Aft733 cinematic game art part 1

Game art specialization AFT: 733 Credit: 4
Cinematic game art
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Course overview
Through this course students can understand and develop sense for game cinema.
CO1:: Analyze the cinematic art in the video game industry.
CO2:: Evaluate the essentials of cinematic art in the video game industry.
CO3:: Point out the different camera shots, angles, movements, and editing techniques of in-game cinema.
CO4:: Develop a story, script, and storyboard for cinematic art.
CO5:: Produce a cinematic scene with essential techniques.
CO6:: Outline the use of after-treatment in-game cinematic art.
Course outcomes Keywords
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Core topic
1. Introduction to cinematic art
2. Cinematic direction
3. Cinematography fundamentals

1. Introduction to cinematic art
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Cutaway and cutscene
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1 CUT-A-WAY (CUTAWAY)
In film and video, a cutaway is the interruption of a continuously filmed action by
inserting a view of something else.
It is usually followed by a cut back to the first shot. A cutaway scene is the interruption of
a scene with the insertion of another scene, generally unrelated or only peripherally
related to the original scene.
The interruption is usually quick, although not always, ended by a return to the original
scene. The effect is of commentary to the original scene, frequently comic in nature.

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CUTAWAY USAGE
• The most common use of cutaway shots in dramatic films is to adjust the pace of the
main action, to conceal the deletion of some unwanted part of the main shot, or to
allow the joining of parts of two versions of that shot.
• Cutaways are also used often in older horror films in place of special effects.
• The cutaway does not necessarily contribute any dramatic content of its own,
but is used to help the editor assemble a longer sequence. For this reason,
editors choose cutaways related to the main action, such as another action or
object in the same location.

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CUTSCENE OR EVENT SCENE
A cutscene or event scene (sometimes known as an in-game cinematic or in-game movie)
is a non-interactive section in a video game that breaks up the gameplay.
Such scenes might be used to illustrate character interactions, set the mood, reward the
player, introduce newer models and gameplay features, demonstrate the consequences
of a player's choices, build emotional connections, enhance tempo, or foreshadow future
events.
"On the fly" rendering, which uses the gameplay images to produce planned events, is
common in cutscenes. Pre-rendered computer graphics can also be streamed from a
video file to create cutscenes. "Full motion videos," or "FMVs," are pre-made movies that
are used in video games (either during cutscenes or during gameplay). Cutscenes can
take many different formats, including a series of pictures, plain text, and audio.

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FULL MOTION VIDEO (FMV)
A full-motion video (FMV) is a video game narration approach that displays action in the
game using pre-recorded video files rather than sprites, vectors, or 3D models. While FMVs
are used in many games to provide information during cutscenes, full-motion video games
or interactive movies are games that are primarily presented through FMVs.
The Laser Disc was almost exclusively used for FMV games in the early 1980s. Many arcade
games used the technology, but it was eventually dismissed as a craze and faded away. The
availability of optical discs gave rise to a number of unique FMV-based computer games in
the early 1990s, such as Night Trap (1992), The 7th Guest (1993), Voyeur (1993),
Phantasmagoria (1995), and Daryl F. Gates' Police Quest: SWAT (1995). (1995).
The concept of interactive FMV gaming was introduced with the advent of CD-based
systems such as the 3DO, CD-i, and Sega CD. Full-motion video games were created by
companies like Digital Pictures and American Laser Games.

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TYPE OF CUT SCENE
1. Live-action cutscenes
Films and live-action cutscenes have a lot in common. The cutscenes in Wing
Commander IV, for example, included completely created sets as well as well-known
actors such as Mark Hamill and Malcolm McDowell portraying characters.
Film footage and other materials from the film production have also been heavily utilized
in the cutscenes of certain movie tie-in games, such as Electronic Arts' The Lord of the
Rings and Star Wars games. Another cinematic wrap, Enter the Matrix, featured material
shot simultaneously with The Matrix Reloaded and directed by the Wachowskis, who
also directed the film.
Video reference: https://www.youtube.com/watch?v=dcNQ8bHae80

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Full motion video sequences were created utilizing the animation method of stop motion
and puppets sculpted out of plaster of Paris, much like the game's actual settings and
people, in DreamWorks Interactive's (now known as Danger Close Games) 1996 point
and click title The Never hood Chronicles. According to the game's behind-the-scenes
movie, Douglas TenNapel, the game's developer, was in charge of filming the cutscenes.
2. Pre-rendered cutscenes
The game's developers create and produce pre-rendered cutscenes, which use a variety
of methods such as CGI, cel animation, and graphic novel-style panel art. Pre-rendered
cutscenes, like live-action shootings, are frequently seen in full motion video.
Video reference: https://www.youtube.com/watch?v=HlEl6TzzL6o

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3. Real time cutscenes
Real-time cutscenes are created in real time utilizing the same game engine as the
graphics used in gameplay. Machinima is another name for this technology.
Real-time cutscenes have less depth and visual quality than pre-rendered cutscenes, but
they may adapt to the current situation of the game. Some games, for example, allow the
player character to choose from a variety of clothes and appear in cutscenes in the one
the player has selected.
As seen in Dungeon Siege, Metal Gear Solid 2: Sons of Liberty, Halo: Reach, and Kane &
Lynch: Dead Men, the user may also control camera movement during real-time
sequences.
Video reference: https://www.youtube.com/watch?v=BMQdNntxBU4

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4. Mixed media cutscenes
Many games combine both pre-rendered and real-time cutscenes, depending on the
developer's preference.
The techniques of live action, pre-rendering, and real-time rendering were frequently
integrated in a single sequence throughout the 1990s. Popular games like Myst, Wing
Commander III, and Phantasmagoria, for example, include sequences with real actors
overlaid on pre-rendered animated backdrops. Although the majority of the cutscenes in
Final Fantasy VII are real-time, there are a few sequences where real-time graphics are
mixed with pre-rendered full motion video. The coupling of live action footage with real-
time graphics is found in games like Killing Time, albeit it is less common than the other
two potential pairings.

