Chapter 7 DIRECTIONAL CONTINUITY
IMPORTANCE OF ESTABLISHING DIRECTION
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The direction in which a subject moves, or the direction in which a person looks, cause the most vexing problems in motion picture continuity.
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If a complete production could be photographed in a single shot there would be no directional problems!
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motion picture is made up of a series of shots, filmed from different camera angles and when put together in a seuence, forms a chapter in the story
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series of chapters are combined to make up the complete narrative.
IMPORTANCE OF ESTABLISHING DIRECTION
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If an established move in a particular direction is unaccountably changed in consecutive shots, the picture"s continuity gets disrupted, disrupted, that distracts distracts or even confuses the audience audience n unexplained change in screen direction can result in a serious mismatch #irectors working from a shooting script often rely on the director of photography for screen direction, so that subjects look and move in the correct direction. $n failing to pay particular attention the cameraperson may get into serious directional trouble. #irectional continuity can be easily mastered if given attention
IMPORTANCE OF ESTABLISHING DIRECTION
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%o better way for a cameraman cameraman to win the respect of a film editor than by delivering delivering footage that &cut together& 'istakes call for optical flop over, or other reversing editing tricks ( necessary for salvaging carelessly(filmed carelessly(filmed footage motion motion picture lives in a world of its own. There is only a single viewpoint) the lens of the camera. *ow the camera sees the subject is important ( not how it appears in actuality. actuality. ction is judged only by its screen appearance+ by the way it should look ( and not the way it actually appears while being filmed.
SCREEN DIRECTION
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There are two types of screen directions) #-%'I /0odies in motion1 2TTI /0odies at rest1
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DYNAMIC SCREEN DIRECTION onstant+ either left(to(right or right(to(left ontrasting+ both left(to(right and right(to(left %eutral+ toward or away from the camera
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STATIC STATIC SCREEN SCREE N DIRECTION DIRECTI ON /0odies at rest1 oncerned with face and look of the static subjects on screen
DYNAMIC SCREEN DIRECTION - Constant
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onstant screen travel depicts subject motion in one direction only. 2ame direction is needed to show continued progression.
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If a shot suddenly depicts the person or vehicle moving in the opposite direction to that previously established, the audience will receive the impression that the moving subject has turned around, and is returning to the starting point!
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$nce screen direction is established for a particular travel pattern it should be maintained.
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amera angles and shot types may be varied but direction of movement must not be changed.
DYNAMIC SCREEN DIRECTION - Constant
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3stablished screen direction should be maintained throughout a travel seuence 4hen cutting from exterior of a moving object to an interior shot, camera must shoot from the same side for smoother transition ( deviate camera angle later to continue interior seuence In the following example the narrative is concerned solely with activity inside a train, but whenever the moving train is suggested ( it shows a constant direction of travel. The train enters from screen left, moves across the screen in a left(to(right direction.
DYNAMIC SCREEN DIRECTION - Contrasting
• ontrasting screen travel may be used to show subject5s comings and goings /descriptive phrase used by early film makers1 • 'ay depict opposing subjects moving towards each other • #epicts subject motion in opposite direction • $ccurs because audience is oriented through preceding shot establishing the direction • 6eft scene depicts group traveling toward, group at right is returning opposite direction.
DYNAMIC SCREEN DIRECTION - Contrasting
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'oving opposition edited in alternate pattern may predict a clash.
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$pposing action shots are filmed with alternate pattern of progressively closer shots as the action reaches its climax.
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2uch closer(and(closer closer(and(closer shots may be cut shorter s horter and shorter, so that the seuence builds from lengthy long shots to shorter medium shots, to clipped close(ups and a fren7ied finish.
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The viewer"s emotions are, excited by the acceleration editing pattern and involved deeply as the camera moves into the clashing climax.
NEUTRAL SCREEN DIRECTION
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%eutral screen screen direction depicts depicts moving subjects traveling traveling toward or away from from the camera. camera.
