All pre-production must include a risk assessment, this would normally be the task of the producer. You are going work on this together.
Reflect on the briefing in the LT on Thursday @ 10.30 (in retrospect if you like):
Consider all the possible risks of working in an abandoned bunker, underground, with concrete edges (at head height), with little and big steps, some of which are wet! It’s also going to be dark! You will be filming panic and frantic action, what is that action…? Running…
…ARE YOU NUTS!!!
You must really think about this and foresee any possible risks and how your are going to make sure that risk doesn’t turn into injury, accident or spoiling other peoples shoots!
Please read and familiarise yourself with this document.
Remember it is essential that you test your success so far against your creative intentions. See this previous post if you have ‘forgotten’ what your creative intentions are.
So far we have done the following tasks within three production roles:
Screenwriting
You developed an understanding of German Expressionism and it’s impact on the horror genre. Especially in relation to the monster.
We developed an idea from a given circumstance, ‘What if.’ As well as using other stimulus materials, like moodboards and music / sound.
We used the screenplay format to write the opening sequence of a horror film.
You’ve worked with a fellow screenwriter to collaborate on one script and have redrafted it (you can only make this claim if you actuality did redraft the script as a partnership and made significant amendments)
Directing
Worked with the cinematographer on story-boarding the sequence this should have taken into consideration framing and narrative importance.
You have worked with your actors to explain, explore and develop the characters.
You have worked with the cinematographer on blocking.
You (will) have overseen the cinematography and worked with your actors to film the sequence.
Cinematography
You have worked with the director to develop ideas on lighting, framing and composition in the storyboard.
You created a shot list of 30-50 shots, which prioritise the shoot and ensured you are filming to edit.
You have setup lighting and camera for each take in collaboration with actors & the director.
The Reflective Journal
All of this work is excellent evidence for your reflective journal.
Please unsure that you keep your journal up to date with all your pre-production documents and reflections.
Also ensure that you do REFLECT! Which means:
‘What have I learnt?’
‘How did I learn it?’
‘What did I learn from my successes and failures?’
Also please remember to reflect on the shoot and if possible take photo evidence of you in action during the shoot (you could give this role to a (minor) role).
TASKS
Please see updated blog league for specific posts and evidence to be uploaded.
This is the brief for your first full film sequence.
‘The opening sequence (approx 2-3 minutes) of a new horror movie.’
Your creative intentions should be clearly identified at the outset and your reflections throughout and once complete will be based on them. You must also reflect on your developing understanding of your production roles.
You must always keep a record of the production process and upload evidence of your work throughout (at least once a week) to your reflective journal
The creative intentions may be drawn from this list and you should identify 3-5. You may choose others or modify these as you wish.
Create a sense of…mystery, suspense, horror, intrigue…around a given place.
Introduce a monstrous character or presence.
Introduce a…tense, frightened, oblivious… victim.
Build the sequence to a shocking/scary crescendo.
Use specific cinematography techniques from German Expressionist film making.
Use montage editing to develop a sense of place and/or compress time.
Use continuity editing to make sense of a characters (inter)actions.
Design costume and props and dress the set to create a sense of….abandonment, corruption, decay, threat…
Your creative intentions may depend upon you production roles. You will be working in pairs and will be required to adopt at least one production role from each of the three main stages of production:
Pre-production (planning):
Screenwriter &/or storyboard artist
Production designer
Producer (both)
Production (filming):
Cinematographer.
Director.
Sound recording.
Producer (both)
Post production (editing):
Visual editing.
Foley sound designer
Sound editing
Music composer
Producer (both)
Task:
Define each of these role in terms of the tasks they will be required to undertake during that particular stage of production.
Update the definitions in your reflective journal under the main headings:
Remember everything you learn in practice you should look for in professional film and reflect…
Think, what impact was the film maker able to communicate through use of this technique?
Consider that everything you start to notice in professional work, whether that be: cinematography, sound design, screenwriting, editing or production design, is something you could be experimenting with in your own film making!
