Minutes of the meeting of 27.11.2006
The documentary
Filme und Filmtechnik
Thursday, November 30, 2006
Swot Analysis Of Mobile Hair Salon
The documentary
Sunday, November 26, 2006
Remote Car Starter Problems Avital
minutes of the meeting of 20.11.2006
talkies
The first attempts to film can be set to music made 1877th As early as 1905 come "noise machines" in order to simulate the natural environment. The films are as of piano music or in part, accompanied by premieres of major orchestras. The synchronization of film and sound coming from a record, wird in den Anfängen von Hand gesteuert.
Es gibt verschiedene Verfahren:
1. Nadeltonverfahren (1920)
2. Lichttonverfahren (1922)
3. Magnettonverfahren (since the 30's)
4th Dolby Stereo (1976, with 4 tracks) 5
Dolby SR (1987)
6th Digital Sound Mix (1992, Dolby Digital , DTS and SDDS )
Alfred Hitchcock hat in den Anfängen der Tonfilme mit Bild und Ton experimentiert. Er hat z.B. in einer Szene das Wort „knife“ ständig wiederholen lassen, um zum Ausdruck zu bringen, worum die Gedanken der einen Frau kreisten. Er unterlegt seine Filme auch mit düsterer Musik und Geräuschen, wie z.B. einer Hupe, um seinen Filmen eine entsprechende Atmosphäre zu geben.
1927 ist die erste abendfüllenden Premiere eines Tonfilms: The Jazz Singer , herausgegeben von den Warner Brothers.
Illustrative Musik: Die Musik soll z.B. die Herrlichkeit einer gewissen Arbeit illustrieren. Die illustrative Musik „erweitert“ den Film allerdings nicht, sondern verstärkte die visuellen Eindrücke.
Musik wird allerdings auch subtiler eingesetzt, um auf das Ende einer Szene hinzuweisen, den Zuschauer schon in eine gewisse Stimmung zu versetzen. Das markante Pfeifen verrät z.B. die Anwesenheit des Mörders, auch wenn er nicht zu sehen ist (im Film „ M “ (1931)).
Der Ton kann eine Parallele oder einen Widerspruch (Kontrapunkt) zum visuellen Material darstellen und den Film an Ausdruck, Information und Stimmung erweitern.
Theodor W. Adorno/Hanns Eisler: Komposition für den Film. München 1969 [Erstausgabe: New York 1947]
- Die Musik soll einen stimmungsvollen Hintergrund bieten.
- you should play the audience emotional involvement and feelings.
- you should characterize the people involved.
- you should expand the film.
music can be a psychological effect have. It serves as a refinement of the plot. Scenes with a strictly objective representation of reality need not be accentuated by the music. The aesthetic impact of film music can be amplified and identified. She stresses rhythm and mood of the film scene. You should complete the psychological effect.
also compiled music (not specially composed music for the film) can complement and extend a movie and.
What does the music in the film "The Great Dictator " in the two scenes ? (Playing with the Globe and scene at the barber)
The music underscores the melancholy of the great dictator, who then converts back to happiness and, in contrast (counterpoint) for visual presentation and laughter of the dictator asserts his madness. Then burst the balloon, as stressed at the same time accentuated by a brass use to scare the viewer.
Over the next scene, the music has an illustrator character. The visual is synchronized with the music. The music sets the film in this scene, the rhythm and different tempos, so the music of the "breathing" of the scene determined. The recipient, of the compiled music knows, has a premonition as to move the barber is what makes a humorous element of the scene.
Monday, November 13, 2006
What Does It Mean When Laxatives Do Not Work
minutes of the meeting of 13.11.2006
architecture, decor, costume
The Art Director determined together with the directed the design of the set, including using a storyboard. original sites have the advantage that they "bring along" the architecture, landscape and scenery already.
first Architecture: The architecture serves as a dramaturgical means of expression. Large houses can stand for such power, wealth or prestige. Some of the buildings are only available as models, or as images. There are two methods: Matte Painting and Schüfftan process .
second decoration: The directors have to offer a preference for artificial scenery, as it provides more freedom for artistic aesthetic translation, lighting and design. In part, eg, Expressionism, even painted shadows on the decorations. As a means of expression can, for example, the depth of the decoration to be used to create an artificial, eerie atmosphere.
third Costume: Costumes sollten die Illusion vermitteln, dass sie Historisch korrekt sind, aber sollten auch die Schauspieler kleiden. Die jeweilige Mode spiegelt sich in der Kostümierung der Schauspieler wider. Das Kino macht Mode. Hüte, Kleider und Trenchcoats wurden in der Mode durch das Kino um- und durchgesetzt. An Charlie Chaplin kann man sehen, wie sehr ein Kostüm eine Figur prägen kann. Die Maske und das Kostüm stellen eine Symbiose dar, um einen Charakter optimal verkörpern zu können.
