What are the functions of camera scheduling?

Camera scheduling in movie scene scheduling

The motion forms of camera scheduling are push, pull, shake, follow, move, rise and fall. According to the lens position, there are forms such as front shot, back shot and side shot; According to the lens angle, there are flat shot, up shot, down shot, lift shot, rotation shot and other forms. Generally speaking, shooting several consecutive shots in the same action form will give people a smooth feeling, and shooting from a leaning angle will give people a strong sense of opposition.

The scene scheduling of movies is an organic combination of actor scheduling and lens scheduling, which complement each other and are based on the character behavior logic determined by plot development, characters and role relationships.

In order to make the shaping of movie images more artistic, we can flexibly use the following three methods according to the needs of the plot when dealing with the scheduling of movie scenes:

What role does scene scheduling play?

Scene scheduling plays a role in portraying characters' personalities on the screen, reflecting their thoughts and feelings, expressing their relationships, rendering the atmosphere of the scene, and explaining the time interval and spatial distance.

It is also often used to refer to multiple single scenes in a movie to represent the movie. Known as the "grand undefined vocabulary" of film criticism. When scene scheduling is applied to movies, it refers to the camera and everything before its arrangement-composition, scene, props, actors, costumes and lighting.

In the process of filming and editing, the scene arrangement will affect the fidelity or credibility of the film in the eyes of the audience. Various design elements can sometimes hint at the inner state of the character by creating a sense of time and space and setting emotions.

In film and television dramas, a scene refers to a concrete picture of life formed by certain tasks and actions or character relationships that take place in a certain time and space (mainly space). Relatively speaking, the scene is a staged horizontal display of the plot content of characters' actions and life events in the specific development process. More simply, it refers to a series of continuous shots taken in one place.

Scene scheduling also includes the positioning and movement of actors and the composition of objects in the lens. These are all areas where directors are supervised. One of the most important people working with the director is the production designer.

The two work closely together to improve all aspects of scene scheduling for a long time before the actual photography (even at the beginning). Production designers are usually responsible for the overall appearance of the film, leading various departments, personal scenes, location, props and costumes.

Is scene scheduling the same as composition?

Scene scheduling of film and television shooting

In film art, scene scheduling includes actor scheduling and lens scheduling. The application of movie scene scheduling must be based on the plot, characters and the relationship between characters. Using scene scheduling, people can be portrayed on the screen, the atmosphere can be rendered, and the time interval and spatial distance can be explained, which is also an important role of modeling.

Actor scheduling is divided into:

(1) lateral scheduling, that is, the actors move laterally from the left or right of the picture;

⑵ Forward or backward scheduling, that is, the actor moves longitudinally facing or facing away from the camera;

(3) Oblique row, that is, the actor moves forward or backward along a straight line with a certain angle to the horizontal line of the lens;

(4) Up-and-down scheduling, that is, actors move vertically in opposite directions from above or below the screen;

5] diagonal row, that is, the actor moves in the opposite direction above or below the screen along a line at an angle to the vertical line of the lens;

[6] circular scheduling, that is, the actors do circular motion in the picture;

Once amorphous scheduling, that is, actors can move freely on the screen. The focus of actor scheduling lies not only in the aesthetic feeling of the actor's composition in the picture, but also in the action logic of the character in the specific situation.

The form of camera scheduling is the form of camera movement, such as pushing, pulling, shaking, following, moving, rising and falling. According to the lens position, it can be divided into forward shooting, backward shooting and side shooting. According to the lens angle, it can be divided into flat shot, back shot, prone shot, rotating shot and so on.

Movie scene scheduling is an organic combination of actor scheduling and lens scheduling, which complement each other. It is a character behavior logic based on plot development, character personality and character relationship. The combination of these two kinds of scheduling usually has the following three ways:

(1) depth scheduling, that is, in a multi-level space, with the change of the actor's position, make full use of various motion forms of the camera, such as following a character from one room to several other rooms deep in the house. This kind of scheduling makes use of the perspective relationship, so that the shapes of people and scenery can be strongly expressed in modeling and the sense of three-dimensional space can be strengthened.

② Repeated scheduling. In the same film, the same or similar actor scheduling or lens scheduling appears repeatedly, which will arouse the audience's association, understand its internal relationship and enhance its appeal.

③ Contrast scheduling. If the dynamic and static scheduling is combined with the strength of sound and the brightness of light and shadow, the atmosphere will be more intense.