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5. Interactive cutscenes
In interactive cutscenes, the computer takes control of the player character while onscreen
instructions (such as a series of button clicks) emerge, forcing the user to follow them in order
to continue or complete the action. Quick time events are a gameplay feature that emerged in
interactive movie Blu-ray disc video games like Dragon's Lair, Road Blaster, and Space Ace.
QUICK TIME EVENT
A quick time event (QTE) in video games is a type of discussion gameplay in which the user
makes action on the control device quickly after an on-screen instruction or prompt appears.
During cut scenes or cinematic portions in the game, it provides for limited control of the
game character. Choosing the incorrect response, timing the action incorrectly, or taking no
action at all causes the character to fail at their objective, resulting in an immediate game over
or loss of life with a death or failure animation.
Video reference: https://www.youtube.com/watch?v=xaDIo5Ftyjk

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CINEMATIC STORYTELLING
Cinematic storytelling, a story told primarily through the use of visual media. A cinematic
storytelling (also known as visual storytelling) is a tale that is told largely via visual media.
Still photography, art, or video can be used to tell the tale, which can be supplemented
with graphics, music, voice, and other sounds.
The term "visual narrative" has been applied to a variety of visual storytelling genres,
extending from news and information (photojournalism, photo essays, and
documentaries) to entertainment (animation) (art, movies, television, comic books, the
graphic novel). In other words, a visual narrative is any tale that is told graphically.
Scholars, philosophers, and educators have been interested in visual storytelling in order
to better understand the influence and power of image and narrative on individuals and
societies. Visual narratology is the equivalent field.

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The following are examples of visual narratives:
• stories from a point of view
• images, still or moving
• glimpses on a specific subject
• an appeal for transformation in attitudes and behavior

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MACHINIMA
The use of real-time computer graphics engines to generate a cinematic product is
referred to as machinima. Video games are frequently utilized to create animatronics
(computer animation.)
By nature of their re-use of copyrighted content, machinima-based artists, often known
as machinimists or machinimators. Machinima offers a gaming performance history as
well as access to the look and feel of software and hardware that may be outdated or
even unavailable. "Machinima's gestures provide access to gaming's historical conditions
of possibility, as well as how machinima offers links to a comparative horizon that
educates, modifies, and completely participates in videogame culture," according to
game studies.

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The 1980s demoscene’s animated software introductions, Disney Interactive Studios'
1992 video game Stunt Island, and 1990s recordings of gameplay in first-person shooter
(FPS) video games like identity Software's Doom and Quake inspired the trend of utilizing
graphics engines from video games.
The demoscene is an international computer art subculture focused on producing demos
self-contained, sometimes extremely small, computer programs that produce audiovisual
presentations.
These recordings used to be used to chronicle speedruns and multiplayer matches.
"Quake movies" were born as a result of the addition of stories to these films. When the
concept spread outside the Quake series to other games and applications, it was dubbed
machinima, a combination of machine and cinema. Following this expansion, machinima
started to emerge in mainstream media, such as television shows and advertising.

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A speedrun is a play-through, or a recording thereof, of a whole video game or a selected part
of it (such as a single level), performed with the intention of completing it as fast as possible.
When compared to other forms of filmmaking, machinima has both advantages and
disadvantages. Its lack of control and breadth of emotion compared to traditional frame-based
animation is a drawback. Its real-time nature prioritizes speed, cost savings, and flexibility
above pre-rendered computer animation's superior quality.
Virtual playing is less costly, risky, and physically limiting than live action acting. Machinima
can be created using in-game artificial intelligence (AI) or by using digital puppetry to
manipulate figures and cameras. Scenes can be carefully planned and manipulated using video
editing methods in post-production.
Technical limitations may be overcome via editing, specialized software, and creative
cinematography. Although game publishers have given tools and encouraged the creation of
machinima, the wide usage of digital materials from copyrighted games has resulted in the
many unsolved legal concerns.

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Machinima projects may stay true to their gaming roots by using stunts and other
representations of gameplay. Dance videos, comedy, and drama are all popular genres.
Some directors, on the other hand, want to push the rendering engines' limits or obscure
the actual 3-D environment.
The Academy of Machinima Arts & Sciences (AMAS), a non-profit committed to the
promotion of machinima, gives Mackie awards to outstanding works at their annual
Machinima Film Festival. machinima is accepted in several conventional film festivals,
and game companies such as Epic Games, Blizzard Entertainment, and Jagex have
sponsored machinima tournaments.

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2. EARLY STORYTELLING THROUGH GAMEPLAY
The original video games, Atari classics like Asteroids, Missile Command, and Centipede
didn’t have a storytelling component, but they still had a narrative. The gameplay itself
dictated the fiction in which the experience existed. Asteroids is a space adventure in which
a lone starship pilot (you) struggles to survive against an onslaught of asteroids and space
aliens.
CINEMATIC LANGUAGE
Everyone now understands that if you start by showing the exterior of a restaurant, and
then cut to a couple of people sitting at a table inside a restaurant, that the exterior shot
establishes the location of the characters we are seeing. Having seen thousands upon
thousands of hours of filmed entertainment, we now have an inherent understanding of
what is happening when we watch this sequence: the visuals and edits lead us to the
conclusion that the two characters are sitting inside the restaurant we saw in the previous
shot. It’s simple and it’s obvious.
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VIDEO GAMES AS ALTERNATIVE ANIMATION
In many ways, today’s video games bear more of a similarity to animation than to live-action,
despite the race to “photo-realism” on the part of console makers. Games rarely depend on
filmed assets. Instead, characters and worlds are built in 3D, using software packages that are
essentially the same as those used to create computer-generated movies and visual effects,
and by animation artists that may work in both the game and traditional entertainment fields.
THE THREE MAIN ERAS OF VIDEO GAME DEVELOPMENT
Let’s take a quick look at the three main eras of video game development, and how they
inform our role in the game business.
1. Primitive
2. Multimedia
3. Sophisticated
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1. Primitive
The first era of video games. Hardware was so limited that story either took center stage
(text-based games) or was relegated to the back seat (arcade games). Games of this era
were defined in large part by the imaginative investment that the player was willing to
make with the gameplay experience. The graphics may have been basic, but if the
gameplay was addictive, then the player filled in the blanks that the technology couldn’t
deliver. Twitch games (titles that rely on fast interaction and input from the player)
dominated the early console market that was trail-blazed first by Atari, and then later by In
television.
2. Multimedia
Then, we moved into the Multimedia Era or (Silly wood). This was the period when the
first CD-ROMs came out and everybody jumped on board. Myst is one of the most
memorable and influential games from this era.
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3. Sophisticated
Then came the era of the Sophisticated Platform, heralded in by the arrival of PlayStation.
PC games began utilizing 3D Video Cards. Realism became the new standard. First-person
shooters came into their own, on both consoles and PCs. Arcade-quality platformers such
as Crash Bandicoot became huge franchises. And we saw the first hints of multiplayer and
Internet connectivity.
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LEAD GAME DESIGNER ROLE
A designer is responsible for all of the creative content in the game. This includes
characters, worlds, core gameplay, level layout and design, core mechanics, weapons,
player character(PC) abilities, story, usable objects, inventory systems, game-shells,
controls … you get the idea. Think of the lead designer as the director of a film. If the
player can see it, use it, shoot it, modify it, explore it or master it, then it is the
responsibility of the lead game designer. The lead game designer works with all of the
other members of the development to execute the vision of the game.

