Wednesday, March 26, 2008

Hitchcock Shot Analysis

Hitchcock frames and orders his compositions with light and actually directs the eye through the patterns of light and dark. More importantly, these shots all deal with strong character sillhouette and the tilt of the head. Note the power of the eyeline in all of these shots. In the first one, your eye goes right to Norman..everything in the layout pulls your eye this way, but the separation of the girl in front pulls your eye back towards her, so you do a bit of gradual flipping between them. This is a good use of a full body shot as his casual pose contrasts with the stark creepiness of the environment.
In the second, it's all about the look up at the character, as a normal moment becomes something more predatory through the alignment of the character with the background (I love in this sequence how he connects with the owls). The window frames him and sharpens the sillhouette. Even without the lighting though, look at the size on screen.
In the third, It's all about pose and eyeline. See how her gaze connects to him, his shoots into the black plane in front of him, and your eye pulls back from the dark area to the right, creating a circular field of interest where you stay engaged and immersed in the moment.
For your dialogue pieces, really focus on the framing of them from the start. The tendency in cg is to just deal with big decisions later, but go by the mantra of there are no laters when it comes to decisionmaking (or taxes)

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