Motion Information and Media Handout PDF

MOTION INFORMATION AND MEDIA UNIT 6 ZWEETZEL NICOLE H. AVANZADO, LPT, MAED  OBJECTIVES MOTION INFORMATION AND MEDIA Identify and describe different types of motion media...

MOTION INFORMATION AND MEDIA UNIT 6 ZWEETZEL NICOLE H. AVANZADO, LPT, MAED  OBJECTIVES MOTION INFORMATION AND MEDIA Identify and describe different types of motion media 01 and their use Identify and describe the organic elements and 02 principles of motion media and analyze how they are utilized to communicate the message Exhibit adequate ability to produce motion media text 03 in an effective and efficient manner  MOTION INFORMATION AND MEDIA LESSON 1 Introduction to Motion Information and Media This topic gives a brief history, description, types and purposes of motion media. MOTION INFORMATION AND MEDIA MOTION INFORMATION AND MEDIA dynamic as it relays information to an audience using moving images often accompanied with sound enhancing emotional impact and understanding MOTION INFORMATION AND MEDIA CLASSIFICATIONS OF MOTION MEDIA According to Content or Purpose Educational News and Advertisement Public Service Narrative Entertainment Announcement MOTION INFORMATION AND MEDIA CLASSIFICATIONS OF MOTION MEDIA According to Format Live Action & Animated Video Codecs Interactive Animation GIFs H.264 (AVC): YouTube to Blu-rays; H.265 (HEVC): high-resolution content; MPEG-2: DVDs and some digital TV broadcasts. MOTION INFORMATION AND MEDIA CLASSIFICATIONS OF MOTION MEDIA According to Source Cinema TV Broadcast Video Streaming Platforms  THE BEGINNING OF FILM MOTION INFORMATION AND MEDIA The term ‘film’ comes from the fact that photographic film was the medium for recording and displaying motion pictures. A film is a group of images displayed one after the other at a high speed to create the illusion of movement.  EVOLUTION OF FILM MOTION INFORMATION AND MEDIA Kinetograph Trip to the Moon The Great Train Robbery watching animated photographs more sophisticated images to stories and technique in narratives filmmaking MOTION INFORMATION AND MEDIA FILM a medium that tells a story through a sequence of moving images, often accompanied by sound may vary in length (short films, feature-length productions) and encompass a wide range of genres and styles is produced for various purposes such as entertainment, education, artistic expression, and social commentary  MOTION INFORMATION AND MEDIA HOW ARE GENRES FORMED? FOCUS QUESTION  FILM GENRES 01 ACTION 02 COMEDY 03 CRIME defined by risk and stakes; defined by events that are deals with both sides of the the bulk of the content is intended to make someone criminal justice system; action-oriented (fight laugh often occupy moral gray scenes, stunts, car chases, areas where heroes and and general danger) villains are harder to define TEXT AND VISUAL INFORMATION AND MEDIA  FILM GENRES 04 DRAMA 05 FANTASY 06 HISTORICAL defined by conflict and defined by fictional universe may be accurate often looks to reality rather with an unrealistic set of representations of historical than sensationalism; natural laws; incorporates accounts or stories placed focuses on emotions and magic, mythical creatures, and inside an accurate depiction intense situations supernatural elements of a historical setting TEXT AND VISUAL INFORMATION AND MEDIA  FILM GENRES 07 HORROR 08 ROMANCE 09 SCI-FI centered upon depicting defined by intimate defined by a mixture of gore or macabre events; relationships; leans on the speculation and science; designed to get the heart natural conflict derived incorporates space, biology, pumping and show a from the pursuit of intimacy energy, time, glimpse of the unknown and love TEXT AND VISUAL INFORMATION AND MEDIA  FILM GENRES 10 THRILLER 11 WAR 12 MUSICAL mostly elicits strong center around large-scale can incorporate any other emotions like suspense conflicts between opposing genre, but features song and anxiety; gets your forces inside a universe that numbers and dance heart racing shares the same natural numbers laws as our own TEXT AND VISUAL INFORMATION AND MEDIA FOCUS QUESTION HOW DO FILMMAKERS MOTION INFORMATION AND MEDIA MAKE US FEEL WHAT THEY WANT?  MOTION INFORMATION AND MEDIA LESSON 2 Elements of Motion Media This topic gives an introduction to the crucial elements of film that help film makers communicate their intended message. MOTION INFORMATION AND MEDIA MISE-EN-SCENE placing on stage all of the elements that appear on the camera and how they are arranged creating the most meaningful image  ELEMENTS OF MISE-EN-SCENE COLOR MOTION INFORMATION AND MEDIA evokes mood and emotions to audiences, even before actors say their first lines SET the physical environment of the film that informs the time and place; creates the world of the film COSTUME & MAKEUP conveys a character's personality, social status, and the time period in which the story is set  ELEMENTS OF MISE-EN-SCENE PROPS MOTION INFORMATION AND MEDIA essential objects that actors interact with or that exist within the film’s environment LIGHTING influences the mood, tone, and overall aesthetic of a scene ACTOR BLOCKING AND MOVEMENT how characters interact with each other and their environment  Source: Kevin Castañeda COLOR IN FILM RED represents intense feelings, evokes ideas of action, and can accelerate the audience’s MOTION INFORMATION AND MEDIA heart rate and breathing; mostly used in action, thriller, horror and suspense movies. May also imply: rage, desire, excitement, energy, speed, heat, aggression, fire, blood, war & strength.  