ABSTRACT
Movement
within the frame is one thing but movement of the frame itself creates a
completely different effect for the audience. Camera movement can be used for
many different reasons and create many visually interesting and unusual effects.
This movement has the potential to function in many different ways, such as to direct the viewer's attention, reveal an off-screen area or provide narrative information. This project aims to explore just how camera techniques in action sequences which involve movement create a more stimulating experience for the viewer.
INTRODUCTION
“Along with sequential editing the ability to
move the camera is the most fundamental aspect that distinguishes film and
video from photography, painting and other visual arts… The movement itself,
the style, the trajectory, the pacing, and the timing in relation to the action
all contribute to the mood and feel of the shot. They add a subtext and an
emotional content independent of the subject”.
(Pg 210 Brown)
This
project aims to investigate how camera techniques, particularly movement, bring
depth to action sequences, increasing a viewer’s level of stimulation and
therefore his/her interest and engagement with the film. Camera movement can be
an expressive tool as it has the power to change the viewer's perspective of
space and time within the frame. The human eye is naturally drawn to movement,
making this one of the most useful tools to present action. What makes an
action sequence engaging are the choices made behind the camera.
This project is heavily tied to the film theory of realism; the pursuit of a sense of stimulation where perception (shots influenced by the subject) is distinguished from representation (shots intended to be perceived), but is still infused with a hallucination that the imagery on the screen is real.
“Any spectator will tell you that he doesn't
believe it, but everything happens as if I there were nonetheless someone to be
deceived, someone who really would believe in it.”
(Pg 72 Metz)
Metz
states that this deception is necessary for the spectator to engage in the
action on screen.
It
should be noted that the image is not the end product, but is rather a means,
along with movement, composition, and the edit, to the end product, which aims
to convincingly mimic reality as closely as possible; to gain the audience's
belief that the sequence is real. In essence, the camera techniques used take
direct influence and inspiration from the action and subject itself, morphing
the mechanical attributes of the camera into more natural and organic behavior.
The
cinema process suggests a monocular viewpoint, the third-person viewpoint of
the camera as all-seeing and even “God-like”, the camera gives this voyeuristic
point of view to the audience in order for the audience to engage with the
action of the film.
“Without this identification with the camera
certain facts could not be understood, though they are constant ones: the fact,
for example, that the spectator is not amazed when the image 'rotates' (pans)
and yet he knows he has not turned his head. The explanation is that he has no
need to turn it really, he has turned it in his all seeing capacity, his
identification with the camera being that of a transcendental, not an empirical
subject.” (Pg 50 Metz.)
There
is no more relevant film genre than action to demonstrate the use of camera movement.
A natural handheld shot or a pursuing Steadicam can make chase scenes much more
fluid and exciting, and something as simple as a whip pan can be used for a
speedy transition. Tight, fast-moving and fluid framing that literally follows
actions during a fight scene add impact to the actions themselves. Moving
over-shoulder and POV camera angles add extra immersion for the audience,
effectively moving them closer to the action. The team aims to experiment with
all these camera techniques and more in our examination
of how camera techniques involving movement make action sequences engaging for
audiences.
In order to gauge success or failure in
experimenting in the practice of camera techniques and in implementing our own
action sequences, the team will be consulting with focus groups regularly as
well as gaining online feedback on test sequences. The team will consult with
experts in the field of cinematography in order to tap into industry experience
and expertise. But most importantly, we will be engaging in many test shoots,
putting our research findings into practice while also gaining further primary
qualitative research.
TEAM BLACK MAMBA, AND RESEARCH TOPIC CHOICE
As
should be the case in any major piece of research, the team was formed through
shared interests of its members. In October 2011, the initial area of focus was
in the areas of cinematography and the action genre. This naturally progressed
more specifically to camera work for capturing action, and finally to how
camera movement enhances action sequences.
The
team has some experience of directing and shooting action sequences but each
member has much yet to learn on this very technical topic. It was considered
that this research topic is something the team is deeply interested in and want
to learn more about in practice, meaning that it is perfectly compatible with
the outline for this project; to conduct research and put the findings into
practice.
By
definition our research topic involves practice; i.e. camera work is practical
implementation of visual ideas. Test shooting is the most valid form of
practice-based research for a camera techniques-based research topic. The
team’s plans for implementing these test shoots are outlined in the methodology
section.
Another
factor in deciding a research topic was the team’s preferred workflow; all
members work better when implementing primary research ahead of citing
secondary sources, although of course we aim to strike a balance between both.
CONCLUSION
What make action sequences engaging are
the choices made behind the camera to present the action in an interesting way.
Camera movement can be considered an expressive tool as it can change the
viewer's perspective of space and time within the frame. This tool can often be
considered the jewel of a filmmaker’s arsenal as it has the potential to
function in many different ways, such as to direct the viewer's attention,
reveal an off-screen area or provide narrative information.
The team is in a position to gain highly valuable research and to create something exciting in the final practice-based project at the end of semester. The attitude, work ethic, interest in the subject material, enough relevant experience and skills as well as access to sources and resources all exist.
The team is in a position to gain highly valuable research and to create something exciting in the final practice-based project at the end of semester. The attitude, work ethic, interest in the subject material, enough relevant experience and skills as well as access to sources and resources all exist.
The team will be gaining insight from practiced, highly experienced
professional cinematographers, conducting literal edit break-downs of the best
action sequences to analyze movement, looking at the best regarded written material
and at the most relevant films, and most importantly conducting a huge amount
of primary research through test shoots and gaining first hand feedback on the
results from constantly relevant focus group sessions, complimented by further
online feedback via this blog.
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