
of a sudden you're ready for that kind of commitment
did you many affairs leave you lonely
the last girlfriend ditched you less than a month ago isn't that correct
missus enjoyed
objection overruled the witness will answer the question
has nothing to do with it and isn't it true missus and for the your constant
for lending it started to bore you in that
responsible parenting is nothing but United sped
I'm junction objection sustained please rephrase the question missus Rawlings
missus and said you wish to resume your role is responsible parent if the head
no mister sent it had been you expect his call to grant you full capacity up
to children you barely know you
you what he even has been an excellent mother said on this strike you as a
crazy demand
and I recall you having paid temporary insanity least not yet
I'm junction stop harassing the wetness
sustained please make your point
no further questions your honor the witness may be excused
moving on to Haydn's closeup we place the camera further back with a longer
lens so we wouldn't have to tilt is hard to pin down to follow in
since he's the only person in the shot let's not do a full take but instead
should him wild with his lines much closer together
the only thing we need to be sure to get is in general reaction to cut with and
also shot to fame turning his head to follow Rawlings during a major stage
business
objection
I'm junction
objection stop harassing the wetness similar to Haydn's camera the judge also
only has a few lines which will shoot while then again make sure to get him
turning his head to follow Rawlings
missus n bed were you in any way forced out of your home or pressured by your
wife to leave
objection objection
overruled witness will answer the question
objection objection sustained please rephrase the question missus Rawlings
I'm junction stop harassing the wetness
sustained please make your point
the witness me
excused karen's close pushes again a generic reaction shot
she has no lines here so this chick is additionally without sound
attend 22nd poor should give us enough to be able to cut to our couple a times
for listening
the sideways track on the jury is also a generic take
is with the judge's camera we don't have to be that worried about which sideline
were on
like with the L shaped the same shock could be produced from further back
using a longer focal length so it doesn't feel like a line cross even if
it is
the wide shot in the corner shoots the actual action which is why we picked a
certain point to do a slow push
will simply start the track 10 seconds before the moment we're going for
and roll a little after
yes I do how can you expect anyone to believe you given the you abandoned your
own children
I don't know
doesn't matter they're still my children
I made a mistake but now I want to be there for them 100 percent
20 missus and fit we pay so us all how you came to the conclusion that you all
of a sudden you're ready for that kind of commitment
we also had the idea of cutting why does judge excuses Martin so let you to lock
take to cover that
no further questions your honor
the witness may be excused
before we move on to the ending let's look at the close up on rolling's while
she's on mark 4
the close up on her from the witness stand his are deep and with her so this
is essentially the clothes version
me to send it happen you expect is court to grant you full capacity up to
children you barely know you
you what even has been an excellent mother said on this strike you as a
crazy demand
and I recall you having paid temporary insanity
least not yet i'm Jack Shen stop harassing the wetness
sustained please make your point
no further questions your honor the witness may be excused
the ending stars in the over the shoulder behind
Karen we could have showed a full take your as well but we already have so many
cameras it feels like a waste of time
the camera tracks is rolling's walks over
ending on the opposite side of the line and with a clear view to the prosecution
in the background
focus for this shot is mainly on Rawlings but when Martin eventually
steps into the background we could rack focus to him is he in Karen exchange
awkward looks
no further questions your honor the witness may be excused
did you really have to become like that
sure to keep focused if you children missus entered
the last cameras the matching reverse
this camera also starts out on the right sideline so we can also cover the line
cross from here
although the matching reverse the tracks is far nicer for this angle willie focus
on Karen
did you really
can like that you want to keep focused if you children missus scented
lets you the cut
the
that Bo
missus and paid for you in any way forced out of your home or pressured by
your wife to leave
no I'm sure we can all see the logic
why missus ended without any prior warning would leave his wife and
children to go off somewhere and vanished for five years
objection
missus n fit now that you suddenly in out of the blue have returned to Chicago
Inc
do you plan to be responsible parent
yes I do how can you expect anyone to believe you given the you abandoned your
own children
I don't know
doesn't matter they are still my children
I made a mistake but now I want to be there for them 100 percent
3d missus and fit we pay to us all how you came to the conclusion that you all
the sudden you're ready for that kind of commitment
did you many affairs leave you lonely
your last girlfriend ditched you less than a month ago isn't that correct
missus and Jade
objection overruled the witness will answer the question
has nothing to do with it and isn't it true missus and for the your constant
from entering it started to bore you in that
responsible parenting is nothing but United sped
objection objection sustained please refer is the question missus Rawlings