Ken Adam (Production Designer): Ken Adam created the look for the James Bond film "Dr. No ". He experimented with materials and used geometric shapes such as circles and triangles. He strives to create a reality that is more real than reality. He designed for "Goldfinger" Fort Knox. Ken Adam monitors its projects from design to construction of the model. He also worked for Stanley Kubrick and searched for him locations for original sites.
Film: Kriemhild's Revenge: A fire-breathing and later bleeding dragon was used in a decoration with rocks and trees.
Film: The Weary Death: A Gothic stylization creates an unreal, mystical mood.
Sunday, November 12, 2006
Ice Cream Baby Shower Invitation Wording
minutes of the meeting on 06/11/2006
editing and montage
1929 film directed by a film will not rotate, but "built" because the film only at the cutting table gets its crucial final form. The cutter is part of the creative team at the film work. He determined by the director and producer along the scene selection and is significantly involved in post-production. There are directors who are mainly concerned with setting the scene so that the cutter is mainly responsible for the scene selection. But there are directors who work very closely with the cutter, so like Martin Scorsese.
Most people now use the electronic media, to cut a film. It is turned increasingly digital and cut. With increasing complexity and length of the acts themselves, the filmmakers had to consider how they, the scenes of the type and length designed.
We see films from the context. The sequence of images or scenes from the audience to solve a certain train of thought that emerges strongly from their context. The same picture of a man in connection with different images makes him seem very different to the audience and they interpret the scene differently.
narrative installation: It serves as a means of storytelling. A few scenes are cut in a row (mounted) to support the narrative function.
Film: Seven and Seventy (ca. 1915): There are Other forms of assembly, such as a "thought bubble" that appears next to a person in order to visualize the audience their thoughts.
Expressive mounting (collisions Mount): She is divorced from the narrative function. It will trigger thoughts and feelings in the audience and have a greater effect than a naturalistic scene.
Metaphorical Assembly: A poetic comparison, a metaphor as compared with changing scenes (parallel installation) created. Connections can be made clear. The overthrow of a regime is by example, the toppling of a statue metaphorisch symbolisch ausgedrückt. Dabei sind auch bildkompositorische und rhythmische Strukturen wichtig.
Assoziationsmontage: Durch ähnliche Formen oder Vorgänge werden Funktionen optisch assoziiert bzw. veranschaulicht (z.B. Blinzeln und Jalousien, die alternierend geschlossen und wieder geöffnet werden).
Rhythmische Montage: Sie ist in der Lage eine „visuelle Symphonie“ zu erschaffen. Sie kann einzelne Elemente des Films zusammenfassen. Sie dient zur Abstraktion.
Poetische Montage: Durch weiche Transitions are aesthetic elements are emphasized.
intellectuals Assembly: It tries to abstract concepts in the minds of the audience to trigger, for example, the fading of the terms associated with a man or his activities. Unnaturally long, low-lagged continuation of a scene (eg climbing stairs) is to support this.
A ellipse is the omission of an action part that to understand the story is not essential or redundant. It is complemented by the viewer automatically (for example, in one scene: a man wants to just one Mrs save, this process is however not shown to the conclusion, in the next scene: the man is the woman in bed. The man must have saved the woman that is):> Expansion of the audience -..
The hard cut is the rule. It can also be represented by extreme long dark scenes.
The soft cut, a cut in the motion are (Film: Run Lola Run). The next scene has a similarly rapid movement.
invisible section: The incision is made in the moment in which a person occupies the entire image.
trick Aperture: are in the digital age there are many different cartoon panels, which are used sparingly, the aesthetics of artistic aspect to emphasize a film (eg, the image dissolves pixel by pixel, in lines, on a variety of geometric shapes).
inform the intercut can explain and conceal an omission. A cutaway or Insert inform the viewer can tell a certain story and. Thus, tension through prior knowledge or idea to be established.
Match Cut: Durch Überblendung ähnlicher Objekte in Form und Bewegung kann ein Bezug hergestellt werden (z.B. Odyssee im Weltraum: Der Affe wirft einen Knochen hoch --> Überblendung zur rotierenden Raumstation).
Jump Cut: Durch Auslassung von Szenen soll der Zuschauer verwirrt werden.
