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  • Does the idea of watching two people having a conversation sound exciting?

  • Probably not.

  • You probably wouldn't pay money to see that.

  • And yet, you do.

  • All the time.

  • Because ultimately,

  • that's what every movie and TV show boils down to.

  • Over and over again.

  • Two people having a conversation.

  • How have so many filmmakers managed to make those conversations exciting?

  • Well, one big way is with film blocking.

  • [Music: "Film Blocking Tutorial and Techniques"]

  • Film blocking is the precise staging of actors in a performance.

  • In terms of cinema, it's where you place your actors in the frame.

  • There are three visual elements of filmmaker should think about

  • when blocking a scene.

  • Space.

  • Shapes.

  • Lines.

  • By considering these components,

  • you'll be able to block a scene between any subjects,

  • in a visually dynamic way that is loaded with subtext.

  • First up - Space.

  • This scene opens with a boy playing in the snow.

  • The camera pulls out to reveal a tense conversation between adults.

  • The stakes of the scene are the boy - Charlie.

  • Who's framed carefully through the window

  • for the duration of the scene.

  • On one side of him his father.

  • Standing in protest,

  • but dwarfed in size, due to his distance from the camera.

  • On the other side his mother.

  • Framed closer to the lens,

  • looming larger, more imposing.

  • Charles is smallest of all.

  • Take note of the way visual contrast is created in the space

  • to portray tension and importance.

  • Next up is shapes.

  • There are three basic shapes.

  • Circles, squares and triangles.

  • Everything around us can be turned into one of these basic shapes.

  • Even an actor's face.

  • Circle.

  • Triangle.

  • Square.

  • The basic shapes come with certain emotional qualities and assumptions.

  • Circles feel safer and inclusive.

  • Squares create limited space,

  • boxing someone in.

  • Triangles are sharp.

  • They feel aggressive,

  • but it also has an apex.

  • [Screaming]

  • -Holy shit

  • -Let's watch this scene from "Guardians of the Galaxy."

  • James Gunn carefully framed his subjects

  • to form a triangle pointing to Groot.

  • The moment is played for a joke.

  • The conversation happens

  • while important action is staged behind it.

  • -You definitely, need to get that last.

  • -When you're looking through your frame,

  • identify the basic shapes,

  • and bear in mind the emotional connotations of each,

  • and where they direct the viewer's eye.

  • We've covered shapes,

  • and shapes are formed by lines.

  • Be aware of the lines created in every shot,

  • and the effect they have on the viewer.

  • Take a look at this scene from "The Godfather Part 2."

  • It's a simple dialogue scene.

  • It plays out between a standing Michael - a vertical line.

  • And Fredo - nearly a horizontal line.

  • Fredo could have been standing for the scene.

  • If he did, the power dynamics would have been potentially equal,

  • but he was slung so low in the seat

  • that he was practically horizontal.

  • This film blocking creates visual tension between the two,

  • especially when cutting.

  • It also emphasizes who holds all the cards.

  • During Fredo's outbursts,

  • he flounders into an almost diagonal line.

  • Literally, attempting to change his shape.

  • An attempt to stand up to Michael.

  • When the outburst is over,

  • the order of things remain the same.

  • Fredo goes back to his horizontal position,

  • and Michael delivers his final judgment.

  • -You`re nothing to me now.

  • You're not a brother.

  • You're not a friend.

  • I don`t want to know you,or what you do.

  • -Happy trails, Fredo.

  • [Gunshot sound]

  • So we've covered how shapes, lines and space

  • can be used when blocking a scene.

  • The thing is, on their own,

  • they're not going to make those dialogue scenes that profound.

  • Unless, you do it with this in mind.

  • Subtext.

  • Or contrast.

  • By contrasting, you're blocking with what's being said or done,

  • you create an underlying meaning.

  • -It's also a personal statement about the band itself.

  • Hey, Paul!

  • [Screaming]

  • -You can start to reveal the real story,

  • and it's not only for viewers.

  • Communicating subtext through blocking a scene,

  • guide your actors, your DP, and the art director towards your vision.

  • Blocking tells us what the characters are really up to,

  • what they really mean,

  • what's really going on.

  • That's what makes blocking so important to a story.

  • A good way to plan, your blocking is with a storyboard.

  • Think about what the characters are saying in the script,

  • and then incorporate that into your blocking with storyboard software,

  • like Studio Binder.

  • And the next time you're having a conversation in real life,

  • pay attention to the way you stand, or sit, or move,

  • or lie down like Fredo.

  • You might be surprised.

  • See you in the next video.

  • [Outro Music: "Film Blocking Tutorial & Techniques"]

Does the idea of watching two people having a conversation sound exciting?

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フィルムブロッキングチュートリアル-監督のための映画製作テクニック (Film Blocking Tutorial -Film making Techniques for Directors)

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    Henry 楊 に公開 2021 年 01 月 14 日
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