Name: カメラの動きの5つの華麗な瞬間 (5 Brilliant Moments of Camera Movement)
Uploaded: 2021-01-14T08:04:15.000Z
Duration: 12 min 7 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

Ever since they could fit cameras on wheels,

film makers have been moving them around in every kind of way you could think up,

様態の副詞

But more than just visual spice, a good camera move can move the story, too.

these are five brilliant little moments in camera movement.

In one way or another, we're all reading films.

We extract information and ideas and clues about the plot, the characters,

the people, to construct a mental representation of the story in our heads.

And sometimes that's just about as simple and straightforward as reading actual

words on screen, or listening to the words coming out of a character's mouth.

A little more complex, but nothing a basic primate can't handle, we watch action and

Beyond that, we make inferences as to things that are hinted at,

guess at character motivation, put two and two together to figure out the killer.

And we've talked before about how edits can say things themselves,

how there can be information embedded in a cut, but the camera has a voice, too.

Most of the time, that voice is quiet, a whisper we've learned to ignore.

It says, look at this and this, this is important over here, so we look and

we read the this, and we ignore the look at and go on about our day.

If you only ever move the camera for a motivated reason, as commercial cinema

usually does, for a reason that comes from the story, the characters, the plot,

it will disappear behind its motivations, its artifice will become invisible.

Maybe it's a physical reason, a character walks, so you need to follow them.

you turn the camera to reveal some extra information that we need to know.

But, you don't just move the camera of its own accord, until you do.

Sometimes, a film maker moves the camera in a completely unexpected, unmotivated,

It's not following a character, it's not just showing you something important.

It's almost as if the important thing is the movement itself,

as if there's information embedded in the move.

The camera separates itself from the story and the character and

speaks up loud enough that we begin to hear it on its own, as its own voice,

with things to say about the story that might not be coming from anywhere else.

Our first unmotivated camera movement, and

probably our most familiar is the slow push-in, this move happens all the time.

We even talked at some length about it back in our original

the slow push in is a perfect first example of the camera's voice being heard.

It's not reframing, just creeping slightly closer, it doesn't just say look, it says

look harder, there's something below the surface, there's more then meets the eye.

It knows how we would read a shot statically and

then asks us to consider it with just a little more importance.

And for a brilliant example, check out this twofer from the beginning of

The Assassination of Jesse James by the Coward Robert Ford.

- About the wife confederacies, Jefferson Davis, yeah.

I didn't know you didn't, he did his duty by her.

- (Laugh) - No, I get it, I get it, I get it.

- The President of the Confederacy concenrned his wife's needs and

- At this point in the film we've seen nothing more than a brief biography of

We don't even done who Casey Affleck's character is, and yet, without even

a word, we know everything about what's happening here because of how it's shot.

Here, try it one more time with the push-in removed.

This push end says something important is stewing inside this man's head.

While this one says, narrow your focus, this is more than a group of men,

But put them together and they become more than the sum of their parts,

the dual push-ins connect the meaning just as they're connected in motion.

And what comes out of that alchemy is a sense that there's a special moment

happening between the man with the gaze and the object of his gaze.

Some kind of special longing, or interest,

or desire that Casey Affleck feels towards the man in the middle of this frame,

all without a word of exposition, just simple camera talk.

Less common than the creep in is the creep out.

On one hand, graphically, it tends to cause a figure to grow smaller compared to

the world around them as if it is swallowing them up inside it's vastness.

And if we were to anthropomorphize the camera a little bit here,

it's also like it's abandoning the character and us with it,

we back away as if protecting ourselves from their pain or giving up hope.

Most recently, we were totally stunned by a moment in 20th Century Women that

Now, this film is still very much in theaters, as of our recordings, so

we can't exactly play the entire scene here, but, if we all put our imagination

caps on and turn to the script, I bet we can conjure up an image of it.

Jamie, frustrated with life struggling to be a teenager and starting to butt heads

with his mother, goes to their boarder Abbie in a moment of (Bleep) it all,

And the next scene is simple, short, just one shot.

Dressed up now, they hurry out passing his mother, Dorothea,

on the stairway as she works in the hall, she asked them where they're going, and

he just says out with Abbie, and then leaves.

But what's simple on the surface is given immense depth by the camera.

As Dorothea stops them, asks after her son,

the camera pushes in with the very same creep from our last example.

But, when Jamie blows her off, just says, out with Abbie, it turns around.

Creeps back out instead as Dorothea is rebuffed,

it inches away, abandoning her just like Jamie does.

It turns what might be, even now, everyday scene on the surface,

字幕リスト動画再生

カメラの動きの5つの華麗な瞬間 (5 Brilliant Moments of Camera Movement)

incredible

figure

reveal

character