missus entities you wish to resume your role is responsible parent if the head
no me to send it had been you expect these court to grant you full capacity
up to children you barely know you
you what he then has been an excellent mother said on this strike you as a
crazy demand
and I recall you having paid temporary insanity least not yet
i'm Jack Shen stop harassing the wetness
sustained please make your point
no further questions your honor the witness may be excused
did you really have to pick you might that
sure to keep focus it if you children missus scented
the
the this scene is between Samantha the CEO of the huge corporation
and Anthony a young intern
prior to this point in the story Samantha an Anthony I've had heated
affair
even though he's only have a rage the problem now is that what she thought
that the affair was just a little flame maybe something she did you feel useful
again
Anthony takes it much more personally
in his young mind this is a real relationship they have a great future
together and might even want to get married
this amount that his realize what would happen to her career if the world found
out about our escapade she sobered up pretty quickly and is now all about
damage control
let's do a read through
the rain beats the window pane Anthony is sitting on a sofa
samantha is walking around restlessly just for the record
I think I'm on to you came on to me can most certainly did not
detail did not t2
we can't handle this like babies Anthony
what's there to handle you know just as well as I that this can never happen
he didn't like it Samantha sits down opposite Anthony
I didn't say I didn't like it here didn't act like someone it in like it
Anthony I need you to not tell anyone about this
why not you just can't
you gonna have to do better than that Anthony
unhappily married i have two children and CEO of fortune 500 corporation
this wouldn't look good amir is me anthony gets up and walks around
agitated
well crap you should have done a little sooner
is this some standard corporate procedure bring in the up-and-comer mess
around with his feelings and
issue a gag order 10 me hard while I fit in
I'm really sorry yeah
you're sorry alright just for the wrong reasons a military homestake okay
he's not used to being labeled a terrible mistake Anthony
if people find out I'm ruined
the stock will plummet I'll be forced to resign
my family will break up I have to sell my house
all lose everything can't believe that's what you want
he still angry but that's a heavy consequence she
blackmail the hell I you I'm hoping you won't
the
in this scene there many opportunities for motivated character movement so
let's first look at the underlying motivations
the scene follows a certain melody that in the first half Samantha think she can
deal with this by talking down to Anthony like she would with the child
she's essentially trying to intimidate him into giving up this relationship
idea
and even though the scripts so she's walking around because of discomfort
control is also clearly a motivation
in either case it'll produce the same movement
but the character who has the powers really Anthony because if he decides to
go public the consequences entirely for her
so she'll be doing most of removing in the first half until she realizes this
in the first half Anthony is sitting on the sofa which is written in the script
but also makes sense because having him said calmly while she walks around
foreshadows a superior position
ultimately Samantha will end up opposite him so let's build the scene for them
backwards from this point
in the beginning this script again says that the rain is beating on the window
and whether or not this is written starting on the window and pulling out
would be a good move
we could then have some at the start here and move into the shot as we open
space
this is their dialogues rapidly back and forth for the first half minute we have
the possibility of a really elegant move
is a member walks around in a circle like this we could create a shot the
continuously opens the space
pick up on Samantha's she steps in
handoff to Anthony and then again pick up on Samantha's she makes it around to
the front
and in here this move will cover a good stretch a dialogue
ending with the line we can handle this like babies Anthony
after this we need to have some and the end up over here which we could break up
into a couple of stops news is another opportunity to base our movement on
control
her next line is you know just as well as I did this can never happen
which would become more dominating by having a move to stand in front of him
for next line she become serious
in snd me not to tell anyone it would work great for this line to have her sit
down calmly in controlling Lee before saying it
to cover this section at the scene let's first cover them where they are now
instead of putting in a series a close up some reverses an experiment we could
try here is basing the coverage on groupings to share relationship
we would end to a single shot on Samantha maker more separate
an over-the-shoulder on Anthony because he believes there's a relationship
that may be reading a little too much into it but let's see if it works
working backwards in time to cement his previous stop
her close-up could still work for this market we simply started here in pan
with her she walks over and sits down
if the high to this camera set for the ending keyframe we would additionally be
looking up at her in the beginning which would add to the feeling of control
for a shot on Anthony while the line is here we would need a second reverse on
him
this key frame has essentially the same function as later river so we can
connect them on a track to create a reframing reverse the basically adapts
to the movement in line
but since we're planning on being in Samantha's close up while she walks we