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GAME WRITER
The game writer is primarily concerned with the narrative content of the title and how it
integrates into gameplay. This includes the story, characters, worlds, mythologies,
creatures, enemies, mystical powers, grounded or enhanced realities, technologies, and so
on. The game writer will oftentimes be involved in High-level Design, as the story and
gameplay should blend together seamlessly into a compelling experience: story-related
set-piece often make for good gameplay. The game writer will write the game script for all
of the narratives, whether pre-rendered or in-game cut scenes, as well as the dialogue for
the characters. The game writer may also create the mythology of elements that are
uncovered in the game (sacred scroll text, for example). The game writer usually works
directly with the lead game designer and the game producer.
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CONSTRUCTING THE STORY
Where do you start in putting together your story? The following are some idea of places
to start. There are probably a thousand books out there that will tell you how to pace your
story. We don’t intend to be number 1001. The best advice for story progression in a game
is to design it like a roller coaster.
Consider the following elements:
• Happiness
• Slowing factor
• Building suspense
• Surprise “bump”
• Huge suspense
• Final wild ride
• Victory lap
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STORY STYLES
There are several story styles currently in use. All of them, interestingly enough, can be
compared to other mediums that preceded video games.
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1. Episodic
Think of episodes of an old-time TV series like The Cosby Show, which basically hits a
reset at the beginning of every show. This phrase “episodic” has taken on a pejorative
meaning in the movie business that basically means: “This is a series of episodes that
doesn’t add up to a story.” Well, have you ever played a game that was truly episodic, in
which each level starts out exactly the same way as the previous level?
Though there is a lot of talk about episodic content what they really mean is that you sell
a game a level at a time online as opposed to selling a giant game product.

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2. Film style
This is a common game structure. Basically, you take the structure of an action film and
use the game parts to play the action sequences. You use cinematics to mimic the
dialogue scenes in the movie (and maybe a few big payoffs).
3. Serial
Serial exists somewhere between episodic and film style. Many games are structured this
way. You are following a distinct story that ends in one level and then teases you at the
end of the level with a cliffhanger that leads you to the next level.
The truth is that there is no right or wrong kind of story. Many players are perfectly happy
just working their way through a story—sort of like watching a movie while playing the
action scenes.

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HOW TO PLAN TO WRITE A GOOD STORY
1. Brainstorm
Think of a story that will have an impact on the audience. For example, a story that may
change the way that people think about a certain subject. The story could contain twists
and turns and unexpected endings. Build up on that creative story. Start by thinking about
what happened to you yesterday or what will happen in the future. Any subject will do.
2. Think about your plot
Arrange the series of events in the order that you like most. Which one will happen first?
What will the ending be? Know that your story need not start from something
conventional, like brushing your teeth or going to work. You could start from something
very sudden and tragic, such as somebody slapped you in the face or something. Write
down all ideas of what will happen on a piece of paper.

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3. Assign roles
Think of the fates of your characters (in relation to the story, of course). Will they suffer from a
terrible disease? Or will they live a normal life after a tragic incident? Pen down all the
characteristics of the characters on that sheet of paper. Remember, you have power over the
characters because they are created by you, not others. And also, there are no general rules for
creating a good character.
4. Start getting your first words down on paper
Write a rough draft of your story, putting your ideas together. Never mind about minor mistakes
like punctuation or grammar. Focus on your plot instead.
5. Run through and edit.
During run through just underline all minor mistakes so that you will not overlook it later. Also take
note and edit of the parts that you don't like or feel not worthy or just plain confusing. After
checking, start on the real thing.

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6. Place the finishing touches on your story.
Make sure everything is in a logical order, your characters are believable and help the
story, and that everything sounds good.
7. Share it
Bring it to your family or friends to read and ask what they think about it. Make any
changes that they suggest. When you're ready, you can write a final draft with these
suggestions in mind.

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CLASS ACTIVITY: READ GAME STORIES
Weblinks
• https://www.gamesradar.com/the-best-videogame-stories-ever/
• https://screenrant.com/greatest-video-game-narratives/

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3. WHAT MAKES A GOOD VIDEO GAME STORY?
The fighting, the environment, the mechanics, and the interaction are all important
aspects of a successful video game. But, aside from these characteristics, what makes a
good video game story?
There is no secret formula for what creates a good video game story, just like there isn't
one for any other storytelling medium. One video game may have turn-based combat, run
over 100 hours, and provide the player with no options, but another may be 20 minutes
long and provide the player with just choices.
This doesn't even take into consideration personal preferences, which always override
what we think makes a good story, regardless of media. Some individuals can't tolerate
story-driven games; they prefer exploration and time to explore strange side missions or
odd occupations, whereas others would be OK! if video games didn't include any fighting
at all!

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Despite these variations, the player-character interaction is something that every video
game has and must consider.
Whatever your tastes, a successful video game bears in mind this unique dynamic, which
states that you—the player—and the main character are one, and that you cannot allow
the main character to do anything the player does not believe they would do.
In other words, the player chooses to play a video game rather than watch a movie
because they want to feel in charge, and every excellent video game story provides that
feeling, even if there are no choices to make or a visible story to follow.

