6 • Camera Lesson 2 ( studio workshop )

The 180 degree rule take into account camera position and eyeline. When you film a scene using separate shots, it's important that people understand where everything in the scene is. The 180 degree rule will help you do this. The rule also applies to the movement of a character as the "line" created by the path of the character. For example, if a character is walking in a leftward direction and is to be picked up by another camera, the character must exit the first shot on frame left and enter the next shot frame right.

A jump cut can be used to denote time. If a character leaves the frame on the left side and enters the frame on the left in a different location, it can give the illusion of an extended amount of time passing.

Another example could be a car chase: If a vehicle leaves the right side of the frame in one shot, it should enter from the left side of the frame in the next shot. Leaving from the right and entering from the right creates a similar sense of disorientation as in the dialogue example.

One way to allow for crossing the line is to have several shots with the camera arching from one side of the line to the other during the scene. That shot can be used to orient the audience to the fact that we are looking at the scene from another angle. In the case of movement, if a character is seen walking into frame from behind on the left side walking towards a building corner on the right, as they walk around the corner of the building, the camera can catch them coming towards the camera on the other side of the building entering the frame from the left side and then walk straight at the camera and then exit the left side of the frame.

Created By Henry Russell

Edited By Henry Russell

~ Sources ~

IMBD

YouTube

Wikipedia

Google Images

23rd September 2015

Hurtwood House

5 • Camera Lesson 1 ( studio workshop )

During todays lesson we had been given the opportunity to get to know some of the equipment that was on offer to us when it would be time to film or thrillers…

We learnt the basics of using a tripod, including setting up the frame and adjusting the length of each individual leg, to achieve a perfect height, we also discovered the leveling bubble can be used to make sure the tripod head is level. 

The three cameras we learnt how to use, were the Cannon 5D Mark III, a DSLR with a very compact body and relatively easy to use if you have used any DSLR in the past. It uses Canons own detachable lenses system and so in order to use some sony e-mout lenses an adaptor is required. It had fitted a prime lens, with an aperture of 18mm (focal length). It is a fixed lens that cannot zoom. This is beneficial though, when you know what aperture you want before hand and using a prime lens really boosts quality. Although this may be unpractical as many lenses may be required to get different shots. One very unpractical part of the prime lense, is the fact that is cannot use extended zoom to get a true focus. In order to achieve true focus on a prime lens you have to measure the distance between the subject and the sensor in the camera, then dial that into the camera itself. Overall though the Canon is a discrete and high quality camera that can be used for a multitude of filming needs. For run and gun filming you can’t beat the compact body and ease of use. However I personally would change the prime lens to a 18mm to 55mm zoom purely for quick focus and the ability to create shots with shallow depths of field.

Moving on to the Sony NX5, the oldest of the trio. An all round okay camera, that is very large and not too impressive on the spec side of things… It does have XLR inputs so boom mic's and other audio equipment can be added. But with a fixed lens and only being able to record 1080p at 25fps or 50i (50i = fake (digital 50fps)) The only way to achieve true 50fps is in 720p. It also uses a Sony G-Mount lens. And a Sony Sensor unlike the Canon the Sony sensors are considered some of the best for high bit rate images and can encode in RAW (loseless) so less noisy images. White noise can be set using the colour reference numbers or but the white balance function. That requires a object that is completely white. Focus and exposure can be adjusted using the standard lens rings. And the G-mount lens does have zoom. 20x optical (high def) and it can also digitally extend x1.5. So when setting true focus on a subject no measuring is required just human eyesight.

Created By Henry Russell

Edited By Henry Russell

~ Sources ~

IMBD

YouTube

Gifs.com

Sony.com

23rd September 2015

Hurtwood House

4 • Analysis Of A Film Poster

I feel nowadays film posters are becoming obsolete. Which is a huge shame because I Believe that they are still an amazing way to advertise a motion picture. But they are impractical for the institution, why spend money printing a film poster that only can advertise to one area and a limited number of people. It is much more cost effective for a film institution

to advertise there movie covering the whole of IMBD (internet movie data base) Where it can be viewed by millions of people who are actually searching for movies. But this means we get production companies with billions making rubbish banner ads like this like this...


So in order to write an effective analysis of a film poster I had to pick the right film. So I went Indie. 'Moon' is Duncan Jones directorial debut and is an amazing simple film. And I believe that the partnering film poster to this 2009 sci-fi is a testament to the trade of film posters.
The main themes from the film are loneliness, isolation, madness and rebirth. The design studio has created an image that explores these themes and stylistically took influences from sixties and seventies sci-fi. The poster was designed by 'All City Media'.

