Posted by & filed under RMIT AIM course notes.


This week’s course notes:


  • used to visualize/refine ideas
  • to stream line production process and communicate with others
  • provide description of physical environment of a sequence( set design/background)
  • provide information about mood, lighting, editing
  • may provide brief notation on dialogue/sfx within a shot or the transition between shots
  • don’t show motion, actions within the frame or mocement of the camera

Camera to Subject relationships:

    1. Still subject, Still Camera
    2. In the Japanese Animation “Remembering yesterday” a still camera and a still subject is used to emphasise the little girls experience of eating a pineapple for the first time. Fasts cuts or a moving camera would make us miss the subtle reactions in her face as she bits down on piece of pineapple.

    3. Moving Subject, Still Camera
    4. Another example of Japanese animation given where a group of teenage boys are watching one girl in particular play tennis. We see the girl moving a lot but the camera doesn’t move, helping establish that we are seeing things from the pov of the boys, always concentrating on the one girl and not the other player.

    5. Still Subject, Moving Camera
    6. In Beauty and the Beast the opening scene sets the stage by moving a camera through the landscape, showing us where we are and then showing us the castle and so forth. The Subjects are still while the camera moves around andgive the audience clues and details which will be important in the story.

    7. Moving Subject, Moving Camera
    8. A very good example of a moving camera and moving subject is the chase scene in The Wrong Trousers. This type of relationship between the camera and the subject causes the audience the be put right in the middle of the action.

Camera movement dictates the revelation of information through time. The camera dictates the audiences POV.
Always ask yourself:

  • Why am I viewing this actions from this POV?
  • How am I being asked to feel about what I am viewing?

Because shot choice is never random (ok maybe in some student films!).
Where do you want to place the audience?

  • in the midst of the action?
  • in a position of privilege?
  • passive observers?
  • subjective participants?

Another example was East is East where the shyness of the character is emphasised by including a shot from the restricted view from inside the hood of the character’s parker jacket. In The Player the opening shot is 9 mins long with no cuts; the camera wonders around a big hollywood studio meeting different characters here and there and generally giving a voyeuristic feel to the audience while expressing the hectic pace of the studio and introducing us to the characters and preparing us for what’s about to happen.

Movement in Narrative
Movement also relates to how we move through/experience a narrative. The type of narrative dictates the type of movement.

  • Time loose, jumping back and forth
  • Real time, eg Tape, Russian Arc
  • Serial telling
  • Different perspective, eg Shortcuts, Crash, Rashamon, Melinda Melinda
  • Branching narrative, repeating a choice, eg Groundhug Day
  • Thematice non linear
  • Interconnected stories through events or characters

Guest Speaker: Juan Serrano
2006 Graduate of the RMIT AIM course Juan Serrano talked to us about the making of his film. His was a very enjoyable and down to earth talk. Here are some of the advice that he gave us:

  • Refine your script after you have got feedback from the staff and students, keep improving it. Just because the first pitch wen well doesn’t mean you should jump into animation straight away.
  • Script is 50% of the piece, the animation is 25% and the sound is 25%. Treat them accordingly.
  • Use your Minor project as a testing ground for your Major. In the Minor, try different techniques and software that you think you will use for your Major.
  • The other people in the group are very important as it is their energy which will help you finish your project successfully

Comments are closed.