Finally, always reflect on what you have learnt when filming and also, how can you do it better?
To create a sense of place and/or events without giving any narrative information away. This is often done in title sequences to capture the mood of the film without giving away spoilers.
Here is short film, which is an extended montage of a place.
2. To compress time to show a rapid development of a character or event, which is important in the narrative development
Here are examples from the Rocky franchise:
Task
Create a montage which compresses time and communicates a sense of atmosphere. For example:
The tedious lesson
A frantic school day
Writing an difficult essay
Another long event (+1 hour) that can be filmed in school
The Rules
The montage should last 30-40 seconds.
It should contain at least 12 different (beautifully composed shots) some of which may be repeated in the edit.
The montage should communicate a clear meaning (what’s going on) and clear atmosphere (tone or feel).
There should be a clear sense of time passing and have a clear beginning and end, which fades out to black (to make it seem like more time has passed).
Creative Partnership
This week you are going to be working in pairs and will have specific roles in production and post production:
Storyboard Artist
Director
Cinematographer
Editor
Sound Designer / Mixer
To complete this tasks effectively you’re going to have to think carefully about how the edit is going to look in the end and ensure that you film all the shots you need. This means planning your sequence. Do do this we are going to use a screenwriting tool called…
‘To develop my cinematography skills and practice advanced techniques which can be used for expressive meaning in film.’
Session 1 – Filming with Canon DSLR cameras
Menu & Settings
Setting the White Balance
Grid display
rule of thirds / composition
Auto and Manual Focus
Recording Mode – (movie rec size)
50 fps, 1280×720 (frames per second / resolution)
ISO (light sensitivity)
darker environment – higher light sensitivity & ISO number
lighter environment – lower light sensitivity & ISO number
Aperture (quantity of light coming into the lens)
low number (eg F1.8 = larger amount of light let in = shallow depth of field)
high number (eg F8 = less light let in = deeper focus)
Different types of lens
18-55 mm kit lens
Prime 35 mm lens
Telephoto Lens
Macro Lens
Session 2 & 3 – Play Time
Choose a minimum of four techniques to research and practice this week. Two from each list:
List 1
Depth of Field & Pulling Focus
Filming in Macro
Impact of different lenses
The Trombone Shot
Bokeh
List 2
The Rule of Thirds
Frames within the Frame
Symmetry & Leading Lines
High Contrast Lighting (Low Key)
The Quadrant System
You will need a clear example of what you’re trying to achieve and also a tutorial video or web page on how to achieve it practically.
For each technique you should aim for either a shot of about 10-15 seconds or two to three different shorter examples of the same technique being used in different ways.
Session 4 The Edit
Use WeVideo to edit.
Upload your footage
Create a montage of cinematography techniques,
Name the kit / technique in a caption at the start.
At the end use a caption to suggest a potential meaning or impact of the technique on the audience
Reflective Journal
A short 1-2 minute video of your various experiments with composition. This will have been exported from WeVideo to YouTube – which should be possible directly.
A reflection on how it is possible to use camera to communicate meaning.
‘To discover how you, as a novice cinematographer, can use framing and movement to communicate meaning.’
Review your footage, with this in mind
Create a slideshow which includes two examples of framing and a short commentary on…
One clip (or photo), which you are pleased with and think that the framing communicates meaning.
One which you are unhappy with and feel doesn’t really work, why not?
Then two more examples, with commentary on…
One for camera movement which you are happy with and what message does it communicate.
One which you are less pleased with, why doesn’t it work?
Place this in your reflective journal, under the cinematography page under the sub page heading ‘Exploring Basic Cinematography’
Still got time? Then watch this video on…
Telling stories through images (a masterclass)
Remember the reflective journal is yours – not just a dictate from your teacher. If you have found these (or other videos) on cinematography inspiring then embed them into your journal and reflect on what they have taught you, and how you want to explore cinematography later in the course!