Before we leave the issue of style, I wanted to make one last point. A film may have a certain style, but it is very rare that that style doesn't evolve over the course of the whole film. You may decide that all of the scenes when a character is brooding will be darkly shot, slowly edited, and played mostly in close-ups. All the happier scenes will be bright, faster paced and use medium shots. You may remember the scene that we put music onto for Castles.
Notice how it combines high and low angles as well as different sizes. Joseph always gets the close-ups. This is the opening scene of the film, and we need to know who our focus should be and what the dynamic is between the two characters. This style of mismatching sizes helps us to do that. Later near the end of the film, you'll notice that things have changed. Let's take a look at a scene from later in the film. >> Hey, Dad.
>> Hey kiddo. So, you got a design for me? >> Yeah, I think so. >> Good. >> Thanks for the message. >> Just doing my job. >> So, what do we notice? Aside from one over the shoulder shot, onto our lead character, everything is evenly matched and music plays evenly throughout.
By this point in the film, we already know who our focus is. We have already been though Joeseph's arc. As a result, the style can change. This issue of style is completely wrapped up in the story of the film. So once again, the better you know your story and the better you know the dynamics of the story, the better you'll be able to direct, shoot, and edit it together. Now, let's do the same thing with the movie Magellan, which we looked at all the way back in Chapter two.
That scene came very near the end of the film as Magellin dealt with Tiana's betrayal. At that point in the movie we knew Magellin pretty well. We knew his struggles, what his hopes were, and we also knew the tone of the film. But let's go to an earlier part of the film where we didn't know any of that. In fact, let's go to the very beginning of the film. Here's the opening to the movie.
>> You okay, kid? >> Yeah. For your troubles. In features we say that you've got 10 minutes to do whatever you want with the audience, to tell them who to follow, what kind of movie they'll be watching, and to establish all the ground rules of the film.
Obviously in a short you don't have that kind of time, but the beginning of any project, whether it's a two hour feature. Where a 30 second commercial needs to set up the same things. So, what does the opening of Magellan do for us? For one, it tells us that the film has whimsy to it. The visual of a young boy dancing to classic music also sets him up as an outsider. Then the cut from him dancing to him being tossed around by the school bullies is also a stylistic choice.
The music gets louder and stronger there. It's an unexpected cut so it has some whimsy to it. Until we realize whats really going on and the way in which Magellan gets tossed around, says an enormous amount about his character. When we find him locked up in the school locker after the tidal card We are looking forward to see his reaction when he's freed. The filmmakers didn't need to spend much time with him before the janitor lets him out, it's all about the reaction of him, not being phased by it at all.
Within 1 minute and 15 seconds we have learned who our main character is, what his problem is, and what the style of the film is going to be. Of course the style of the film will change as it gets more soulful and as we learn more about Magellan and Tiana. And that's the point. Once again, the style is going to change, but the opening of the film bares a very large burden. Steering the audience on the path that we want them to take. And it will come as no surprise to you that, that comes right from the log line.
Start with an overview of concepts like the rule of threes, review a sampling of footage from films past and present, and then dive into script analysis. Find out when and when not to make cuts, how to collaborate with clients and directors during recutting, and how to ground the emotional backdrop for your piece with music and sound. Norman closes with a look at adapting to different genres and filmic styles.
- Exploring the history of video editing
- Controlling what the audience sees
- Identifying the logline
- Performing script and scene analysis
- Coming up with an editing plan
- Cutting from on-camera to off-camera action
- Understanding the value of recutting
- Shaping moments with music
- Working in a specific genre
- Mixing editing styles together