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%eutral movements movements are non(directional non(directional ( may inter(cut inter(cut scenes scenes showing movements movements in either direction direction
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Three types of %eutral 2hots *ead(on and tail(away shots Tracking shots *igh or low angle shots
NEUTRAL SCREEN DIRECTION - Head-on and tail-away shots
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2ubject moves directly toward or away from the camera.
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2uch shots are neutral only as long as the moving image remains centered in the frame.
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n entrance or exit will denote direction.
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The front or rear of the moving subject should be depicted for an absolutely neutral effect.
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If one side is seen, such as the side of an actor or a car, the direction of travel will be indicated.
NEUTRAL SCREEN DIRECTION - Head-on and tail-away shots
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head(on head(on shot may begin neutral and then exit one side of the picture to match(cut with a following directional shot.
NEUTRAL SCREEN DIRECTION - Head-on and tail-away shots
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tail(away tail(away shot may enter one side of the picture and then become neutral before it moves away from the lens.
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2uch shots may be used deliberately to switch screen direction, by presenting a temporary neutral condition between two directional shots.
NEUTRAL SCREEN DIRECTION - Head-on and tail-away shots
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In head(on shots, on occasions a subject walks 8runs8 moves directly toward the camera and covers the lens, so that the screen is blacked out
NEUTRAL SCREEN DIRECTION - Head-on and tail-away shots
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In tail away a subject moves directly away from the camera so that the lens is uncovered and the setting is revealed
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9reuently used for fast seuences, or for providing fade(in or fade(out effects
NEUTRAL SCREEN DIRECTION - Tracking shots
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Tracking Tracking shots, in which the camera moves directly ahead or directly behind the player or vehicles, are neutral if the subject does not enter or exit the frame.
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3ither a front or rear view is depicted
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It is not a neutral tracking shot if a side or three(uarter angle is filmed, one side of the subject is favored, and the shot indicates direction of travel.
NEUTRAL SCREEN DIRECTION – High High or Low angle shots
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In such shots the moving subject travels directly toward and under or over the camera, so that it exits either bottom or top of the frame.
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3xamples ( car filmed from a high angle may travel directly under the camera. train or a jumping horse may travel directly over the top of a low(angled camera. camera.
USE NEUTRAL SHOTS
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To provide visual variety ( variety ( constant left(to(right left(to(right or right(to(left series of shots may be broken up with neutral subject movement.
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*ead on or tail away are a welcome change from usual three uarter angle
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*igh or low angle furnish contrast to eye level shots
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*ead(on shot is used to open o pen a seuence and bring subject from a distant point toward the audience
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Tail(away shot is used to close a seuence by having the subject recede from the camera
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2uch shots present moving images which increase or decrease in si7e as they advance or retreat from the viewer, and thus effect a great depth than cross screen shots.
USE NEUTRAL SHOTS
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To provide greater audience impact – *ead on shots place the viewer dead center, center, with the action advancing toward him.
USE NEUTRAL SHOTS
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To distract the audience audience seuence depicting subject subject travel in a constant direction, direction, is often filmed with one or more shots moving in the opposite direction by inserting a neutral shot that allow the editor to reverse movement completely without the abruptness of a direct cut from a directional shot
ACTION AXIS
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$nce the left(to(right or right(to(left directional movement is established, it must be maintained throughout a series of shots, by remaining on the same side of the action axis.
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new location location will reuire drawing a new axis but reuires to remain on the same side as the original axis to preserve established travel direction.
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If the camera camera is always positioned on the same same side of the axis, the directional continuity will be filmed and maintained automatically.
ACTION AXIS
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$nce the left(to(right or right(to(left directional movement is established, it must be maintained throughout a series of shots, by remaining on the same side of the action axis.
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new location location will reuire drawing a new axis but reuires to remain on the same side as the original axis to preserve established travel direction.
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If the camera camera is always positioned on the same same side of the axis, the directional continuity will be filmed and maintained automatically.