In der Montage erkennt man den Stil des Regisseurs. Der Cutter kann den Stil des Regisseurs annehmen. Überblendungen verbinden räumlich und/oder zeitlich auseinander liegende Sequenzen. Die Montage organisiert die Filmzeit und rhythmisiert zugleich den Zeitablauf „die Atmung“ des Films. Das Zeiterlebnis kann durch die Montage auch verändert werden; es sind nicht nur chronologische Abfolgen möglich, sondern es können auch mehrere Szenen gleichzeitig dargestellt werden. Eine Kombination der verschiedenen Montagemethoden kann eine Szene beliebig komplex und konfus wirken lassen.
Can You Have Pleurisy Twice?
Protokoll der Sitzung vom 30.10.2006
1. Das Licht
Der Chefkameramann ist für die Lichtgebung zuständig ( director of lightning ). The Lichtgebung is marked by the painting. Its principles are applied to the film. The model was among other things, the Renaissance. First they shot with natural light and could change with gas strips and corrugated glass light. Since 1904, it can be simulated with carbon floor lamps (lights) and come up with natural light from several perspectives. Since 1915, the film production from sunlight is completely independent. In the 20 years the carbon floor was replaced with incandescent light. The light could be controlled better and the footage was getting better and more sensitive.
The light was the two-dimensional Image depth. The artistic use of light, like in the 20s, is now rarely the case. It makes more of a natural Lichtgebung. A distinction in film art light and natural light. The light is used aestheticising dramatically. A film in the shadow areas are used as a stylistic device is, for example, the American Film Noire ". We distinguish the two styles in the film " Lowkey " (low light and dark values) and " Highkey " (high and bright light values). The technical coverage is achieved by different lights with different intensity and position. A distinction zwischen: 1. Vorderlicht, 2. Gegenlicht, 3. Seitenlicht, 4. Fülllicht und 5. Akzentlicht . Standorte von Lichtern und ihr genauer Einsatz werden anhand von Skizzen geplant. Mehrere Lichtbündel werden im Zusammenklang auf ein Objekt ausgerichtet, die bei richtiger Komposition das Objekt als harmonisierte Einheit erscheinen lassen.
2. Film: Die Beleuchtung
Ein und dieselbe Kulisse kann durch unterschiedliche Beleuchtung verschiedene Stimmungen vermitteln. Schatten können bedrohende oder gespenstische Stimmungen auslösen. Oft wirken Schatten bedrohlicher als die direkte Darstellung des Schauspielers. Düster verschleierte Nebelbilder in Kombination mit wenig oder speziell platziertem Spotlight können z.B. den Dampf einer Lok mystisch wirken lassen. Sogar völlige Dunkelheit kann von dramaturgischem Wert sein. Der Film „Unter den Dächern von Paris“ bestimmte den Charakter des Films der 30er Jahre.
3. Die Farbe
Although one could only record in black and white, had we begun to color the copies to support the illusion of reality or to create a fairytale world. Colors have a great symbolic force. We associate colors with different moods. By cold and warm colors have different moods can be created. The three main methods are:
first hand and Maschinencolorierung
second Viragierung of the prints: Copies are immersed in chemical dye baths, it is monochromatic, So in one color, colored. Different scenes can be colored differently.
third Technicolorverfahren (yellow red positive and blue-green Positive are superimposed and thus provide the natural colors.)
The Technicolorkamera can with a prism (that the image is decomposed into the primary colors) and include a gold-plated semi-transparent mirror in color. It is recorded on three films, which later laid over each other results in the natural colors. The reversed color film you could work with existing cameras. However, the color preservation is not as effective as in Technicolorverfahren.
Difference Between London Broil And Beef Brisket
minutes of the meeting of 23.10.2006
first The camera
The film is "moving photography." The movie camera can show processes that we can not perceive with the eye. You can zoom and processes which we perceive in nature can play, (slow, high-speed imaging, time-lapse photography). Movement in the movie means two things: First, the movement of objects and the other the movement of the camera itself (movement through space) within the framework of the temporal dimension. The camera can play an objective or subjective point of view. The film format (such as Cinemascope or Letterbox) has an impact on the aesthetic effect of the film. The Cinemascope has to be able to take advantage as the number of people simultaneously. The composition of the film is similar to the composition in photography or painting. The film reveals the opinion or attitude of the filmmaker.
second Film: The possibilities of the camera
The camera acts as a registration agent. The rigid position can be the first films appear rather monotonous. Around 1900, was shot from the same camera settings. James Williamson led the close-up, and created films with cutting, so that can be realized because of the films with separate time and space of action. "The attack on the mail train" (Porter) began the tradition of American Westerns.
third The types of settings
From 1910 grew the possibilities of cinematic expression by different combinations of camera settings.
3.1. The iris
The iris can cause a circular darkening to the edge.