Source: Kevin Castañeda COLOR IN FILM PINK MOTION INFORMATION AND MEDIA the combination of red and white; mostly associated with the social construct of femininity, as well as soft and light feelings. May also imply: health, happiness, contentment, romance, softness, & delicateness.  Source: Kevin Castañeda COLOR IN FILM MOTION INFORMATION AND MEDIA YELLOW grabs and holds attention quickly; difficult for the eye to take in when there’s too much of it in a space making it unsettling. May also imply: knowledge, joy, idealism, imagination, hope, sunshine, summer, dishonesty, betrayal, jealousy, covetousness, deceit, illness, & hazard.  Source: Kevin Castañeda COLOR IN FILM ORANGE MOTION INFORMATION AND MEDIA a combination of red and yellow creating a combination of mental responses to these colors; usually seen after the rising action. May also imply: humor, energy, expensiveness, & flamboyance.  Source: Kevin Castañeda COLOR IN FILM MOTION INFORMATION AND MEDIA GREEN generally symbolizes the environment and other soothing thoughts; associated with stronger emotions. May also imply: healing, perseverance, tenacity, self-awareness, health, renewal, youth, vigor, generosity, fertility, inexperience, & envy.  Source: Kevin Castañeda COLOR IN FILM MOTION INFORMATION AND MEDIA BLUE often represents a positive mood; can cause body to produce calming chemicals; popularly represents masculinity consciously and subconsciously. May also imply: faith, spirituality, contentment, fulfillment, peace, tranquility, stability, harmony, unity, trust, truth, conservatism, security, cleanliness, sky, water, &technology.  Source: Kevin Castañeda COLOR IN FILM PURPLE seen as a rare and artificial color because it is not often seen in nature; MOTION INFORMATION AND MEDIA commonly understood as a feminine or romantic color. May also imply: nobility, spirituality, ceremony, transformation, wisdom, enlightenment, arrogance, mourning, sensitivity, intimacy, & luxury.  Source: Kevin Castañeda COLOR IN FILM MOTION INFORMATION AND MEDIA BROWN commonly attributed to feelings that match qualities of the earth and one’s home. May also imply: materialism, sensations, realiability, ruggedness, solidity, hardness, outdoors, & stability.  Source: Kevin Castañeda COLOR IN FILM MOTION INFORMATION AND MEDIA BLACK can elicit both negative and positive feelings; commonly used in scenes that involve religious settings; a known sign of submission. May also imply: power, sexuality, formality, elegance, unhappiness, anonymity, depth, style, sadness, remorse, & anger.  Source: Kevin Castañeda COLOR IN FILM MOTION INFORMATION AND MEDIA the absence of color; mostly associated with the qualities of purity and medical professions. May also imply: innocence, protection, love, reverence, cleanliness, precision, birth, sterility, marriage, & coldness.  COLOR IN FILM MOTION INFORMATION AND MEDIA COLOR SCHEME encompasses the palette of colors used in costumes, sets, lighting, and visual effects, influencing how viewers perceive characters and scenes MONOCHROMATIC COMPLEMENTARY ANALOGOUS TRIADIC  COLOR IN FILM SYMBOLISM THROUGH COLOR MOTION INFORMATION AND MEDIA 01 DISCORDANT COLORS deliberate use of colors that clash or deviate from the balanced types of color schemes and color palettes used in the film to draw the eye to the to symbolize conflict, to create a sense of object or person who chaos, or contrast within a discomfort or unease and stands out narrative build tension  COLOR IN FILM SYMBOLISM THROUGH COLOR MOTION INFORMATION AND MEDIA 02 ASSOCIATIVE COLORS when a recurring color or scheme represents a theme or character in a film; combines a memorable visual cue with storytelling to help in character to represent a theme or to create contrast between development making idea (orange symbolizing characters and show characters more memorable death or violence) opposition  COLOR IN FILM SYMBOLISM THROUGH COLOR MOTION INFORMATION AND MEDIA 03 TRANSITIONAL COLORS use of colors to signify a change or transition between scenes, moods, or character states change in character state change in mood  SET MOTION INFORMATION AND MEDIA provides subtle visual cues that can intensify the unfolding drama and enhance the narrative The eerie design of the Overlook Hotel builds tension and foreshadows the main character's descent into madness. creates an atmosphere that complements the film's mood, making the narrative more immersive The cityscape in the Blade Runner mirrors its themes of dehumanization and moral ambiguity in a dystopian world. transforms the environment into a character itself, adding depth to the story and enriching the viewer's experience The vibrant sets in Amelie reflect the film's tone and the protagonist’s personality.  