Re-read studio description

After re-read the studio description, I have the new understanding of coverage in film and the purpose of this studio. Coverage, simply is to go through the play completely from the main shot first, and then shoot some content again according to the situation from different angle. The main shot and overlay shot method is the most mainstream scene shooting process, its advantages are obvious, the order of first master and then cover first solves the problem of following shot. Secondly, it leaves more space for shooting day. When shooting the main scene, it still can adjust the covering shot. After the completion of the main shot, under the condition of time permitting and respecting the actors, shooting proper amount of overlay shots can create more options for the re-creation of post-editing. If I were the director, my own workflow going to be: determine a main shot and then adjust the overlay through the process of rehearsal, trial shooting and shooting the main shot. Main shot- overlay shot is just one way of shooting scene, some director with strong visual narratives, such as my research topic Bong Joon-ho. He had a very precise shot design, and even edited it in his head during the script stage, there is a very limited amount of coverage between the different shots. But also, a shot-by-shot like Bong Joon-ho means there may be a few snags in the editing process. The editor of Parasites revealed in the interview, there was no shot covering the shot, if a shot was bad, other scenes of the same shot could only be used to piece together a usable material. So in my opinion, I think to every director has their own understanding of coverage, I still need to learn and search more principle and hands-on experience.

Shot composition

During I am working on my research topic, I am interested in film shot composition. I found the balance and symmetry composition appears in Bong’s film very much. Its important for directors and cinematographers to know the rules of composition. Sometimes for special reasons, they used balance and symmetry to break the rule of thirds. The rule of the thirds is nothing else than a simplification of the golden mean, a simple rule to be followed so that your subject is placed within a certain area of an imaginary grid, which splits your picture in 9 equal areas. In the shooting, we can use the rule of third in two functions basically. First, we can divide the image into two distinctive area which over 1:3 and 2:3 of the size of the picture. Secondly, imagine drawing a tic-tac-toe board, the characters stand on both sides of the intersecting line. Furthermore, Bong like to set eye level composition. This composition brings the audience and the character at eye level, which implies the concept of equality between the viewer and the character, and guide the audience’s mind to think “if I were there, how do I feel”, this composition make audiences feels that they are already there. Eye level composition mostly appears in “Mother”.

Reflect research topic

Before I settle down my research topic, my previous idea was to discuss and dig more information about decoupage, but my feedback is find more related to decoupage, because the studio is all around decoupage and coverage. So, my firstly change is to discuss the revolution of Asian animation film, but this topic is not really related to the studio conception, because we can’t see much more coverage in the animation film, it is hard to discuss, and the to talk about revolution is quite tedious. So, after I talk with Robbin, I decided to change my topic as Bong Joon-ho’s style of filming and his coverage in the film. I mainly focus on his coverage in different movies and in the similar way to shot, and what going to telling audiences thought this shot composition, also, he’s personal ideas about pre-production. Those will be discussed by the studio concept.

Scene review

In the class 22, the clips of MAD MEN, this scene have 6 shots, mainly focus on 3 character’s conversation. The beginning of this scene is medium shot, the man wearing the black suit waling out of elevator fast, then walk out of the camera, and the camera is panning/following to the man walking out of the elevator secondly, bring him to their conversation area. And the third man is come out of the door, they are standing at the middle of the corridor. This is the first shot. And we can see the end of the first shot was balance and symmetry composition. When they are having the conversation, there were talking in two people, and those are medium close-up dirty shots. And the following shot when they three standing in the camera, the shot become medium close-up shot, which is different with the first shot. In the last shot, when the man is leaving, the camera focal length zooms out a little bit but still focus on the left two men.

Kid with a Bike

In the clip of Kid with a Bike 2, the camera is tracking him, we can see the picture is shaking, this is the function to show the kid is fluttered. If the scene need to shoot by hand hold, it might be many rehearsals before shooting. And to keep the camera as still as possible in every scene. The motion of track can be straight of radian along with the motion amplitude of the subject. Following shot well give audience to perceive the space and scene in the picture as much as possible. Furthermore, in this clip, the camera being paced there enabled us to have an all-encompassing shot, 360 degrees, giving the audience the impression of being inside. Handheld is freer and cannot be limited by space, when the camera shaking that can create a tense an dizzying viewing effect, and the camera can be close to the subject as possible to observe details, also, handheld can create a realistic subjective perspective.

