Gladiator

Editing – Breaking the 180-degree rule (Part 4)

So far, we have limited ourselves to studying the different effects of breaking the 180-degree rule from the standpoint of the story. But storytelling is not all about the story. Crossing the action plane can also be a way of pushing the audience around and spreading a bit of panic as they struggle Continue reading

Editing – Breaking the 180-degree rule (Part 2)

As we saw in part 1, breaking the 180-degree rule can have a disruptive effect on the audience, which can prove very helpful when tackling disruptive kinds of situations, like a character harassing another one, barging into a relationship or splitting off from a group. Continue reading

Focus – Power and intrusion

After spending some time on focus ability to link and isolate, let’s now consider its empowering and belittling effect on characters, their speech, and how intruders can benefit from coming ‘out of the blur’ and claiming focus. Continue reading

Focus – Pointing vs Concealing (Part 2)

In part 2, we will take advantage of relatively shallow depths of field to reveal, browse and reinforce subjects. We will also see how prefocusing can make the audience expect characters to enter the frame. Continue reading

Dynamic occlusion – Opening

In Lens flares – In motion, we came across a classic use of lens flares ‘opening’ a shot to introduce a character. Let’s expand that to other types of occluders in order to clear up a confusing state or situation, to scare the audience or Continue reading

Dynamic occlusion – Symbolism

In the previous article, we saw the effect of lens flares in motion. Now let’s put that in practice with all other sorts of moving overlays and obstacles. A ‘squeegee’ — think of a sweeping windscreen wiper — is a dynamic obstacle Continue reading

Obstacles – Stripes (Part 2)

As seen in part 1, nets and bars are commonly used as obstacles to virtually ‘imprison’ characters. But that very effect can be obtained with all kinds of stripe-shaped overlays, from props to postprocessing effects to rays of light and shadows. Continue reading

Frame splitting – Dividers (Part 2)

Frame ‘dividers’ divide screen space, right, but not necessarily evenly. In the second part of this article, we will see the impact of the ‘compartment’ relative size on the characters and how dividers can be staged to take an even bigger part in the storytelling process. Continue reading

Physical shot scales – The Full Shot (Part 2)

In this second part of our journey to the center of the Full Shot (FS), we will explore the shot scale ability to relate characters to their environment. Its fundamental descriptive power, combined with its respectful distance to the subject can prove very useful to depict characters’ mixed feelings Continue reading