would never use the shot would be a wasted effort
so let's count on this camera being a lot shot and only shoot a bit have
dialogue that happens with the line here
more importantly Anthony's reverse won't work well samantha is still standing
because she would be in the middle of a shot
so here we would need a closer keyframe
they were frames backwards as she sits down the next major movement is that
Anthony stands up and walks around
at this point anthony is the character with the most power and also the most
emotion so he'll be doing all the movement from now on
for this part he gets angry so let's start is movement by having in walked to
the window
both to become more private into punisher and by the end of his speech
which is the most intense
have in turn in step towards which is motivated by controller territory
but when a character charges another character and then just stands there we
often get the feeling that he doesn't know what to do which takes away from
his power
so is Anthony says yeah you're sorry I write just for the wrong reasons let's
have a more calmly back and look out the window
to cover this a couple of things that could be interesting to do our first
about the pivot on Samantha followers wok
the people would start in the over the shoulder on Anthony
and the ending keyframe would be here so the total movement for this camera is
then to be here will cement his standing
reframe back as she sits down and give it is Anthony walks to the window
this can become a very rich shot of Samantha keep spacing ways Anthony walks
creating a shot with her in the foreground
keeping your facing away from both Anthony in us
also helps make her less on mister sincere which led an interesting depth
to our character in this part of the scene
additionally the move will probably start with focus on Anthony from the
over-the-shoulder
but as he walks rack focus to her
so this effectively becomes her shot after the pivot
in this part of the scene the line is here so let's put in a close up for when
he's facing your
which will be his shot for cutting dialogue with the previous camera where
he's out of focus
this camera will simply pan slightly to follow is movement but also place a
single shot on Anthony for one is by the window which will additionally frame for
the space on the right side of him to separate him more from her
is one of the last line Samantha begins opening up she pleads with Anthony to
understand what will happen if people find out
here will probably want to turn towards him which will also show we're trying to
regain the intimacy or at least some level of understanding
at this point the pivot camera becomes a regular over the shoulder and we can see
your face
so let's cut it and continue our coverage from the single shot here
since math is both opening up and explaining the consequence
this would be a good time for clothes push so let's push this camera for the
duration a praline
in deciding what to do with Anthony for the remainder of the scene
if we wanted him to move we would probably have them walk to this mark
again since started covered
but the scene will actually in stronger if he stays turned away from Earth so
we'll even by the window
especially at the end there's a very disconnected feeling between them and it
would work well to get a wide shot of the entire room
will additionally make sure this is a wide angle lens to make them smaller
and the room bigger for a more anti feeling let's look at the takes
the result of this blocking his forelock cameras and three on tracks
the two tracking shots on the writer on a boom in order to get
in over the table in the sofa an easier way to issue this camera would be to
just be on a dali and remove the sofa for this angle
by the same token this camera really doesn't need to be on a boom
I could just as easily be shot on a dali
starting with the camera that opens the scene bigshot pulls out from the window
and continuously opens the space while handing off between the characters
so as we pull out we pick up on Samantha
handoff to Anthony pick up on Samantha
an end here which is where the take ends
was simply rack focus breach and off
just for the record I think I'm on to you came on to me
can most certainly did not detail
did not t2
we can't handle this like babies Anthony
the NEX cameras the one we put in to have a river son Anthony for the short
time the line is in this position
we can't handle this like babies Anthony
what's there to handle you know just as well as I that this can never happen
the NEX cameras the single shot on Samantha which is a long take
the show was initially created is a close up for when she sitting
and the pan into that key frame the later close push a really lead in San
extensions extrapolated from nap
will probably cut to this camera immediately after the opening and the
angle work for all lines in the scene
because the level is set for when she setting
this is where we get the added benefit is shooting up on her which makes
emotional sense for this party the scene
as she sits down we talked with there were then in the original keyframe
will leave this camera running throughout the dialogue even though the
second half is covered better from the pivoting camera over here
but in case something goes wrong we have this is a backup
with Anthony having moved back and forth over on the right the last thing this
camera does is push in on her during the most sincere lines towards the end
we can't handle this like babies Anthony
what's there to handle you know just as well as I that this can never happen
he didn't like it I didn't say I didn't like it
here didn't act like someone it in like it
Anthony I need you to not tell anyone about this
why not you just can't
you gonna have to do better than that here's a man who stays the same until
the close poor so let's fast-forward
