Emblematic shot
An emblematic shot in film is a single frame that encapsulates complex themes, emotions, or narratives, often conveying more than the sum of its visual elements. These shots are meticulously composed to symbolize broader ideas or character states, allowing audiences to derive deeper meanings without explicit exposition.
How to use
Emblematic shot is usually cut at the beginning or end of a particular scene . If arranged at the beginning, the emblematic shot basically sets the tone for the rest of the scene. If placed at the end, the emblematic shot is usually a summary of what happened before.
Another common technique is to re-use or re-create an emblematic shot at the end of the film to remind the audience that the story is coming to an end again and again (this is a common technique in the frame system).
Shot characteristics
Emblematic shots rely on the viewer to spontaneously relate the elements of the picture, so they often use a smaller aperture to create a deep field picture (ensuring that everything is clearly presented).
Composition characteristics
Emblematic shots are not easy to design. But it can be very effective at conveying complex, unspoken, associative messages. Through the careful arrangement of graphic elements, the themes that the director wants to explore in the film are represented in these emblematic shots.
This is the emblematic scene from Zhang Yimou's Raise the Red Lantern (1991). Song Lian, who is forced to marry a concubine, meets his master's eldest son Fei Pu. Although the encounter was brief, it was the first time Songlian had an emotional connection with a man since her marriage, and traditional "family rules" had restricted her every move.
This is a glimpse of them as they separate, with the master's house in the middle, representing a huge psychological and symbolic barrier between them.
In a large mansion surrounded by, the young master looks very small, emphasizing that his position in the family is not high. Although not large in the picture, but because the background is relatively bright, so his figure is still prominent. Keeping the background bright was a wise choice for this complex scene.
Racking focus
A rack focus is the filmmaking technique of changing the focus of the lens during a continuous shot. When a shot “racks,” it moves the focal plane from one object in the frame to another. Also known as a "focus pull" or "pulling focus," the technique can include small or large changes of focus. The more shallow the depth of the field, the more noticeable the transition between focal planes.
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To transition between scenes
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To add dramatic flourish to a shot
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To draw the eye to a specific detail
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To connect elements or characters
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To combine multiple shots into one
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To follow a character's train of thought
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To reveal something hidden in the frame
Long take
A long take, also known as a "oner," is a shot that's intended to appear as a single, uninterrupted take in the final edit of a project. Camera movement and elaborate blocking are often involved in long takes, but they are not mandatory. Some long takes for the entire duration of the scene, while others are bookended by other shots.
Long takes are big, home run swings. Connect... and your scene becomes robust, seamless, masterful. Miss... and your scene becomes derivative, self indulgent, or worse…Unmotivated.
So, how do you avoid the latter?
Long takes transport you to at least one emotional destination.
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Setting
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Character
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Plot
The really good ones will have elements of all three, but you can have an effective long take that really hammers home an understanding for one of these components - and more importantly transports the viewer.
Organizing a long take can be a difficult, arduous task…That is unless you collaborate and plan out your shots in great detail.