Film Джон Майкл МакДонах to look online

Figure 60 shows an example. Please note that one of the actors seem to appear to the left, and the other - on the opposite side of the door. 235.60 We have to show different views of the direction of actors, standing on either side of the door is closed, to achieve visual interfacing of the screen frame. Remove the effect occurs in one sector in each plan.Three rules can be download the film Джон Майкл МакДонах and applied to a more dynamic view of continuous action, divided into two plans, each of which uses half of the frame: a) The movement is in the same sector of the frame, either in one direction or in opposite directions.b) motion begins and ends in the center, or starts with one hand, and ends on the other side of the frame. c) moving the center converges or diverges from the center to the edges of the frame.SOLO predilection some directors many directors and editors prefer savings, arising due to the "movement within the image." The movement is removed so that the actor does not go out of the frame in the foreground and is not included in the second frame.GENERAL SUMMARY The most important points made in this chapter are as follows: The movement should be download the film Джон Майкл МакДонах and divided into at least two pieces. Changing one frame to another place at the time of the movement itself. Changing race distance should be reflected in a change of personnel. There are two main types of motion on the screen:towards a fixed point, or along a screen. When driving on the spot three variants of the triangular principle of the camera can be used for the filming of the download the film Джон Майкл МакДонах and fragmented: kontrplan, right angles, and the visual axis, the total for all five shooting options.All of the techniques can be reversed in the transition from plan to plan, I 2, or two of the plan to the plan I. For the filming of motion picture fragments to be divided into two or three sections. 61 repetitive movements in the same sector of the block in the same direction or in opposite directions.These directors believe that the movement of the object from the center to the edge, or on the contrary, more efficient and more economical than the actual removal of the subject of the picture. Moving speed of the object is not important. The chosen model is unchanged.Using this technique in conjunction with the above methods and techniques of motion capture, you can achieve fast, economical and rapid transition from 237,236 plan to the plan to remove the continuous movement of the actor, animal or machine. Alternatively: the story may be part of the frame or out of the frame - this method will be examined by us in the next chapter. .62 The motion begins and ends in the middle, or it starts with one hand, and ends at the opposite side of the frame. CHAPTER 12 PLAN AND MOVING INSIDE OUT PLAN With this technique, the subject is in motion in the foreground or completely out of the frame, or remains in the frame, and then goes back into the background.But for the second plan, there are two possibilities: either the subject is in the background on the side opposite the one where he went, or he is in a frame in the center of the image or the edge. Three basic rules, summarized at the end of the previous chapter also apply here, except for the opportunity to continue the movement.When it comes to moving out of frame, the change of plans occurs immediately after the character. When it comes to moving out of frame, then: A shot is cut short when the subject is already partially out of frame.

















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