http://mediadeskpoland.eu/legacy/540/ LEKCJA 1 - Types of shots and techniques 1.

Cheat - When the camera is set up for a second shot at a different angle and things are moved around a little to improve the composition, the cheat is the diff erence in perspective and angle between the first and second shots. Both actors and furniture on the set can be cheated. The term is often used as cheating someth ing into a shot or out of a shot. Example: Telling an actor We re going to cheat you in a little, and having him stand a little to one side so more of him is in the shot. Example: Telling an actor to Cheat your look, which directs him to open his face m ore to the camera. 2. P.O.V. shot, for point of view Looking through the eyes of the character. Examp le: A character who has been unconscious is waking up, and another character loo ks directly into the camera in a low-angle shot and says Are you okay? , while the edges of the frame are blurred and the dialogue uses an echo effect. 3. Eye Line match - The direction an actor should look off-screen to match a rev erse angle or a P.O.V. shot. The actor should be given an actual item or spot to look at rather than a blank spot on an empty wall or an empty space in mid air. 4. M.O.S. - A shot, a sequence, or a film that is shot without sound, which is a dded later. M.O.S. stands for Mit Out Sound. It derives from an old Hollywood stor y about a German director who couldn t pronounce without sound correctly and a camer a assistant who complied with his instructions for the take by writing M.O.S. on t he slate. 5. Noddy A type of reaction shot used in interviews, where we see the interviewe r apparently reacting (nodding his head) to the interviewee. 6. Whip pan a sudden, fast pan, incorporating much motion blur. The term refers to the whipping action that the camera operator uses to move the camera. 7. Bird s eye shot Looks vertically down on the subject. A gradual fade from one i

8. Dissolve, mix, crossfade (montaz przez przenikanie) mage to the next.

9. Dutch Tilt - A composition with the camera viewing the scene at a diagonal. S ame as canted angle. Some nice examples can be found in Carol Reed s The Third Man. 10. Safety - An additional take, done after a successful one, as a backup. 11. Abby Singer -- The second-to-last shot of the day. Named after production ma nager Abby Singer, who would frequently call "last shot of the day" or "this sho t, and just one more," only to have the director ask for more takes. Which leads to the 12. Martini shot -- The last shot of the day's shoot ... because the next "shot" is in a Martini glass. LEKCJA 2 - The Call 1. The Call The sequence of directions that begin a take, typically: ROLL SOUND! ROLL CAMERA! MARK IT! ... ACTION! Call can also mean the exact time at which an actor or crew member is to report to a set. Call sheet is a day schedule, distributed by assistant director to all departments

, and hanged on a wall in a film production office, giving the exact time at whi ch actors are to report to make-up room and crew members are to report to a part icular set. 2. STAND BY! Direction to actors to prepare for a take.

3. The Slate (AKA Clapper, Clapboard, Sticks, and Marker) A flat board, previous ly a chalkboard but now a digital clock with a writing surface, containing lette rs and numbers identifying the production and scene. The two sticks fastened to the top of the slate are snapped together at the top of each take, and the "clic k" is used to synchronize the audio and the video. 4. SECOND STICKS! Called for whenever the camera or sound misses the marker the first time. Occasionally, the slate is put at the end of the scene (a Tail Slate ) and the marker is sometimes turned upside-down. It is customary in this case t o call TAIL SLATE! just before clapping the slate, so that the person syncing th e film does not get confused. 5. Mark (verb) The term for the clapping of the sticks to sync the sound and the picture. MARK IT! - What to say to the person with the slate to get them to clap the stic ks together. Mark has a second meaning: 6. Mark (noun) Something on the ground (tape, chalk) that lets the talent know w here they should be for the shot. Example: To hit your mark The ability to find your predetermined location in th e scene without looking at the marks that have been placed on the floor. Statement: A muffed line of dialogue can be faked or inserted, but an actor wh o doesn t hit his mark must be re-shot. 7. ROLLING! (KAMERA POSZA!) A direction to start recording the sound in a scene.

8. SPEED! (DZWIK!) An advisory term that both sound and the cameras are in operat ion and should be in sync. Speed comes from the days when it took a few seconds fo r certain equipment to reach proper speed. 1. LOCK IT DOWN! A direction given by the assistant director for everyone on the set to be quiet, move out of frame, and to secure the set against anything or a nyone interrupting the shot. It is called just prior to SPEED! CISZA NA PLANIE! wezwanie drugiego reysera do zachowania ciszy przez wszystkich o becnych oraz opuszczenia kadru i zabezpieczenia przestrzeni planu przed zakceniami . Komenda ta wydawana jest bezpo rednio przed wezwaniem POSZA! 2. ACTION! (AKCJA!) Called to indicate the start of the current take. Camera and sound is already rolling, sticks have been clapped, and this is a command to ACTO RS, as well as extras, to start acting in the scene. The other people on the set (the crew) are already doing their work. AKCJA! - Wezwanie skierowane do aktorw, by rozpoczli ujcie. 3. CUT! The director s instruction to stop the action. The director is the only pe rson on the set that can cut a scene. If the assistant director, sound mixer, or c amera operator needs to stop the scene, they call out, BREAK IT! CUT! is also a command given by a director to an editor indicating the director wants the film tape cut at exactly that moment. A cut (noun) of a film is also a complete edited version.

