Figure

Camera setup #12. Resolves separation.

Note: When shooting actors within a composition that is subject to change, the tripod should not be locked in place, so that even slight adjustments to the framing can be made to accommodate the actor's movements.

Camera Setup #13: FAMILIAR FRAME TURNS INTO MEDIUM SHOT OVER CUSTOMER'S LEFT SHOULDER on COUNTERMAN, PANS WITH HIM

This camera setup (Figure 8-22) is exactly the same framing as camera setup #6, but a new number is given in order to reduce confusion.

The first job of this camera setup will be to show Customer taking command of the stool after Counterman surrenders the pie. But because its framing begins the same as camera setup #6 (Figure 8-13) — the familiar frame for entrance of Female Cop — it will serve to keep that frame alive. It can also serve to render some or all of the actions that Counterman performs after his surrender and before he walks away "to grieve" (Figure 8-23).

In panning with Counterman, the shot will "lose" Customer. This will have the effect of isolating Counterman's grief.

The camera will come to a complete rest as, or slightly before, the Counterman reaches his new position, in a frame that now renders him in a medium shot (Figure 8-24).

Camera Setup #14: CLOSE-UP on COUNTERMAN (FULCRUM)

This shot overlaps with #13. Counterman will enter shot from camera right, "lean on the counter, his head in hands, a picture of utter defeat." This is the fulcrum

FIGURE 8-22 —

Camera setup #13.

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