that's what she said.

NEW BLOG.

Anyway, back to blogger for me:

www.leonayung.blogspot.com

with new mac theme. Mmmm. Gave tumblr a try, but its targeted ‘minilogger’ audience is too restricting for the likes of me.

TUMBLR FTL

in the midst of searching for a new blogger template, ‘cos they’re not exactly that hot either.

CONTEXTUAL HEALING

Dodgy.

-Sidenote, i hate tumblr. Not even the cute play on words can- awww heck, i can’t stay mad at you, tumblr :)

-Double sidenote, i’m going back to blogger soon, i reckon.

This week’s contextual seminar with Jools definitely helped clarify what on earth the VISUAL essay was all about. I still can’t help but feel that i’ve got to approach it like a personal statement once again though, but i’ll try to remind myself that i’m trying to explore what work i like and what i dislike.

Even though at this stage in time i’m rather content towards all three pathways (this is of course before touching any flash stuff, which i’ve heard is just a pain in the arse), i feel rather biased towards Moving Image, considering i’ve just finally finished filming today (SUPER CHUFFED) and have a warm fuzzy feeling about what the output will be like in my belly. Could be the chicken my flatmate made me. I’ll stop soon.

JOHAN RENCK.
is a swedish director i’ve had my eye on ever since watching the ‘PASS THIS ON’ video by the band THE KNIFE. I did briefly mention it in an old post on my previous blog, as i was immersed in the narrative of the simple music video. Here it is again:

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What i love so much about the video is ‘the big twist’. I paid a lot of attention to cinematics also when i first watched this video, considering i was just swotting up on SKILLZ for when i would film as camera operator for my short, MAZE, and what i loved was the moment at 2:17, when three different angles are introduced to emphasise this turning point in the music video. It’s the smallest detail EVER, but it makes my eyes incredibly happy (i’ve repeated myself there, but it’s necassary). The video is rather subtle in set design, it’s a simple room you’d usually hire for a really naff birthday party, but that just promotes its realism.

Renck also directed DANIEL by BAT FOR LASHES, which, similarly to ‘PASS THIS ON’ prides itself on a dramatic, dark storyline and a melancholic blue-green tint. That video homes in on subtle night-marish imagery, which seems to capture the essence of the lyrics, which has a general theme of loneliness. It’s a shame that i’ve seen a brief ‘making-of’ DANIEL, and the guy seems like a complete git.

MICHEL GONDRY

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Erm. Wow?

Am in the middle of ATTEMPTING TO WATCH Eternal sunshine of the spotless mind. For the fifth time. It seems so boring. Yet this guy has directed quirky, infamous music videos such as BJORK’S HUMAN NATURE, and DAFT PUNK’S AROUND THE WORLD? Double-you, tee, eff. I think i’m starting to become interested in sort of.. set.. tricks.. if you will. Quirky ones.

MAZE test shoot, bruv.

Even though storyboarding has been incredibly useful these past few weeks, i thought physically checking out the locations today definitely got a few cogs turning and whatnot. It was a lot easier acting out my ideas to my group, and vice versa, rather than wishing they could read your mind, or decipher my mysterious and ugly drawings.

Here’s a few photos that give a proper jist of angles we’re thinking. Locations are the studio in waverly, perfect as there’ lighting equipment already in there, as well as the speakers (although they’re a little PC ugly, to be honest) and Varsity pub/lounge area. Found a neat little view to film ‘flashbacks’ and give a glimpse into our character’s dark lifestyle. Worrying lifestyle. Worryingly dark lifestyle.

Filming tomorrow. Arghhhh.

Cinematography 101

CINEMATOGRAPHY
SHOTS AND CAMERA ANGLES

source: http://www.wildsound-filmmaking-feedback-events.com/cinematography-shots-and-camera-angles.html

QUESTIONS TO ASK:
-What is the best viewpoint for filming this position of the event?
-How much area should be included in this shot?

SCENE – defines the place or settingwhere the action is laid
SHOT – defines a continuous view filmed by one camera without interruption
SEQUENCE – A series of scenes or shots complete in itself.

TYPES OF CAMERA ANGLES
OBJECTIVE – The audience point of view
SUBJECTIVE – The camera acts as the viewers eyes-movement
POINT OF VIEW – What the character is seeing

CAMERA ANGLES – Are the most important factor in producing illusion of scenic depth. Which angle the object is photographed.

FIVE BASIC ANGLES

EYE LEVEL SHOTS – Provide frames or reference. Audiences sees the event as if in the scene. Most scenes in movies are photographed from eye level. 5 to 6 feet off the ground. Capturing the clearest view of an object.
-Treating your characters as equals. Discourages viewers at judging them and permits audience to make up their own minds.

