Wednesday, 1 May 2013

Evaluation - Production Skills: Cinematography


For this module, we were asked to create a 5-10 minute film that focused on four key elements we had learned and developed throughout our study. These were: the use of colour within a narrative, lighting change as a narrative device, a sequence shot and finally, a point of view sequence. Within this evaluation I intend to reflect on the work given and completed throughout this module, how it was scheduled and planned, the process of production of the main piece, what I’ve learnt by completing this task.

Our main piece follows a couple that decides to travel to the countryside to camp out. James appears as the more enthusiastic character, where Ashlene appears to not be as interested as her partner. The film starts with James taking photos of Ashlene, trying to cheer her up. With an encouraging nudge, the couple travel into the woodland area, taking pictures and taking in their surroundings. We see the couple explore the area, Ashlene’s emotions mixed throughout (she appears cheerful but still seems to lack interest. The couple set up camp, and Ashlene walks off and wanders into the woods alone, and comes across a dark figure and watches as he drags and kicks a corpse into a ditch. Joe appears behind her, scaring her, and ensuring her that there was never anyone there. The couple walks back down to the campsite to get some rest. The night changes to day, and James wakes up to find Ashlene missing. James jumps out of the tent and looks around the area, shouting after her and spots her in the distance, tied up with a bag on her head. He rushes to her aid, only to be told from her to hide. James hides behind the tree as we see the dark figure from before approach Ashlene. James runs away as a distraction and the creep chases after. As James escapes and hides under the bridge, the creep returns to Ashlene, and we see James slowly follows him. As he reaches the top of the hill, he trips over the corpse Ashlene spoke of earlier, and as he spots the creep in the background, he sees the creep kill Ashlene.

We decided to create quite a dark storyline because we wanted it to be a different and creative approach to the project. We were enthusiastic with our idea and were keen to accomplish our aims. For our four elements, we decided to plan them so they would be subtle within the production. The use of colour within the project was quite thought through. In regard to costume we wanted to set the scene within the countryside, therefore gave the character James the classic camper costume, however with Ashlene, I decided it would be an idea to make her look slightly out of place, and this is because I wanted to portray her feelings towards the trip – she doesn’t really want to go, and she’s constantly feeling melancholy, and therefore adapted this to wearing quite dull blue colours, minus the white hat. We wanted it to appear slightly colourful at the beginning and slowly darken as the dark events occurred, starting with Ashlene seeing the creep for the first time. I feel it does work symbolically and is simply but creatively used. We didn’t want to overuse colour and make it noticeable, but at the same time we wanted the mood of the film to change, and for the audience to notice this change through the help of the colour adjustment.

For the lighting element of the module, we took inspiration from the viewing of Matilda, were we see the light change from night to day in her bedroom. It’s an explicit change and we thought it would be a great way to transition time, as our next scene was the morning after the previous scene. Using a Kino 200 and a Dedo lighting kit, we worked together to create the effect of night turning to day, by dimming and raising the lighting of the kits to create the illusion of sunrise, which in my opinion appears to work very well. This technique was learnt within the first few sessions of the module, as we explored lighting in more detail. The revision of lighting allowed this shot to work and adapt the skills we learned into practice. Our lighting change fits well with our colour design, as we want the film to appear darker as it continues, which meant creating a darker atmosphere with less light towards the end of the film. We wanted to create a darker light set up around the creep character, and lighter set up around the couple when they are happy.

Throughout the film we used quite a few sequence shots, as our film focuses a lot on travelling, we decided to film sequence shots of travelling through the woodland, as we thought it would fit the brief and also be picturesque in the process. I feel this was successful, because we managed to get a range of sequence shots, for example one was an extreme long shot throughout, and another where the characters approach the camera and continue to walk away.

For the final element of point of view, we decided to explore this in many ways, we decided to use this in general play, meaning a point of view between the couple and take it further to introduce a point of view for the audience, as well as the point of view of creep before the character is introduced. I feel that these shots are effective throughout; the range of point of view allows the audience to interact with characters and their location more intensely and more emotionally and we feel this worked effectively in our film.

