Overview
watch this:https://drive.google.com/file/d/1p_eBLaQZ5RmK7lBbN... and write this please Cinematography is the craft of light and motion writing. When we analyze cinematography, we must look at how a camera moves, where the camera is placed, its distance from a subject, and so on. Additionally, cinematography includes many special effects, frequently having to do with lens work. Of course, we should also consider how much of an image is in focus – this is depth-of-field, and it can guide the viewer's eye or create an aesthetic effect.
Editing is the process of piecing together individual shots and sounds in order to create a whole sequence (or as Alfred Hitchcock refers to it: assembly). When we analyze editing, we must look at each individual shot, its relation to adjoining shots, and the transitions between the shots. We should also consider how sound works within and across shots.
Watch this sequence from The Best Years of Our Lives. Write your analysis in the worksheet on page 2 (or do your work in a new spreadsheet, as I do in my example). In each column, write a short answer that describes each of the elements in the scene. You will need probably need to reserve at least two hours to complete this worksheet. Watch the scene once, then be ready to pause and replay as you complete the following analysis.
- In column 1, count the shots.
- In column 2, measure the duration of each shot (this is super-easy in Google Drive – because the player marks time automatically.)
- In column 3, describe what's happening in the shot narratively.
- Include any notable aspects of mise-en-scène, and perhaps even draw some conclusions about the meaning of the shot. Remember, there are different levels of meaning. Make sure any interpretation you make is supported by the evidence you provide in the row for that shot.
- In column 4, describe the editing of the shot and/or transition and identify and describe the relationship of a given shot to the preceding shot. (How are they connected in space and time across the edit?)
- Identify the type of shot: is it an establishing shot, a re-establishing shot, a two-shot, a reverse-shot, a cut-in, a cut-away, etc.? Does the shot subscribe to the 180-degree rule? Does this shot create a continuation of time and space, or does it upset the continuity? How does it create rhythm and meaning?
- Identify the type of transition: name the transition (cut, fade-in, fade-out, dissolve, wipe, etc.) Are these edits supposed to be "invisible" (common to Classical Hollywood), or do the transitions draw attention to themselves? Is the transition a match of some type -- an eyeline match, a match on action, a graphic match, etc.?
- In column 5, describe the cinematography.
- Identify camera distance (ELS, MLS, LS, MS, MCU, CU, ECU), placement (angle, height, canted/level, location), and movement (static, dolly/track, pan, tilt, etc.).
- Consider the following elements: depth of field, frames within frames, creation/revelation of space.
- In column 6, describe how the sound works within and across shots.
- Describe what we hear. Does it contribute to our sense of space, time, narrative?
- Identify if it is diegetic, non-diegetic, or a combination of the two? Is the sound contained by the shot or does it bridge the transition?