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WHAT IS THE BEST WAY TO WRITE A VIDEO GAME?
While creating a video game isn't as easy as following a few steps, there is a method that is
the most efficient and results in less issues in the long run. This means beginning large and
broad then narrowing down as you gain more knowledge. And, of course, keep the player-
character dynamic in mind at all times.
Step 1: Outline the main narrative Whether you have multiple alternative ending options
or only one canon plot, you should begin writing your script by outlining the main
storyline.
Step 2: Determine the type of game that will be played. After you've figured out the basic
framework of your tale and how things will unfold, you'll need to figure out what kind of
game it will be.
So, before you start writing your story, figure out what kind of game it will be:

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• Action-adventure
• Role-playing game (RPG)
• First-person shooter (FPS)
• Puzzles
Obviously, there are additional genres, as well as numerous hybrids between the two (such
as an action RPG), but these are the most common. The more you play, the simpler it will
be to identify between different types of games and determine which one is ideal for your
narrative.
Step 3: Develop your world: After you've decided on a game concept, you'll want to start
building your environment. You could be tempted to start with your primary character, and
that's OK if you have a clear vision for them.
Because the world in a video game is seen through the eyes of your character, it is how
gamers experience character development in many ways.

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Step 4: Develop your primary characters. You may then go on to designing your main
character and any other key characters, such as villains, friends, and so on, once you've
created your world—or at least as much as possible.
Generating characters for video games is similar to creating characters for other stories
until you include narrative choices that affect how they act. Because you engage with
these people in the first person, it may be difficult for new authors to approach that
relationship, which we'll go over in the third and final episode of this series.
Step 5: Make a flowchart of your main narrative. Create a flowchart of your primary plot
after you've established your characters and the environment of your novel. If there are
any changes in the plot, here will show them, as well as minor modifications if specific
things happen. You may also use this flowchart to illustrate where side missions could
appear, however for the time being, it's best to focus to the main plot.

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Step 6. Start writing the major story.
Begin writing the main tale once you've completed all of the primary components of your story.
At start, focus on canon sequences or one version of the tale, then branch out once you've
established a core version.
It's up to you how you do it, but starting with cutscenes with little interactivity is a wonderful
way to get your tale started. If you don't believe me, consider that most video games offer
YouTube "cutscene only" versions where you can watch the plot unfold like a movie. Use those
cutscenes as inspiration, and write the bare-bones version of your tale before diving into
interaction, side missions, and other options.
Step 7. Add in side quests, NPCs, and other small details. After you've completed the main
plot, you may go on to the enjoyable things. For others, this may imply the addition of side
missions or the introduction of non-playable characters. For others, it may signal that it's time to
start writing alternate versions of your story and plotting out how different characters will reach
different conclusions.

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HOW TO DEVLOP A STORY
1. Analyze successful plot development examples
2. Make a timeline of the plot events in your narrative
3. Make your characters grow and change in interesting ways
4. Make an adjustment to each of the "5 W’s.”
5. Create storyboard by sketching key scenes.
6. create story with subplots
7. Integrate story elements that are both storyline and emotion
8. Make a list of essential narrative development questions for yourself

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4. THE MOST COMMON TYPES OF WRITING STYLES
1. Narrative Writing
Narrative writing is storytelling at its most basic level: it's all about sharing a character's
experience. It can be a long story or a short vignette; it can span years or just a few minutes; it
can be true or false; it can be fact or fiction.
While narrative writing can take many different forms, one constant remains: the reader should
be taken on a trip with a beginning, middle, and finish. Even if you're just telling a funny story
about something that happened to you yesterday, your character should start someplace,
experience some type of conflict or interesting event, and then reach a conclusion.
For instance, we might use narrative writing in: Novels and short stories, history, Creative Essays,
Feature stories, Presentations or speeches and games

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2. Descriptive Writing
Descriptive writing entails capturing every aspect of the location, person, or scene you're
describing. The objective is to completely immerse the reader in the event and make them feel
as if they are there personally.
Consider it like painting a picture with your words while trying to develop a descriptive writing
style. What can you say to help the reader visualize the issue in their head? This basically
requires using all five senses: sight, smell, hearing, touch, and taste to create vivid descriptions.
However, it might also involve the use of humor and symbolism to convey a mood or sensation
that is difficult to describe using physical descriptions. This can help transform your writing from
a basic description to something that has a deeper meaning for others.
You might use descriptive writing include: Poems or song lyrics, Fiction, such as novels or short
stories, Copywriting, such as when describing a product or travel destination

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3. Persuasive Writing
It's all about getting your message through in persuasive writing. The objective is to thoughtfully
state your feelings, better yet, to actually convince the reader of a viewpoint or idea. Persuasive
writing is the way to go if you have a strong opinion on a topic or want to motivate people to
take action for a cause.
Persuasive writing is often found in nonfiction and is almost never used in fiction. It’s
particularly worth mastering if you do any kind of business writing—even just drafting emails to
your colleagues!—since clearly convincing people of your ideas or point of view can be so
valuable at work.
Persuasive writing used in: Essays, Speeches or presentations, Sales writing, Cover letters,
Letters of recommendation

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4. Expository Writing
Expository writing exists to explain a subject or inform about a particular topic area. The goal is
simply to teach the reader something.
Expository writing should aim to answer any questions a reader might have about a subject:
think about the classic who, what, why, when, how questions. You want to lay everything out
clearly, avoiding any jargon or overly technical language that may confuse people. Try to
approach expository writing from a beginner’s mindset to make your piece as useful as possible.
Most importantly, keep your emotions and opinions about a subject out of it. Unlike persuasive
writing, expository writing shouldn’t have an angle or agenda—just the facts.
For instance, you’ll see expository writing in: How-to or “explainer” articles, Help center
articles, FAQ pages, or other copy explaining how something works ,Textbooks , Technical or
business writing , Training materials

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CLASS ACTIVITY:
Write a short narrative in 100 words for game/cutscene.

