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Chapter 4: Production Design

Chapter 4: Production Design. Basic tools of production design: Sets Costumes Mattes Miniatures . Ken Adam. Dr. Strangelove Barry Lyndon Dr. No Goldfinger. Digital Effects. Digital components of production design Pre-visualization Digital extensions of sets and miniatures

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Chapter 4: Production Design

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  1. Chapter 4: Production Design

  2. Basic tools of production design: • Sets • Costumes • Mattes • Miniatures

  3. Ken Adam • Dr. Strangelove • Barry Lyndon • Dr. No • Goldfinger

  4. Digital Effects • Digital components of production design • Pre-visualization • Digital extensions of sets and miniatures • The Truman Show • Gladiator • CGI environments • Dinosaur

  5. Acting

  6. Acting in Film vs. Theater Five unique characteristics that shape film acting

  7. Lack of rehearsal • Budgetary factors create shortage of time • Director attitudes • Shooting Out of Continuity • Economies of time and cost determine shooting order of scenes • Shooting close-ups and coverage

  8. Amplification of gesture and expressions • Camera and microphone magnify performance • Encourage restrained style of performance • Minimalist styles • Clint Eastwood

  9. Lighting, Lenses and Effects Work • Hitting the mark • Performer should know how camera reads scene • Depth of field • Lens angle of view • Contrast range – lighting falloff • Camera movement • Greenscreening • Playing to nonexistent sets and characters • Scene fully assembled during post-production compositing

  10. Lack of a live audience • Can’t calibrate performance according to audience response • Chaplin • Other comedy

  11. Stars • The Star Persona • Composite personality established across many films • Greater than the performance in any single film • Personality stars and Character stars

  12. Technical Acting • Dominant style of screen performance during 1930s-1950s • Lack of introspection • Creation of character from the ‘outside’ • James Cagney and White Heat (1949) • Imitating the sounds rather than feeling the emotions

  13. Method • Method Acting • Brought to cinema in the 1950s by new generation of actors • Paul Newman, Shelly Winters, Montgomery Clift • Marlon Brando • On the Waterfront (1954) • The Godfather (1972) • Last Tango in Paris (1973)

  14. Method • Internalized, richly psychological performance style • Formal training at New York’s Actor’s Studio • Emotional memory and sense recall exercises • Emphasis on inhabiting the character psychologically

  15. The Actor as an Element of Visual Design • Unique body language of the performer • Choreographing performance • Integrating it with lighting, camera position and movement • Typage • Social • Psychological

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