Story isn't about what happens, but how the characters feel about what's happening.
Conflict Protaganist's goals are impeded by obstacles Either the character, or the obstacle, must change Character change may force an obstacle change Outcome of conflicts depends on if the character can force change Stakes What's at risk if the character fails to pass obstacles Starts out at low risk, but each obstacle should raise stakes and lead to motivating character Climax Stakes are at the highest they can be Resolution Measured by the speed and efficiency by which it can tie up the story Plot X + Y = Z (Ted + eats a poison sandwich = and dies) Story Built on character arcs (Ted is gluttonous) "Planting" gives context to the story, and adds meaning (Ted is shown eating; Evil Ted plants a poison sandwich) Stakes (Ted has 1 dose of an antidote, but his girlfriend is also poisoned)
Time-based unit - 3 components 1.) Frame - single still image 2.) Shot - singular point of view, the camera stays in place (but may zoom). Cutting Long Shot - camera is farther away: favors environment Full Shot - shows entire body Medium Shot - typically from waist up; appx half of the character Close-up - typically the face; single section Extreme Close-up - focus on showing detail 3.) Scene - multiple shots taking place in the same location, or connecting locations
Camera positioning Analytical - aerial view - allows Involve the audience by staging the camera 180 Degree Rule - anything we're shooting has a "Line of Engagement" (or "Line of Action"). Pick one side and stay on it, otherwise it may lose some idea as to what's happening, getting spacially confused Line of Engagement - line along which the action is occuring From above - gives more bottom-heavy, stable look From below - gives more top-heavy, unstable look
Audience 3 questions What's going on? Who's involved? How should I feel about it? If at any point the audience can't answer this, you've failed. They're making up their own, and it doesn't make sense for them to be watching the story.
Line Orientation Vertical - power, domineering Horizontal - static, perhaps as part of scenery Diagonal - dynamic, action, motion Convergent diagonal lines give a greater sense of dynamism Zoom out while dollying the camera in
Vertical Proportion Relation of top of object to bottom Smaller top - stability Smaller bottom - not well grounded, weak
Dominance Audience assumptions Object occupying more of the frame is dominant Bottom of frame is the ground. If occupied, frame seems stable/safe Occupying the top of the frame implies danger.
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ReplyDeleteMoral Universe - "good" triumphs over "evil"
ReplyDeleteStory isn't about what happens, but how the characters feel about what's happening.
Conflict
Protaganist's goals are impeded by obstacles
Either the character, or the obstacle, must change
Character change may force an obstacle change
Outcome of conflicts depends on if the character can force change
Stakes
What's at risk if the character fails to pass obstacles
Starts out at low risk, but each obstacle should raise stakes and lead to motivating character
Climax
Stakes are at the highest they can be
Resolution
Measured by the speed and efficiency by which it can tie up the story
Plot
X + Y = Z
(Ted + eats a poison sandwich = and dies)
Story
Built on character arcs
(Ted is gluttonous)
"Planting" gives context to the story, and adds meaning
(Ted is shown eating; Evil Ted plants a poison sandwich)
Stakes
(Ted has 1 dose of an antidote, but his girlfriend is also poisoned)
Time-based unit - 3 components
1.) Frame - single still image
2.) Shot - singular point of view, the camera stays in place (but may zoom). Cutting
Long Shot - camera is farther away: favors environment
Full Shot - shows entire body
Medium Shot - typically from waist up; appx half of the character
Close-up - typically the face; single section
Extreme Close-up - focus on showing detail
3.) Scene - multiple shots taking place in the same location, or connecting locations
Camera positioning
Analytical - aerial view - allows
Involve the audience by staging the camera
180 Degree Rule - anything we're shooting has a "Line of Engagement" (or "Line of Action"). Pick one side and stay on it, otherwise it may lose some idea as to what's happening, getting spacially confused
Line of Engagement - line along which the action is occuring
From above - gives more bottom-heavy, stable look
From below - gives more top-heavy, unstable look
Audience 3 questions
What's going on? Who's involved? How should I feel about it?
If at any point the audience can't answer this, you've failed. They're making up their own, and it doesn't make sense for them to be watching the story.
Line Orientation
Vertical - power, domineering
Horizontal - static, perhaps as part of scenery
Diagonal - dynamic, action, motion
Convergent diagonal lines give a greater sense of dynamism
Zoom out while dollying the camera in
Vertical Proportion
Relation of top of object to bottom
Smaller top - stability
Smaller bottom - not well grounded, weak
Dominance
Audience assumptions
Object occupying more of the frame is dominant
Bottom of frame is the ground. If occupied, frame seems stable/safe
Occupying the top of the frame implies danger.