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ELEMENTS OF A STORY
1. Setting: Where and when is the story set? Setting represents both the physical location
but also the time (i.e. past, present, future) and the social and cultural conditions in
which the characters exist.
2. Character: A person or animal or really anything personified. There can be one main
character or many, and often there are secondary characters, but not always.
3. Plot: The plot consists of the events that happen in the story. In a plot you typically find
an introduction, rising action, a climax, the falling action, and a resolution. Plot is often
represented as an arc. To learn about plot in detail, read the article: “What is a Plot.”
4. Conflict: Every story must have a conflict, i.e. a challenge or problem around which the
plot is based. Without conflict, the story will have no purpose or trajectory.

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5. Theme: Idea, belief, moral, lesson or insight. It’s the central argument that the author is
trying to make the reader understand. The theme is the “why” of the story.
6. Point-of-view: Who” is telling the story? First person (“I”) or third person (“he/she/it”).
Limited (one character’s perspective), multiple (many characters’ perspectives) or
omniscient (all knowing narrator). Second person (“you”) is not often used for writing
stories.
7. Tone: The overall emotional “tone” or meaning of the story. Is it happy, funny, sad,
depressed? Tone can be portrayed in multiple ways, through word and grammar choices,
choice of theme, imagery and description, symbolism, and the sounds of the words in
combination (i.e. rhyme, rhythm, musicality).
8. Style: This is how things are said. Word choices, sentence structure, dialogue, metaphor,
simile, hyperbole. Style contributes significantly to tone.

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5. NARRATIVE STRUCTURE
Narrative structure is involved with story and plot: the substance of a story as well as the
format in which it is told. The dramatic action as it may be presented in chronological
sequence is referred to as a story. The way the narrative is told is referred to as the plot.
It's all about finding out the major conflicts, primary characters, setting, and events in a
story. Plot refers to how and when the major conflicts are built up and resolved.
The basic foundation that supports the sequence and manner in which a story is delivered
to a reader, listener, or viewer is referred to as narrative structure. The plot and the setting
are the two main narrative text structures.

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Cinematic writing
TYPE OF NARRATIVE STRUCTURE
1. Linear narrative: Events in a linear narrative structure book, play, movie, or TV show are
presented in chronological sequence. That is not to say that people can't remember the
past—the main character, for example, may have a flashback—but all non-chronological
aspects are properly identified as such. A linear narrative form is used in the majority of
books, plays, films, and television shows.
2.Non linear narrative: In this story structure, plot events will be introduced outside their
chronological sequence. The first scene of a nonlinear book or movie might actually be the
last thing that happens chronologically. Stories told out of order can confuse an audience
at first, but they can be quite rewarding when the story reaches its denouement, and plot
threads are tied together.
3. Parallel Plot Structure: Multiple narratives develop at the same time in a parallel plot
structure. They cross paths at sometimes.

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Cinematic writing
4. Circular Plot Structure: In this structure, the story ends where it began, as events
eventually lead back to the imagery, event, or actual scene that begins the tale. Circular
plot structures exist in all levels of writing.
5. Interactive Plot Structure: In an interactive plot structure, the story adjusts to the
whims of the reader or viewer. One such example is the Choose Your Own Adventure
series of children’s books, where readers experience varying storylines depending on
which page they turn to.
6. Game narrative: The narrative in games consists of the plot, sounds, music, atmosphere,
dialogues, player choices and, of course, gameplay. It creates the overall impression of a
game and allows the player to feel like part of a story.

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Cinematic writing
THREE-ACT STORY WRITING
The three-act story structure is one of the
most commonly used story writing techniques
in the English-speaking world. It is commonly
used for horror, science fiction, and fantasy
stories among others. This structure outlines a
beginning, a middle, and an end and defines
specific plot points that must take place at
each stage. The traditional three-act structure
includes the following parts.
• Act I – Setup: Exposition, inciting incident,
plot point one
• Act II – Confrontation: Rising action,
midpoint, plot point two
• Act III – Resolution: Pre climax, climax,
conclusion.

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Cinematic writing
Act 1 – The Set up
Every story needs a good hook to lure in its readers. Make your readers interested in your
story and characters. Think about the way you introduce the story. Who is the main
character, what is their life like, how does the conflict of the story interfere, and why
should your readers care?
The main goals of act 1 are character introduction and the inciting incident that kicks off
the main story conflict.
Character introduction: Try to show your readers what the character’s life is like rather
than telling them. It is more interesting to read a scene of their everyday life where we
learn about the character their tone and voice than a long information dump about who
they are. Avoid big blocks of world building or character backstory leading up to the
inciting incident.

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Cinematic writing
Inciting incident – This is the moment that must change your character’s life forever. It
must be exciting and demand that your audience keep reading to know more. Show your
readers the dramatic difference between this and their normal life.
Act 2 – Confrontation or Development
In act 2 you continue to develop the characters and conflict. It is important not to let the
readers get bored. Design your second act to throw the characters and the reader out of
their comfort zone. Create a sense of Victory and failure for the character as they succeed
and struggle.
• intensify hero's problems with complications
• develops the story and characters more fully
• 2nd turning point occurs at end of this Act
• protagonist begins to change and grow

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Cinematic writing
Subplots: adds dimension, pushes the plot along, intersects the main plot line
Backstory: background information of the film story. Can be done with humor, suspense,
conflict.
Barriers: when a character comes to a brick wall in their action and must change direction
• an action point which forces the character to make a new decision
Complication: an action point that doesn't pay off immediately, adds anticipation
Reversal: changes the direction of the story 180 degrees
Foreshadowing/Payoff: a visual clue or piece of dialogue that is used to set up an action or a
piece of information that is paid off at a later time in the story
Recurring Motifs: a recurring image or rhythm or sound that is used throughout the film to
deepen or add dimension to the story

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Cinematic writing
Act 3 – Resolution
This is the grand finale! This act contains the lead up to the climax of the story, the climax,
and the resolution.
Lead up to the climax – This is where tensions rise to a breaking point.
The Climax – The biggest hurdle for your character. Usually where any major plot twists
happen and the conflict the character has been facing gets turned on its head.
The resolution – Time to tie up any loose ends. Any major questions in the story need to
be answered by this point and leave the reader satisfied.