BIRDS EYE VIEW – Photographing a scene from DIRECTLY OVERHEAD. Hovers from above like all powerful gods. Idea of fate.

HIGH ANGLED SHOTS – Camera is tilted downward. Movement is slowed down. A person seems harmless and insignificant photographed from above.-The higher the angle, the more it tends to imply fatality

-Heightens the importance of a subject. Scenes depicting heroism

OBLIQUE ANGLE – Lateral tilt of the camera. As though the object is about to fall to one side. POINT OF VIEW SHOTS.
-Suggests tensions, transitions, impending movement
IMAGE THAT SLANTS TO THE RIGHT – Acting forceful
IMAGE THAT SLANTS TO THE LEFT – Weak, static

ASK YOURSELF
-How much should be included in this shot?
-Where should the camera be positioned to view this particular part of the action?

A shot should be held no longer than required to make its point.

Approach each sequence with a fresh attitude and strive to treat the action in an individual matter.

A definite change in camera angles will assure a smoother flow of images.

Cinematography

“And later I thought, I can’t think how anyone can become a director without learning the craft of cinematography.”
Nicolas Roeg

SIX BASIC SHOTS

1) Extreme Long Shot – Taken at a great distance. Almost always an exterior shot and shows much of the locale. Establishing shots usually
2) Long Shot – The distance between the audience and the stage in the live theater

3) Full Shot – Barely including the whole body
4) Medium Shot – Knees to waste up. Useful for exposition scenes, carrying movement and for dialogue
5) Close-Up – Concentrates on a relatively small object. HUMAN FACE
6) Extreme Close-Up – Might just show eyes or mouth

CLOSEUPS
-Are among the most powerful storytelling devices available to the filmmaker
-Allows removal of tedious or repetitious action
-Can be used to provide a time lapse
-Bring that dramatic punch

FRAMES
-Area near the top of the frame can suggest ideas dealing with power, authority and aspiration
-Left and right edges of the frame can suggest insignificance

DOMINANT CONTRAST – Area that immediately attracts our attention because of a conspicuous and compelling contrast

SUBSIDARY CONTRAST – Structured image so that specific images are followed in sequence. Whatever character or object that is most dramatically important will assume dominance.

The HUMAN EYE scans pictures from left to right

HORIZONTAL LINES – Move from left to right
VERTICAL LINES – Move from top to bottom
DIAGONAL OR OBLIQUE LINES tend to sweep upward
TERRITORIAL SPACE – movie images must tell a story in time. A story that involves human beings and their problems.
THREE VISUAL PLACES – MIDGROUND, FOREGROUND, BACKGROUND

SPACE is one of the principal mediums of communication in film

Dominant characters are almost always given more space to occupy than others are.

You can define, adjust and redefine human relationships by exploiting spatial conventions

ACTOR CAN BE PHOTOGRAPHED IN FIVE BASIC POSITIONS
1) Full Front – Facing the camera
2) Quarter turn
3) PROFILE – looking off frame, left to right
4) Three quarter turn
5) Back to Camera

FULL FRONT – Most intimate, vulnerabilities exposed
-Audience agrees to become their chosen confidante.

QUARTER TURN – Involves a high degree of intimacy but with less emotional involvements

PROFILE – More remote.
-Character lost in their own thoughts.

THREE QUARTER TURN – More anonymous. Rejecting audiences

BACK TO CAMERA – Characters alienation from the world. Sense of concealment, mystery.

TIGHTLY FRAMED SHOTS – Confined

LOOSLY FRAMED SHOTS – Freedom

PROXEMIC PATTERNS – Climax, noise level and the degree of light all tend to alter the space between individuals

1) INTIMATE – Eighteen inches away. Distance of LOVE, COMFORT, TENDERNESS between individuals

2) PERSONAL – Eighteen inches to about four feet away. Reserved for friends and acquaintances

3) SOCIAL – Four feet to about twelve feet away. Business and casual social gatherings

4) PUBLIC – Twelve to about twenty feet away.

ANALYSIS OF ANY GIVEN SHOT – TWELVE ELEMENTS

1) SHOT AND CAMERA PROXEMICS
-What type of shot is it? How far away from the action is the camera?

2) ANGLE
-Are we looking up or down on the subject, or is the camera neutral?

3) LENS and/or FILTER
-How do these distort or comment on the photographed materials?

4) LIGHTING STYLE
-High or low key lighting? High contrast? Some combination of these?

5) DOMINANT
-Where is our eye attracted first?