TYPES OF FILM PROPS MOTION INFORMATION AND MEDIA HAND PERSONAL SET BREAKAWAY PROPS PROPS PROPS PROPS any prop that is carried typically worn by an props that are placed props designed to by or handled by a actor or at least carried on set like furniture break on cue or on an character by them consistently TRIM PROPS: any prop that action hangs on the wall that an actor interacts with  LIGHTING 3-POINT LIGHTING SETUP MOTION INFORMATION AND MEDIA BACK LIGHT gives an edge light to the rear portion of the subject KEY LIGHT used as your primary lighting point FILL LIGHT used to fill in the shadows of the frame  LIGHTING 3-POINT LIGHTING SETUP MOTION INFORMATION AND MEDIA  WHAT IS THE FOCUS QUESTION DIFFERENCE BETWEEN MOTION INFORMATION AND MEDIA HARD AND SOFT LIGHTING?  LIGHTING LIGHTING TECHNIQUES MOTION INFORMATION AND MEDIA PRACTICAL MOTIVATED NATURAL LIGHTING LIGHTING LIGHTING using light sources that are the technique used to using and modifying the physically present within a imitate or accentuate light that is already scene and can be seen on existing light sources available at the location screen  ACTING TIPS 01 UNDERSTAND YOUR CHARACTER Dive deep into your character’s background, motivations, and relationships. Find ways MOTION INFORMATION AND MEDIA to connect personally with your character’s experiences. 02 STAY PRESENT Pay attention to your scene partners and respond naturally to what they say and do. Focus on being in the moment rather than overthinking your performance. 03 PRACTICE VOICE CONTROL AND BODY LANGUAGE Work on your voice projection, clarity, and modulation. Use gestures, posture, and movement to enhance your character’s portrayal. 04 STAY COMMITTED Study performances by seasoned actors; analyze their techniques, choices, and how they convey emotion and character. Be open to feedback and direction from directors and peers.  BLOCKING placement and movement of characters; how they interact with each other, the props, and the set MOTION INFORMATION AND MEDIA SPACE SHAPE LINE who appears larger in the circle mean more vertical lines appear more frame may be more imposing approachable, square looks powerful than diagonal and than those who are smaller closed in, and triangle horizontal lines focuses attention to the apex MOTION INFORMATION AND MEDIA CINEMATOGRAPHY the art of motion-picture photography comprises all on-screen visual elements like the different camera works, lighting, color, and also lens choices, filtration, and exposure. MOTION INFORMATION AND MEDIA MOTION INFORMATION AND MEDIA  Static CAMERA MOVEMENTS no camera movement non distracting best for dialogue MOTION INFORMATION AND MEDIA precise composition Zoom in/out adjusting the lens while camera stays stationary can add energy or impact to a scene brings a key detail into focus feels unnatural used in horrors and thrillers.  Dolly in/Push in CAMERA MOVEMENTS smooth movement towards the center of interest immersing the viewers in the film MOTION INFORMATION AND MEDIA focus the viewer's attention on a particular object or subject Dolly out/Pull out smooth movement away from the center of interest a signal that the audience is moving away from the character can detach characters and action  Dolly Zoom CAMERA MOVEMENTS the camera crew dollies backward or forward while simultaneously zooming the lens in the opposite MOTION INFORMATION AND MEDIA direction creates a sense of unease in the viewer simulates a spatial warp Pan right/Pan left moving camera left to right or ice versa from a fixed position often motivated by a character’s actions great for revealing a landscape or character  Whip pan CAMERA MOVEMENTS pan done quickly with speed also motivated by a character’s actions MOTION INFORMATION AND MEDIA adds energy to a shot Truck type of tracking shot in which the entire camera moves left or right along a track set the pace of a scene or follow a character’s movement  Tilt up/down CAMERA MOVEMENTS rotating camera up and down from a fixed position similar to someone raising or MOTION INFORMATION AND MEDIA lowering their head to look up or down used to give a character dominance Boom up/down entire camera raises or lowers in relation to the subject used to frame a tall or high subject, such as a building, while keeping the framing at eye level  Arc CAMERA MOVEMENTS orbits the camera around a subject in an arc pattern centralize the audience's attention MOTION INFORMATION AND MEDIA effective at heightening tension when characters barely move at all Following the camera continuously follows the subject’s action used in walking and