Loading presentation...

Present Remotely

Send the link below via email or IM

Copy

Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.

DeleteCancel

Make your likes visible on Facebook?

Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.

No, thanks

Cinemetrics techniques

No description
by

Cheng-Luen Hsueh

on 24 October 2014

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Cinemetrics techniques

There are six types of movement images:

perception image
affection image
action image
impulse image
reflection image
relation image
A gaseous, liquid or solid‐object space ‘curves
around’ the perception image.
An any‐space‐whatever ‘curves around’
the affection image.
A respiration space curves around the large
form action image.
An originary world space ‘curves around’ an
impulse image.
A transformation space ‘curves around’
the reflection image.
A symbol space ‘curves around’ a relation image.
Cinemetrics
它廣泛運用身體的感知運動基制來與介入我們周遭環境多種新的面向,不以機械式、線性、複製的方式來再現空間
建築思考的轉變:

part >> whole
從對部份的移轉到對整體的思考;

object >> relation
從對物件的移轉到對關係的思考;

measure >> mapping
從量測移轉到圖譜對應;

content >> pattern
從内容移轉到發現模式;

quantitative >> qualitative
從量化移轉到質性的;

linear >> feedback loops
從線性移轉到有回饋的;

isolated object >> contextual thinking
從孤立的物件移轉到涵構式的關係場域
cybernetic thinking
First component of Cinemetric Theory
Framing sensori-motor flux
影像與運動 是從物質流變matter-flux中實現的

我們是現存的影像 從知覺的開放整體中框取或選擇其他的影像

運動是隨時間的質的轉化 同時也是在空間中可量度的變換

物質流變Matter-flux 是一個開放振動的整體 是所有運動, 影像, 思想, 與物質產生的媒介
科學研究顯示影像不是存在於大腦中
Framing Matter-Flux
框取物質流變
框取 是選擇的過程 不是要永久的封閉, 而是作為開放整體之中 靜止的切片

二次戰後日本新社會結構與家庭生活的關係場域

建築是積極的角色

建築是一個物質流變開放振動的整體中的關係場域
Yasujiro Ozu 小津安二郎
Early Spring
電影早春中的 框取
limited techniques
使用有限的技巧
Second component of Cinemetric Theory
當運動不與任何特定姿勢關連, 而是任意皆可?
When movement is not related to privileged poses, ‘it will not be actualized ideal forms, but any-instant-whatever,


any one instant is equidistant from any another, which can be ‘…regular or singular, ordinary or remarkable.’

Knowing this, you position yourself to create an architecture of newness within a field of relations within the open whole.
Third component of Cinemetric Theory
五種框景
資訊的框景
物件本質的框景
視角的框景
場景外的框景
限制的框景
德勒茲影像理論中,感知、動情、與動作影像是整體物質流變中的基本片刻間隔,在一起他們構成了人的感官運動系統,藉由電影視為知覺資訊的一連串框景的探討,我們學習、試驗在開放震動的整體之中,選取、框取一組組資訊來作為一種繪圖的方式 。
「資訊的框景」充滿資訊?或是極少的資訊?
「限制的框景」實質明確的限制?或是變動的不明確的限制?
「物件本質的框景」實質明確的本質?或是變動不明確的?
「視角的框景」一般的視角?或是有更高層級的視角(Ozu的塌塌米視角)?
「場景外的框景」相對的?或是絕對的?兩者皆可?
框景在影像的框中提供訊息,告訴觀眾被框住的有甚麼東西,這些東西之間有什麼關係,你框的容,可以是資訊豐富多樣的,也可能是非常簡化稀少的,到達全黑或全白的極致。在案例分析中,提供建築元素、空間、形式在某種分類下的呈現。
框景作為一種限制的邊界,範圍的各種元素依框的幾何性,有組織地在畫面上構成。有時框是動態的邊界,具有變動、不明確的限制,隨著畫面中的元素來調整變動框的形。將框景視為某種分析中範圍的限制、圖面尺寸的限制也當然是一種框景。
框的元素,是整體構圖的一部份,它擷取分離出元素,也同時將這些元素結合在一起。有時框景的構成,具有實質明確的本質,可以看到框的元素是如何組織在一起,例如是水平、垂直地正交;或是對角、三角式的畫面佈局。有時框景的構成是變動不明確的,如框景中移動的陰影、霧氣、流體、態改變、或質的改變。案例分析中空間形式構成、實質建造構築的邏輯,人的身體運動的邏輯,都是一種本質的框景。
框景包羅了一組封閉的資訊,同時也將一些資訊排除在外,是框內影像的“場景之外”。相對的場景之外,是在框的上、下、左、右、遠方深處或被物件擋住的後方、以及攝影機的鏡頭後方,所形成一般連續時間、空間認知下的場景之外;而每一個框景也都具有時間綿延的場景之外,越多抽離、斷開於一般常識下連續的時空經驗,產生強烈絕對的場景之外。任何被框取的資訊,總是包含了框以外,一組相對或絕對的場外out of field 資訊,在電影影像中被再現為平、立,剖面;在設計中潛藏的案例組構邏輯。
框景本身就是從特定的角度、位置、與距離來拍攝而來的。有時候框景呈現一般正常的、務實的視角,有時候它的視角是有某種理由、有更高層級是需要被解讀、詮釋的,如小津安二郎極低的視角, 呈現日本文化中跪坐在榻榻米的視角。視角的框景,是在巴塞隆那展覽館流動空間中隨時變換的視野、也是住宅高牆抵擋的視線下,框取的隔斷的鄰里關係。更高層級的視角,框取人與樹、環境、天空的關係。
抛棄透視法
當設計圖離開了圖桌 進入電腦?
新的感知系統世界: 19th 20th 世紀的機械製圖設計師 成為 cybernetic建築師.
Losing Perspective
drafting board --> computer screen
cybernetic architect
geo metric
cinema metric
drawing system that encourages a way of working that is multilayered and multiscalar, responding to the complexities of contemporary life and the city
fixed camera, privileged viewpoint
拍攝中不移動攝影機

continuous movement between cuts
協調不同90度角拍攝連續動作

90 degree/orthogonal cuts
90度正投影式的拍攝

vary distance
攝影角度與演員有不同距離

repeated camera position
重複回到之前的拍攝角度

stable measurement of images
(perception / affection / action images)
Shooting any-instant-whatever
Sensori-motor breakdown
Tokyo, 1956
Rome, 1963
Los Angeles, 1968
non-privileged viewpoint
unsettled and ambiguous
非特定視角

panning, tilting, tracking
搖攝 / 追蹤攝影 / 推軌鏡頭
(head movement 身體頭的動作)

seamless long take
一鏡到底

appear and disappear

feel of camera
注意到攝影機的存在

images continuous flowing in time
hand-held camera
/abandons all mechanical restraints on camera movement
手持攝影

continually anticipate and follow
持續地 等待 -- 跟隨 的運鏡

maintain a close-up and intimate position relative to actors’ bodies

relentless in-your-face

bouncing between objects in a crowded world

rapid sequence of images pass without any time for memory, reflection or relation

breakdown of the sensori-motor system >> inability to act >> opportunity to think anew
3 ways of filming

3 cultural forms of domestic life
not as narrative story telling or entertainment

cinematic frames as sets of information rather than narrative settings

an archive of information about space, movement and time during a period of radical socio-cultural change
impact of post-World War social change on domestic relations
represent three distinct ways of depicting and seeing the disruptions of globalization and modernization on
Full transcript