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Cinematic writing
TYPES OF STORY CONFLICTS
1. External: Individual vs Individual, Individual vs Group, Individual vs Society, Individual vs
Extraordinary Circumstances (i.e. Nature)
2. Internal: Individual vs Self, struggles with moral, ethical issues, feelings of insecurity.
3. Narrative films: films that tell stories and have a beginning, middle and end.
4. Characters: protagonist (“good guy”, his/her actions drive the story), antagonist (“bad
guy”, personifies the conflict) and supporting characters.
5. Story: what the film is about, the set of the events of a film narrative. It is the entire
sequence of events that the film’s plot draws on and references. Can be written in a few
sentences.

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Cinematic writing
6. Plot: how the story is told, the sequencing of events as shown in a given film.
7. The Fictive Stance: to recognize that film narratives do not necessarily have to be truthful.
The audience is willing to suspend its disbelief in order to enjoy an imaginary world.
POINT OF VIEW (POV)
1. First-Person Point of View: the audience sees through the eyes of a character in the film,
literally (cinematically) and implicitly. Subjective.
2. Third-Person Point of View: the most common way to tell a film story, we see story
through the characters actions on the screen. Particularly we (the camera) seem to be
watching the protagonist in an objective manner.
3. Omniscient Point of View: the audience sees all, the actions occurring in the narrative and
a character’s point of view. Multiple points-of-view are often used in films.

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Cinematic writing
4. The Classical Hollywood Narrative: uses a main line of action, subplots and is
directional. A main character, the protagonist has a goal, tries to achieve it, encounters
obstacles (conflicts). The conclusion is achieved through a climax and the characters goals
are or are not achieved in the resolution. Follows the Three Act Structure.
Reading: https://www.authorlearningcenter.com/writing/fiction/w/plot-planning/6366/how-to-
structure-a-story-the-fundamentals-of-narrative---article

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Cinematic writing
Activity:
Choose a genre and write your own short story using three-act story!
Story tips
• Think about who your characters are before you start writing. Know their strengths and flaws before you
strike a key on your computer.
• At the beginning, jump right into the action (don’t bother explaining everything to your reader – let them
come through the character’s experience of the action of the story)
• Set your story somewhere specific and interesting.
• Stick to a simple story structure: character experiences something challenging, something goes right for
them in meeting the challenge, then something goes TERRIBLY wrong, then they figure out how to solve the
challenge, then the story wraps up.
• Use action and details to SHOW what’s happening (vs. Telling the reader what’s happening).
• Stick with one central conflict that you resolve by the end of the story. If there are too many conflicts or
nothing ever comes together, your reader will be bummed.
• Choose strong, specific words and avoid weak, boring words (really, very, nice, etc.), but don’t go the
saurus crazy!

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Cinematic writing
Story writing practice
Create a storyline/narrative for cinematic shot.

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Cinematic writing
6. THE FIVE S'S OF SCREENWRITING OR PRINCIPLES OF SCRIPT WRITING
The Five S's of Screenwriting are five stages from the trenches that engage you into the
process:
1. Story
2. Storytelling
3. Structure
4. Sequences
5. Spine

A Script
The written form of a play, film, speech,
etc. and inspired by a story
Cinematic writing

Story Script
Imaginary or real events Written text of a play, film, or broadcast
Reader has to explore chracter Details of each character are offered in a
profile
Lots of chapters Lots of Scenes
A lot is left to the imagination of the reader Imagination does not have much scope
Present is in prose form Is in a dialogue form
Time is not in the present Time Is in the present
Cinematic writing
Difference between story and script

Elements of script
• Action
• Scene Headings
• Character Name
• Dialogue
• Parenthetical
• Extension
• Shot
• Transition
• Dual-Column Dialogue
• Act numbers
• Scene Numbers
• Cast List
Cinematic writing

Action
Action is also called "business" or "description.“
It's what we see on the screen or stage.
It describes, in the most visual way it can, what happens.
Cinematic writing

Not a action
Mark walks down the hall. He looks in the bedroom and, seeing nothing,
scratches his head. He continues down the hall with a curious expression on
his face.
Action
Mark walks down the hall. He thinks there might be something in the
bedroom, so he looks in. He wonders why he doesn't see anything and
scratches his head. "Hmmm," he thinks and then continues down the hall.
Cinematic writing

Scene Headings
A Scene Heading, also known as a Slug line
tells the reader where a scene takes place.
In other words, where are we standing?
Where do we put the camera?
Cinematic writing

Character Name
Couldn't be more obvious, the Character Name element is where you
indicate who's talking.
Cinematic writing

Extension
An Extension is a technical indication about a character's Dialogue, placed
to the right of the Character Name. For example, an indication that the
dialogue happens off screen or as a voice-over. An Extension is not a place
to tell the actor how to read the dialogue or to indicate some action
happening on the screen.
Cinematic writing

Example
The Extension is uppercase and enclosed with ( )'s.
There is one space between the end of a Character Name and the
opening parenthesis of an extension.
Cinematic writing

Dialogue
Dialogue is simply every word we hear on the screen. Everything that
comes out of everyone's mouth
(whether we see them on the screen or not).
Cinematic writing

Parenthetical
A Parenthetical is a direction to the Actor about how to read the Dialogue.
Cinematic writing

Transition
A Transition indicates that we are, in some way, moving to a different scene
or shot.
Cinematic writing

Shot
A Shot is an indication, within a scene,
that the focus shifts to a specific person or thing.
Cinematic writing

Act Number Scene Number
Cast List
Cinematic writing

A. Scene Headings
B. Transition

A. Action
B. Transition
C. Both
D. None of them

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Cinematic writing
Class activity: Create a script of a story.

