紀錄⽚片的⼊入⾨門技巧和觀點
2014.3.10 李浩
atrical 16x9, 16mm ormat know exhitional oduc-
from Steve McQueen’s Hunger (2008). Most often however, filmmakers tend to create compositions in depth, emphasizing the z axis to overcome the inherent flatness of the frame and enhance verisimilitude. Perceived distances and movement along each one of these axes can also be manipulated by the type of lens used, altering the visual relationship between subjects and the space around them.
景框軸
frame axes
y axis z axis x axis frame axes
ect ratios
frame axes
a deep frame that emphasizes the z axis
深景框
© 2011 Elsevier, Inc. All rights reserved. 10.1016/B978-0-240-81217-5.50002-X
淺景框 the rule of thirds
a flat frame that understates the z axis
amount of headroo in relation to the to is a function of the subjects in a close the top of the fram a long shot should their heads. The ru ment as they move moving toward the the left vertical lin vice versa, unless y posely feels uneasy
the focal point of the composition. The O.T.S., or over the shoulder shot, isofprobably the most common example of this the foreground the frame, partially blocking our view of technique, but it is not uncommon to see filmmakers place the focal point of the composition. The O.T.S., or over the objects the foreground to common add depthexample to the frame, shoulderinshot, is probably simply the most of this as seen in Michael The Rock (bottom, 1996), where the technique, but it is Bay’s not uncommon to see filmmakers place chains depth anddepth frametothe objects in in the the foreground foreground add simply to add thesubject frame, (Nicolas within the frame, ensuring1996), he is where the focal as seen inCage) Michael Bay’s The Rock (bottom, the point thethe composition. chainsofin foreground add depth and frame the subject
frames do not contain all th derstand narrative m purpose istheir contained within and draw to the frames doattention not contain all ex th Many compositional techniq derstand their narrative m existence of off-screen and draw attention to thespac ex the frame does not contain th Many compositional techniq instead acts a window th existence of like off-screen spac ists. However, are bene the frame doesthere not contain t
(Nicolas Cage) within the frame, ensuring he is the focal point of the composition.
instead acts like a window th ists. However, there are bene
創造空間深度
相對尺⼨寸
relative size depth cue
relative size depth cue
a closed frame a closed frame
overlapping objects
closed and open frames overlappingframes objects
前景相疊 Closed frames refer to shots that do not acknowledge or require the existence of off-screen space to convey their nar-
景深 depth of field
factory lens provides. Although these attachments ively inexpensive, there is a clear compromise, since s erally produce images of diminished quality in terms est, color, and sharpness (which becomes even more s when projected on a large screen). Another kind of eed lenses include macros, which allow you to focus ofy close to a subject to capture very small details; s are examined further in the macro shot chapter. nses
s; hr. of
field
field refers to the distance range along the z axis be in acceptable focus, meaning sharp. A compoth s a deep depth of field has a large area in focus, -omposition with a shallow depth of field has only a shallow depth of field ea of the frame in focus. The aperture of a lens is a s, ctor a in manipulating depth of field. Larger apertures an more light produce images that have a shallow sfield, while smaller apertures that let in less light images with deeper depths of field. Another way to w depth of field is by changing the distance between t era and the subject; placing the camera closer to o ect results in a shorter focusing distance, which pronshallow depth of field. Placing the camera farther o a subject increases the focusing distance, resultm deeper depth of field. If the size of a subject in the rkept constant, focal length is not a factor in chang-
淺景深
shallow depth of field
深景深
s rs do d of ic as ts e iot or
their heads. The rule of thirds also applies to subject placement as they move across the x axis of the frame; if they are moving toward the right side, they should be placed along the left vertical line to give them proper walking room, and vice versa, unless you want to create a composition that purposely uneasy and unbalanced. 甜蜜點feels (Sweet Spots)
三分法則 the rule of thirds
ing them in an unbalanced composition as they witness the ing them in an unbalanced composition as they witness the unjust punishment of a young man. Note that although the unjust punishment of a young man. Note that although the composition is unbalanced, with most of the visual weight on composition is unbalanced, with most of the visual weight on the bottom right corner of the frame, the main subject was the bottom right corner of the frame, the main subject was still positioned according to the rule of thirds. still positioned according to the rule of thirds.