STOP! lub CICIE!

Polecenie wydawane przez reysera, aby przerwa ujcie.

4. CUT AND HOLD! -- Stop the action and hold positions, because the director wan ts to continue the scene from this exact point but from a different angle. STOP I PRZYTRZYMA! Wezwanie do zatrzymania akcji i zachowania dotychczasowych poz ycji, poniewa reyser chce kontynuowa nagrywanie sceny od tego samego momentu, ale z innego kta kamery. 5. PRINT! PRINT IT! A direction that indicates the completed take is good enough to use, and a film print will be made.

KOPIOWA! Komenda, ktra wskazuje, e zakoczone ujcie jest dobre do uycia i naley wyk go kopi robocz. 6. In the Can -- A scene that has been filmed to the satisfaction of the directo r and is therefore considered to be complete. Zrobione (In the Can : z ang. w puszce ) pomy lnie i uznana za skoczon. Scena, ktra wedug reysera zostaa sfilmowana

7. CHECK THE GATE! Called out by the assistant director for the first assistant camera operator to check the film gate on the camera for debris. If the response is GOOD GATE! the A.D. may call out MOVING ON! However, a rare B AD GATE! can mean a retake (see below). CHECK THE GATE! is becoming obsolete with the advance of hermetically sealed Hig h-Def cameras.

SPRAWDZI RAMK! Wezwanie drugiego reysera skierowane do asystenta operatora kamery, by sprawdzi czy adne zanieczyszczenie nie pojawio si na ramce kamery i nie zepsuo ujc a. 8. RETAKE! -- A retake is a repeated shot. It can be FROM THE TOP! (from the beg inning) or, for example, BACK TO ONE! "One" is the first position for the scene . In a complicated scene, there may also be a position two, three, etc. 49,

DUBEL! Scena moe zosta powtrzona od pocztku ( z ang: from the top), co oznacza nakrc nie jej powtrnie w cao ci. 9. PICKUP (noun); Pick s to redo a small part Example: if a scene is want to pick up the up (verb) The director uses this term to indicate he want of the scene. going well until someone forgets a line, the director may scene near that point, to avoid re-shooting the whole scene.

ZAPANIE (rzeczownik); Powtrzenie cz ci ujcia (czasownik) aza, e chce powtrzy nagranie niewielkiej cz ci sceny.

Reyser uywa tego terminu b

Przykad: jeeli w trakcie nagrywania udanej sceny kto zapomni tekstu, reyser moe zarzd i zapanie ujcia dokadnie w tym momencie, by unikn powtrnego krcenia caej sceny. 10. IT S A WRAP! What the director says when the crew is done shooting for the day , at that particular set, or on the entire film. Usually if it s not the final sho ot the term is WRAP FOR THE DAY.

KONIEC ZDJ! lub ZWIJAMY SI! Komenda wydawana przez reysera, gdy ekipa koczy prac na djciami w danym dniu, na konkretnym planie zdjciowym lub do caego filmu. 11. NEW DEAL! Sometimes shouted after CUT! when a scene is considered to be "in the can." An indication that the crew should start setting up the next scene.

Wezwanie ekipy do rozpoczcia przygotowa do nastpnej sceny. LEKCJA 4 - MORE ABOUT SHOTS (DISTANCE AND ANGLE) 1) PAN Derives from panorama. The camera moves from side to side from a stationa ry position. PANORAMA Poziomy powolny ruch kamery na gowicy statywu lub z rki od jednego kadru do innego wybranego kadru, w skrcie PAN w lewo lub PAN w prawo. 2) TILT The camera moves up or down from a stationary position.

