The "chasing sequence" in the silent film period is shot with a hand-cranked camera. "Photographers are used to shooting things that move at high speed through their own acceleration.
This can reduce the speed of moving things on the screen, making it look more comfortable. On the contrary, when shooting a slower thing with a relatively fast shooting speed, it will compress things on the screen. thus changes the rate of change of things in people's eyes and speeds up. This speed change can not only make visual movement more suitable for people's sensibility, but also causes changes in nature to these moving objects."
The funny "fighting comedy" in early movies presented the earliest speed wonder in the "chasing sequence", and It is realized by downgrading shots. "The silent film can be shown by . If the number of frames per second of the film is less than the number of frames, the speed of the screen's image will be faster.
This is the fast-motion effect that is occasionally seen in comedy movies...Movies recently used fast-motion to grasp the audience's attention and speed up the rhythm, and quickly brought the audience from a certain scene to the core of the plot."
The acceleration of the pace of contemporary life and the advancement of communication technology have driven people to put forward higher speed requirements for vision. One of the charms of in Buster Keaton 's " General " is that it can create a "power box" effect.
Tom Ganning also sorted out some radical realist film production situations in the early film period. Perhaps the most extreme example is Haier Tour, which specializes in films before 1906. is the largest in its kind of theater.
Many road action movies (especially movies that take place in train scenes) have natural suspense and uncertainty once the vehicle is activated. This viewing experience is not like taking a train or subway in life. There will be a broadcasting system to notify the next itinerary. Your front is all unknown, and the fuses of adventure or fear in the subconscious will be quietly ignited. The same is true for the "chasing sequence" that occurs in other scenes. As the "chasing influence" gradually increases, the "chasing scene" is ready to go, although relying on the movie viewing experience of genre movies, we will first have a subjective cognition: "The protagonist will definitely catch that bad guy! Or the villain will definitely slip away, because the movie has just begun!" But the entire pursuit process is unknown, and makes it convenient for the filmmakers to use all lens language to influence the audience.
Rudolph Arnheim mentioned when analyzing the artistic visual perception of movement: movies can easily reproduce the movement in nature - such as the high-speed movement of vehicles, the movement of the ocean, etc. They are greatly strengthened due to the movement of the lens itself, This creates an opportunity for the material world itself to show its inner strength, thereby indirectly devalue the power of the human itself...
Tonk and later Opnheimer proposed various laws that can generate subordinate hierarchy relationships, one of which is the law of "closedness". According to this rule, the closed graphics of always tend to move, and the base of that acts as a closed function always tends to stay.
The "subordinate hierarchy relationship" of the movie chasing camera movement not only exists in the images of moving in the scene frame, but also in the gaze relationship between the audience and the presence of the screen in the cinema.
The huge luminous shiny body - the screen, wrapped in endless darkness, essentially becoming a "closed graphics always tend to move, and the audience present in the cinema and the dark environment together form the "the base that plays a closed role always tends to stay."
Therefore, once the high-speed movement wonder of "chaser" and "chaser" shine on the screen, the movie gives "the material world itself an opportunity to show its inner strength, thereby indirectly devalues the power of the person itself". This is the macro reason why the "chasing scene" in the "chasing sequence" uses its "overall perception and the energy center contained in the entire Gestalt", can hold the audience tightly in the seat and open their mouths until the pursuit is over.
Of course, simple moving images and the theater environment are not enough to successfully create a spectacular perception of the speed of chasing the camera. "Chasing the scene" must also follow certain lens language rules when shooting.
In "Research on Movie Language in 007 Movie Chasing Scenes", several key points of the movement lens rules in chasing scenes are summarized:
(1) You can use subjective lens , panning or mobile photography in a timely manner to directly replace the actor's eyes to express a scene.
(2) Pan or mobile photography should be used well. can keep following the shot when shooting minor characters, then move to the main characters.
(3) Using panning and mobile photography, it can be determined according to the needs of post-editing, and the shooting length is unlimited.
(4) In order to use the character and the background to move to create a miracle of speed, tries to keep the subject in the same part of the picture.
(5) The start time of the sports shot is later than that of the actor. The actors exercise first, so that the audience will pay attention to the "hot-start" effect of the exercise.
(6) When shooting sports lenses, arranges the subject to perform complex movements, and the movement of the camera should be as simple as possible.
(7) When shooting Hollywood style movie-level sports lenses, the way to make the audience feel comfortable is to keep the camera stable and keep the speed consistent.
(8) If you want to enhance the movement effect, can arrange some objects between the subject and the camera as reference objects.
(9) Between a lot of mobile photography, it is very necessary to intersperse some pauses, they can be presented in another way of presenting the tempo wonder - upgrade lens/slow-motion.
If the actor and the camera are about to pause, avoid objects in the foreground blocking the picture unless they have important functions.
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