Screen Grammar - Week 2 Recap Part 2
Screen Grammar
* Remember to inhabit your storyteller's character while you direct. Shoot and see from his or her point of view. This won't be easy to remember.
* Become aware of who is acting and who is being acted upon at any moment and in any situation.
* Remember that characters are alive when they are seeking to do or get.
* Direct to imply the subtext.
* Make storyboards if you are doubtful about how a sequence will cut together. Draw stick figures if this is the best you can do.
* Remember to shoot generous action overlaps between matching shots when you mean to cut them together.
* Decide when long, comprehensive takes are called for and when a more fragmented style suits the situation being filmed.
* Give your major attention to the actors and after intial consultation for each shot, leave directing the camera to the DP.
* Look carefully for what you may have forgotten before striking any camera position or set.
* Keep all the versions you edit.
* View all your rushes again before you lock down a final cut - there is always an unused gem.
* If you want to place a cut on the beat of music, you must make it three frames ahead of the beat if it's to look right!
* In match cutting on movement, overlap (that is, repeat) the first two or three frames of movement to allow the eye to catch up.
* See how far you can go with discontinuity and still keep your audience. Have showings to find out what you can get away with. What permits the audience to fill in the gaps?
* Remember to inhabit your storyteller's character while you direct. Shoot and see from his or her point of view. This won't be easy to remember.
* Become aware of who is acting and who is being acted upon at any moment and in any situation.
* Remember that characters are alive when they are seeking to do or get.
* Direct to imply the subtext.
* Make storyboards if you are doubtful about how a sequence will cut together. Draw stick figures if this is the best you can do.
* Remember to shoot generous action overlaps between matching shots when you mean to cut them together.
* Decide when long, comprehensive takes are called for and when a more fragmented style suits the situation being filmed.
* Give your major attention to the actors and after intial consultation for each shot, leave directing the camera to the DP.
* Look carefully for what you may have forgotten before striking any camera position or set.
* Keep all the versions you edit.
* View all your rushes again before you lock down a final cut - there is always an unused gem.
* If you want to place a cut on the beat of music, you must make it three frames ahead of the beat if it's to look right!
* In match cutting on movement, overlap (that is, repeat) the first two or three frames of movement to allow the eye to catch up.
* See how far you can go with discontinuity and still keep your audience. Have showings to find out what you can get away with. What permits the audience to fill in the gaps?
posted by S10021950 - D.W. at 9:13 PM
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