Anthony is now by the window yeah
you're sorry alright just for the wrong reasons a military homestake okay
Anthony if people find out
I'm ruined the stock will plummet
I'll be forced to resign my family will break up I have to sell my house
I'll lose everything can't believe that's what you want
she blackmail the hell I you I'm hoping you won't
the pivoting cameras probably the riches camera in the scene and is active as
soon as she crosses the line to stand opposite dampening
the keyframe here is the one we added to adjust the framing for well she standing
and when she sits down we reframe backwards
here we stay for a while and the next thing that happens is the pay that when
Anthony walks to the window
so far focus has been on Anthony but halfway through the move will wrap focus
to Samantha and make this her shot for the rest at the scene
this will create a very meaningful deep staging shot with her in the foreground
and having her face sideways to both Anthony in us make sure appear either
insincere or shamed
for Anthony's minor movement was simply just the framing to follow
what's there to handle you know just as well as I that this can never happen
he didn't like it I didn't say I didn't like it
here did neck like someone it in like it
into ni I need you to not tell anyone about this
why not you just can't
you gonna have to do better than that Anthony
unhappily married i have two children and CEO of fortune 500 corporation
this wouldn't look good on me res me
well crap you should have done a little sooner
is some standard corporate procedure bring in the up-and-comer mess around
with his feelings and
issue a gag order what homie holla
while I fit in I'm really sorry
yeah you're sorry alright just for the wrong reasons
a military homestake okay
Anthony if people find out
I'm ruined
with Anthony and a focus in the last after the previous shot this camera will
be as close up
all the camera does reframe as he moves back and forth between these two marks
by the window
focus is continuously on him
well crap you should have done a little sooner
is some standard corporate procedure bring in the up-and-comer mess around
with his feelings and
issue a gag order what i mean haha
while I fit in I'm really sorry
yeah you're sorry alright just for the wrong reasons
a military a mistake okay
the NEX cameras a similar camera at a right angle for when he's facing out the
window
another option for this camera would have been to places outside the window
shooting in words but this will create a suddenly very different feeling
it would also require this said to be built almost full circle
well crap you should have done a little sooner is some
standard corporate procedure bring in the up-and-comer mess around with his
feelings and
issue a gag order but no me ha
while I fit in I'm really sorry
yeah you're sorry alright just for the wrong reasons
a military homestake okay
after getting a bit of generic reaction here let's simply skip ahead to his last
line
she blackmail the hell you I'm hoping you won't
the last cameras the master we plan on coming to at the end
moshe at so far I've used eighty two hundred millimeter lenses to get a
tighter atmosphere but the point is this shot is to create an empty feeling
towards the end so we're using a fifty millimeter to help get whiter
she blackmail the Hella you I'm hoping you won't
lets you the cut the
the
all
just for the record
I think I'm on to you came on to me herrmann certainly did not
detail did not
t2 we can't handle this like babies Anthony
what's there to handle you know just as well as I that this can never happen
he didn't like it I didn't say I didn't like it
here didn't act like someone it in like it Anthony
I need you to not tell anyone about this
why not you just can't
you gonna have to do better than that Anthony
unhappily married i have two children and CEO of fortune 500 corporation
this would look good on mir is me
well crap you should have done a little sooner
is this some standard corporate procedure bring in the up-and-comer mess
around with his feelings and
issue a gag order 10 me hard why do I fit in
I'm really sorry yeah
here sorry alright just for the wrong reasons a military homestake okay
Anthony
if people find out I'm ruined
the stock will plummet I'll be forced to resign
my family will break up I have to so my house
I'll lose everything I can't believe that's what you want
should blackmail the hell I'm hoping you won't
all
the in this scene were with a group of treasure hunters looking for an ancient
im priceless statue
several rivaling teams from around the world they found the same clues in a row
looking for it
there's a saying about the statue that anyone who sees it she'll die a painful
death and most characters in the story including this group side before a cave
collapse
Helen the woman is nor Kalady professor brought along for her ability to read
inscriptions
she's very logical and finds it hard to believe there's actually occurs
even so people are suddenly dying for mysterious reasons
in James the leader of this team is inclined to believe that there is a
curse not because of conviction because what he's seen
the Blue Man is edward has a long as a buddy
he always seems to mess things up in in this scene is quite drunk
let's to read through
Helen ed Werder sitting close together near the campfire the force is getting
chilly as night falls
what do you think they took off like that probably like for a dentist
appointment
but and who ever seen that each and
the sound of moving foliage in branches cracking
Helen Edward turnaround startled they're relieved to see James emerged from the
bushes
looks like the German expeditions having some trouble of their own
all the reporters have disappeared too to tell me
the KS the curse because I believe it you're green beans
happy believe in some flooding superstition
