The artsy jerk

[Josh Bass]

If I see something on TV where it's done, I'll note the product, and also see if I can find it online somewhere.

[Matt Pacini]

Let's face it, most of these shows are just people sitting in rooms talking (or yelling), which is booooooring, and they try to SIMULATE excitement and energy by having the camera hyperactive.

Just doesn't do it for me. I want something exciting IN FRONT of the camera, not behind it.

It's just annoying.

If they're going to do this, then they outta be shooting on Super 8, if you ask me, and complete the look.

Actually, I'm surprised someone hasn't done this yet.

 

Matt Pacini

[John Pytlak RIP]

It's just annoying.

If they're going to do this, then they outta be shooting on Super 8, if you ask me, and complete the look.

Actually, I'm surprised someone hasn't done this yet.

 

Matt Pacini

<{POST_SNAPBACK}>

 

They have done it: "Reality Television", and one step down in quality from Super-8. :rolleyes:

[DavidSloan]

BTW DavidSloan, click for the Mesmeriser

<{POST_SNAPBACK}>

 

Thanks, J. I guess thats what was used in Lost Highway to do those surreal shots, in the hallway, when Balthazr Getty is running in the mansion. Cheesy stuff.

[Michael Nash]

Michael Nash: I'm not talking about the off speed shots.  For example in the opening of the film there is a jerky CU on Denzel, in the car, and suddenly a jerky zoom to his sun glasses.  This style is all over the film.  The off speed stuff is something else, and is obviously used in just a few scenes, the entire movie is not offspeed.

<{POST_SNAPBACK}>

 

Yes, I realize that. There were a variety of techniques in that film; off-speed and shakey-cam were among many. I was just trying to make the point that in this case, I felt the shakey-cam was part of an expressionsitic visual style, and not a cinema-verite one.

 

I was trying to distinguish technique from effect . Sometimes the "effect" can be hard to define or can tread a fine line between one "label" or another (e.g. "cinema verite" or "expressionism"). I just felt that Man On Fire was a good example of applying a techniqe for one extreme (expressing the POV of the character), whereas the "fleeting eye" look of NYPD Blue might represent another (expressing the POV of a 3rd party observer).

 

I just think it's an important distinction when applying such a deliberate technique; to make sure you know what POV you're trying to represent.

[Brad Grimmett]

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If they're going to do this, then they outta be shooting on Super 8, if you ask me, and complete the look.

Actually, I'm surprised someone hasn't done this yet.

 

Matt Pacini

<{POST_SNAPBACK}>

Well, I don't think it's for the same reason, but Without a Trace has used Super 8 for a lot of their flashback scenes. I haven't seen the show, but I read an article about this in American Cinematographer (I believe). They've used all kinds of different formats, including Super 8 and even VHS.

[Josh Bass]

Ok, so, to finish this thread off, not so subltly plug this thing I just did, and show you guys what I meant (mostly), here's the completed short where I tried "the artsy jerk."

 

http://www.joshbass.com/debt_wm9.wmv

 

Won't take up but 2 minutes of your time (after it's done loading, that is).

 

I kinda did it everywhere when I wasn't on the dolly, but the parts where I really tried to use the technique are all the couch shots (save for the 2shots, those are totally static). What I learned is that the tighter the shot, the more movement is acceptable, and the wider, the less.

 

No, I know it isn't perfect, but I think it's pretty good for what it is.

[DavidSloan]

was this some kind of class project?

[Josh Bass]

No, it was a bass project. Har har.

[jeff striker]

i actually noticed the jerky zoom stuff going on in old truffaut films..also check out The Life Aquatic. that stuff is alllll over the place, but its done tastefully in my opinion. very comical feel