3. Cinematography fundamentals
84

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Cinematography fundamentals
7. WHAT IS CINEMATOGRAPHY
The term cinematography is from the Greek roots meaning “writing with motion.” At the
heart of it, filmmaking is shooting — but cinematography is more than the just act of
photography. It is the process of taking ideas, words, actions, emotional subtext, tone, and
all other forms of nonverbal communication and rendering them in visual terms. As we will
use the term here, cinematic technique is the entire range of methods and techniques that
we use to add layers of meaning and subtext to the “content” of the film — the dialog and
action.
The tools of cinematic technique are used by both the director and DoP, either working
together or in doing their individual jobs. As mentioned, cinematography is far more than
just “photographing” what is in front of the camera — the tools, the techniques and the
variations are wide ranging in scope; this is at the heart of the symbiosis of the DoP and
the director.

86
When we create a film project or game cut scenes, one of our primary tasks is to create a
visual world for the characters to inhabit. This visual world is an important part of how the
audience will perceive the story; how they will understand the characters and their
motivations.
Think of great films like On the Waterfront, Apocalypse Now, or The Big Sleep. They all
have a definite, identifiable universe in which they exist: it consists of the locations, the
sets, the wardrobe, even the sounds, but to a large extent these visual worlds are created
though the cinematography. All these elements work together, of course — everything in
visual storytelling is interrelated: the sets might be fantastic, but if the lighting is terrible,
then the end result will be substandard.

87
CONCEPTUAL TOOLS OF CINEMATOGRAPHY
What we’re talking about here is not the physical tools of filmmaking: the camera, dolly,
the lights, cranes and camera mounts, we are talking about the conceptual tools of the
trade. So what are they? What are the conceptual tools of visual storytelling that we
employ in all forms of visual storytelling? There are many, but we can roughly classify them
into some general categories.
• The frame
• Light and color
• The lens
• Movement
• Texture
• Establishing
• POV

88
The Frame
Selecting the frame is the fundamental act of filmmaking; as filmmakers we must direct the
audience’s attention: “look here, now look at this, now over here...” Choosing the frame is
a matter of conveying the story, but it is also a question of composition, rhythm, and
perspective.
Take this opening frame from Punch Drunk Love
(Figure 7.1). It gives us a great deal of information
about the situation and the main character. Instantly,
we know he is isolated, cut off from most of the
world. The wide and distant shot emphasizes his
isolation an loneliness reinforced by the color scheme
and the lack of wall decoration.
The dull shapeless overhead fluorescent lighting
underscores the mood and tone of the scene. Finally,
the negative space on the right not only plays into the
isolation and loneliness but into the possibility of
something about to happen.
Figure 7.1

89
Light and Color
Light and color are some of the most powerful tools in the cinematographers arsenal.
Lighting and controlling color are what takes up most of the director of photographer’s
time on most sets and for good reason. They also have a special power that is shared only
by a very few art forms such as music and dance: they have the ability to reach people at a
gut, emotional level.
This is the very definition of cinematic
language as we use the term here:
visual tools that add additional layers
of meaning to the content of the story.
In this frame from Apocalypse Now
(Figure 7.2), the single shaft of light
powerfully communicates the idea of a
man alone, isolated in his madness.
Figure 7.2

90
The Lens
Again, we are not talking about the physical
lens, what concerns us here is how various
lenses render images in different ways. This is
a powerful tool of visual storytelling — the
ability of optics to alter our perception of the
physical world. Every lens has a “personality”
a flavor and an inflection it adds to the image.
There are many factors involved: contrast and
sharpness, for example, but by far the most
influential aspect of a lens is the focal length:
how wide or long it is. A short focal length
lens has a wide field of view, and a long focal
length lens is like a telescope or binoculars; it
has a narrow field of view.
Figure 7.4
Figure 7.3

91
Texture
These days, we rarely shoot anything “straight” — meaning a scene where we merely record
reality and attempt to reproduce it exactly as it appears in life. In most cases — particularly in
feature films, commercials, and certainly in music videos — we manipulate the image in some
way, we add some visual texture to it; this is not to be confused with the surface texture of
objects.
Figure 7.5
There are many devices we use to
accomplish this: changing the color and
contrast of the picture, desaturating the
color of the image, filters, fog and smoke
effects, rain, using unusual film stocks,
various printing techniques, and of
course the whole range of image
manipulation that can be accomplished
with digital images on the computer —
the list goes on and on.

92
Movement
Movement is a powerful tool of filmmaking; in fact, movies are one of the
few art forms that employ motion and time; dance obviously being
another one. This opening sequence from Working Girl (Figures 7.6) is an
excellent example of exciting, dynamic motion that serves an important
storytelling purpose.
It is a kinetic, whirling helicopter shot that begins by circling the head of
the Statue of Liberty, then picks up the Staten Island ferry, and then
ultimately goes inside (in a dissolve that simulates continuing the single
moving shot) to find the main character, played by Melanie Griffith.
Figure 7.6

93
Establishing
Establishing is the ability of the camera to reveal or conceal information; think of it as a
visual equivalent of exposition, which in verbal storytelling means conveying important
information or background to the audience. It is really at the heart of telling a story
visually — letting the camera reveal information is usually a more cinematic way of getting
information across to the audience than is dialog or a voice-over narrator.
Figure 7.7
In this frame from Angel Heart (Figure 7.7)
A close-up of Mickey Rourke’s wallet as he leaf's
through it conveys vital story information without
words: clearly he carries fake IDs to assist him in
his slightly sleazy work as a cut-rate private
detective.

94
Point-of-view
Point-of-view (POV) is a key tool of visual storytelling. We use
the term in many different ways on a film set, but the most
often used meaning is to have the camera see something in
much the same way as one of the characters would see it: to
view the scene from that character’s point-of-view.
There are many ways POV is used in filmmaking, and those
will be discussed later, but these frames from Chinatown
show a basic use of the method. In Figures 7.8, we see over-
the-shoulder as Jake Gittes follows someone he has been
hired to investigate. Parking facing away from the subject to
remain unseen, he glances into his rear-view mirror. The
scene cuts to what he sees in the mirror his subjective POV. Figure 7.8

95
SCENE, SHOT & SEQUENCE
Scene defines the place or setting where the action is laid . This expression is borrowed
from stage productions, where an act may be divided into several scenes, each of which is
set in a different locale. A scene may consist of one shot or series of shots depicting a
continuous event.
Shot defines a continuous view filmed by one camera without interruption. Each shot is a
take. When additional shots of the same action are filmed from the same set-up - because
of technical or dramatic mistakes - the subsequent shots are called re-takes. If the set-up is
changed in any way - camera moved, lens changed, or different action filmed - it is a new
shot, not a retake.