doesn't strike you as odd that everybody you seen the statues dead
that the septa bus I'm very aware that fact
and make this shift in felt look at the same the people who uncovered the fair
is grave
is always a perfectly sensible explanation James gives her a look when
we get some large bulletin begins loading his rifle
who look I'm a big ugly sent you some guys been dead for ten thousand he is
hurt fear my rare sheesh
law they hear intense would cracking from above
louder and louder suddenly a massive log
rotten wood which is down in slams into the ground scattering the campfire
it becomes darker yeah
highly track James looks intently to Helen
wide hokum on
branches break all the time Edward I told you not to arrest the gods
summary
what you can seriously believe this is caused by KS
for christ sake GM do if you realize men
James Cox is rifle not so civilized I've lost my instincts
James suddenly turns around a beat
then gunfire is heard coming from the German camp stay here
he disappears into the bushes Helen stands for a moment then runs after him
Helen come back you do you really just said
Edward realizes how dark it is then runs after them scared
the
a thing that could work great for this scene is to base the blocking on
slow-moving cameras to create subtle movement in the background to beat shot
and the feeling that something is happening underneath that can be hard to
do for long seen like this because there will actually be times when the framing
is better than others
also we still need to honor any lines in the scene and if we're doing a slow
sideways track on a character here
talking to a character here we really can't move beyond this point
this means that we would have to either starter and pretty far away which could
make the framing of for half at the scene
another thing we want to do is find ways to shoot through the fire
and give the shots on each character the subtle movement a flames in the
foreground
will solve all this with a particular cheating technique which will look at a
little later
for now let's work out some basic blocking
will place Helen Edward on a couple rocks near the campfire
they're really rock scattered all over the scene but we'll assume that their
props that we can easily move so we won't try to block around them
after a short while James walks out from the bushes to stand opposite them
so the general coverage will be reversed shot to need to them
the tracks will do will be very long and slow easily over two minutes
but for our purposes here we won almost no movement so whilst are both Helens in
Edwards tracks here
in the beginning change is not in this scene yet so it doesn't matter that were
over this line
both these tracks are almost identical so probably shoot them on the same
physical track bullets struck them separately
the track on James will simply be the opposite
is we cut between these three cameras we naturally want the background to be
moving in the same direction so we'll have these to move this way and the
Cameron James the other way
all these cameras are honoring the lines which makes it hard to shoot through the
fire
but will again look at that later if the characters end up having movement will
be able to simply pan with them %uh slowly tracking which will allow us to
do some extremely long takes in is better for the actors
when specific move that could be interesting to do and James is when he
cocks his gun
and then has a dry action hero line this could be a good start on reveal from the
gun up on him I will bring extra emphasis to that line
we could shoot this is a separate take but we could also simply tell down on
the gun while Helen talks which is a fairly long line
and then tilt up which would allow us to do it during the long track without
stopping
some other angles that could be interesting her first novel a master
over here
which will again put on a track for slow push
we're not putting in stop marks because we're not very particular about where
the track should start an end
over in this area we have lotsa ruins in weather war relics like a big knocked
over statue here
so let's also created kramer for the beginning at the scene where we start
hearing crane out and down from the statue revealing Helen Edward
another move that could be interesting is when James emerges from the bush is
making a lot of noise
we could make this part of the scene a little more suspenseful by being in this
camera's Helen Edward look in that direction withholding the source the
noise
and then cut to a camera here is James becomes visible
as he walks over to his first mark we could then pivot this camera with them
incidentally ending in a key friendly matches this camera which could also be
useful
these cameras easily cover the first half at the scene up into a blog
suddenly slams into the campfire so let's look at how we're gonna cover that
part
it would be extremely dangerous to have a real og following the campfire so the
shop will probably be done is a live-action play with the 3d log
inserted in post
what we need and is shut the basically has the right camera in character
movement but without the lock
will do this is a completely separate shot to make post-production easier
we could just start with the camera tilted up in the air
and then follow the imaginary lockdown on the fire let's make a little more of
it by starting and Helen Edward tenner 22nd sooner
as the you're cracking noises above them
will quickly tell sharply up catch the log
and follow it down onto the fire will assume that the fire is a special effect
that can be turned off at that exact moment
after the effect will cut but we might want to do a full take from this angle
is well with the camera already setup
here would be logical if all the characters jump backwards
to cover that would simply pani to their tracking shots as we keep tracking
slowly