平衡/不平衡構圖
balanced / unbalanced
ositions ositions
a visual weight. a visual weight. f an object can f an object can e visual weight, e visual weight, t feel balanced t feel balanced frame is evenly frame is evenly eight is conceneight is concenthe terms balthe terms bale judgement in e judgement in o find balanced o find balanced stributed symstributed symd to convey ord to convey orse, unbalanced se, unbalanced os, uneasiness,
a balanced composition 平衡：秩序，⼀一致，決⼼心 a balanced composition
不平衡：混亂，不安，緊張 (注意三分法則) an unbalanced composition
breaking the rules
In this extreme long shot from Im Kwon-taek’s Seopyeonje (1993), Dong-Ho (Kim Kyu-chul) takes a last look at his sister Songhwa (Oh Jung-hae) before running away from the cruel man who raised them after their parents died, an itinerant singer of Pansori (a traditional Korean style of music akin to American Blues). Instead of underlining this dramatic moment in the story with close ups of the brother and sister, Im uses extreme long shots to emphasize the vast space already in place between them, foreshadowing a separation that will last years. Note that while most of the guidelines for extreme long shots were observed, the horizon was purposely placed high in the frame, against the rule of thirds. While the composition lacks the harmony and balance the rule would offer, it intelligently exploits the resulting disharmony and unbalance it creates to emphasize the abruptness and anguish felt by the characters because of their separation.
有⺫⽬目的性地打破規則 無三分法，不平衡/不和諧
EXTREME LONG SHOT
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希區考克法則 Hitchcock’s rule
the reason behind the visual emphasis being placed on the object or subject. In the example below, from Rob Reiner’s Misery (1990), a tiny ceramic penguin is composed so that it fills the的 frame, since it will be the clue that later alerts Annie 物件/⼈人物 ⼤大⼩小⽐比例 (Kathy Bates) that Paul Sheldon (James Caan), a writer she has imprisoned in her house, has in fact managed to leave 還不知道原因之前 his locked room.
Hitchcock’s rule in action
and tension cated by the will depend being used. (top, 2004), a are about to ies, adding ment of sub Proposition ing them in unjust punis composition the bottom still position
Creating depth to overcome the inherent tw of the frame is one of the most common com egies designed to produce a dynamic frame three dimensional space. While there are se to frame the subject at too steep an angle to add depth to a composition, two of the a very dynamic but at times distracting used by filmmakers are the relative size an a minor adjustment of the placement of ping depth cues. The relative size depth cu below or above eye level is sufficient to assumption that if two objects are of the s sion in the minds of the audience. The tw a smaller one is perceived as it being far left, from Florian Henckel von Donnersma ing the illusion of depth. Filmmakers expl Others (2006), use this principle to convey by placing subjects along the z axis of the emotional states; the top frame uses a sli in the example on the next page from Qu shows a confident and even menacing Wie Inglourious Basterds (top, 2009). Object ov an officer for the Stasi, as he systematical just what its name says: the overlapping of 軟弱，消極，無⼒力 interrogates a suspect until he makes him z axis. When an object is seen partially cov tom frame, from much later in the film, ping another object, we perceive the cove that emphasizes the tension and fear he ing farther away from us, creating the ill monitors agents raiding the house of a dra the composition. The use of this techniqu at great personal risk. usually involves finding any excuse to pla
俯⾓角 / 仰⾓角 / 斜⾓角 / 過肩鏡頭
high and low angles
The height of the camera relative to a subject can be used to manipulate the audience’s relationship to that subject. Eyelevel shotsshot place the camera at a height that matches the low angle subject’s eyes. A high angle shot places the camera above eye-level, and results in a framing that has the audience looking down on a subject. A low angle shot, on the other hand, places the camera below eye-level, and lets the audience look up at a subject. It is very common to see low angle shots used to convey confidence, power, and control, and high angle shots weakness, passiveness, and powerlessness, but these interpretations are not absolute and can be subverted based on the context in which they are presented. A common misuse of high and low angle shots is high angle shot
俯⾓角鏡頭 high angle
depth cues
仰⾓角鏡頭 low angle Creating depth to overcome the inherent t
PRINCIPLES OF COMPOSITION AND TECH
low angle shot
of the frame is one of the most common co egies designed to produce a dynamic fram ⾃自信，權威，控制 three dimensional space. While there are s to add depth to a composition, two of th used by filmmakers are the relative size a ping depth cues. The relative size depth cu assumption that if two objects are of the a smaller one is perceived as it being fa
breaking the rules
斜⾓角鏡頭 tilted angle 事情出了差錯 !