6) SUBSIDIARIES
-Where does our eye travel after taking in the dominant?

7) COMPOSITION
-How is the two-dimensional space segmented and organized? What is the underlying design?

8) FORM
-Open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? How are the visual elements carefully arranged and held in balance?

9) FRAMING
-Tight or loose? Do the characters have room to move around in, or can they move freely?

10) DEPTH
-On how many planes is the image composed? What do we see in the background?

11) STAGING PROBLEMS
-Which way do the characters look from the camera?

12) CHARACTER PROXEMICS
-How much space is there between the characters?



MOVEMENT IS NOT SIMPLY A MATTER OF WHAT HAPPENS, BUT HOW THINGS HAPPEN.

The OBSERVER has to be the CAMERA and it needs to know where it’s going.

THE VALUE OF A SHOT ALWAYS DEPENDS ON A NARRATIVE.

Cinematography
” You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.”
Nicolas Roeg

THE PRINCIPLES OF PERSPECTIVE

-Finding the right points of the sequence and getting to tell the best narrative story

AESTHETIC DISTANCE – Phrase used to describe the degree to which a work or art manipulates the viewer

FIRST PERSON POINT OF VIEW – Sees events through the eyes of the character

THIRD PERSON POINT OF VIEW – Presents action as seen by an ideal observer

OMNISCIENT POINT OF VIEW – Having to know what the character is thinking. Requires a type of narration, voice-over or graphics

PAN SHOT, Used to:
-Include space greater than can be viewed through a fixed frame
-Follow action as it moves
-Connect two or more points of interest graphically
-Connect of imply a logical connection between two or more subjects

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Cinematography

“Cinematography is infinite in its possibilities… 
much more so than music or language.

Conrad Hall

CRANE SHOT
-Inherently majestic and holds our interest regardless of the subject because of the sheer physical pleasure of the move
-Permits us to feel the dimensions of the world by penetrating space, further endorsing its reality through the illusion of depth
-Eats up time on the set
-Careful planning and preparation is vital


TRACKING SHOT
-Used to follow a subject or explore space
-A dolly moves towards a subjects face can be used to emphasize a character’s moment of realization. A dolly always tends to isolate the subject as well
TRIPOD SHOTS
-Usually is used only in stable and relatively predictable shooting situations
-Makes very controlled transitions from subject to subject possible
-Makes very controlled image transitions possible
-Makes stable close-ups possible at the telephoto end of the zoom lens
-Conveys the cool, assured view

HANDHELD SHOTS
-Can react to events, much as we do in life
-Implies a spontaneous event driven quest
-Conveys a subjective, even vulnerable point of view

Some visual beauties, baby

When i mentioned my script to my crazed cinephile of a sister, she recommended The Usual Suspects.

Now, i don’t know whether it’s because i’m an effing genius; constantly suspicious of everyone; or because of films like Scary Movie or Saw (see below); but it was SO obvious from the beginning. The second you see the ‘cripple’ on the screen, it’s like, BLAM, THIS FILM IS RUINED. Obviously that’s an overstatement, but i know i couldn’t help but scream to the characters on screen that they should open their god damn eyes (i don’t get out much). Anyway, the relevance is that i love Spacey’s character. He plays it ever so well. It’s how i perceived Sam from MAZE once the group’s script had been revitalised.

Incredibly naive. But there’s something you can’t quite place your finger on. Something odd.

I keep staring at that photograph.

I also watched Se7en, to inspire myself with cinematography, and i must say, ever since i’ve become aware of The Rule of Thirds, i catch myself not enthralled by the film and its revealing narrative, but more-so how the characters or objects have been placed on screen. In hindsight, it’s a good thing, i can see how it affects how the audience feels or are supposed to feel, but i can’t actually watch films anymore.. just to watch the film.. Saw had already ruined this for me. If i would have seen it before the Saw series, i would have been blown away with its creativity and commentary on ‘religious’ issues. Whilst i did watch this on a Sunday night at 2.40am, i was surprised i had made it through all of it, not thinking ‘oh, what a disgusting film’ but more with a feeling of un-satisfaction lurking in the pits of my belly because of how the film ended. I was really expecting there to be some sort of deeper conspiracy as to the reasons why Doe had chose the people he chose. Perhaps it’s because of Saw, but i think it would have been nice to have some emotional empathy with, hah, the victims. They were just unknown crime victims to me, so i was really looking forward to bigger picture being revealed.

Rant sort of over. Se7en is my main resource for visuals. The key is really off-screen character placement. I’d always wondered why i would frame my photographs in this sense all these years, as well.