talking scenes helpful for showing a stretch of road or scenery  Handheld CAMERA MOVEMENTS notorious for being the overly shaky type of shooting that does not rely MOTION INFORMATION AND MEDIA on a fixed camera position  TECHNIQUES IN SHOT COMPOSITION Shot composition is the arrangement of visual elements to convey an intended message. MOTION INFORMATION AND MEDIA RULE OF THIRDS composition in which an image is divided evenly into thirds, both horizontally and vertically the intersections of the lines are points of interest, where important objects are often placed  TECHNIQUES IN SHOT COMPOSITION Shot composition is the arrangement of visual elements to convey an intended message. MOTION INFORMATION AND MEDIA ASYMMETRY composition in which one side has more visual weight than the other common in natural forms; creates more complex relationships between elements making it more interesting  TECHNIQUES IN SHOT COMPOSITION Shot composition is the arrangement of visual elements to convey an intended message. MOTION INFORMATION AND MEDIA SYMMETRY composition in which each side has equal visual weight usually seen as beautiful and harmonized; however, it can also be seen as static and dull  TECHNIQUES IN SHOT COMPOSITION Shot composition is the arrangement of visual elements to convey an intended message. MOTION INFORMATION AND MEDIA LEADING LINES actual or imaginary lines in a shot, that lead the eye to key elements in the scene used to direct the viewer’s eye or connect the character to essential objects, situations, or secondary subject  TECHNIQUES IN SHOT COMPOSITION Shot composition is the arrangement of visual elements to convey an intended message. MOTION INFORMATION AND MEDIA LEAD ROOM the open space in front of, or in the direction that the subject is looking or moving HEAD ROOM the open space in front of, or in the direction that the subject is looking or moving  TECHNIQUES IN SHOT COMPOSITION Shot composition is the arrangement of visual elements to convey an intended message. MOTION INFORMATION AND MEDIA FRAME WITHIN A FRAME the use of visual elements like windows in a scene to border a subject, further drawing the focus to them  CINEMATOGRAPHY TIPS 01 TAKE B-ROLLS WITH A-ROLLS Besides the main footage, take establishing shots, atmospheric shots, to have a wide MOTION INFORMATION AND MEDIA range of footage to choose from and fill in any dead air. 02 EXPLORE DIFFERENT SIZES, ANGLES, & MOVEMENTS Use a combination of different shot sizes, camera angles, and camera movements to maintain visual interest. 03 PLAN THE MISE EN SCENE Plan ahead how the actors would look like in the frame and with other elements. Identify the crucial visual elements that should be seen in the frame. 04 PRACTICE, PRACTICE, PRACTICE Follow your instincts and break the rules of composition here and there. Continuously experiment and shoot. The more you practice, the more you'll develop your style and understanding of cinematography. MOTION INFORMATION AND MEDIA SOUND DESIGN enhances the mood, atmosphere, and/or tone includes sound effects, sound design, mixing, Foley sound design, dialogue, and music crucial in creating an immersive experience for the audience  WHAT IS THE FOCUS QUESTION DIFFERENCE BETWEEN MOTION INFORMATION AND MEDIA DIEGETIC AND NON- DIEGETIC SOUNDS?  SOUND DESIGN ELEMENTS OF SOUND DESIGN IN FILM MOTION INFORMATION AND MEDIA AMBIANCE FOLEY SOUNDS SOUND EFFECTS helps immerse the audience by reproductions of everyday sounds that don’t occur telling them where the action sounds added in post- naturally and are computer takes place production generated VOICE OVERS MUSIC DIALOGUES a voice speaks over the video’s known as scoring; adding the spoken communication main soundtrack to provide music to a video can set the between characters or further context tone, elicit emotions, and raise individuals in a scene tension.  PRINCIPLES OF SOUND DESIGN MIXING MOTION INFORMATION AND MEDIA the process of optimizing and combining multitrack recordings into a final sound product PACE the editing and the time control of sound design; equivalent to tempo TRANSITION process of getting from one element or fragment of sound design to another  MOTION INFORMATION AND MEDIA LESSON 3 Phases of Motion Media Production This topic lays out the crucial phases of filmmaking.  PHASES OF FILMMAKING 01 02 03 04 05 DEVELOPMENT PRE-PRODUCTION PRODUCTION POST-PRODUCTION DISTRIBUTION includes fleshing out planning; includes principal photography; includes video editing, marketing and the story idea, writing creating storyboards and actual filming phase sound design, adding distributing to a draft of the script, shot lists, casting actors, visual effects, color theaters, streaming and figuring out the scouting locations, correction, and creating platforms, or other financial logistics designing sets, and the final cut of the film media scheduling shoots MOTION INFORMATION AND MEDIA THAT’S A WRAP! MOTION INFORMATION AND MEDIA