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Shots and Emotions

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  • Shots and Emotions

    Hello everyone. I am writing my short script out and I am just having so much fun do so. Every night I get some starbucks, I hope on the forum at star bucks, I read topics like the last one Director added I think it was Writing Tips and Tricks and I get motivated and I write. I write for about two hours at a time. I have come to a little bump in the road though....

    Because I want to direct this, I want to add the shots list as I write. My problem is;

    How do you choose your shots that are dealing with emotional moments, or intense moments? Like what angle? And how do I achieve the greatest effect in getting the audience to feel that emotion as well.

  • #2
    Wow Paul, Its so exciting to see how much you have grown in your knowledge, just from the questions you are asking I see you have learned so much here, and that always gets me pumped up!

    Ok, so great question. And honestly to get the best answer you should watch some of the best examples of these shots would be to watch some movies that give great examples of shots that deal with emotion.

    There are so many, the key here is to watch studio films and now instead of watching as a viewer, you need to watch as a filmmaker. Every shot and angle look and listen. Look at the shots, be it a Crane shot, a dolly shot, steady cam, and listen to the sounds during those shots. These were invented to make the camera invisible to the viewer, but now that you know to focus on them you will learn so much.

    That is my opinion anyway :)

    If you want some examples now, I can do that as well. Just let me know
    Distribber - Keep 100% of your film's revenue


    • #3
      Thank you Nick. So if you will,

      Lets say I have an intense moment where the lead actress realizes that her boyfriend was the kill all along. That would be a good time to have a "dolly in?" right? Like from a wide shot, to a close up.


      • #4
        Hey Paul, that is exactly right! Something that you might also want to look into is a "steven speilberg" :)

        Dolly in Zoom out - This kind of shot was first performed by Steven Speilberg in the move "JAWS"

        That shot would be great for something like that, add some strings to the audio and BAM, you got yourself a great shot!!!

        Hope that helps
        Distribber - Keep 100% of your film's revenue


        • #5
          Damnnnnnn Nick, If I could give you a vertual huge I would.. You just got me past my writers block... Please you FMF!


          • #6
            Hitchcock used that technique in "Vertigo" 17 years before "Jaws." Not to contradict the illustrious forum owner or anything ;-)


            • #7
              I stand corrected. Ok, so do the "Vertigo" shot :o

              Dolly in zoom out, or zoom in dolly out - All depends on the feel you are trying to achieve!

              Thanks Vance for the INFO!
              Distribber - Keep 100% of your film's revenue


              • #8
                I didn't even know that was how that shot was done, sweet. Hey Paul, Im with you man. I don't have work today so I will be making a margerita soon and will dim my lights and write write write!


                • #9
                  Okay, Paul, I'm just going to thank you for posting this because of what I learned from reading it. Though I'm less in the mood to write than to watch Jaws now. Heh.
                  Find me on Twitter: [at]Shadoe_Fox


                  • #10
                    Thanks everyone for your responses, it got me over the bump in the road!


                    • #11
             could use a curved dolly shot but they would need to be setting start with the camera on one character they start talking and the camera starts to move around to the other you could mess with speed of the movement or even use the camera passing the back of the head as a wipe
                      2. put one higher than the other then to the same level then have one move closer ( id have the lens size get wider and wider with each cut to tension)
                      3.have them both in frame but only the one that will hear the news center frame then push in slowly
                      4. use the old level change
                      5. use a profile shot focus on one the pull focus to the other


                      • #12
                        Nick's right on with his watch-the-movies advice.

                        Watch, watch, watch--but not as a casual viewer. Watch with a critical eye--what worked and what didn't? Usually, in a Hollywood production it almost all works.

                        By watching short amateur films, you can see how many techniques fail--then you ask yourself why...and learn from that.

                        Tons of short films on youtube...some really good, some downright silly.

                        Kurt Hathaway
                        VikingDream7 Productions
                        Video Production & Editing



                        • #13
                          Great ideas guys! Thanks for the info. Tonight I shall watch "THE MATRIX"


                          • #14
                            Nick can you do a video on this?


                            • #15
                              Originally posted by Paul77 View Post
                              Nick can you do a video on this?
                              Sure Paul, I will add this to the list of videos to do
                              Distribber - Keep 100% of your film's revenue