How do you express emotions through long shots?

Oh, it's not a long shot in photography.

The style of the lens language of the work should be ...... by the style and emotional content of the storyDecide – because the language of the lens is entirely at their service.

Long shots are mainly used to express two emotions: long and silent (or both).

You can refer to the following:

Long shots. Long shot, also known as paragraph shot in film and television art, refers to the continuous shot shot by the camera after a relatively long period of motion without stopping, and some long shots can reach more than a few minutes.

The theory of long shots was first proposed by the French film theorist André Bazin. He believes that the movement of the lens and the depth of the lens can avoid strictly limiting the perceptual process of the audience, pay attention to the real, normal and complete action of things, ensure that the progress of time is respected, and let the audience see the whole picture of the display space and the actual connection of things. Its significance can not only greatly reduce the number of montage combinations, but also play a significant role in exploring and studying the artistic potential of montage inside the lens.

Especially for emotions that need to be expressed continuously, actions that need to be coherent, shots that are completed in one go, and shots that need to continuously introduce a vast space, all have their special artistic value.

However, Bazin absolutized the aesthetic meaning of the long shot, emphasizing only the truth, while ignoring the artistic essence of the external montage assembly technique. Through multiple montage assembly techniques, we can select typical and representative shots to create novel, cross-time and space, and shorten meaningless space shots, so that the audience can be affected by the effect of the artistic side, rather than simply copying and observing the impression of objective time. Long shots are used in domestic TV films a lot, often giving people a sense of procrastination and length, which is not as intense as the films of Hong Kong, Taiwan or the West.

Long shot theory and expressive techniques are an integral part of the art of film and television, which can be complemented by montage techniques. But we can't abuse it, especially in feature films, ** TV. In documentaries, instructional films, or newsreels, we can use them appropriately to show some details*.

If you really need to be simple, then don't ask your questions in such a general way, and give more information to the person, such as what emotions you want to express, what subject you want to shoot, etc.

I think it's best to show emotions by moving the camera! Or up, down.

Pay attention to the changes in the scene and shooting angle in the long shot, avoid monotony, control the rhythm of the lens movement and the movement rhythm of the subject, especially to play the scheduling, not just shooting.

What is the relationship between expressing emotions and short and long shots?

It's a bit much, it's hard to express.

Performance montage is based on the column of shots, and through the connected shots to contrast and impact each other in form or content, so as to produce a rich meaning that a single shot itself does not have, in order to express a certain emotion or thought. The purpose is to stimulate the associations of the audience and inspire the audience's thinking.

1 Lyrical montage.

It is a kind of expression of thoughts and emotions that transcend the plot while ensuring the coherence of the narrative and description. Jean Mitri points out that it is intended to be both a narrative and a rendering of sound and color, and it is more focused on the latter.

Significant events are broken down into a series of close-ups or close-ups, capturing the essential meaning of things from different sides and angles, and rendering the characteristics of things. The most common lyrical montage, which is most easily felt by the audience, is often followed by a narrative scene, and appropriately cut into an empty shot that symbolizes emotional emotion. For example, in the Soviet film "Country Governess", Varvara and Maldinov fall in love, and Mardinov tentatively asks her if she will wait for him forever.

She replied affectionately, "Forever!" This is followed by a shot of two blooming flower branches in the frame.

It is not directly related to the plot, but it appropriately expresses the emotions of the author and the characters.

2 Psychological montage.

It is an important means of psychological depiction of characters, which vividly shows the inner world of characters through the combination of pictures and shots or the organic combination of sound and painting, and is often used to express the characters' dreams, memories, flashes, hallucinations, reverie, thinking and other spiritual activities. This kind of montage mostly uses cross-interspersed techniques in editing techniques, which is characterized by the fragmentation of the picture and sound image, the incoherence of the narrative and the jump of rhythm, and the sound and picture image has a strong subjectivity of the people in the play.

3 Metaphorical montage.

Through the analogy of the column of shots or scenes, a certain moral of the creator is implicitly and vividly expressed. This technique often highlights certain similar characteristics between different things, so as to arouse the audience's association, comprehend the director's moral and appreciate the emotional color of the event. For example, in "Mother", Pudovkin combines the footage of the workers' demonstration with the footage of the thawing glacier in the spring, which is used as a metaphor for the unstoppable revolutionary movement.

Metaphorical montages combine great generalization with extreme simplicity and often have a strong emotional appeal. However, this technique should be used with caution, and the metaphor and narrative should be organically combined to avoid being stiff and far-fetched.

4 Contrast Montage.

Similar to the contrasting depiction in literature, that is, through the strong contrast between shots or scenes in content (such as rich and poor, bitter and happy, life and death, noble and inferior, victory and defeat, etc.) or form (such as the size of the scene, the color of the cold and warm, the strength of the sound, the movement and static, etc.), to produce conflicting effects, in order to express a certain moral or strengthen the content and thoughts expressed by the creator.