these cameras obviously don't have a login them so we can be in them is log
comes down
but that also means they're very easy to shoot and we can do depending on the fly
while tracking
at this point there's a break in the scene is machine gunfire is heard from
the German camp in everyone looks in that direction
for this part 1 some cameras up here which is on the opposite side of the
line were coming from
this is not a problem because as soon as the gunfire is heard
we immediately get two new lines from the attention going to the German camp
and these lines instantly become more dominant so for Cameron James will
simply put in a keyframe here
but we probably don't wanna be jumping too much back over the old line so let's
plan on covering Helen and Edward from up here as well
all that happens here's the James says stay here after which he walks out
a moment later helen walks out as well
and edward has the last line
instead of putting in a bunch of cameras let simply pan the camera James over on
Helen
then pan with her as she walks out and hand off to Edwards line where he stands
for a bit then runs after them
throughout the scene we've been doing subtle camera moves to get the feeling
that something is happening underneath
and towards the end we should actually increase the movement but simply handing
off to Edward in just staying locked will be a little static
so what we're doing the handoff to him but struck into a keyframe here
which will produce back pay relax in the higher sent a virgin see
a pattern that's emerging is that these tracks are very similar so we would
probably end up shooting them on the same physical track
but since we're after more movement at the end let's also connect these two
keyframes
when the gunfire is heard the result is that we track from the last regular
dialogue on James
over on the new sideline which will also produce heavy barrel axe
this track is now starting to get complicated and it would be a shame to
reshoot the entire take just because we mess up at the end so let's break it up
a good time to break it is just before James Cox is gone
how this track with them work is that we first do the long and slow part a vid
and cut is Helen has your last line
picking up will then start down on the gun tilt-up
and his gunfire is heard suddenly track over here
James walks out we pan over on Helen
and pan with her leaving as we start to track
heading off to Edward well we keep tracking
this mobile in a couple takes before we get it right but it could be very
rewarding
let's look at the takes
this is a dark scene so we can be a little hard to make out the cameras
the two cameras on Helen Edward is shown with these two tracks although it would
make sense to actually lay separate tracks
this camera's the track on James this camera's the slow dragging wide shot
this camera is the one the pits with James when he emerges from the bushes
ending up matching the wide shot in this camera's the lock shot for following the
imaginary log
let's start by getting the opening crane move out of the way
for this shot the crane could just as easily be stationary but we want to move
to push at the same time to bring us into the scene and not simply stand
outside a bit
pushing the base also helps avoid the circular motion of the crane
this move is before the dialogue really begin so we would need to decide what
helen ed Werder doing
we could either make up some arbitrary chit-chat which we would play at a lower
volume
or we could just have them sit and enjoy the campfire either would work
the plans have been purposefully arranged to give us more para lacks
for the slow tracks I need to the characters we wanna be shooting through
the fire as much as possible
this is easiest with the tracks on Helen Edward because we can start over the
line in the beginning when James is not yet in the scene
and also because there's only one character on james's side
the purpose of tracking slowly is to get some movement in the background
but we're only tracking a couple feet over several minutes or moving extremely
slowly
and its long focal link that makes it work
when the imaginary log falls down but simply panda follow their movement but
if we mess up we can always do a pickup
the thing to notice is that in this scene we're doing a single moved to
cover the entire dialogue
if we wanted to move any faster we get easily either run out of track
cross a line forget about framing in that situation we would instead do the
desired move for the first half at the scene
backup and do an identical move for the second half at the scene
for these tracks will play the entire takes in case you wanna load them into
an editing system in experiment with different editing
but the dialogue is the same in each taking you might wanna fast forward
after a while
what do you think they took off like that probably late for a dentist
appointment
and who ever seen that each hand
looks like the German expert
was having some trouble up their own all the reporters have disappeared too
to tell me the KS the curse
because I believe it you're a green beans
happy believe in some flooding superstition
doesn't strike you as odd that everybody you seen the statues dead
a septa us
I'm very aware that fact the make this shift in felt
look at the same the people who uncovered the fair is great is always a
perfectly sensible explanation
who look I'm a big
ugly sent you some guys been dead for ten thousand he is
hurt PMI rare sheesh
law
yeah how the track
wide
welcome on branches break all the time Edward I told you not to arrest the gods
summary
for you can seriously believe this is caused by Qwest
for christ sake GM do receive allies men
the take on Edward is essentially the same accept it easier to get the fire in
the foreground because he's more to the right
what do you think they took off like that probably late for a dentist
