Analyzed 100 Hollywood Camera Moves Then Directed 1 Film
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- เผยแพร่เมื่อ 2 ก.ค. 2024
- This movie shows how I'm teaching myself to Direct film.
I’ve been analyzing why shots, moments and camera moves add meaning and feeling to the audience experience. This #nofilmschool method of teaching myself to be a better director had me itching to direct something myself. Having seen the possibilities I directed a short film and did a commentary showing what movies I got my shots and moments from including several camera moves from the 100 I’ve watched and analyzed. This is the reason why I do my channel. Maybe others watching can get the same insights from videos that I get from making them.
I stole from Steven Spielberg’s Jurassic Park, Spiderman Spiderverse, Coopla’s Apocalypse now, Rob Reiner’s Back to the Future and even the Duffer brothers’ Stranger Things, but watching all of these movies has really shown me the possibilities. - ภาพยนตร์และแอนิเมชัน
Looking down the barrel, very intimate. Good perspective. CAN'T WAIT FOR THE NEXT VIDEO
I never even thought about doing that as a director until i saw something on apocalypse now.
This was so cool to learn so much behind the scenes! I loved the comparisons of your films to other films.
Agreed
I learned a lot about how and why some of my shots fell short in making this video by comparing them to the best. Thanks for watching Alejandra!
Great work. Love the short and the last moment. Really concise directing.
Super appreciate it! It was fun coming up with the shots.
Love your breakdown of your short film here! Great, concise, and informative look into your influences!
Thanks! I'm hoping it's a model for how my other videos can be used to skill up others' directing projects/exercises.
Totally
@dollyintomeaning can't wait
Would love for you to analyze an old classic, like seven brides for seven brothers or fiddler on the roof!
I do love old movies!
Happy birthday !!!!!!
Thanks Katie!
i love your channel. great work and insight.
Thanks man!
This is a brilliant explanation. Subscribed.
I would like you to invite to see my two short films in my channel.
EL CONFESIONARIO
THE RECORD GIRL
Thanks! - I'm realizing its a good idea for me as film maker to do this with my projects after they are finished. Kind of like an exit interview. Then even missed opportunities, if I've reviewed in detail, can become a way to grow.
@@dollyintomeaning
Allow me the liberty to invite you to see my short films on my channel and let me know what you think.
EL CONFESIONARIO (English subs available)
THE RECORD GIRL (my thesis from film school).
Objectives, tactics and action verbs, while a helpful backup tool, are unbelievably overrated for directing actors. Alexander Payne told my classmates that at AFI. Any actor of substance will have learned that already and will see right through that.
I’m not saying don’t use them. But I am saying, don’t care so much about them. Just talk to your actor, find out exactly how they like to be communicated with, then communicate with them in that way. It’s easy. For a fun little 321 like this, it’s not a big deal, but if you want to get more into actors, being yourself and listening to them is a lot more important.
You have a lot of enthusiasm for camera movement, and that’s cool. And the short is designed well. Some constructive for you: if you really want to practice intentionality, and eschew traditional coverage, just… do that.
NO coverage or reverse angles at all whatsoever until the exact right moment, period.
And make strong, possibly alienating choices about what the audience does NOT see, just as much as what they do.
The reason that opening shot in Back to The Future is brilliant isn’t just because of how much the camera is revealing to you about character (just like in Rear Window’s opening shot of Scotty) it’s in the REFUSAL to cut to the next shot until it is absolutely unbearable. Zemeckis has a couple inserts for effect of Marty’s hands turning up the volume knobs, just because you cant see that in the master, and it’s funnier and more tonally appropriate to see the volume cranking up because it builds anticipation for the audience. But that master does NOT end *really* until Marty plays the first chord, that’s the kind of strong choice I’m talking about.
So for example, one compelling version of your short could have continued that opening tracking shot of the messy space all the way to the shot of her getting up with the keys in her hand, and being found out. And then THAT’s when you go handheld and shot reverse shot and push in to a closeup on the blondes face exactly as you did.
During that opening shot, if you kept it going, surveyed more of the room, your blonde lead dirtying the frame and crossing the lens multiple times - while her hurried dialogue and “business” communicates to the audience how stressed she is about finding that key) and panning to your brunette lead, seated at the table, and continuing the tracking shot into a long, slow, dramatic push in, with her center framed and preferably at eye level with her at the table, while her friend frets about crossing the frame now and then. They continue their dialogue, and we get a sense for, she’s hiding something: and then, in the exact same shot, you boom down to her hand, which holds the keys. She then gets up, and the second that your blonde lead sees the keys, then you cut in to the fast dolly and go handheld and all that. Etc.
Just one idea of how you could have done that. Your actors, even the blonde, could have had more room to play that way. It’s also way stronger sometimes to just make a strong choice about who are we focusing on and who are we not focusing on?
Some constructives. But keep making stuff! I’m here for it.
About action verbs, tactics etc, for me I think I agree. I acted a little bit in college and although I found these techniques the most concrete, but I didn't consciously use them in my best performances. In general I think directing actors is where I have the most growth opportunity. I need to get more comfortable with actors. I plan on directing a one act play to do that actually. I'm thinking it'll get the the most bang for my buck in terms of learning. But understanding changing tactics and objectives are also just good for understanding beats a director can shape in other ways. Although again some of that comes intuitively.
Really interesting suggestion in having the now hurried blonde dirty the frame while we push in on the dark haired roommate. I'm even thinking you could sneak in some close to closeups with the wipe. And maybe even cut to a wider shot if you wanted to release the tension. Honestly I'm a little hesitant about about having a camera move that long. The oners I've seen usually rely heavily on the actors moving closer and further from camera in essence creating closeups, mediums and wides without moving the camera. I can see a few problem that could be good opportunities the papers falling to the side might have to changed and maybe even made bigger, to be seen in something bigger than a closeup. Which might be fun to add. It does seem really intriguing. And a great challenge and exercise. Maybe an even cheaper reshoot would be a good idea to try this, just with friends and with natural lightly with my DSLR. I mostly like the oners that don't make themselves obvious so that would be a fun goal to try with your suggestion. Might really break my brain into new possibilities.
Thanks for the comments!
I might leave that mind breaking experimentation to a new project actually.