Our inspirations throughout this film were explored through both pre-production and production. We used our social group to research and share ideas of what we had in mind (Fig 1 - Left), and how we could adapt these and take note from them to create our own work. We also used a lot of inspiration from module viewings, such as (mentioned above) the lighting change in Matilda. We also found colour inspiration from Patti Bellantoni’s ‘If It’s Purple, Someone’s Gonna Die’, as we learnt that colour can be used to portray emotion:

 ‘This does not mean the colour itself has that inherent emotional property. It means that it can elicit that physical and emotional response from the audience.’ (Bellantoni, P, 2005)

We also researched the idea of a ‘stalking’ sequence quite thoroughly and found the ‘Eyes Wide Shut’ example (Fig 2 - Right), which features two characters, one following the other. One of the them is aware and the other isn’t, which we almost interpreted into ours, making one character know they were being followed and the other being oblivious. It was an effective piece of research, which contributed to the production of our own film.

During the process, I believe the module learning was extremely helpful in the end product. Throughout this module I was able to learn a range of new skills, for example using more equipment such as dollies and lighting sets to understand how to make a range of shots work. I believe the lighting session helped greatly with our shoot, as it the technique we practiced and saw in viewings holds a heavy contribution to our work.

We started the production process of this project quite early into the semester; however feel that we didn’t manage our time well. We started working on the project, but due to having a two-week holiday break within the production set date and deadline caused us all to lose concentration and connections with each other. However, we worked on finding inspirations first of all, which was a great idea and contributed well to our work. After finding ideas we were interested in, we developed our story, with Tom, Luke and myself creating notes and starting to create a plot line. Tom took the plot line and created a script (Fig 3), and this is where the production properly started running. By using the script, I decided to create a precise shot list (Fig 4) that would help us schedule and structure our time management on shoots. After the complete script and shot list were completed and approved by everyone within the group, we decided to location scout to Grindleford. We decided to do this beforehand because we wanted to find the best place for our film to work and look good to the audience – because we wanted it to be secluded and slightly creepy. After securing a location and our crew-actors we decided to shoot for two days at this location. We captured a lot of footage within these two days and I feel it was a successful amount of us to work with and show all the elements we needed. We also did a pick up shoot a few days later to capture the lighting change scene, as we needed to use electrics and a different lighting (night), we decided to complete this within my village as we had an area we could place the tent.

After the production process, Luke and I worked together to bridge the pieces together into a narrative. With guidance from Tom, (who took on a directive role throughout) we managed to get a finished piece. Another point is that we decided not to record, due to difficulty and because we wanted to focus on the shots rather than the sound design, and we didn’t want a bad sound design to be distracting from the footage.

An issue I had with the post-production was the time management. The time management for the entire project was poor, as we only managed to film the week before deadline, and were still editing until late the night before. I feel that all of the group were preoccupied with other projects or not as interested in this production, therefore it got pushed aside, however when it came to creating the work, I feel we worked well together in regard to meetings, researching and schedule and attending shoots, however I feel we could have managed our time skills a lot better.

Another downfall in our pre-production process was hiring actors. Before the two-week break, we researched actors through the Call-Cast Pro but however didn’t run into any luck. Therefore we approached the Drama society at university, and found two people who were interested to play the couple, however, unfortunately they both dropped out the day before our first shoot. We decided as a group that as a back-up two of the crew members would be willing to star in some of the scenes, so we weren’t completely stuck (like I’ve experienced in previous productions) however it was a disadvantage as we weren’t always able to contribute to every shot we wanted to.

My individual contribution to this production was producting schedules and pre-production documents, camera assisting on the shots I was absent from and light assisting in the change. I would have to like to have been even more involved with the camera work but due to bad time management I had to spend a lot of time in front of the camera.

I feel as a group, as a whole, we worked well together, we organized shoots and got everything completed, however I feel that communications were sometimes difficult, as some wouldn’t show up to meetings or contact other members of the group, but overall the contributions of each member were helpful in make the piece whole.