Reflection of week 9 presentation

Reflect to Cora’s research topic- Chungking Express by Wong Kar-wai. Chungking Express is a 1994 Hong Kong romantic crime comedy drama film. The film consists of two stories told in sequence, each about a lovesick Hong Kong policeman mulling over his relationship with a woman. I had research in the previous study. This film use the narrative means of story juxtaposition, telling two stories, so this will reflect the isolation of the individual characters. the different scenes, different emotions and different ways of shooting and editing reflect the skill of photographers and editors. At the beginning of the film, a handheld camera follows the woman as she walks, and the police chase footage. Two separate scene are both of use the overlay function. The whole film combines unique cinematography and sound effects in a quick editing method, which is to better present this film with his style. I have had watch his other films, like In the mood for love, I noticed, in his film, he has own style of color correction, when you watch the film, the color represents the mood and emotion of different characters.

Research project

My research topic is South Korea director Bong Joon-ho, and his styling of making a film. Bong Joon-ho was born in Daegu, South Korea. He graduated from Yonsei University, one of the three major universities in South Korea. Therefore, he has profound knowledge base. After he graduated, Bong Joon-ho devoted himself to the film industry. His debut film is Barking dogs never bite, and he trying the thriller suspense Memories of murder, Mother, and Si-Fi film The Host, action Si-Fi film Snow Piercer, the Parasites is won the top prize of the 72th Cannes film festival and the 92th annual academy four best.

He draws very meticulous storyboards, going on set without storyboards feels like standing in grand central station without pants. And he said make films that satisfy you, don’t think about other people, create something that satisfies you. Furthermore, In Bong joon-ho’s film, this kind of sudden mistake is kind of unnormal in the film, but that give the audiences expectations. Like, Chiris is fighting with enemy in the train and he stepped on a fish then fall on the floor. Another example is in the film Okja, a man is running fast but hit by an opening car door.

Snow piercer is a South Korea-America film directed by Bong Joon-ho. When is film release in North America, The Weinstein Company considers the duration is bit long for release and they hope to cut 20 minutes. Bong Joon-ho expressed strongly disagrees, sometimes he is portending does not know what are they talking in English. “In Hollywood, the producers always interfere with the director.” Boog Joon-ho also said: “A foreign director in Hollywood, they are restrained, you don’t have the final cut authority, or the production company having the power than the director, but I have the most power of control.” The absolute control of the film is protection to his creative idea.

To talk about Parasites, this film is reveals the class gap between rich and poor. From this film, that shows the satirize of realism. This film use the classic Hollywood techniques, designs a fascinating plot, sets up new conflicts step by step, promotes the plot development by the “motivation”, and uses mature Hollywood classicism model to show human nature. And, Long shots, depth of field shots, frame composition, extension composition, horizontal composition, diagonal composition and closed composition to highlight the characteristics of the environment.

Bong joon-ho deepened his theme through symbolic metaphors, such as picking up a stone and putting it down, symbolizing the desire to rise and the desire to let go, and the cockroach being a symbol of the lower class. In the end of film, Bong Joon-ho uses a symmetrical ending to draw people’s thoughts on the structural violence of society, the emotional resonance for the people at the bottom and the tyranny of the powerful class.

In addition, Bong seems don’t like normal coverage, for example, he instead of covering up the dialogue with a backbeat, switches between the characters. In an interview, Bong said: “When parasites were made, there was no coverage, and didn’t even shoot the main scene. So, if a shot doesn’t work in the editing room, we sew different shots together to make it look like on shot. We did this is to cutting perfect.

In the interview No Film School Bong said “In the party scene, which was originally in the storyboard and script, Kim Ki taek(driver) and Mr.Park in Native American headdress hiding together, and they have a conversation before the chaos begins. In the script and storyboard setting, there is a moment when Kim get a whiff of Mr. Park, a crucial moment when he really “cross the line”. But when we cut it, we cut it out. Because we considering how to get the audience to understand that moment when Taek changed. Throughout the film, especially at the end, you will see him get more and more angry, and empathize with and understand this character’s transformation? If we cut the original script and storyboard, Teak smelled Mr. Park, then audience would have disappeared in an instant, so we decided to make the conversation between Taek and Mr. Park even more intense, and asking them to end the conversation by their eyes. They don’t say anything, and they walk through the party, and chaos begins.

