The single shot video task required a minute-long unedited sequence depicting a 3-line story. Bobker asserts that “in a single scene uninterrupted by cuts, the character of the image can be changed by simply moving the camera in, our, and around the players”, meaning the focus should be on the composition and utilization of the frame and camera to tell the story (Bobker, 60).
Having never used a camera before, this was an opportunity to get hands on experience. As a result, I had to learn to operate the basic steady camera movement, since natural movement of frame can “change the character of the image” (58), but to move it unevenly draws attention away from the action and towards the act of the spectacle itself. This was my central concern upon the beginning of filming.
The 3-line plot, centering on the theme “success”, was shown thus: A girl stops to take a phone-call, and leaves her bag open. A thief comes along and pickpockets a wallet. He walks past her and around a corner, successfully having stolen the wallet.
We chose to follow the thief around a corner, because it creates a sense of depth in the video. Since the clip takes place against a giant wall, there is a flatness to the image. By allowing a character to move from afar to near, and creating an illusion of a z-axis, the audience is drawn into the depth of the frame (59). Furthermore, we chose to end on a low-angle shot, in order to frame the successful thief as being powerful. The changing angles – from straight on to low angle – also creates a sense of height within the frame.
We also opted to first focus on the girl, then move slowly back to reveal the thief – who was seen in the background earlier. In this way, the camera movement and frame acts as a character in itself – ie, the vehicle of the audience’s gaze – and also allows us to tell the story through visual alone. By tracking slowly across a blank wall, and finally revealing the thief’s face, it allows the audience to know exactly what is happening, and create a sense of tension, without needing audio. We also focus on an outstretched hand about to pickpocket – centered in the frame, and moving slowly – because it also creates tension.
The tension is furthered by showing both the thief and the girl within frame after the theft. As the thief moves along the z-axis, the frame moves to show both characters while focusing on the thief. This also softens the flat 2D feel of the earlier wall-tracking.
I am proud of the camera movements when tracking along the wall to reveal the thief, then the follow of his outstretched hand, because I feel this portion especially drew the audience into the gaze. However, the flat 2D wall-tracking was tacky, and did not make good use of spatial techniques.
Bobker, Lee R. “Composition.” Elements of Film. New York: Harcourt Brace Jonavich, 1974. 55-61. Print.