appointment
but who ever seen that each hand
was like the German
having some trouble of their own all the reporters have disappeared too
to tell me the KS the curse
become believe it you're green beans
happy believe in some flooding superstition
doesn't strike you as odd that everybody you seen the statues dead
a septa us
I'm very aware that fact the make this shift in felt
look at the same the people who uncovered the fair is grave is always a
perfectly sensible explanation
who look I'm a big ugly sent you some guys been dead for ten thousand he is
hurt fear my rare sheesh
law
yeah
highly track
wide
welcome on branches break all the time Edward I told you not to arrest the gods
summary
what you can seriously believe this is caused by kids
moving on to the slow tracking wide shot will be pushing instead of tracking
sideways
were again only tracking a few feet over several minutes but pushing will result
in any movement in the background
so we've made sure to get some plants directly in the foreground or the camera
would seem to be standing still
there's no point in spending the track on rolling in the beginning since we
already have the crane in the other cameras
have you ever seen that each hand
looks like the German expedition
having some trouble of their own all the reporters have disappeared too
to tell me the KS the curse
because I believe it you're green beans
how people even some flooding superstition
doesn't strike you as odd that everybody you seen the statues dead
they set us
I'm very aware that fact the make this shift in felt
look at the same the people who uncovered the fair is great is always a
perfectly sensible explanation
who look I'm a big ugly sent you some guys been dead for ten thousand he's
hurt PMI rare sheesh
law
as soon as the characters if and out the framing in this shot doesn't really
stick together and we'll cut
the camera the pivots on James's emerges from the bushes was really only meant to
cover that part but since it matches the previous camera we might as well keep it
rolling in the ending position
it's a la camera though not find out in editing whether or not that's
distracting to cut with
looks like the German expeditions having some trouble of their own
all the reporters have disappeared too don't tell me
the KS the curse because I believe it you're green beans
how people even some flooding superstition
doesn't strike you as odd that everybody you seen the statues dead
a septa us
I'm very aware that fact and
make this shift in felt look at this time the people who uncovered the fair
is great
is always a perfectly sensible estimation who
look I'm a big ugly sent you some guys been dead for ten thousand he is
hurt PMI rare sheesh
law
when the characters if and out it's hard to know which side the line were on and
we'll cut
will do the shop for the following long as if the log Israel
even though the shot is a completely separate a quelle started on Helen
Edwards so it seems more natural part at the scene
we build up to catch the lock then reversing accelerate downwards to follow
it
whatever till speed we end up with will be the speed to the lock so we have to
simulate gravity
here actually tilting a little too slowly and the law doesn't seem to be
falling fast enough
the truck on James's were will need to cheat if we want to be shooting through
the fire
the problem is that in order to get in over the fire we have to move very close
to the line between him and Helen and eventually cross it
the solution is that if we simply make sure the James is always looking to the
left it ultimately doesn't matter where the line actually is because the shot
will look right
so throughout the tape will gradually be crossing the line but with James as I
like going to the left nobody will ever know it
this is a course easy to do with the 3d character because he doesn't need the
other actors to play of up
in real life we could have Alan Edward walk slowly next to the camera to
maintain a correct i line and helpers performance
especially with Helen having jump backwards is clear there were over the
line but we're fine because James is I line still goes to the left
were breaking the take up here because the ending might require a couple of
tries
to starting down on the gun we still suffers last line
and then trek over to the keyframe on the new sideline he says stay here
then walks out we pan over to Helen who walks after him
and we begin tracking is we hand after Edward
after which he runs after them
was like the German expeditions having some trouble of their own
all the reporters have disappeared too don't tell me
the KS the curse become believe it you're green beans
Happy Valley mean some bloody superstition
doesn't strike you as odd that everybody you seen the statues dead
a septa us
I'm very aware that fact them make this shift in felt
look at the same the people who uncovered the fair is great is always a
perfectly says what's the nation
who look I'm a big ugly sent you some guys been dead for 10,000 UV
is hurt PMI rare
sheesh
law
yeah
%uh
pallet rack wide
hokum on branches break all the time Edward I told you not to arrest the gods
summary
what you can seriously believe this is caused by KS
for christ sake GM you civilize men
now so civilized have lost my instincts
stay here
heslin
back you didn't hear what you just said
let's be to cut
the
Co no
what do you think they took off like that
probably later a dentist appointment good and who ever seen at:
but looks like the German expeditions having some trouble up there on
although partisan disappeared to to tell me
tks the curse
you can believe it you're green beans
happy to leave in some bloody superstition
doesn't strike you as odd that everybody seems that used adhd
a septa bus I'm very aware of that fact
them make this shift in fell
looking to save the people who uncovered here is great always apparently says