Through the research, I found director Bong joon-ho is a very creative person, he has strong basic skills on drawing, character analysis, he made the character as ordinary people to telling the story. And also, his film are many turning points. When the direction of the story or the character reverses at the last minute, it impressed audiences. The turning points is more like a sudden revelation of the central style of the story or the director’s point of view that directly changes the main line of the film.

While it was largely commercial factors that driven the development of narrative film, it is also important to recognize the role of individual artists who have made it a means of personal expression. In general, the film image of the silent period was simplified in nature, acted in unnecessarily animated gestures on which to focus the eye; and supplemented by live music, theater musicians and written titles for mood and storytelling. In particular, within the limits of this medium, one director has arisen to make silent films an art and unleash their potential as a medium for serious speech and persuasion. As an actor in 1907, D. W. Giffith progressed quickly to the director’s job where he worked in near collaboration with his camera crew, experimenting with shots, angles and editing methods that could enhance the dramatic impact of his scene. He discovered that he would create an appearance of simultaneity by practicing simultaneous editing in which a film alternates two or three scenes. He will then increase the suspense between cuts in the movie by switching more and more quickly before the action scenes collide.

Reflect exercise 2

I decided to take each dirty shoot to actor A and actor B. when A is talking, the camera is mainly focus on A’s face but still can see B’s back or his side, in the same way shooting to actor B. The camera will set in the back 2 foot long distance to the A and B.

Reflect of “The background action: how to keep it real and why to get it right.”

After read the article, authenticity is mainly important in a film, as Tom Reilly said in the article: “What we stage and shoot has to look and feel real, or we lose the viewer and the film loses credibility.” The film in terms of ideological content have a common requirement that they must be true and credible, and in terms of artistic expression, the film should be close to life. Any details should not be distorted against life. The authenticity of a film is closely related to the creator’s view, life experience and artistic accomplishment. Furthermore, in some case, the crew of film will invite professionals, like Tom Reilly mentioned in the article: “ When staging complicated scenes, we sometimes bring in technical advisers to be on the set and make sure that we get it right. Shrewdly, sometimes we even cast them to play a small role.” In a word, to ensure the authenticity of the film, props, background, any other details are important elements.

Decoupage means to cup up, but it is not editing, and is used to obtain continuity. This word in English, in the expression continuity script. On another side, as the article mentioned, Montage means to join up or connect things such as pipes, electrical writing, etc. water tight, functional, unidirectional, means not to join but to cut.

While decoupage is strikingly absent from most English language theoretical and technical film dictionaries and introductory volumes on film art, when mentioned at all its meaning is almost without exception mangled byong recognition. The expression “classical analytical editing” refers to the fact that, in the classical method, the finished result must adhere to the film’s continuity script or decoupage technique.

Reflect to exercise 3& 4

Exercise 3

Script No word of exercise 3, in this script, there is no dialogue, mostly are environment shot and actor’s body language, to combine with decoupage technique, I will make many number of breakdown for this script. In the script, there are many “movement” for the actor, so I could make each breakdown shot for each movement.

Exercise 4

In the start of the script, I would shoot with decoupage technique, because there are many movements, body language of Ella. So, I could shoot to many breakdown shoots. When Juliette appears, I think she might appears peripherally, so that the after plot will be reasonable. Furthermore, the camera will close to Ella when she notices Juliette, and the camera will give Ella a close up shoot, to see her acting and her reflection. When they two talk, I prefer to make the dirty shoot for them, to see their face and body language. The camera will be each their back. And also could shoot as a medium shoot.

In scene 2, when Juliette is heading towards the counter, Ella hurries up behind her, I would like to take the shoot in the front of they two, and camera focused to Juliette but when Ella comes, they are both focused.  After that, the dialogue part will be shoot as medium shoot. Furthermore, Ella’s POV will be central to the efficacy of this scene, so I might add shop assistant’s POV to make the authenticity. This is we learned from week 5, as we been told the background’s authenticity. After that, in the scrip, there will be a single shoot for EFTPOS shows approve, that will add more authenticity, so that the audiences will feel the story is real and enjoy the film.