Scene scheduling and montage are not contradictory. If these two special means of expression can be combined with each other, the film will be more infectious and convincing.

With the continuous development of film technology, the skills and forms of scene scheduling are becoming more and more colorful. However, we should avoid two tendencies, one is formalism that excessively pursues the effect of picture composition, and the other is naturalism that unilaterally emphasizes the truth of life.

The main content of director's scene scheduling

The main content of director's scene scheduling

Scene scheduling is a special way to create a movie image on the screen, which refers to the unified treatment of actor scheduling and lens scheduling. The word comes from the French mise-en-scène, which originally refers to a technique to deal with the performance position of actors on the stage of drama.

The main content of director's scene scheduling

The introduction of scene scheduling in film art creation is different in content and nature from that on the stage. It is not only related to the scheduling of actors, but also related to lens scheduling (or lens scheduling). The conception and application of movie scene scheduling must be based on the movie script, that is, the plot, characters and relationships provided by the script.

A director, actor, photographer, etc. We must design the scene scheduling based on the characters' actions and scene perspectives provided by the script and the actual shooting conditions. Using scene scheduling, we can depict the characters' personalities on the screen, reflect their thoughts and feelings, show the relationship between characters, render the atmosphere of the scene, and explain the time interval and spatial distance. Scene scheduling also plays an important role in the modeling of movie images.

Actor scheduling

Lateral scheduling: the actor moves laterally from the left or right side of the lens screen.

Forward or backward scheduling: the actor moves forward or backward to the camera.

Oblique row: The actor moves forward or backward in the oblique direction of the lens.

Up or down scheduling: the actor moves from the top or bottom of the lens screen in the opposite direction.

Oblique upward or downward scheduling: the actor moves obliquely upward or downward in the lens picture.

Cyclic scheduling: The actor moves in a circle in front of or around the camera.

Amorphous scheduling: actors move freely in front of the camera.

The director's focus in choosing the actor's scheduling form is not only to keep the spatial relationship between the actor and his environment perfect in composition, but also to reflect the character of the role and follow the action logic that the role must carry out in a specific situation.

Camera scheduling

The motion forms of camera scheduling are push, pull, shake, follow, move, rise and fall. According to the lens position, there are forms such as front shot, back shot and side shot; According to the lens angle, there are flat shot, overhead shot, overhead shot, lift shot and rotation shot. Generally speaking, shooting several consecutive shots in the same action form will give people a smooth feeling, and shooting from a leaning angle will give people a strong sense of opposition.

What is the core of fixed camera scene scheduling?

The core of fixed camera scene scheduling is to shape the space of the picture.

The role of schedule

1, reasonable scheduling can enhance the language and modeling of the picture, increase the expressive force of the picture and enrich the expressive forms of the picture.

2. Rendering the atmosphere, the camera can create and achieve certain artistic effects through scheduling.

3. Arranging shooting from different angles and different scenes can better represent montage.

4, help to grasp the rhythm of the whole film. Better formed the rhythm change of the picture.

Common scheduling methods

Scene scheduling of camera shooting includes two aspects: lens scheduling and character scheduling. Character scheduling: that is, the comprehensive action of performance and walking of characters. Lens scheduling: lens pushing, pulling, shaking, moving, following, etc. To express picture information.

These two scheduling methods complement each other and are usually used in combination. The ultimate goal of both scheduling is to get a reasonable, smooth and intuitive picture through shooting. Through editing, it is presented to the audience.

Specific content of shot scheduling

Shot scheduling can actually be divided into two levels, one is the scheduling of a single shot, and the other is the overall scheduling of the whole scene. Scheduling content includes:

1, determine the shooting position: including shooting angle, scene, viewpoint, etc. The shooting position needs to closely match the trajectory of the characters in the play, seek the best shooting position, and show the behavior, emotion, environmental atmosphere and spatial characteristics of the characters.

And in the case of more characters, we must firmly lock the perspective on the main performance object. The so-called cross-sectional view with a peak on the ridge side, the determination of aircraft position is an important link in lens scheduling.

2. Choose the appropriate focal length: wide-angle and telephoto expressive force are obviously different. Wide angle is suitable for representing big environment and big scene, and introducing spatial relationship. With its depth of field, telephoto can highlight the main body in the picture or strengthen the distance relationship between objects.