And after feedback with the filter added by Dermott:
Here is a video of some assets I animated for our project. It starts with the intro I was putting together for the presentation, then a couple of sets of different arm movements we put on Molly’s designs. It continues with an arm movement test I was doing with my model and ends with a crowd reaction scene.
For the last shot, Molly and I sat together and figured out how to work with the camera.
After Molly came up with the title for our animation, “The Great Madam Modem” I started looking at movie titles from the black and white era. Since we still aren’t sure what kind of genre we’re going for, I looked for inspiration in various movies and tried the styles of the ones I liked.
Here is also a link to a useful page I found:
These are 10 of my favourite movies/books listed in random order
Imagemaking for Cinematographers and Directors.
Know the rules before you break them. Understand why the rules exist before attempting something new.
Be a good team player.
Nothing in the frame is an accident so consider framing, composition, colour, light etc
By setting up certain expectations in the audience’s mind, you can then manipulate those questions and expectations. Sometimes the position of the viewer can stay the same and only change from wider shots to narrow shots to create a sequence.
In the early days of cinema, dramatic films were conceived as recorded theatre: everything was viewed as if it were happening on a proscenium stage. The spacial orientation remained fixed the entire time.
Use master shots to avoid inconsistency/ continuity errors.
Transition in and out of a scene.
Elliptical cut: cut from shot to shot where an extended time change occurs without transitional device.
Brown, B. (n.d.). Cinematography: Imagemaking for Cinematographers, Directors and Videographers. 1st ed. Focal Press.