Camera Techniques

Shot Types

Two Shot
When two characters are on screen at once (usually a mid shot)

OTS Shot
Over the Shoulder
Used for conversations and looking
Controlled by something called 180 degree rule - make sure opposite shoulders are used

Profile
Framed form side, with eye-line looking away from the camera or offscreen
Directs attention to where they're looking

Cranes/Topshots
Good for establishing shots, can film a whole location from up top
Makes characters seem smaller, insignifiant

Angles

Low Angle
Looking up, camera down
Suggests power

High Angle
Looking down camera up
Suggests vulnerability

Dutch Tilt/Canted Angle
Suggests something is wrong, confusion or disorientation
Common in horror

Zooming in and out/Tracking
Usually camera going in, because zooming in loses focus, instead adjust lens shows focus, connotes being watched/someone looking

Camera Movement

Panning and Tilting
Basic camera movement techniques
Pan left-right
Tilt up-down
Camera is in fixed position and doesn't move

Tracking
In tracking/dolly shots the whole camera moves to allow smooth but limited movement
Steadicam is a camera operator fixed with a harness. Allows for relatively smooth movement and for the camera to follow the action unrestricted

Handheld
No tripod, tracks or harnesses, just the camera operator
Jerky, chaotic movement
Gaining popularity in mainstream media
Gives realism

Lenses

Focus Pull
When you switch focus form fore to back and vice versa

Lenses
Distance and Respective

Wide Angle Lense
Fore-, mid-, back0 in focus, can make distances feel further apart + distortion

Telephoto Lense
Opposite-, smaller-, distance smaller

Youtube Channels

Film Analysis

Every Frame a Painting

The Nerd Writer

Film Riot

The Film Guy

Film Psychology

Cinefix

Filmmaking

Film Skills

Mastershot

DSLR Guide

Production Design

Production Designer is responsible to this, ie the overall look of the film. Includes setting and props.

Mise-en-Scene

Translates as 'to be placed in a scene' ie everything in a frame

Character, setting, props, costume

Costume, hair, make up all tell the audience about the character. Personality, circumstance, role etc, and also the genre of the film.
E.g. scars make a character look aggressive, violent

Costumes make characters appear uniform, drone-like, dehumanises them. Ie masks - mystery, whatever's behind it (especially an individual rather than a group) it assumes there's something wrong with them.

Black doesn't necessarily mean evil, could mean they deal with evil, do things rough etc.

Points and angles have connotations of aggression. Curved, roundness connotes gentleness, love.

Verisimilitude

Something that has the appearance of being true/real

Helps get audience into story.
Can be created in lots of ways (sets, props, sound etc.) especially costume where/when a film's set and the setting

Settings

Refers to set+location
Helps create verisimilitude as the place is real
Where the film takes place
Can tell you what the genre is
Like costume, can tell you info about everything and everyone involved

Props

Similar to costume
Can also be an important part of the story (ie Lord of the Rings)
Usually to help verisimilitude

Colour

Can be used in any aspect of mise-en-scene
Can add to atmosphere or certain ideas
Ie blue = sadness, calm, red = love, danger
Hot colours create an upbeat mood, low colours downbeat mood, muted or low contrast colours add to realism
Exaggerated ot high contrast makes film more stylistic

Semiotics

Study of signs
Signs communicate info
Could be images, colours, sound, gestures, words, shapes etc. that connote info or ideas
All culturally dependent - therefore mean different things in different contexts

Eg:
In horror, sting instruments mean something is gonna happen, in romance its a sign of emotional intensity
Ie context, genre audience film specific
Eg a No Entry sign is bright red, which connotes danger


Anatomy of a Sign

Two parts:
Signifier - The form a sign takes (e.g. sound, images, words)
Signified - The idea or image the sigh suggests

Some sighs signify more than others - can have more than one meaning or is more open to interpretation.

Films also use signs via micro-elements (mise-en-scene, editing, sound, cinematography, performance)
Ie sunglasses on Neo signify mystery, importance, used to massively humanise people
Or In Scott Pilgrim vs The World the groups looks unique, small, grouped together in their weirdness

Film analysis can be tricky as you can see and hear many sighs at once

Denotation and Connotation

Denotation - Literal interpretation, simplest meaning
Connotation - Inferred meaning, what you read into the signs

Ie Disney logo connotations - mainly from our experience instead of an unbiased view

3 Step Film Analysis

1. Identify micro elements
E.g. shaking camera work, lighting from below

2. Explain what micro-elements suggest or signify
E.g. agents suits connote uniformity group, steady drum has military connotations

3. What effect does this have on the audience?
E.g. This tells the audience the character is not to be trusted

Another way to analyse a micro element is to imagine if it wasn't there, and what effect that would have on the audience.
If in doubt, take it out

Cinematography

The art of motion picture photography

The cinematographer/DP is the person responsible  for camera and lighting in film. Could be solo or in charge of a crew.

