If you’ve got to make a particular type of scene, how do you know what to do? You go and look at what other people have done. All filmmakers copy other filmmakers; it’s called inspiration.
Except in the case of Quentin Tarantino, when it’s called “Love Letters to ‘Sonny’ Chiba.”
Let’s say you want to make a chase scene. What do you do? You watch The Bourne Ultimatum and you take notes.
THE BOURNE ULTIMATUM – Waterloo Chase Scene
- Basically all tight shots.
- Nothing really from the chest down.
- Loads and loads of edits
(some too fast. They break the P.S.E. barrier – The PhotoSensitive Epilepsy standard is no edits faster than 9fps.)
- Lots of edits on people walking in front of the camera to help with ‘continuity’.
- Shot on a telephoto lens to keep distance
- Whip pans
- Edits during movement, so the camera is already moving when the edit is made.
- Lots of ‘Revealing’. Pans and tracks that ‘reveal’ something.
- If something is close up and fast paced, you can get away with a lot of continuity errors.
Word of the day: Parallax
– Something that gives perspective and context to the shot, helping give a sense of space.
THERE WILL BE BLOOD – ‘I am an oil man. This is my son.’
- Very slow camera work
- Slow tracks, very slight panning
- The entire film is slow, which works on big screens, but not necessarily as well on small screens. Consider your medium.
- Slow ‘push in’s can be used to intensify a situation.