Lessons
Lesson Info
Thinking in Sequences
we think in sequences. Okay, outside of the hundred eighty degree rules. So establishing shots set up your rule for you. Okay? You just set up your rule, and you have to live in the confines of that rule. But when you start to live in the confines of that rule, you start to kind of understand a little bit. Mawr. What? Your tolerances are for things. Okay, So when you think in sequences, I want you to move the camera and I want you to change your lens. And then I also want you to lead the viewer. Okay? What I mean about that is this This is what I call a jump cut. Okay, a jump cut isn't good, cause look at where she goes, so it's gonna jump back and forth. That's a huge indication that you have not moved the camera far enough. Okay, so watch it one more time. Move, Move. Okay, that's not good. It could take you out of the experience of watching your film, and it doesn't look right, does it? Okay, in order to do that, that sort of a cut you actually need to dissolve. And that screams lik...
e seventies you don't wanna do that. Okay? We're in the moment of right now. Heart like a like hard cuts where it cuts from one thing to another without a dissolve. So for us to be able to put two pieces of footage next to each other without requiring a dissolve, we have to move the camera. At least thirty agree degrees in position or change the angle of view at least thirty degrees. That means moving the camera. Ah, lot or changing your lens. Okay, So if my cameras here and I want to get another shot, I've other gonna And I don't want to move my camera. I gotta change my lens or move my camera. Okay, so here's what you Here's what we dio Okay, so this is now it works. Okay. Now it works, and it works simply because we have an ability to see a different part of this frame and come back to it. The camera moved enough lens changed position changed. It became something that we could digest while he watched. Okay, whereas like a jump cut, you don't move the camera enough and it starts to jar back and forth. And it's not pleasing. It's not compelling. All right, so the next thing we're gonna talk about is this idea of an eye line match. Okay, so this is all based off of that establishing shot, right? So you're establishing shot sets up your your hundred eighty degree rule and from your hundred eighty degree rule, you want to change your camera position where you gotta change it? Thirty degrees. Right. Well, let's say you wanna que in something you wanna que in that, that a character is happening or coming off screen or something happening off screen from your hundred degree rule establishing shot. You know what's calling I line Match. Okay. In an island match. Looks like this. So what do we What do we signal? There girls reading a book. She looks up and off screen. She looks up and off screen the next piece of footage that right after it is exactly what she's looking at. It didn't have to be that guy walking in. It could have been a cat, but it would have been what she was looking at. Okay, so think about your wedding. Think about your wedding. You got a bride. She's getting ready. She looks up on off screen. The next piece of footage is crucial in an edit. It could be the groom. It could be the mom. It could be the dad. It could be one or the other. Did it have to happen? No. You could make it happen. So she's reading and she's looking up and he's gonna come in. That's just is a good Q for you to be able to in your own work. Set your framework up for another shot. It helps you immediately start a transition for yourself. Okay, bride looking out the window, Look out the window. Maybe later on the day you get some kids playing out. Same viewpoint from the venture Point from the window. There's no reason why you couldn't put those two things together. Internet if it helps, Okay? It's not like lying. Reality TV is lying to you. This is just capturing an event. Okay, so, uh, kind of moving on. We have something called a cross cut. All right. And across cut is a separate set of actions that are indicated they happened at the same time because the characters come together at some point. Okay, so the very typical crosscut sequence. Is guys reading in an office and then the guys running. Okay, so it cuts back and forth, right, Guys reading guys running, pushing people out of way. Guy reading guy running through ah, copy machine into the door of the office going. We've got a problem. So it's these two independent actions. Okay, guys, just running. Guys just reading that air indicated they happened at the same time, because they meet. So you think about movies, right? If you got your villain whose across town you got your hero and the villains doing his thing and the heroes doing his thing and they could do the entire movie separately apart until they meet in the final end. Boss fight that entire movies just become a cross cut because it's insinuating that that entire movie, those actions that happened independently all happened at the same time. Okay, there's ah ah lot of chase scenes that are like this and action sequences where you know the guys off at one part of the town and other guys off at one part of town, and they're going through their own little obstacles, and then they meet on like the main thoroughfare of the giant city. And that's where they have their battle. Okay, so crosscuts are huge in in action movies, and they're actually kind of big to in, like Romcom, if you like. Look a watch. A lot of romantic comedies. Yeah, so not that I watch a lot of romantic comedies. I'm just saying. So in addition to your cross cuts and and and your online matches and all these other things, right, we have this kind of option. Now, if you look at what's called B roll, okay. And be role is this extra footage and we kind of referenced it earlier today. We represent a little bit earlier today and we're like, Well, you know, if I'm having footage that doesn't pertain to the primary action, is that Is that okay? Like, can I add that? Absolutely. That's what B roll is. So, b roll. My definition for it is footage added into a film that does not have direct impact on the overall story. Okay, you can literally take b roll out and you would still have your narrative. Whereas if you took crucial elements out of your narrative, you'd be missing story, right? So, for example, if we take a look at this next video, you can see that B roll really helps kind of enhance what's happening on screen. Because now it's not just her. It's his feet in her book and more books and her looking and he's coming in and it's a lot. Mawr kind of filled up all right with feet to be considered like answer that the books will be rolled sort of, because that's really not part of the story, per se, meaning there's the feet considered. Would that be more B roll or be plausible? Great question joking. That's a great question. That's a great question. So the role is constitute is constituted of two types of footage. Insert and cut away. Okay, insert and cut away Insert footage is footage that enhances the narrative. So if she's reading, a close up of the book is considered. Insert. Cut away footage is footage that is like palate cleansing fluff that, if you took out, has no bearing at all, has no contextual bearing has no narrative bearing. If you took it out, you won't even notice it was missing. I watch a lot of CSC, okay, a lot of sexy way too much. And if you watch see a sign, you watch it really closely, and I don't know why I do. But I dio in between intense scenes what, you're finding out, who the victim is or who the bad guy is. They always flash tons of shots of the city, tons of shots of the city and make it so that you're you're cleansing your palate. You're cleansing your palate so you can take the next morsel of content. Do you follow him saying so? Ah, lot of people use cutaway material to transition.
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