Shotlist für den KI-Film: Einstellungsgrößen, Winkel, Bewegung

Transkript der englischen Sprecherstimme.

0:04The shot list is where the director takes over from the writer. The script says what happens. The shot list decides how we see it. From where, how close, how long, and whether the camera moves. In AI filmmaking, it's also your production plan, because every line is a generation you'll pay for. In this lecture, we'll break down the photo, shot by shot.

0:30Start with shot sizes, and what each one does to the audience. An extreme wide, or establishing shot, tells us where we are, and how small the character is in that world. The wide shot shows the whole body, and the space around it. A medium shot shows a relationship. Two people, how they sit, how they turn to each other. A close -up is where emotion lives. And an insert shows a detail the audience needs. A hand, an object, a word on a page. Over the shoulder and point of view shots put us inside the conversation.

1:07Then the angle. The eye level is neutral and honest. It's your default. A high angle looks down on a character, and makes them smaller, more vulnerable. A low angle looks up, and gives them power. Change the angle only when the story changes the balance between people.

1:27Then movement. And every move needs a reason. A static frame halts tension, and lets the actors do the work. A pan or a tilt follows something, or reveals it. A dolly in moves closer to an emotion. A dolly out leaves a character alone. A truck slides along with them. A crane lifts us above the scene. Handheld adds urgency. In Screenweaver's shot composer, you'll find 17 camera movements, from static to whip pan. Use two or three in a short film, and use them on purpose.

2:03On a set, a director covers a scene from many angles, and decides later in the edit. With AI, that habit gets expensive fast. Every extra angle is another generation, another chance for something to drift. So design your coverage instead. One establishing idea. The shots the story needs, and the inserts that carry information. Nothing more.

2:27Now, the rule that keeps your audience oriented. The 180 degree rule. Draw an imaginary line between your two characters, and keep the camera on one side of it. In the photo, the camera always looks in through the windshield. So Emily is always on the left of the frame, and Thomas always on the right at the wheel. Cross the line, and they swap sides on screen. And the audience loses track of who's where.

2:56Here's the shot list of the photo. Shot one, a medium two shot through the windshield. Dolly in, five seconds. Thomas at the wheel, Emily in the passenger seat. Rain on the glass. Nobody speaks. Shot two, the same medium two shot, static, four seconds. He hands her the photograph, and says his one line. Shot three, an insert on her hands. Static, four seconds. Her thumb brushes the edge of the print. Shot four, a close up on her face. Dolly in, five seconds. Tears, and then a smile.

3:34Look at the logic. The first shot moves in slowly, because something is about to happen. The second holds still, so nothing distracts from the gesture. The third gives the audience the information. What's in the photo? And the last one moves in again, all the way to her emotion. Four shots, and each one exists for one reason only.

3:57Durations matter more than people think. For AI, three to five seconds per shot is a sweet spot. Long enough for an action to land, short enough to keep the performance clean. Remember that video models generate in fixed lengths. When you run a scene through a pipeline in Screenweaver, the video duration is the sum of the selected shots, capped at the model's maximum. Plan your scene with that ceiling in mind.

4:24In Screenweaver, every shot has the same fields, a shot value from extreme close up to establishing, a camera movement, a duration, and the action, where you mention your characters, places, and objects with the at sign. There's also a continues from field. The shot inherits the camera of the shot before, which is perfect for two angles of the same moment. And if you want to first draft, the shot breakdown can propose all of it from your script. Then you review every line. The AI proposes, you decide.

4:59Finally, budget it. Multiply your number of shots by the number of takes you expect, usually two to four. 16 shots, three takes each, about 50 generations. That number tells you how much time and money the film will really cost before you've spent any of it. If it's too high, cut shots on paper. It's the cheapest edit you'll ever make.

5:22Your exercise, write the shot list of your shot. For every shot, the size, the angle, the movement, the duration, and the action. Check the 180 degree rule and give every shot one reason to exist. The shot list template is in the resources. In the next lecture, we'll turn that list into a storyboard, in 3D previs and lock the camera before we generate a single frame of video.