First I will be examining the posters use of colour and the connotations that each colour has. The main dominant colour in this poster is black this implies the denotation of space, but the connotations of The colour black relates to the unknown. Black is the absorption of all colour and the absence of light. Black hides, while white brings to light. Black is intimidating, unfriendly and unapproachable because of the power it exudes. It radiates authority, but creates fear in the process. All these perfectly relate to the film, we can now understand that this film will be frightening and will isolate our protagonist. Which links in well with the only element of humanity on this poster. Sam Rockwell, stands centre right on the poster in a white space suite with a red stripe down the middle. Standing surrounded by white rings.

 The white of his suite implies the connotations of completeness and pure, the colour of perfection. The colour white is purity, innocence, wholeness and completion. This already has already told us that this man in the hero of the movie, or the main protagonist. But there is something about his head movement that gives us contrast to his associated character which i will come on to later. Meanwhile the stipe of red on his helmet This colour is associated with our most physical needs and our will to survive. It exudes a strong and powerful masculine energy. Red is energising. It excites the emotions and motivates us to take action. It signifies a pioneering spirit and leadership qualities, promoting ambition and determination. This now tells us the audience that this man needs to survive, that he is going to put into a situation that will cause him to dig deep, and fight against evil and persist. He is brave and powerful. It is a psychological survival movie. Which movies us on to the biggest aspect of this poster. The illusion of the moon. seventy white rings surround our character in a psychotic encompassing. We see this build up of isolation as this characters world is falling around him. It feels like one of those hypnotic spinning disks... 

This furthermore enforces the idea of the psychological challenges that this character will have to face. 

From the poster we also semiotics being used the big white circle and space suite instantly scream space!

Moving on now to the body position of the character. He is looking down and and his helmet is off, this helps us see his face and causes us to connect more personally to the character even though we have not even been introduced to him. But we have the connotations of him being a hero and white means goodness right? But contrast. look at his eyes, you can't this eye contact is broken the symbolism of a broken character. We have all these signs pointing to the character being a protagonist, and yet he does not make eye contact with us, this is amazing because the contrast really emphasises the fact that something has or will happen to this character to cause him to literally turn to darkness.

I believe this to be one of the most amazing film posters of all time, purely because of its blend of fine graphic art and deeply complex connotations.

Better than those big online banner Ad’s right?

Created By Henry Russell

Edited By Henry Russell

~ Sources ~

IMBD

YouTube

All City Media

Google Images

23rd September 2015

Hurtwood House

3 • Comparing Three Opening Scenes And Use Of Camera Work

Hello and welcome back to my media studies blog. Today I will be examining three different opening scenes and comparing the different themes connotations and techniques used in the making of these scenes.  

The three movies I have decided to focus on are, 'Moonrise Kingdom' directed by Wes Anderson, produced by Indian Paintbrush and American Empirical Pictures. 'It Follows' directed by David Robert Mitchell, produced by Northern Lights Films and Animal Kingdom, and finally 'A Clockwork Orange' directed by Stanley Kubrick, produced by Warner Bros and Hawk Films.

Three amazing films that have great opening sequences. I have chosen these three films because the have both similar but yet contrasting themes and ideas.

I will first be talking about the romantic, adventure, comedy. 'Moonrise Kingdom'.

I love the tracking shot. Wes Anderson loves the tracking shot. The opening to 'Moonrise Kingdom' is one hundred percent filled with the lateral tracking shot. For example...

Now in this shot we see a family divided, literally by solid walls. We see a great use of parallax in the different rooms. And the camera moves from left to right so screen direction is respected. But when you break it down the lateral tracking shot is kinda wired. It is one of the least subjective shots in cinema. It is actually one of the most objective because it does not suggest any characters point of view. It suggests you are an omniscient god and are just watching. It is very literal, what you see is what you get. And this is how Wes Anderson uses the shot in this scene. We see very clearly the mother and father separated, and looking inwards, while Susie is always looking out towards the viewer. It really successfully sets the scene, and gives Susie a motive to want to run away from the broken family she is currently part of.

Wes Anderson uses this kind of shot loads, I think because it conveys the dollhouse, flat storybook look he loves. But he does not use it unmotivated every time we see this shot it is to give us information about the characters current situation.

But one thing I rarely see the lateral tracking shot used for is intimacy. It just really is not an intimate shot, no matter what you always seem to be at a distance from the characters. Great film makers know this, which leads us into the next movie, 'A Clockwork Orange' the opening scene to this Kubrick classic is a mix between a zoom and a tracking shot...