Camerawork
Shot types and framing
Lenses
Movement

Lighting
Lighting
Colour and contrast

Shot Types
Extreme Close Up (ECU) - Focussed on one person/object
Close Up (CU) - A face or object fits most of the frame
Medium Close Up (MCU) - Head + Shoulders
Midshot (MS) - Waist up
Long Shot (LS) - Can see whole person/object and background around them
Extreme Long Shot (ELS) Person or object is very small, focus on background, also can be Establishing Shot - Sets place of scene



Framing

Where characters and objects are in the shot

Rule of Thirds
Characters or objects should always be on a third - 3x3 grid
Placing space in between characters can show emotional distance

Analysing a scene in terms of Mise-en-Scene - The Grand Budapest Hotel 'You're Under Arrest'

Analysing a scene in terms of Mise-en-Scene - The Grand Budapest Hotel 'You're Under Arrest'

Character

At the beginning of this section, there are two characters present, Zero and Gustav. Throughout the film it's made clear that Gustav is in charge due to his large height and confident stance, while Zero is smaller and more reserved in this performance. This is especially evident now as Gustav stands on a chair, giving him even more height and connoting that he is in charge of the situation. He is also closer the camera, which makes him look larger and connotes importance by itself, and also he's facing away from Zero, which shows that he doesn't need to pay attention to the person he's conversing to (possibly showing a lack of respect or that he assumes Zero is paying attention, regardless he is still in charge). Zero on the other hand faces Gustav, making him look up at him and therefore show his diminutive status and size compared to him, and makes him appear subservient and weak, increased more by the fact that Zero is holding an object carefully for Gustav.
A secondary character also appears at the doorway briefly to inform Gustav, his boss, of the events transpiring. The character never steps out of the doorway to reveal his whole body, instead only peaking around the corner showing just his head and parts of his torso. This is important as it shows that the average worker is intimidated by Gustav, to such an extent that they're ready to flee at all times and don't like to appear before him. As a result, it gives Zero a new sense authority, as although he appears to be a similar rank to the other man (ie by his costume), he is capable of not only appearing directly in front of Gustav and directing him directly, but also being wanted or needed by him.
Setting
In keeping with the rest of the film, the setting for this scene appears to be in 1930s Europe (specifically in the 'Republic of Zubrowka', a fictional nation). The technology (ie the lights) appear dated by modern standards, the decor is very reminiscent of the time and other miscellaneous items which add verisimilitude, such as boxes or a ladder, also appear of the time.
However, the setting of this scene in particular is different to all others in the hotel. While the hotel appears to be important and high-end (ie the 'Grand' in the name), with polished wood, brightly lit large rooms and chandeliers, this room is a lot more dingy. The curtain used by the duo is obviously very dirty and old, with frayed edges and mud/muck covering almost the entire thing. The lights are uncovered and look far more functional than the decorative candles that litter the rest of the building, spare chairs and tables are stacked unceremoniously to the back and top of the frame. Is shows the real, messy, hidden aspect of the hotel, and by extension the story as a whole (as it centres around it), and creates connotations of falsity.
Props
Very few props were used in this scene, as it is mainly used for dialogue. The coat zero is holding throughout the scene remains unused until the end of the sequence, wear he returns to the frame to place it, which throws off the pace of the scene, making it appear more random and confusing, an effect Wes Anderson strives for in his films. It also removes some of the apparent urgency the characters have, making the following scene less serious, and it also adds to the character of Zero, showing his determination and commitment to both his work and Gustav.
The curtain previously mentioned were also used briefly, opening the window to show the expression of the characters at their revelation. This was most likely used to draw attention to how grubby it looks, ensuring the audience fully grasps the connotations of secret disrepair hinted by them.
Costume
Zero and the member of staff that briefly appears in the scene both wear purple matching uniforms, the uniform of the hotel. As purple has royal and wealth connotations, it shows the audience that the hotel is for a wealthy clientele (which supports the plot), or that the hotel wants to project the image of wealth even if there is none, which relates to the points above. In addition, the uniform is also used for verisimilitude, as it suits the time period with its hat and jacket.
The Gustav character also wears purple. However, his suit is more expensive, formal, and as a result shows importance while still maintaining that he's related to the hotel. The light purple/lilac trousers also show this while also reflecting his personality - fun, bizarre, sexually promiscuous.