⾝身理或⼼心理失去平衡
Since canted shots already suggest an altered or uneasy situation, it is unusual to see them combined with disorienting camera moves. However, a key moment in Peter Weir’s The Truman Show (2002) is underlined by the use of a canted shot that is imaginatively complemented with a dynamic camera attached to a revolving door, conveying Truman Burbank’s (Jim Carrey) unsettling realization that things are not what they seem in his idyllic hometown.
CANTED SHOT 105
過肩鏡頭 over-the-shoulder over the shoulder shot
表現⾓角⾊色間的 !
權利關係 或 The Graduate. Mike Nichols, 1967.
!
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緊密的互動
why it works O.T.S. shots can be very effective to set up the power dynamics between two or more characters. The O.T.S. shot used in this first meeting between Red (Morgan Freeman) and Andy
close enough to Red’s line of sight so that the audience can identify with him (and with Andy in the reverse shot) but not too close, since this is their first encounter. The
影像系統的建⽴立 image system 為了超越影像表⾯面意涵，⽽而更深⼀一層表達⾔言外之意 事物的隱喻 反複出現的類似影像或構圖 引發圖像記憶及聯想 主題和核⼼心概念為出發點，注意形式不應該凌駕內容
《原罪犯 Oldboy》朴贊郁
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Oldboy. Park Chan-wook, 2003.
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Oldboy. Park Chan-wook, 2003. 26
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IMAGE SYSTEM
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IMAGE SYSTEM
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⾼高齡者的過去、現在、未來
了解⾼高齡者的故事和⽣生命歷程(過去) 探討其對⼈人⽣生的價值觀(McClusky需求等級的屬性) 連結到學習的動機(現在和未來)
你的過去、現在、未來 ⾃自省過去⾏行為的原因和動機 你和拍攝的對象有無連結 在拍攝的對象⾝身上，尋找你為什麼要拍他，找出你對 他真正感興趣的部分 你想要透過你感興趣的部分來告訴觀眾什麼？ 他的故事，對你和觀眾的未來，有什麼樣的影響？
紀錄⽚片的本質
是⼀一種帶有作者觀點的主觀⼯工具 （不只是制式化的訪談）
具有揭露、傳播、教育的功能 （讓觀眾看完之後能對此議題⽐比以前更了解⼀一些）
紀錄⽚片或許應該避免... 濫情主義，僅停留在溫馨、勵志、感性的層次 針對觀眾的喜好，刻意挑選被紀錄者的特定⾯面相 被攝者配合紀錄者表演他們的⽣生活，「演出他⾃自⼰己」， 成為⼀一個世故的被紀錄者 把好看當成影像的⺫⽬目的，只有材料的堆積⽽而沒有議題 限制觀眾理解問題的⾓角度
拍攝記錄⽚片或許應該... 對⾃自⼰己、對觀眾有共鳴有連結的議題 （因為沒有⼤大明星、⼤大導演、傳統的劇情）
有真誠挖掘問題核⼼心的深刻論點與膽識 提供多元觀點，以不同⾓角度探討議題；保留⼀一個觀看空間，讓可能 的其他閱讀或理解⾓角度，能有機會出現。 （清楚且深刻的問題意識）
以靈活有效的敘事⼿手法，善⽤用素材引導觀眾思考議題核⼼心 利⽤用精⼼心安排設計的視覺畫⾯面來串聯呈現，會⽐比⽤用語⾔言直⽩白的說出 來好很多 仔細觀察對象周圍的事物，來做隱喻、⽐比喻 （Ex: 蔡明亮）
《看⾒見台灣》⿑齊柏林
創傷的表⾯面？創傷的背⾯面？ 環境議題背後的結構性問題？政商勾結的部分？
《築巢⼈人》沈可尚
沈可尚希望在紀錄⽚片裡，將紀錄者和被紀錄者，放在⼀一個公平的位置上。 他拍紀錄⽚片的態度：溫柔的質疑。他解釋，「我永遠不跟被我紀錄的⼈人，站在同⼀一陣線上」。 3/16(⽇日)15:50、3/22(六)14:00、3/29(六)14:00 @ 府中15 http://web.fuzhong15.ntpc.gov.tw/films/thismonth.aspx?menu=51
Michael Moore
資本愛情故事
華⽒氏911
健保真要命
《⼿手持攝影機的⼈人 Man With a Movie Camera》 Dziga Vertov