96
A sequence is a series of scenes, or shots , complete in itself. A sequence may occur in a ;
single setting, or in several settings. Action should match in a sequence whenever it
continues across several consecutive shots with straight cuts so that it depicts the event in
a continuous manner, as in real life.
A sequence may begin as an exterior scene, and continue inside a building, as the players
enter and settle down to talk or perform. A sequence may begin or end with a fade or
dissolve or it may be straight-cut with bracketing sequences.

97
Cinematic writing
Class activity: Create a script of a story.

98
8. THE 5 C’S IN CINEMATOGRAPHY
The five C’s of cinematography, as outlined by Joseph V. Mascelli could then be argued to be
fundamental concepts essential to filmmaking. Each concept must be carefully considered when
producing, shooting and editing a project to ensure the highest quality outcome.
1. Camera angles
2. Continuity
3. Cutting
4. Close-ups
5. Composition

99
CAMERA ANGLES
1. Eye Level Shot
2. Low Angle Shot
3. High Angle Shot
4. Hip Level Shot
5. Knee Level Shot
6. Ground Level Shot
7. Shoulder Level Shot
8. Dutch Angle Shot
9. Overhead Shot
10. Aerial Shot

100
Eye Level Shot
The eye level shot is the first camera angle we'll look at, and it's when your subject is at
eye level. A neutral perspective can be achieved by shooting at eye level (not superior or
inferior). This is similar to how we view people in real life, with our eye lines intersecting
with theirs, and it has the potential to break down boundaries.
Directors often choose to set the camera at shoulder level to provide a much more
cinematic effect, therefore eye level shots are far less common than one might imagine.

101
Low Level Shot
The subject is framed from below their eyeline in a low angle photograph. A low angle
shot of one character is frequently combined with a high angle picture of the other
character to illustrate power dynamics between characters.
Low angle camera shots are a perfect camera angle for signaling superiority or to elicit
feelings of fear and dread.

102
High Level Shot
The camera in a high angle shot is pointing down at your subject. It frequently makes you
feel superior, as if you're "looking down" on your subject. However, as with any other
camera angle, there are several uses.
The high angle shot is a versatile shot that may be applied to a variety of situations. The
most usual application is to make a character appear helpless and helpless, but there are
always exceptions.

103
Hip Level Shot
When your camera is somewhere around waist-high, you're taking a cowboy shot. When
one person is seated and the other is standing, hip level pictures are typically beneficial.
When you have action that occurs near the hip, such as guns being drawn or someone
reaching into their pocket, hip level shots can be incredibly effective camera angles.
That's why it's also known as a "cowboy shot" Because we can't think about hip level
shots without seeing a gun, holster, and a distant enemy.

104
Knee Level Shot
When your camera is roughly as low as your subject's knees, you're in this position.
When used with a low viewpoint, they might emphasize a character's superiority. It's not
as dramatic as a ground level image, but it conveys the same emotion. When you want
to focus on characters walking, these are great.

105
Ground Level
Shot
When your camera is at ground level with your subject, you get a ground level shot. This
camera position is frequently used to show a character walking without showing their
face, but it may also be used to engage the viewer and build an idea using the actor's
behavior.

106
Shoulder Level
Shot
A shoulder level shot is one in which the camera is positioned as high as your subject's
shoulders. Shoulder level shots are more common than eye level shots, which can make
your performer appear shorter than he or she is.
The actor's head can reach the top of the frame because the camera is aligned with the
shoulder (reducing head room). It also raises the actor's eye line slightly above the
camera, giving the impression of a lower viewpoint.

107
Dutch Angle or
Dutch Tilt Shot
The camera is tilted to one side for a Dutch angle (Dutch tilt). You can generate a sense
of confusion, a peaceful and prosperous mental state, or heighten tension by tilting the
horizon lines in this fashion.
Consider the Dutch angle to be "emphasis" in any tense or subjective situation. It's a
wonderful method to introduce more emotion, mental state, or suspense to the
situation.

108
Overhead Shot
or Bird's Eye
View
An overhead shot is one that is taken from above and looks down on your subject. These
are usually filmed from 90 degrees above; anything less would be considered a low angle
shot.
Overhead views are excellent for giving a scene perspective — but not just any
perspective. It's frequently employed as a "neutral" or even "divine" point of view.

109
Aerial Shot
Aerial shot, whether from a helicopter or a drone, is acquired from a great height. It
creates a vast amount of scenery. Aerial shots make up a large portion of the helicopter
shots in Black Hawk Down.
Aerial shot has become more accessible to filmmakers thanks to the low cost of drones.
Original aerial photography, formerly considered a big-budget luxury or a stock-footage
mainstay, is now within reach of practically every production, thanks to the "rise" of
drones.

110
CONTINUITY
Continuity is crucial for keeping the audience's interest throughout the film. To avoid the
spectator being distracted from the plot, errors with people or objects that rapidly appear or
disappear from one frame to the next, must be carefully handled both in production and
editing.
CUTTING
A story's quality is often decided by how it is cut. When a filmmaker organises a series of shots,
the order and sequencing of those shots becomes crucial in generating the desired effect on the
audience. “All shots within a scene, as well as the scenes themselves, should be linked such that
their combined effect, rather than their individual contents, evokes the appropriate viewer
reactions.

111
CLOSE-UPS
The size of an object or character, as well as the amount of space shown in a shot or frame, can
influence a character's and scene's meaning and emotion. Close-up, detailed views of a topic
are utilized to provide the audience access to the intimate aspects of a character's feelings,
whether medium or extreme close-ups are employed.
COMPOSITION
Often considered the main aspect of cinematography, composition plays a big part in creating a
mood and thus telling a story. Lighting, colors and spacing, among other visual aspects, are
crucial in the composition of an image that can leave a lasting impression on the audience.
What makes this so fascinating, is how the composition reflects the cinematography style of the
cinematographer and the director and can make a film’s theme stand out.

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