When we're talking about long takes, the opening scene in Orson Wilson's Gone with the Wind is bound to show us the intricate interplay of camera, actors, and scenes.
Whether it's Hitchcock's "Reaper of Souls" or the "Birdman" and "Roma" of the Mexican Three Heroes, they all seem to use only one camera for continuous shooting, but they all use many methods to hide the flaws (clip points). Impressive as it can be, the question that follows is how to deal with less dramatic shots, those that don't rely as much on plot information, but which focus on actor-to-actor interaction and still have a lasting effect. strength.
The elegant movement of the mirror and the clear long shot are praised by the fans of Max Ophes. His shots appear to be "floating between the walls" in an effort to demonstrate a style of photography called "Plan-Sequence", or "shot sequences", in which no editing is used in a scene arranged as if it were to be shot routinely. Instead, it controls the camera to move between the main bodies of the picture (such as a dialogue scene between two people, if you remove the panning between the two, it is a simple front and back), which essentially just replaces editing with camera movement.
What do we get if we just replace the cut point with a pan. The director not only needs to guide the performance, but also needs to guide the audience's attention. Continuous editing can be used to focus the audience's attention on the picture, and subtly dominate the guiding role.
Story 1, in the picture, the duo duke and the ranger occupy almost the same position, but then the conflict between the sailor and the ranger dominates and draws our attention to the same viewing position as the duke duo . As the Duke prepares to leave Xiudou's fall, the dominance of the picture shifts back. Going deeper, we see a transition from a close-up shot to a panoramic group shot and back to a medium shot with minimal lens shake.
We need to notice how the performance unfolds in the depths of the field, while at the same time including many different elements and viewpoints between the background and the vista. Orpheus did this because audiences in the post-Citizen Kane era were already prepared to read in-depth schedules and face complex time manipulations, and understood the creator's intent. In layman's terms, instead of forcibly controlling the audience's attention, it is better to give the audience "observation advice".
In the third story, the artist completely loves the female model. The position of him and her is high and low, and the space occupied by the picture is enough to show the psychological status relationship of the characters.
In the second story, the camera rolls from the angel statue in the church to the prostitutes on the pews, thus reminding the audience of the blessings these prostitutes received by participating in the confirmation of a young girl. To a certain extent, this narrative shot can reveal the artificiality of the film itself and bring about a self-contradictory effect, reminding the audience that this is really just a fictional screen world.
Even today’s filmmaking is full of sequences of shots that often give them an edge, giving them a poetic, psychedelic quality, or enhancing the depth of the author’s subjectivity and the ambiguity of the reader’s commentary. But creators are still trying to achieve self-transcendence in a complex shot, and there is no doubt that a long shot with great craftsmanship is very attractive, especially in an era where the average shot length is drastically reduced.
Yet true long takes are richer than the long takes they often extol.
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