If I were to repeat this module, I would definitely manage my time better, as this would allow me to find proper actors, organize more locations and shots and problem-solve without running into time constraints. I would also take the time to practice skills before shoots, and run practice shoots beforehand to ensure things would run smoothly.

Overall I am happy with this project. I feel we have a successful outcome and have learnt lessons along the way. It was an enjoyable experience, and allowed me to gain more skills in teamwork and producer skills.


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Bibliography
Bellantoni, Patti, 2005, If It’s Purple, Someone’s Gonna Die, Focal Press


Webliography
Sequence Shot Inspiration

Eyes Wide Shut


Appendix
Fig 1: Social Group researching and discussing inspirations.
Fig 2: Eyes Wide Shut Screenshot example of inspiration
Fig 3: Script of Production

Film Shoot 30/4

Yesterday, we decided to capture the last element of our Cinematography project. This was the lighting change. We chose to do it in an area outside my home, where there was a grassy park location and electrics available for the lighting. It was a quick shoot and I feel that it went successfully.

We worked on creating the lighting effect of night changing to day, therefore filmed at 9pm last night, and using a Kino 200 and a Dedo lighting kit, worked together to create the effect of the change. I think it went very successfully, and I hope it fits well into the finished piece.

Today, will be about getting all the footage together, editing into one finished piece to then focus on colour correction (which hopefully won't be too big of deal). We decided to focus on colours through the shoot so we didn't depend on post to fix any problems. 

Sunday, 28 April 2013

Film Shoot - 27/04


On the Saturday, we went back to film the rest of the Grindleford shoot, which went quite well. Most of us attended (4/5) and we managed to get the rest of the footage captured. Unfortunately we ran into weather problems during the day so lost some time. However I feel we managed to get some good work completed on this day.



















Film Shoot - 26/04


On Friday 24th April, we managed to schedule our first shoot at Grindleford. We took the shot list, all the props needed and travelled by train at 10:14am. Unfortunately, our actors all dropped out of our production the day before we were planning to shoot, therefore Joe & myself had to take over the roles of the actors, and balance them with our cinematography work as well. I was disappointed because I would have preferred to concentrate on what was happening behind the camera rather than being in front of it, however it was our organisation skills we should have taken consideration in when it came to actors, so it was a learning curve. 

Production still from beginning of shoot


All crew (Tom Newsham, Joe Butterworth, Luke Harrison, Joel Danby-Irons & myself) all attended this shoot, and we worked on our 'country exterior'. I feel it was a successful shoot, the weather managed to stay good throughout the day and we managed to get a lot of the work done, however we didn't finish and due to being tired and shooting from 10-6, we decided to have a rest and return to shoot tomorrow. 

Here are some more stills/photos I managed to capture through the day in intervals of filming and acting. 

Here is a prop we used within the film.







Thursday, 25 April 2013

Call Sheet - Grindleford Shoot 26/04/13

Shot List for Shoots

After Tom completed the script, I decided to create an overall shot list for the entire project, therefore I knew we had all the shots we wanted and needed for the project. This will be incredibly helpful on shoots because it'll work as a to do list, so we don't miss anything important on the day. It also allows us to see (in our heads) how it will visually look in edit, which is interesting...










Script for Project

When we finally managed to get the group together, we worked on the key points, and features we needed, such as lighting changes and colour, and with notes made in Grindleford previously, we came up with an idea. At first we were slightly over-ambitious with the amount of time we had to accomplish, however I feel we managed to creatively cut down the idea to make it just as a effective.


Little Synopsis: We follow Ashlene and James, a couple hoping to rekindle their relationship. James suggests camping, and therefore the two travel to a campsite, where they are followed by a dark shadow. Only Ashlene notices the shadow, and James seems oblivious. At the campsite, Ashlene spots this 'man' dragging a tarp across the ground, and freaks out to tell James. James calms her down and tells her to go to sleep, expecting she's over reacting to an animal in the woods. In the morning, James wakes up to find Ashlene gone...



