Thursday 1 August 2013

Moving the camera - 'The Extended Take'.

Over the last few weeks we have been concentrating on editing in terms of continuity, montage, and conventions. This week we want to shift emphasis to the camera and the frame - where we started at the beginning of the term.

There are times when, for artistic reasons, a Director will avoid using the cut.  Hitchcock shot 'Rope' in 4 unbroken takes (Each a reel of film).  The actors and the camera were choreographed to achieve the desired variations in shots and framing.  Since the film is based on a play the result is very theatrical in effect.  Other Directors have used the technique as a way of making a statement about their skills.  A famous example is from the opening sequence of "Touch of Evil'.  Orson Welles wanted to impress prejudiced Hollywood Producers in an attempt to re ignite his Hollywood career.  Below is the 4th and final take of the day.  Many of the extras had gone home but it's the one that made the edit.  It has a beginning, a development and conclusion.  It also serves to introduce the theme, main characters and context of the film.




That opening scene is SO famous that here it is referenced in Robert Altman's 'The Player'.  (This movie is stuffed full of insider references.  But the 'hommage' to Touch... is obvious and flagged up in the dialogue!)



One shot movies take the idea of 'extended takes' to it's extreme.  'Russian Ark's a whole actual film that was shot in a single take.  It was a huge undertaking.  It was shot on a video camera but the batteries meant that there was only enough battery power for a limited number of takes on the day.  Permission to use the Hermitage Museum meant that there was only ONE day to shoot.  Oddly it's the 4th and final take that was completed (it was the ONLY complete take).



Which brings us to Timecode.  Here we have 4 cameras all shooting simultaneously and then shown simultaneously as a split screen movie.  This movie was shot on new for the time Sony video cameras.  It was shot 14 times - they started shooting once a day.  Then the cast would watch it, agree changes with Mike Figgis the Director, then repeat the next day.  Sony pulled the plug so they went to 2 takes a day - making the full use of daylight hours.  The finished film is also the final take.  Take 14.



Can you actually tell a whole 'story' in a short single shot film?  Yes...



These films were made by Artists for the Arts Council a few years ago.  Their strengths are a simple idea, carefully staged and filmed.



We will do this as a team activity on Wednesday 12th December.  Meet at 2pm in GH201.  So prepare your teams and ideas ahead of the session.  You might want to get some props etc.  One member of the team will need a digital stills camera.

Final Task of the year! Plan and shoot single shot movie.  Slate your takes. Upload/embed reflect and review on the blog using behind-the-scenes photos. (So each team needs a photographer too.)

Remember to 'block' the movement through.  Plan the movement of the camera.  Hitchcock's advice is valuable here

“Make the most important thing the largest thing in the frame.”

Careful handling the camera.  Minimise rotation on the axis.  Be careful of risks of tripping and dropping the camera.  Focal length is important.  Use WIDE.  Why?

Rich Wood has prepared a screencast on 'grips' to help you.



Remember the action/narrative is a single ‘action’.  It needs a beginning – Inciting incident – development – resolution.  Beginning/middle/end.

Finally here are a selection of films related to expended takes in a single YouTube playlist.

'EXTENDED TAKES'


 

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