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Aug 14, 2022 · Using slug lines. The first way to write camera directions within a screenplay is by using slug lines. Slug lines are their own line within a screenplay. Although they are typically used to describe a change in scene, location, or time, they can also be used to describe a camera direction. We brought the Ferris Bueller’s Day Off screenplay ...
- The Wide Shot
- The Closeup
- The Extreme Closeup
- Putting on The Sensory Lens
- The Conceptual Lens
- Making Choices
- Playing with The Camera
What’s wrong with that sentence? Is it too simplistic? Too cliché? Have we committed the heresy of “telling not showing”? Nope. Let’s look at it again: Simple sentences are fine. They’re clear, readable, and don’t impede the reader’s experience of the story. There’s nothing overtly clichéd about a good old punch-to-the-jaw moment, either. Oh, and t...
What if we put our writer’s camera just over Frank’s shoulder? This will do two things: first, it puts us in Frank’s point of view (regardless of whether we’re writing in first person or third), putting us in his shoes as someone about to be punched. Second, by limiting what we’re about to see we also keep it from being so generalized that the acti...
Extreme closeups focus our awareness on individual elements to make them suddenly much more significant. In doing this, we can make interesting and unusual choices as writers. For example, instead of just focusing on Dale’s fist, what if we go in even closer? Starting to feel a little film noir, perhaps? That’s not by accident: noir stylists like D...
There’s nothing new about the idea that writers should make use of all five senses, but too often we apply it to static, establishing descriptions as we enter a setting: Depending on your personal style, those lines might be fine, but only thinking of the senses of touch, taste, and smell when describing a setting wastes a remarkably versatile tool...
Writers aren’t limited by the five senses the way most other artists are. We can go beyond describing a simple action to exploring questions about what those actions mean. We can even pull those moments out of time and space entirely: Notice how we’ve pulled so far back from the punch itself that we’re not looking at Frank or Dale or anyone in the ...
I’ll leave you with two simple exercises that need not take up more than a couple of minutes each but which might add to your choices the next time you’re faced with a passage that just doesn’t feel alive to you. Let’s start with a very quick one. Look at the four lines below and rewrite them in your head using whichever shots we’ve described above...
Let me leave you with three final thoughts. First, while we’ve applied these techniques to what looks like the start of a fight scene, never forget that they can work just as well with two people about to kiss, or sitting on a train, or casting a magic spell. Second, while I’ve outlined a few techniques here, this is by no means an exhaustive list....
It sets the scene. A wide shot places the viewer at a distance from the action, looking on. Compared to a full shot or close-up shot, it creates an effect of emotional detachment. Visualizing camera shots can help you control the travel of your fiction in the reader’s mind’s eye. Try setting the scene with a wide shot.
Sep 18, 2024 · Film is a director's medium. When a screenwriter is writing a script that they are likely not going to direct, they should refrain from including specific camera directions. When the script is handed over to a director, the collaborative relationship shifts as they interpret that screenplay through their director's eyes.
A transition often used to compare two completely unrelated objects. It's film's version of metaphor. This involves cutting from one object of certain color, shape, and/or movement, to another object of similar color, shape, and/or movement. For example, a circular saw to a child's merry-go-round.
Sep 24, 2020 · Image via The Shining Description. The emotion shot. This is the money shot, if you will. The writer brings the reader close to a character’s face to fully experience the character’s emotion.
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Jun 11, 2024 · Rack Focus. The rack focus is one of the most essential camera moves for any cinematographer and is one of the most essential camera moves you should know. The practice involves changing the focus of the lens during a shot. The term can refer to small or large changes of focus that play to the depth of field.
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