In 2006 Dobel et al. observed the visual system seems to be very sensitive to meaningful interactions of living entities. Identification of such interactions depended strongly on perceived scene coherence , on the position of agents in the scene, and the position of characters relative to the fixation cross. See below an exemplary stimuli from the Dobel’s study:
Jeannette A. M. Lorteije postulated further the dependency between the effectiveness of reaction to human motion (and action) and the direction of such action. In our culture we read form left to right, which has an impact on reading images and actions. Below is the comparison of the layout of two graphic novels, one created by a western graphic artist (on the left side) and the other created in the traditional Japanese right to left reading format:
We are wondering now how can that be translated into our knowledge and practice in filmmaking. How different perspectives (the frog or the bird perspective) can influence the use of motion directions on the film screen? Any ideas? Especially after seeing such movies as:
- Saving Private Ryan
- Braveheart
- Troy
- The 300 Spartans
Does it bring us any further if we consider the direction of lighting within the historical paintings, which is falling usually from the left side?
from the left:
- The Drawing Lesson, Jan Steen
- The Artist’s Studio, Frans van Mieris, c. 1657
- from: “Vermeer and the Interior Imagination”, Mariet Westermann.
source: http://www.essentialvermeer.com/cat_about/art.html#.UV8cCHBIilA)
References:
Dobel, C., Gumnior, H., Bölte, J. & Zwitserlood, P. (2007). Describing scenes hardly seen. Acta Psychologica, 125, 129-143. 15.
Jeannette A. M. Lorteije, J. Leon Kenemans, Tjeerd Jellema, Rob H. J. van der Lubbe, Frederiek de Heer, Richard J. A. van Wezel: Delayed Response to Animate Implied Motion in Human Motion Processing Areas. J. Cognitive Neuroscience 18(2): 158-168 (2006)
Jeannette A. M. Lorteije, J. Leon Kenemans, Tjeerd Jellema, Rob H. J. van der Lubbe, Marjolein W. Lommers, Richard J. A. van Wezel: Adaptation to Real Motion Reveals Direction-selective Interactions between Real and Implied Motion Processing. J. Cognitive Neuroscience 19(8): 1231-1240 (2007)
cinematic engineering & perception 
motion directions – an analysis of one our students (thank you Kasia!):
MOTION DIRECTION ANALYSIS
For my analysis I chose a 1962 Cinemascope film depicting the Battle of Thermopylae; ‘’The 300 Spartans’’. Shot in the village of Perachora in Peloponnese; the film presents a force of Greek worries led by 300 Spartans fighting against a Persian army of almost limitless size. Baring in mind the content of the film, I will make an observation of different paths that a moving object follows through space as a function of time. The aim is to see, if there is a pattern in the usage of camera direction; more frequently from left to right or vice versa, clockwise/anticlockwise, frog/bird perspective, tilt, pan, pedestal, in a way leading to a joint attention, etc. However after spotting those techniques, it is extremely important to mention why they have been used in the first place.
LET’S EXPLORE:
Bird and Frog Perspective
There is an outstanding, vivid contrast between the two shots. Of course the scenes present the same person as a main character, however in a completely different light. The first screenshot from a bird perspective highlights the innocence of the child and the power of the caregiver. In the second picture we can see the complete opposite. Frog perspective used highlights the strength of the character. The background view is effectively conveyed with the camera direction. We can see the darkness versus light; that has been highlighted.
Camera Direction from Right to Left/ Left to Right
A path which a moving object follows sets the conditions/standards in how we perceive the whole scene. It is just amazing how a moving object presented from a different camera angle and direction has the capability of creating a slow motion effect. What I also found extremely interesting, is the fact that people reading from left to right will perceive a moving object within a scene from that particular perspective, as moving along faster. ‘’The 300 Spartans’’ movie contains many different shots in which this technique is used effectively. It can be visible both when viewing pure objects, but also when observing people moving along.
It can be easily spotted while watching the film that the arrow travels much faster when the camera presents the scene from left to right, with a blurry background. However a slow motion effect is created when the camera directs the arrow from right to left, highlighting the important upcoming event.
In this case, we can see how the camera works about with our perception. Again it is very vivid how the direction shapes our point of view. It can be observed on the left screenshot how the victims of the battle are falling into an abyss and the camera moves from right to left. With the background light, a slow motion effect is created. In contrast with two different scenes; when in the one screenshot the camera moves from left to right and we perceive the horses moving along faster. However when they arrive to the designated place the camera moves from right to left in order to slow down the course. In both scenes we can see how the camera direction works together with the light and an appropriate background.