Malcolm McDowell is near perfect as this movies “protagonist” and everything from his crazy intense stare, his childlike and sinister way of speaking here at the start of the movie, where he is sat drinking milk (a metaphor for innocence- an important theme of the movie) at a Milk bar sends shivers down my spine. Mainly again because of the tracking. This shot surprises me because at the beginning of the sequence we see a close up of Malcolm and we feel very intimate to him and uncomfortable. But then the tracking shot is used to break away at that intimacy. And very much like a Wes Anderson tracking shot we see the details and the surroundings of our character.

And we track away from the character, its weird because it is unmotivated and is full of contrasts. Does it want us to side with the character or be at a distance with him. The close up would suggest intimacy but the track suggests detachment.

Coming back to Wes Anderson for a second, I found a tracking shot in Moonrise kingdom that I see as having the same connotations as this scene in A Clockwork Orange, but reversed...

In both of these shots we feel emptiness, loneliness and sadness. By removing the characters slowly from your field of view we can either see this as a detached family, or someone who has become detached from humanity in the case of A Clockwork Orange.

But only one character in both shots is looking directly towards the camera, this provides a sense of uneasiness, and In both films provides different yet similar meanings. With Kubrick it gives us the connotations of the character being a psychopath he is constantly staring directly towards us as if we are being influenced by his insanity. And with Anderson, it gives us the similar connotations that something is wrong with this family and that Susie is always looking for something different and better. Again both of these shots use the same camera movement and angle, but the two movies are completely different in genre's. Granted Moonrise Kingdoms camera movement is faster and has more energy, the connotations are similar yet contrasting. Each of these opening scenes the camera movement is un-human, and un-natural it is very omniscient. 

The next opening scene from the 2014 film 'It Follows' is very different...

With 'It Follows' the camera is motivated by the movement of the girl, we get a sense of a POV shot, but the camera is very smooth and slow. This gives us the connotations that something is repetitively slowly coming after her. We feel a sense of dread the camera moves so slow you feel like we are egging on the stalker. It feels very tense. Even though we have no idea why the girl is running, who is following her or why he is following her, the scene has the connotations a mood of this constant following, a very suitable mood for a film called 'it Follows'.

Again though this is a tracking shot, The camera rolls around the street panning and tracking around giving us a sense of the area. The street has people on it and they don't react the girl seems out of place disheveled. The sound track is amazing. We hear the pulsing base, followed by the screeching strings that all adds to the tension and thrills of the scene. It puts you on edge, without showing you anything. 

We have no clue what is happening. Its is almost discombobulating. We lose sense of our direction, there is now only one, following the girl.

'It Follows' is in the same genre as 'A Clockwork Orange' But have two completely different opening scenes that some how create similar connotations, both show us the idea of psychopathic behaviour, both scenes put us on edge. The whole concept just connects. Put the opening scene of 'It follows' In front of 'A Clockwork Orange' and the movie would work just as well.  We may not be established into the characters, but if we say Malcolm is the guy chasing the girl, it creates the same connotations of his character in the film. Two different directors with two completely different scripts have come up with two scenes that are very similar. Is that the genre talking or is it the skill behind the camera. The opening scene to every movie is arguably the most important part for the director, it sets the scene creates the atmosphere. And I personally believe that these three movies do exactly that they present a world, one that is fascinating in the mystery it creates. But how do you do this, how do you excite people, get people curious to watch on. Just using an opening scene. Well thats for the masters to know and for us to find out.

Created By Henry Russell

Edited By Henry Russell

~ Sources ~

IMBD

YouTube

Gifs.com

23rd September 2015

Hurtwood House

2 • Tension Within A Thriller

The short thriller that I will be studying today is Vystrel by Nikita Murphy.

The film is about a woman who we assume is carrying a case of great importance from an elevator to her car. We see that she is tense and nervous form her movements and actions, but we know very little about the reasons why she has the case, or why she is acting 

so nervous. 

The opening sequence is shot in such a way that we have few establishing shots that right from the start point build up tension.

 These three shots give us the location, aesthetic, mood and pacing of the film in the first ten seconds. The viewer is given three images to construct a world around the scene we see, urban, deserted and soulless all these aspects start building tension and we are left wondering, what is going to happen.

Just from his first shot of who we assume to be the protagonist, we already can relate to her, we see her earphones and we associate her with the stereotype of a helpless 'blond' which makes us automatically assume that something bad is going to happen. But we still relate to her and become attached to the characters. 

  

The next shot we see is, the main character with her eyes closed and, staring down at the ground. This causes us to feel like she is worried or ashamed. We as humans find trust in eye contact and she is denying us this. And so we begin to assume the worst.

Also in this scene the camera is placed in such a way that the character has her back to us. Because of how the mirror is placed in the scene. This also gives us the connotations of 

Tension within thriller gmHHHHHHHHHHHH

*        Who are the characters? What are we meant to feel about them? How do we feel this so early on?