In scene 3, I think the function of shooting will be quite similar to scene 1, except the dialogue part. When they having the conversation, I would like to make the medium wild shoot, after they end the conversation, Ella slaps Juliette in the face, Ella is more surprised than Juliette, I think there could use decoupage, but not a lot. Bucase we have to see the continually shoot. In a word, I think appropriate use of decoupage will emphasize the structure of the story.

Extra scene analysis

https://video.sina.cn/ent/m/2015-05-16/detail-iavxeafs7604605.d.html?from=wap

Mountains May Depart is a 2015 Mandarin language drama film directed by Jia Zhangke. This clip is using a cool color tone to fill up. The location is set up in a train station, Tao and her son is waiting for the train. The camera is panning smoothly for this scene. Meanwhile, the clothes they wear also are cool tone, so that it fills the scene more complete. After that, the following shot is a long shot which is the image of the waiting hall and the back of the two characters. The long shot here is to point out the character’s frustration and lonely. The next shot is a extreme long shot, the scene here is Tao and her son standing out of the train station. The purpose of this shot is to show the dreary scenery and the character’s emotions. Meanwhile, the soundtrack is 90s style Cantonese lyrics song. In the 1990s, it was the golden age of entertainment industry in Hong Kong. So the purpose of the soundtrack here is really fit the story line, because this clip is telling the story happens in that generation. Also, the lyric song in here is helping the story developing the emotions of this clip. In the next scene, this is a tilt-down and smoothly pan shot and it finally freeze to a medium shot. In the last scene of this clip, Tao give her son a key of their home form the past, this is a foreshadowing. The key for the son-Dollar, is stand for the home and he can not comeback, especially for the Dollar went to Australia and growing in there. The key is more like a souvenir for him. For the Asian, the key representative the family or home and also could be interpreted as guardian of the family. For the Yong son- Dollar, he might think the home is far away but he has the key.

Scene analysis 1. Eat Drink Man Woman

Description of this video from 4:39-5:40

Eat Drink Man Woman is a 1994 comedy- drama film directed by Ang Lee. For this version is Mandarin Chinese version with English subtitle. In the entry of this scene, the location set up in the kitchen and the camera is hand- hold by the cameraman. The medium shot for the Master Chef Zhu till other trainee chefs put the uniform for him. The medium follow shots are used so far. After that, there are many close-up shots for the foods, so that point out the foods. Eat Drink Man Woman has very special place in lens and sound. Compared with other films, the lens they use some frames, signs, colors and other expressions to be more straightforward. The hidden meanings and hints in each shot are closely related to the story. Furthermore, in the kitchen scene, there are many hand hold shots, I think it is to make the audience have an immersive experience. Also in the kitchen scenes, there are no background music but some sounds of cooking and yelling of people. The sounds here is to make the environment looks real and noisy. After that, in the “home scenes”, there are mainly shot by medium shots for three daughters, the purpose is point out the main character’s face but gather this three characters in the frame. And also panning to the other side to show the movement is consistent. In the last, the Asian comedy film like Eat Drink Man Woman, the director like to telling the story through the scene and Ang Lee makes people feel the Asian’s fine emotions through the film.

Scene analysis 2. In the Mood for Love

This Scene is Mrs.Su and Mr.Chow are going to get food separately. The soundtrack is a triple meter style music for this scene. This scene is Mrs.Su is walking on the stairs with a thermos, and the camera is panning smoothly, also this scene is slow motion, so that to point out Mrs.Su is charming. Furthermore, the rhythm of the rain under the lights is the repeated montage images to symbolize the lonely and boring life of the two people. The subtle changes of light of the face of Mrs.Su and Mr.Chow when they are facing each other. In this scene, the main light is the street lamp and the stair area is dark, so the view of her back looks lonely. After that, there are some medium wasit shot for Mrs.Su, the purpose is to show her movement when she is waiting for the food. Meanwhile, the shot for Mr.Chow waking through the stairs is same way to take. Furthermore, this scene have no dialogue, so the soundtrack is help the scene develop the atmosphere. In the conclusion, In the mood for love narrative is simple and clear, so the rhythm of the film is slow, which needs theme music to modify. Furthermore, the location of the shooting was in Hong Kong, the shooting content and style were reflect the lifestyle of the contemporary Hong Kong people. In my point, this film representative art originates from life but higher than real life.