PAN W GR / PAN W D - Pionowy powolny ruch kamery na gowicy statywu lub z rki. SZWENK Bardzo szybkie przerzucenie kamery (w lewo, w prawo, do dou, do gry lub naw et po skosie) od jednego kadru do drugiego to co po drodze jest niewane, czsto zam azane ( to tzw. przemazanie ). 3) TRACKING The camera follows a moving object or person along a path (or arallel to the path of the object being filmed. track ) p

JAZDA - W angielskim istnieje okre lenie tracking , traveling . W Polskim w obydwu wypadkach to jazda , wykonywana kamer umieszczon na wzku, ktry jedzie po szyn ch lub bezpo rednio na pododze, a take w inny sposb w zaleno ci od potrzeb. Jazda moe nolega, wtedy kamera jedzie obok poruszajcego si przedmiotu lub czowieka, albo inneg o rodzaju, na przykad jazda wzdu nieruchomego obiektu lub jazda przed, wok czy te za oruszajcym si obiektem, jazda wok jakiego obiektu, np. stolika przy kt. rozmawiaj lud ie., itp. 4) SHOT A continuous block of unedited footage from a single point of view.

UJCIE Pojedynczy fragment naeksponowanej ta my filmowej od momentu startu kamery do jej wyczenia.

TYPES OF SHOTS Some shots are described differently in English and Polish, and in both language s the definitions of the terms themselves may vary. Common English terms are pre sented first, followed by Polish terms. LONG SHOT (LS), Head-to-toe Overall view from a distance of a whole scene, often used as an establishing shot to set the scene. An LS of a person ( head-to-toe ) show s the whole body. EXTREME LONG SHOT (ELS) The camera is at its furthest distance from the subject, emphasising the background. MEDIUM LONG SHOT (MLS) et and ankles. If the actor is standing, the lower frame cuts out his fe

Note: MLS is favoured in documentaries with social or historical themes, to keep the social settings in the shot rather than focus on the actors. COWBOY Mid-thigh to head. Favored in Westerns where cowboys wore gun belts and l onger jackets, but generally considered an awkward shot.

MEDIUM SHOT (MS), Mid shot, Waisty The setting and the subject or actor occupy r oughly equal areas of the frame. An MS of a person shows waist to head (thus a wa isty ). Hand gestures can be seen. TWO-T s A tongue-in-cheek description of a medium shot that cuts the subject at th e chest, based on the slang word for breast (tits). A loose Two-T s would include all of the breast, a tight Two-T s would not. MEDIUM CLOSE SHOT (MCS) chest to head. The setting can still be seen. An MCS of a person shows

Note: MS and MCS shots are often used for the tight presentation of two actors ( called the TWO SHOT ). CLOSE-UP (CU) Focuses on a detail of the scene. A CU of a person focuses attenti on on reactions or feelings. MEDIUM CLOSE-UP (MCU) Head and shoulders.

BIG CLOSE-UP (BCU) Forehead to chin. In interviews, BCUs may emphasise the subje ct s tenseness, and may suggest guilt. Note: In western cultures, the space within about 24 inches (60 cm) of the subje ct is generally felt to be private space, and BCUs may be considered invasive. EXTREME CLOSE-UP (ECU) UJCIA A section of the face, such as eyes or mouth.

TOTAL: Bardzo oglny plan pokazujcy wiele elementw krajobrazu (pejzau), czsto z wysok : z podno nika, wysokiego domu, wiey, lub nawet z samolotu. Kolejne okre lenia planw odnosz si do rozmiaru czowieka:

PLAN OGLNY Szeroko widzianyfragment pejzau. Sylwetka stojcego czowieka jest mniejsz ni odlego od grnej do dolnej ramki kadru. PLAN PENY Czowiek od stp do czubka gowy (i ekwiwalent takiego planu, gdy czowieka ma w kadrze). PLAN AMERYKASKI Od kolan lub pachwin w gr do czubka gowy. Plan amerykaski bez ng, plan ruski bez gowy .

art z czasw komunizmu: PLAN REDNI

Od pasa lub dolnej cz ci klatki piersiowej do czubka gowy. blisze to istnieje okre lenie powietrze nad gow . moemy kadrowa tak, e grna cz gowy ramk kadru, albo zostawi troch powietrza nad midzy czubkiem gowy a grn ramk kadru.

Je li chodzi o plany Np. w planie rednim opiera si o grn gow , czyli odstp

PZBLIENIE Od klatki piersiowej lub nieco wyej, od szyi do czubka gowy lub z gow zycit od gry. ZBLIENIE -- Sama twarz czowieka od brody (szyi) do czoa. DUE ZBLIENIE Od ust do brwi.

DETAL -- Due zblienie fragmentu twarzy albo cz ci przedmiotu albo maego przedmiotu lu zwierzcia (mucha)

Wszystkie te okre lenia s do elastyczne, mona stosowa plany po rednie, np. midzy pen erykaskim. Czasem trudno okre li wielko planu, gdy czowiek jest schylony, lub w jakiej ziwnej pozycji, albo gdy czowieka w ogle nie ma w kadrze. Ale zasada jest przestrzegana, bo aktor czsto pyta: planie? , eby wiedzia jak gra. w jakim jestem