*        What do you think, given the tone and language, the rest of the plot line would be? You should explain your decision, with references to the opening sequence. Be creative, but also stick with the conventions. 

1 • Favourite Film Review

What would you do, if you were sitting with your family having a  relaxing lunch in a ski resort when suddenly an avalanche starts falling straight for you. Would you save your family or save your self?

~ Film Poster ~

Welcome to my film review of ‘Force Majeure’ (original title ‘Turist’). Directed by Ruben Östlund, starring Johannes Kuhnke, Lisa Loven Kongsli and Clara Wettergren. Force Majeure is a Swedish film that answers this very question. And is personally is one of the most thought provoking and well crafted films of 2014.
The avalanche is the moment that changes everything, even though no one dies, or suffers physically in any way. This critical incident occurs and the whole movie is set in motion.
 A simple premise that leaves an unsettling question in the viewers head. What would you Do? 
With Ruben Östlund there’s normally so much happening in an scene. But with Force Majeure It seems he has taken a more simple approach. His film unfolds over a five-day skiing holiday in the French Alps, in a pricey-looking getaway. 
Tomas and Ebba and their two children.

~ The Family ~

seem to be the perfect family. Two beautiful Swedish people and there two kids. But right from the start point we feel a sense of conflict between Tomas and Ebba.
The film is constantly bringing us back to this battle for control, and the passage of trust between these four characters. One amazing example of this evolution of trust, Is when Östlund uses this simple scene, of the four of them all brushing there teeth together to show us this evolution of trust.

We see in this scene that the two parents are being split by the kids. The way that Östlund has constructed the scene shows us that there is an issue between Tomas and Ebba. Throughout the film this scene is constantly changing. Later on in the film when Tomas loses the trust of the family, he brushes his teeth by himself. 

But although this is a great example, the films main theme throughout is this idea of sacrifice. Tomas in the heat of the moment put himself before his kids. The avalanche is approaching and Tomas grabs his cell phone and his gloves and leaves the table. Meanwhile Ebba grabs the two children and hides under the table. 

Leaving his children and wife behind, Tomas (in the 'blue jacket) uses his raw instinct of survival. But everything in this shot is designed to be emphasising his decision. The camera is positioned in such a way that we feel Ominous. We are viewing what is happening but without control. But the Tomas runs towards us. This gives us the feeling of being secure, Making us side with Tomas. Even though what he has done may be wrong. Ebba and the children are left behind and we feel detached from them. For all we know they could be dead. Further more Tomas is wearing a bright blue jacket. This is to make him stand out but also with the connotations of blue being trust, intelligence and wisdom. We see this amazing use of contrast with what the character is supposed to be doing to what he actually is doing.
Also Sticking with the idea of colour connotations Ebba in this scene is wearing white trousers to symbolise innocence, purity and goodness. Which is not something until now we associate with the character of Ebba, We see in the scene bellow. Ebba mocking Tomas, by saying "you are not crying for real" She is a mean spirited person.

But she will still put her kids lives before her own. After the avalanche Ebba is left doubting her husband. And this creates tension that builds up throughout the movie.  
When Ebba decides to confront what has happened she does it over dinner, with another couple not only facing, but trying, feebly, to pretend the lapse isn’t as bad as it sounds. Tomas does the same, claiming that his recollection of the crisis is entirely different from Ebba’s. But the film isn't letting him get away with it. We all know what we saw. The truth of his unlovely abandonment begins to eat away at their marriage.

After this scene, We get a real sense of the conflict between the two characters, and Tomas begins a conflict with himself. He keeps trying to prove that what he did was not wrong. 
But we can't help but feel sorry for the man, The film so crystal clearly against Tomas that we become even more attached to the guy. Yeah he messed up. But after what he has done he loses the trust of his wife and children.  


The film although shot simply and Purely is one of the most highly detailed pieces of cinema that I have ever seen in my life, from first appearance it may seem, too simple. But I am going to go against what I said at the beginning of this review Östlund has not dumbed down his directorial style, He has just become for subtle. And I believe that with every film a director makes he gets the message across to the audience without having to use millions of things in a scene, Östlund is the kind of director that will never use a close up. He does not need to tell the audience what is important because everything in every shot is just as equally important. Although this may be his greatest strength as a director it is also his biggest downfall. There seems to be too much information for us to always compute. 
But if you ever end up putting Force Majeure on, just once in a while press pause, and study the scene. Because with Östlund he can make a scene of four people brushing there teeth a piece of cinematic art.
And just think, If you watch the film with your partner ask them the question...

     

Created By Henry Russell

Edited By Henry Russell

~ Sources ~

IMBD

YouTube

Gifs.com

13th September 2015

Hurtwood House