Film is a kind of modern art that uses modern scientific and technological achievements as tools and materials, uses the means of expression to create visual images and lens combinations, and shapes a specific image of movement, a combination of sound and painting, and a realistic concrete image in the space and time of the screen, so as to reflect social life. Movies can accurately "restore" the real world, giving people a sense of realism, intimacy, and immersion. This characteristic of cinema can satisfy people's desire to feel life more broadly and realistically.

The frame rate of movies is generally 24 frames per second, and as technology improves, movies at 48 frames per second or even 60 frames per second are about to appear.

Features of long lens: 1. Maintain the integrity of the space, and at the same time construct time and space to reproduce the original ecology. 2. Create a coherence of sporty shapes.

3. Maintain emotional coherence. Montage: Montage (French:

montage) is a transliterated loanword, originally an architectural term that means to compose and assemble. It is often used in three artistic fields, and can be interpreted as a collage and editing technique with meaning. It was first extended to film art, and later gradually became widely used in derivative fields such as visual arts.

In film and television, montage is, to put it bluntly, an edited film. Montage generally consists of two aspects: picture editing and picture compositing.

A long lens is the symmetry of a "short lens". Refers to a shot that is continuously ingested over a period of time and occupies a long film. Can contain more of the required content or become a montage sentence (as opposed to a montage sentence that consists of several short shots).

There is no clear and uniform rule on its length. Generally, there are four types: fixed long lens, zoom long lens, deep field long lens, and sports long lens. Among them, the motion long lens includes the camera's push, pull, pan, lift and other movements.

Because the long shot can unify the various internal movements in the lens, it appears natural and smooth, and full of changes, creating a variety of angles and scenes for the picture, which can not only express the environment and highlight the characters, but also bring full freedom to the actors' performances, help the coherence of the characters' emotions, and make important dramatic actions can be fully and hierarchically expressed. The shooting of long shots has a strong sense of realism in time and space because it does not destroy the coherence of space and time in the event and development.

As the name suggests, it is a lens that is continuously captured over a period of time and occupies a long film. This naming is mainly symmetrical for relatively short lenses. A long shot can contain more of the desired content or become a montage sentence (as opposed to a montage sentence that consists of several short shots).

There is no clear and uniform rule on its length.

Generally, there are four types of fixed long lenses, zoom long lenses, deep field long lenses, and sports long lenses. Among them, the motion long lens includes the camera's push, pull, pan, lift and other movements. Because the long shot can unify the various internal movements in the lens, it appears natural and smooth, and full of changes, creating a variety of angles and scenes for the picture, which can not only express the environment and highlight the characters, but also bring full freedom to the actors' performances, help the coherence of the characters' emotions, and make important dramatic actions can be fully and hierarchically expressed.

The shooting of long shots has a strong sense of realism in time and space because it does not destroy the coherence of space and time in the event and development.

We usually shoot DV at home, and if it is not edited and produced, it can be regarded as a long shot. ：）

Long shots have their origins in Italian neorealism.

The director carried the camera out into the street, intending to show its authenticity with the coherence of the shot.

Long lens refers to the continuous and uninterrupted performance of a moving picture for a long time, maintaining the integrity of the moving picture. In fact, it is a lens that is shot for a long time, does not cut the space, and maintains the integrity of time and space.

PS: The opposite of the long shot is montage.

In fact, the choice of lens depends on the needs of the landlord, Canon's 70 200 has a total of five, three of which are anti-shake, two are non-anti-shake, three are yes, and two are F4. It is recommended to use stabilization. The F4 IS is commonly referred to as the "love to death white rabbit" and is the cheapest of the three for stabilization.

If you have the funds, of course, choose the one that is ii. It is not recommended to do not stabilize the one, although it is lower. It is not recommended for the sub-factory.

The 135mm f2 prime lens is also a good choice.

Can be used to fade in.

Fade out. The transition of memories is carried out by fading into the scene first and then fading out of the characters in the real and reminiscence lenses. For example, in the movie "Life of Pi", the adult school uses this technique when recalling the historical background of his hometown when he was a child.

The characters narrate, recall their own experiences or an event that they have witnessed, and switch to the scene of their memories through artistic techniques.

Character dissolving processing: refers to the processing of the same subject on the basis of the same angle and scene.

Straight processing: The camera directly cuts from the speaker's expression to the memory, and from the content to be expressed to the character.

For example, the protagonist looks out the window, or looks at the place where he used to live, and then begins to show scenes of his past life in the same place; Another example is the flashback technique, which is often seen in movies, where you hear a very rapid wind-like sound, and then switch back to the past clips, which are usually done in black and white or brown. Please give a satisfactory evaluation.

Usually I think that superimposing is an operational technique, or other methods, such as the same object in different time and space. There are many ways to do this.