Script:


INT. BEDROOM - LATE EVENING/EARLY MORNING                        
                                                                           
          Looking from atop the wardrobe we see ASHLENE rummaging          
          around underneath, JAMES is calling items of clothing out to     
          her from off-screen.                                             
                                                                           
          ASHLENE is about to respond but instead drops her shoulders      
          and shuts the wardrobe doors with a bang.                        
                                                                           
          JAMES’s is on his knees, his head down at his camping bag,       
          he’s wrestling with the zip. He defeats it and turns to          
          ASHLENE. Noticing her lack of enthusiasm he places his hands     
          on her shoulders, giving her a comforting stare and then         
          embrace. Lights out                                              
                                                                           
                                                                           
          EXT. COUNTRY PATHWAY - MORNING                                   
                                                                           
          We track backwards out from JAMES’S camera lens, the shutter     
          CLICKS. His fiancĂ© ASHLENE forces herself to look jolly in       
          her hiking attire. JAMES mocks her lack of enthusiasm and        
          she cracks a real smile. JAMES clicks the shutter again.         
                                                                           
                                                                           
          EXT. GRINDLEFORD - MORNING                                       
                                                                           
          The two are wandering around light-heartedly. JAMES points       
          to an animal in a tree, ASHLENE takes notice and looks at it     
          through camera. She noticed CREEP and jolts with shock.          
                                                                           
          The two are erecting a tent, ASHLENE struggling and              
          purposefully putting in little effort. She has a mini            
          tantrum and wanders off. JAMES looks back, feeling bad.          
                                                                           
          ASHLENE is wandering up hill. Bored, she taps a branch           
          against trees. She hears something. CREEP is dragging some       
          heavy object covered in tarp. ASHLENE whips behind the tree      
          next to her, her face only just peering out behind it. CREEP     
          is struggling with his dragging, he awkwardly trips and          
          loses his grip, as he reaches back to pick it up we see that     
          it’s a person’s limp hand. ASHLENE has a look of horror and      
          presses the back of her head to the back of the tree. CREEP      
          is passing, ASHLENE very hesitantly turns to look round the      
          other side of the tree. We see a blur approach her from          
          behind. JAMES racks into focus and ASHLENE jumps massively.      
          She quickly turns around to where CREEP was and nothing is       
          there. She looks back at JAMES hitting him half joking, half     
          serious. He puts his arm around her and they turn to walk        
          back.                                                            
                                                                           
                                                                           
                                                                           
                                                                           
                                                                           
                                                                           
                                                                           


                                                                  2.       

                                                                           
                                                                           
                                                                           
          EXT. GRINDLEFORD - NIGHT.                                        
                                                                           
          The silhouettes of JAMES and ASHLENE stirring in the tent,       
          layed on opposite sides of the tent. They are on their sides     
          looking at each other. JAMES is looking at ASHLENE, a tiny       
          camp light is between them. She turns it out, it turns to        
          day, JAMES wakes up, wincing at the light.                       
                                                                           
                                                                           
          EXT. GRINDLEFORD - MORNING                                       
                                                                           
          Looking inside the tent from outside, JAMES is alone in the      
          tent. The zip door is open and waving in the wind. JAMES         
          hurried goes to put on his jumper.                               
                                                                           
          He is outside the tent and looking frantic, he’s looking         
          around standing still. From up the hill we can she an arm        
          from around a tree on the left. She is bound to the tree         
          with rope and gagged. JAMES comes running up and tries to        
          help her. CREEP slowly walks from off screen up to JAMES and     
          hits him with club. CREEP is standing before them, club in       
          hand. ASHLENE has a look of horror, she struggles with her       
          ropes, he throws the bat on the floor. ASHLENE manages to        
          get out of her gag and is screaming hysterically.                
                                                                           
          Looking up at the sky, JAMES is dragged backwards down the       
          hill. JAMES’S vision is blurred, we focus in on ASHLENE          
          screaming. Fades to black.