Scene analysis 3. In the Mood for Love

In the Mood for Love is a 2000 Hong Kong romantic drama film directed by Wong Kar-wai. This scene is Cantonese version. At the beginning of the this clip, there is a de-focus scene of the booth. The following shot is dirty shot for Mr.Chow and Mrs. Su, this scene starts from Mr.Chow and only can see his face and Mrs. Su’s back. The lighting set up here is mainly form the top, as we can see there are some shadow from the characters, so that the lighting could point out the characters. The following shots are the bust shot for each of them, and the scene are many dialogue. The purpose during the dialogue between Mr.Chow and Mrs.Su is to show their micro-expression. They talk carelessly but thinking each other form inside. Furthermore, there are two close-up shots, one is for the cup of Mrs.Su, she is blending the coffee carelessly, the purpose for this scene is to point out she has something to say but she did not. Another close-up shot is for the cigarette from Mr.Chow. The cigarette is a excuse to avoid embarrass. Meanwhile, the cameraman also give Mr.Chow a extremely close up of he is smoking and quickly pan to the bottom of the cigarette. Furthermore, the soundtrack here is a classic orchestral music and smoothly fade out during the dialogue. In the conclusion, this story is telling a man and a woman whose spouses have an affair together and they slowly develop feeling for each other. As we know, cheating is unethical, also Asians are normally implicit, so Wong Kar-wai cuts out the trivial details and transitional plots, and presents the result of the plot to the audience only through motional scenes and dialogue, so that give the audience more imagination and thinking space.

Reflective Writing 1.

The studio of “The scene in cinema” is telling the coverage/ scene construction/ decoupage, from both an academic, theoretical perspective, and a practical one. To understand coverage of this studio. There are two meaning of coverage. The first is the practice of capturing a dramatic scene as scripted. This usage alludes to functionality and industrial efficiency, and is closely associated with the notion of the supremacy of a script, or text as blueprint. The second is more to do with the expressive potential, and uniquely cinematic application and effects of the process of segmentation.

From the start of this course, the first exercise 1A- A Single Shot. In my opinion, I decided to set up as three shots. The first shot is a dirty/medium shot when Laura enters. The camera will be at the back of Tony and directly. The purpose for the coverage here is only to show actors top of the body and their face and only can see Laura’s facing acting but Tony’s back. The second shot is from when Laura speaks to “over the summer holiday I guess.” This shot I would like to make as wild shot, the purpose is to show actors body language acting. And the camera will be at back of the sofa, so Laura’s face will be the only one in the frame. The last shot of this scene is a medium (close-up) shot. This shot begins when Tony speaking and to the end. The purpose for this set-up is to show Tony’s acting and some micro-face acting. Because from the past 2 scenes, we almost did not see Tony’s face or acting. So, this shot it to set him.

Reflective Writing 2.

“What relationship between focal length and coverage?”

In the frame, the focal length choice directly affects the image. The focal length of a lens is determined when the lens is focused. The focal length tells us the angle of view, how much of the scene will be captured and the magnification, how large individual elements will be. The longer the focal length, the narrower the angle of view and the higher the magnification.

Response to Chapter 23 ‘Blocking is overlooked and undervalued’ 2009 in Reilly, Tom, The big picture:

Filmmaking lessons from a life on the set, Tomas Dunne Books: St. Martin’s Press, New York, pp.93-97.

https://primo-direct-apac.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=RMIT_ALMA11136956340001341&context=L&vid=RMITU&search_scope=Books_articles_and_more&tab=default_tab&lang=en_US

according to the article, “Writing, casting and performance, shot selection and lighting, the lens on the camera, location and set design, and music and editing are the most obvious component parts of a film.” From the above elements of the article mentioned. Those parts are the important and more intuitive to express the film. The good film starts from a good script and story; An excellent and talented actor could express the content of the film; An excellent director and cinematographer could make the film better; Furthermore, the lighting, tone, props setting are also significant of the film;

Different type of the film or each single one film has their own atmosphere, style. Each factor determines the final result. For example, two different actor performing a same scene will delivers two different expression, same way as director or any other of the part of the film.

