The Risk
A seating chart when interviewing.
Submitted by helenmartiz » Thu 09-Jun-2022, 02:13Subject Area: DesignKeywords: chart, interviewing | 1 member rating |
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Draw a round table and put the presenter at the head of the table. Divide this table into two halves, into two semicircles, and seat the guests so that there is a sector for shooting the journalist with the front camera. We will leave on the mise-en-scene plan only the presenter and the six invitees.
What is the principle of frame editing? What option on the scheme? Right! Inevitably we will have to use transcriberry.com for further transcribing of video into text format and, respectively, remember the second principle of frame editing according to orientation in space. And if you do a little more work, you can guess that this case corresponds to the scheme of shooting a conversation between three characters. There is only one last thing left: to find the "key" to a technique that will make it possible to shoot any participant of a round table at practically any moment of an argument in a live, close-up, convenient way with a display of all facial expressions without disturbing the orientation in space.
We have learned how to shoot a soccer match with 18 cameras without disturbing the viewer's orientation. But we have not yet been able to shoot the "round table" in the studio in an editing manner. Keep in mind that the director is behind the camera desk, and he is not able to rearrange cameramen according to the unpredictable course of shooting. But, as always, the door opens easily if the director has the "key" in his hands. Scratch the dustbin of your imagination and think: who could be such a key? That's right! The one leading the conversation! He turns his head more than anyone else, which means he changes the direction of his gaze: for the frontal camera he looks then to the left, to the right. We need to take advantage of this.
When a journalist turns to any person sitting to the left for the front camera, there is a line of communication between the two people, and you can shoot over the heads of those sitting to the right from any point without disturbing the orientation. When he addresses the person sitting on the right, there is freedom of action for the cameras on the left. The essence of the technique is to have the presenter's plan before each transition to filming from the opposite side in the frame sequence. The gaze of the presenter in the frame, shot with the front camera, just sets the viewer's orientation, from which side of the table the speaker sits. After the plan of the head of the table, the frame of anyone responding to him, shot from the opposite side, will always satisfy the orientation requirements. Let us consider the most complicated case. Let the guests argue among themselves, and the journalist, as he should, each time only turns his gaze to the speaker. The sequence of people entering the conversation on the plan and in the storyboards is as follows: A, B, A, D. A speaks and looks at the journalist.
Shoot the camera number 1 {. B responds to A's remark. The journalist changes his gaze (a transfer of gaze is indicated by an arrow). The camera corrects and pans slightly to the right. B replies to A and moves his gaze to him accordingly. A tiny panorama, but B is already looking the other way through the frame. If there is no interruption between the next frame, in which A is shot addressing D, and the frame with the character named D, the viewer will inevitably get confused about the placement of those present.
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