leads the nation
new look I'm a big
only sent you some guys been dead for ten thousand he is
your p.m. all I read ship
like sweet
the how the tragic quiet
all come on french's break all the time scared when I told you not to arrest the
gods
Sony why he can seriously believe that has caused by KS
for christ sake GM few civilized men
not so civilized
lost my instincts but Stadium bust
and then come make you do you really just say that the first
then
as the last topic let's look at adjusting the blocking for various
release formats
throughout the course we've been working in a television aspect ratio which is
four by three which means that if the screen is for wide it's three tall
this is also called 133 21
some other standard release form answer first about a widescreen high definition
TV its sixteen by nine which again means that if the frame is 16 wide it's nine
tall
resulting in an aspect ratio of 177 21
for theatrical releases the two main standards a first-ball 185 21 which
provides a degree wide screen without straying too much from a TV aspect ratio
and CinemaScope a 235 the one which is far wider than it is tall creating the
most impressive image in is used for any major release the wants to convey a
sense of scale
in addition to this there what seems like a million different ways to
position in scale the image onto the film
like super 35 which uses the entire frame a film
Academy aperture which is smaller to make room for an optical soundtrack
having the image before perforation Marc Staal
or three and so forth but without getting into that what we're concerned
with in this chapter is whether the images shot straight
or anamorphic will get an amorphous in a moment
film started out as having basically 24 by three aspect ratio which was decided
to be the most pleasing in generic ratio
and when television was invented the same ratio is used all other formats are
in one way or another based on this aspect ratio and whether we're shooting
TV widescreen or theatrical widescreen were really always shooting for by three
image in Medina out the parts we don't want to use
when shooting 185 the one we don't have a 185 ground glass in the viewfinder to
know or framing for
and in a post-process this same areas optically matter now completely so it
doesn't appear in the prince
in the nineteen fifties and sixties there was a desire for film to be
different from television an anamorphic lenses were used to create a much wider
widescreen
anamorphic lens a squeeze the image horizontally
usually by a factor 221 so we're able to squeeze a much wider image onto the film
and what is recorded on film uses the whole frame for maximum resolution
a load of course has to be on squeezed again during projection
in theory this should produce an aspect ratio of 266 21
twice as wide as television but for technical reasons it ends up is 235 21
actually this is now technically 242 one but is usually still mentioned is 235 21
the other way to create scope is to simply shoot a four by three frame and
then extract the part we want to use
with the format such as super 35 that uses the whole frame because there's no
soundtrack
this still produces resolution that acceptable the two standards for what to
extractor
of centered which extracts the park near the top and centered which extracts the
part in the middle
from a technical perspective anymore figures harder to work with because it
needs more light
and produces less step the field visual effects are also much more difficult to
do one anymore fake images
but the most important consideration is framing
in 235 the vertical framing is far more important than the horizontal framing
so if we end up with the framing slightly of horizontally
we can live with it but if we end up with a bad vertical framing it
immediately sticks out
and moreover a poor shooting anamorphic we're stuck with it
we don't have this problem before shooting a full super 35 aperture and
simply matting out
I we would then do is lie the underlying frame upwards or downwards which has the
same effect is tilting because there's no para lacks
this can be such a life saver that it by itself is reason enough to shoot matted
scope instead about a more pic
but it also means that we have permission to be more sloppy about
vertical framing because we can tweak it imposed
the main concern when shooting is to expect that we want to use the parts
outside the frame and not have things like lights and microphones go right to
the vertical edge
if we did that we would have no freedom to reframe
another concern when framing Scopus to make sure to keep all characters eyes it
much more the same level in the frame
in this shot from the master push chapter all I levels are far apart
if this is meant to be a 235 shot it's almost impossible to find a good place
to frame it and somebody will have to stick out the top
or out the bottom and it's something to look out for because reframing can't
help it
but a scene that is framed with consistent I levels like the not a
suspect seen converts very easily 235
says we play through it again the only thing we're doing is reframing
vertically on a shot by shot basis
and this is what it would look like if we had shot over scope to begin with
free
40 50 saw the refused me that more
you know I was told to be here this morning and then refused you
hoskin slater sorry Henry
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 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
what did you just do
quiet 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 in here
nothing doctor solomon icon for giving something to my patient
only vitamins doctor solomon just the daily routine
give me the bottle harm no label
Henry
I'm sorry I thought
sorry nurse we please excuse me the you
you
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