In this week’s class, we learned more knowledge of film. we mainly study the influence of the different focal lengths of the lens for depth of field. different depth of field can bring us what kind of images look like, and actors have what different distance from the depth of field, as well as the important factors that affect the depth of field, is the aperture, and always opposite. we understand the different depth of field bring us different feeling,

In the group discussion. I found that everyone in the film language and script of understanding is not the same if everyone is a director. we will make different movies. we have discussed in the group discussion, also have different opinions, but we finally have reached a consensus. division of labor cooperation is very important. I mainly do the storyboard of a 3D perspective, We set up a group chat over the weekend to discuss how to divide up work on the script.

I didn’t do exercise 3. I didn’t found an actor and I didn’t go to my grandparent’s house. I learned another course in China and I traveled a lot these two weeks. I am studying and working. I think I can finish it today and upload it to the folder.

From reading the big picture. IN order for the director to decide how to cover a scene, he first has to block it–thatis, determine where the actors will be and what they will be doing. A scene can be covered by a single lens, or it can be made up of a series of lenses, and the “lens” is shot in a single set of cameras. A single shot can be as simple as inserting the shot or setting up the shot, or as complex as moving the master (the entire scene is covered in a single, usually complex shot. Therefore, there is no simple, linear, mathematical transformation of the camera to screen time. For an action sequence, the director may choose to build up the energy in a scene through a series of quick cuts, where a shot may require only 6 or 12 frames. A complete scene can be covered in a single long shot, with the actor and camera moving, or with a tied camera and still actor, or anything in between. In a complex shot, actors have to learn their movements and line time, and camera operators have to learn camera movements.

 

Reilly, Tom. The Big Picture: Filmmaking Lessons from a Life on the Set / [eReserve]. 1st ed. New York: Thomas Dunne, 2009. Web.