Camera Movement Linked with Joint Attention
Top down factors; social cues such as eye, body and hand movements were linked with camera direction within the movie highlighting the characters’ motion which could be observed.
The scene with the warrior contains joint attention. We follow his eyes, and the next thing we observe is a sudden movement of shots from upwards, down onto the crowd directed by a specific camera movement. In the next two shots, we can see a camera moving along with the pointing knife/finger creating a slow motion effect. Again in this case we can see how the background view helps to create such effect; working along with the specific camera angle.
OTHER IMPORTANT FACTORS
It is crucial to mention that the movie through the camera movement highlights the motion in a very outstanding way. In the screenshot on the left the main character approaches the camera while the battle in the background appears to be more gradual. The chopped head of the warrior in the right shot revolves anticlockwise with the camera directed in a frog perspective; which again creates a slower movement, yet the clouds appear to be moving fast.
CONCLUSION
The movie ‘’The 300 Spartans’’ mainly presents a battle between people. It conveys emotions, feelings, pain and love. There is always a contrast, which can be observed within the film; power versus weakness, truth versus falsehood, motivation versus resignation and love against hatred. Camera movements; crab, pan, or tilt are linked with these attributes. There is an observed pattern in the usage of camera direction and the different paths that a moving object follows through space as a function of time; which is very outstanding. Throughout the whole film there is a switch between either the frog or bird perspective. The former one is usually used to highlight the power of a/an person/object at whom/which the camera is directed. The latter one shows the weakness and vulnerability of an object and/or people, places and animals. A switch between the camera angles and movements from left to right and the other way around is also done on purpose, and can be observed in many scenes. As I have mentioned before, an object with the camera moving from left to right, is perceived as moving faster. The aim is to concentrate on that particular moment, object, and/or person and not so much on the upcoming scene; along with the background. In contrast with the camera movements directed from right to left, which create a slow motion effect. The aim in this case is to concentrate on the upcoming important event. Scenes in which the camera was directed at one particular point or person, also created a slow movement of the crowds within the background. Overall, it is crucial to mention that the pattern of switching and using different camera movements was used to highlight strength against a lack of power at different points, between different warriors presented in the film. For me it was all about differences; and the power of this film was in the different scenes directed from a different perspective at an ideal moment, effectively conveying the hidden message of the movie.
KASIA BILSKA Important Scenes: http://www.youtube.com/watch?v=OXJx-XOBtIM
and here – another analysis (thanks Karolina!)
Top down processes:
While watching the battle scene “battle of stirling bridge” in Braveheart, the first cinematic mean spotted were top down factors. More specifically deictic gestures combining with human actions– when the leaders of the troop from each side lift their hand up, leading the troop in to a battle. Meanwhile leading our attention to one person who creates a following deciding action. In this snapshot, a social cue is presented. The leaders face is painted in blue, making it clearer that he is the person who is leading the troops.
Visual attention is consequently lead by social cues followed by deictic gestures. The fighting characters of Braveheart follow social cues after a command. Characters are spotting throughout the crowd, possible in order to synchronize each other, alternatively be fully aware that the commando is understood throughout the whole battling crowd.
Bottom up processes:
The feeling received while analysing the colour contrast in the scene is that the colours being used are quite neutral and in synchrony with the nature, which they are surrounded by – except for the earlier mentioned leader, the character with blue colour painted on his face. The colour on his face is standing out in comparison to the other men standing in the crowd next to him, as well as behind him.
The orientation used by the filmmakers seem to be mostly a guidance from left to right – whereas the first party attacking is filmed under the impression that the troops stands on the left side, the other from the right, and we are watching it mostly from the side, in the “middle” of the scene. As the first group attacks, we follow the group, as mentioned from the side with a combined view from the front, meaning that we perceive as they are coming against the viewers. At the same time, frog perspective is shown during the second when the horses have just arrived to the opposite group, the brutality of the battle is seen partly through a frog perspective.
The factors noticeable in the chosen scene help in guiding the visual attention. I presume that it is important to use different kind of cues in a scene where many things are happening at the same time, and the viewer needs despite of a crowded scene filled with action, to know where to focus the attention. Supposedly it is important to capture not only the leading part and characters of the scene, but also for example the background action, to perceive the wholeness.
The cinematic means now analysed in the scene are used not very frequently, for the reason that the scene leads to quite fast changes- meaning from calm to attack to battle. The most efficiently used cue is the way the filmmakers are leading our perception on the screen with different moving perspectives – mostly from left to right. The use of the mean creates an effect and a powerful feeling of the battlefield.