3.2. The Total
The shot can set at from a distance as the isolation of a person from their environment or the isolation of two people present in a city. Through the camera angle from above makes the long shot the despair of the offender clearly.
3.3. The close-up
The close-up example, is suitable to show the desperation of the people by bringing them closer to the viewer so that it can discover more details in facial expressions.
3.4. The different perspectives
3.4.1. Frog perspective
setting from below can be cast a sinister man, or set a majestic touch. It may seem threatening or even caricatured.
3.4.2. Vogelperspektive
Die Einstellung von oben kann den Zustand der Hilflosigkeit und Erniedrigung oder auch die Schwäche und Unselbständigkeit betonen.
3.4.3. Normalsicht
Bei der Normalsicht ist die Kamera auf Augenhöhe positioniert. Der Zuschauer hat den Eindruck das Geschehen als Beobachter wahrzunehmen.
3.4.4. Die schräg gestellte Kamera
Das Bild gewinnt by the camera tilted slightly unreal. You can order effects, such as a difficulty in achieving progress against a resistance (wind) or the visual transposition of an unstoppable force advancing, .
3.5. The moving camera
panning of cameras can serve as a transition to other subjects and scenes and to increase the drama. The psyche of the people is reflected in the movement of the camera, eg in a camera movement from face to face, to portray the horror and sadness of a population. There were also built technical means for moving the camera, such as the so-called "Dolly", a car in order to move the camera into the smallest space.
3.5.1. Swivel the camera
When turning the camera is rotated only about its own axis, but remains fixed in one location.
3.5.2. Voyage of the camera
There are different directions when passing the camera: you can be moved in the vertical (elevator ride) and in the horizontal (parallel tracking, pursuit driving, Ran or Access). The camera movements can be different rates and are combined with transitions. The camera and object movements lead to very complex relationships in the film, which must be considered in the analysis. Alfred Hitchcock uses a crane shot to get out of long shots to Detail, to use the camera as an authorial narrator to solve a puzzle. The camera switches from the authorial role of the subjective role, from the perspective of the murderer, and the audience makes virtually an accomplice.
3.6. zoom lens
The zoom lens can simulate camera movement. However, change through the application of the objective spatial conditions as well as the depth of field, leading to a special effect, which is used as a stylistic device. The zoom lens is also used in combination with the camera movement.
4th Film: Frenzy
Hitchcock mounted the camera on a helicopter and opened with a camera flight, the opening scene. The camera was mounted on a special holder, should reduce the vibrations.
How To Recondition Old Wooden Barrels
minutes of the meeting, 16.10.2006
first introduction and distribution of the units.
second An important book for the media analysis is "Understanding Film by James Monaco, see and hear properly learn, so that Filme wissenschaftlich analysieren, konkrete Strukturen erfassen und dabei intersubjektives Verständnis erlangen kann.
3. Filme können nur mit Hilfe von Künstlern geschaffen werden, die von der Filmindustrie unterstützt werden, sodass sie ihre Ideen und Meinungen, die sie veröffentlichen wollen, zum Ausdruck bringen können. Dies impliziert gleichzeitig einen „Kampf“ zwischen Künstler und Filmindustrie; da der Künstler sich auf seine Weise mitteilen und das für ihn „schöne, gute und wahre“ vermitteln will, die Filmindustrie aber primär den kommerziellen Erfolg, die Vermarktung und den Gewinn anstrebt.
4. Die ästhetischen Gestaltungsmöglichkeiten des Films haben sich verändert und erweitert, z.B. durch Licht, Farbe und Ton.
5. Vorführung eines Films, der 1895 von den Gebrüdern Lumière gedreht worden ist, von einer Lokomotive und Menschen, die aus ihr aussteigen und vorübergehen. Der Film ist ungeschnitten und als Dokumentation veröffentlicht worden. Die Zuschauer, für die das Film-/Kinoerlebnis eine völlig neue Erfahrung war, sollen teilweise beim erscheinen der Lokomotive vor Schreck aufgesprungen sein. Die Kamera hat eine Fixposition. By a high depth of field and the moving objects (locomotive, people who go out of the locomotive and pass by the camera), it is possible to set a long shot, medium shot, and a Halbnaheinstellung to obtain close-up. The film, however, no documentation, but a production was due to the camera at the time was a new invention, and certainly the attention of the people would temporarily pulled up.
6th A distinction between actors that play a role in the film, thus in a different role or figure and empathize actors that appear in the film, but play no other role, that it is authentic they are.
7th one hand, films must be considered carefully and recognized the other hand, must be a thorough investigation, whether appearing as stereotypes or whether something new has been created.
