Visual Language - The POV

[J.R. Hud]

New arty on my blog for you filmmaker junkie types.

I chose a small one this time but think I stumbled across a nice point.

Break your script down visually first, then worry about dialogue ! This scene is a prime example of turning off the volume and getting exactly what is going on.

Hope you enjoy it !

http://www.cineobscure.com/visual-language-braveheart/

 

[Tom Lowe]

Hey nice one on Braveheart. You really pay attention and get into the details of this stuff. Braveheart is one of my top ten films for sure. It made a big impact on me as a young man, and the photography is a tour de force.

I bow to Toll.

 

[J.R. Hud]

Thanks for looking Tom

I updated the article to address a key issue on a line crossing in the scene.

I am not an expert, but always striving to learn and understand even if someone else points out an error or enlightens me !

Thank you for looking !

John !

 

[BASSAM MSSALATIE]

Thanks for this great thread .very rich.

 

[Jason Sinclair]

Thanks for looking Tom

I updated the article to address a key issue on a line crossing in the scene.

I am not an expert, but always striving to learn and understand even if someone else points out an error or enlightens me !

Thank you for looking !

John !

That's not technically a line jump because the the eye line establishes a new line. the jump occurs when say, for example, two people are looking at each other and you cross over but the eyeline establishes a new line. See most dinner table scenes for this.

 

[Christoffer Glans]

A good way to get a new angle of the POV is to play fps games. The game I really think took the POV to a level beyond movies is "Half Life 2". For those that haven't played the game; the story takes place in a world controlled by an alien race called "the combines" (due to them not having a true form of them own, just a combination of other spieces). The world is a "1984" kinda place with big screens that spew out propaganda from a human that think we should turn over to the alien race, not rejecting them. A resistance has (of course) been growing in the dark and it all explodes when you, a scientist that has been layed in stasis by a mysterious man called "G-man", wakes up on a train on route to "city-17" (somewhere in europe).

Now, there are no cutscenes that tell the story and there's no outside camera. The entire story is told through the eyes of the main character (Gordon Freeman). He also never speak and there's little hints that we, the players are a part of the story in a kind of meta-way.
The thing that makes this intersting is that the story, backstory, character backgrounds and all aren't spewed out as a textbook before the drama begins. The drama begins directly and everyone around you really think you already know what they know. So to fully understand everything you must really pay close attention to background details.

I think it's a perfect example of how to present a story through the eyes of a character. Everyone interested in POV cinematography should play at least one FPS game, because it's a great inspiration.

 

[Joe G.]

Still not getting why the end of No Country for Old Men was so brilliant?

I found it annoying and signifying nothing.

Am I that wrong on this?

 

[J.R. Hud]

That's not technically a line jump because the the eye line establishes a new line. the jump occurs when say, for example, two people are looking at each other and you cross over but the eyeline establishes a new line. See most dinner table scenes for this.

I'm willing to explore this in more detail. :tongue: :weight_lift:

In a dinner conversation, we are very much aware of everyones placement seated at the table. In this scene, we do get a glimpse in the 3rd frame of the young prince's lover, but not what may be considered a master or establishing shot, right ? The 3rd frame is very soft in the background.

I'm not sure it works for me, the eyeline rule, on this one. It does... but read on.

We're actually getting our first good glimpse of the lover from the line off Longshanks; see the resulting frame when the KING turns around.

-

Yes, an eyeline can establish a new line, but in this instance, it seems exagerrated. But it does work and serves the purpsoe as it is almost shocking (revealing) to see who he is looking at, and the choice of angle accentuates this and the frame seems to be shot (whether via zoomed in) beyond Longshanks position. So, in essence, the camera does cross over and beyond the established bride and groom.

My head hurts now.

 

[Jason Sinclair]

Do a floor plan on that scene. I don't think it's a line jump. Let me know what you come up with. An eye line is enough to establish a crossing as far as i am concerned. In this case the line jump occurs after we see the gay lover. In that shot no line is crossed, only the proceeding shot but by then a new eyeline is established. Do a floor plan with the cameras and you'll see what i mean.. Maybe i got it wrong ? I think a lot of your stuff is excellent by the way...