[...] need to see this and only this.” Then, zoom! Right in for an Extreme Close-Up of the little box and the sparkling diamond ring. It’s a nice break from the wider shots and [...]

Some of what he talks about was very timely for me. And validated some ‘stuff’ for me more than you know.

So thanks!
K

I don’t know if anyone has posted this article yet or not, but it is about the storyboards of Wall-E
http://www.rottentomatoes.com/m/wall_e/news/1741889/exclusive_the_storyboards_of_wall_e

Very interesting stuff.

I hope to write it tonight or tomorrow and have it up before the weekend. It would have been up by now but I’m being strangled by a deadline within a deadline right now!

Damn this “work” thing.

But thanks so much for wanting it! I *will* do it though.
K

thanks!

@ Level_Head – I see what you’re saying about the overlay thing. But it’s still just a POV and that’s the *reason* they used them in those instances. So that we’d see both elements. Another very useful tool.

And as far as up shots and down shots, they aren’t separate shots really. It is another element – the camera angle – that you add to any of these shots I’ve talked about in this series.

So you can see how adding camera angles and movement can start to really give even more variation to your choices! Because camera angles also help ‘tell the story’.

Good material for future posts.
K

In M-O’s case, for example, we see not just that we’re looking through his eyes, but we are expected to note from the overlay itself that Eve is 16% contaminated, and Wall•E 100%. We wouldn’t know what characters to attach these numbers to if we were not simultaneously reading both the overlay and the view through it.

In other cases, all we care about is that we’re seeing a view through the character’s eyes — such as Auto’s red-tinted view looking for the captain hiding in his quarters. That’s a simple POV shot, it seems to me, in that instance constructed with both the red filter and a bit of fisheye-lens effect.

Oho! Even WALL•E has a Vaseline-on-the-lens shot! Using “virtual Vasoline” of course.

As to the other two you mentioned — those would be interesting writeups as well, though I think I have the upshot. ];-)

The distinction between wide shot and up/down shots seems that it might be blurry at times. In this film, for example, there is a scene looking out from the bridge of the Axiom down toward the Lido deck, and you can see Eve as a white speck racing across the area disappearing below the window.

Is that a “down shot”? A “wide shot”? It’s aiming about 50 degrees down from horizontal.

I look forward to your writings; no doubt I’ll get a different angle.

===|==============/ Level Head