N. Wirstrom

The scene opens on an establishing long shot of the entire house in which  our subject lives. The camera dollys in, then is cut with several cross-faded pans as we get closer to the room from the outside. Cross-fade to a long shot of the inside of the bedroom, then dolly in closer to a medium shot of the subject sleeping in the bed from bed-level, where all still seems normal. Holds on a medium shot of the subject, slowly discovering the blood on the outside of his sheets. The suspense gathers with the rising music.  As subject removes the sheets the camera pans to follow the hem, revealing more and more blood and finally the head of his prized horse. The subjects begins to panic while the shot holds on the horse and we can hear him screaming. cut to another long shot of the bed to punctuate the screams, and then one more a second later from farther away. Finally, the scene cross-fades to a long shot of the entire house, and we can still hear the screaming dubbed over top. 

WEEK 3 READING (Camera Moves)   Pan Shot- The camera will span space horizontally, catching a large unbroken view. Usually mounted on a tripod. Swish Pan- A quick pan which causes a motion blur.   Tilt Shot- A tilt shot pivots the camera up and down, usually on a tripod. Commonly used to construct establishing shot, this also preserves the continuity of an entire view over time. Dolly Shot- The camera is placed on a moving platform and moves smoothly around. Different from a zoom in that a zoom is caused by a change in the actual sense, and a dolly shot is the movement of the camera getting closer or father away. Dolly Zoom Shot- Made famous in Alfred Hitchcock’s “Vertigo”, this is achieved by zooming out and dollying forward at the same time, creating an effect in which the frames zooms in on the subject while the background seems to stretch around them. Tracking Shot- The camera moves alongside the subject on a smoothly moving platform. This is di

The first three chapters of this book, "Filmmaking Shot by Shot" by Katz, is primarily about working around the idea of setting up your shot and establishing the ideas that you have visualized into an actual medium, which can be difficult. I really enjoyed Katz's acknowledgement of other current ideas or practices on the topics he introduces before who goes into his own opinion, which is usually the more interesting of them.  His explanation of first visualizing your idea as a full story and then piece by piece you can dissolve your idea into a few frames which convey the idea in a way that will be interesting or thought provoking. This form of framing does, unfortunately for me, require the ability to work your ideas onto paper in drawings that are well constructed and get the idea across easily, and this is something I lack the ability to do. It is clear that if I would like to be skilled at what I am learning to do here, I will need to put effort into improving my ba