Reflective Writing 3.

Scene-Love In the Afternoon

The scene set up to a medium shot and the scene starts from stare, when the actress came, the camera pan a little bit but following the actress. After the actor came to the frame, this scene become a dirty- medium shot, and we still can see the camera panning with the actors. When the actor walks to the right, the camera panning to the right a little, the purpose is make sure the actor in the frame. This scene is mainly focused on the actress, because she expresses a lot in the frame.

Scene- My Night At MAUDES

The scene set up to a medium shot and the camera is following the one of the actor. The camera panning with this actor whatever when he crouches or stand. When this actor stand up, another actor appears in the frame and the camera adjust the position to shot they two.

Scene- High Low

This shot set up to medium shot. the beginning of the scene is the man leading the camera to the rest of two actors. The camera stared when those to man talking. After the actress came to the frame, the camera adjusts a bit focal length to make sure they are all in the frame and correct position. Also, those three actors are in the different distance to the camera, so that looks layering. Furthermore, the camera panning a little bit when the first actor (the first came out one) because he still has dialog. After he walks out to the frame, the camera panning to right back, to focus the rest of two actors.

Scene- MA VIE SEXUELLE

The shot is medium (close-up) shot. The scene following the actor when he sits on the bed and panning with his movement. After the actress sits with him, her face is clear and focused in the frame, and the actor’s is unclear, because camera man adjusts the focal length to express her acting.

Scene- Syndromes Century

The shot is wild shot and stared. The location is the corridor of school. The scene design here is more focus on dialog and background. The architecture in this scene looks pretty in the scene, in my opinion, the director of this film is wanted to show the environment shot and express an awkward atmosphere.

Through the shooting project, I am happy to work with my group members. Our concept of the video is a horrible image video, as we know the colour tone is quite important in the horror film, so we shot in dark green tone and some of the dark lighting condition to complete our concept. To be the producer of this video, we’d like to let the audience play the full attention in our video, and feel the atmosphere as same as we’d like to share. In the editing, I added some blank footages to make the whole story in the rhythm of the point. Also the sound design, we put a lot of attention on it, in a different situation we add different sound effects to rich the story. After finishing this project, we’ve watched this video on the laptop which is good, but when in the big screen, the quality of the video looks not that good as my expectations, I think its because the lighting or the light condition outdoor.

If we have changed to improve this project, I’d prefer to have the key light in the first half video, which is in the black studio. Because I have mentioned many times to add a key light to rich the quality of the video, but my group member rejected my suggestion. Also, the footage we shoot in outside, the lighting condition was not that good as my expectations, if we got a chance to improve, I would like to have a LED light or tungsten light to be the backlight, I think that will fix a lot. Also, it we could screen in somewhere else, I would like to screen in the festival, it could be film festival or upcoming Halloween festival, because our video concept is horrible and which is fit to Halloween. And if we public in somewhere else, we should pay more attention on credit and more formal formats.

After watched our class’s projects. Joseph,Tully,Terace’s group are doing sort of the colour gel testing and light equipment in a different position. Their video shows the lighting in different position could rich the story and also change the storytelling, and also I remember the pink light is really tricky in their video, you can’s see the pink light at the first time, but after the actor walks toward another actor, he was in the pink light, this is really good and looks like science fiction film, that makes me feel more the image from the space and I really like their video.

Another group’s video from Eleanor, they are redoing the same concept form the practice shoot, but the quality is good as their before. The good is when they screening their video, they have comparison for the original version and their own version, this is good to see how they set up the light, and how close to the original version video. There’s a one video has a strong image which is they are recreating the scene from Arrival, the use the heavily diffused lighting for this video and bunce it. This video is impressive and shocked all the audience, so, I think the version they recreated is really good and successful.

After watching all of the video from the class, I think everyone is doing really good and we all have different opinions for lighting. Through this course, I have figure out the film are light. And I have realized the practising is really important, even in the setup and warp time, practice more and I can save more time. To know the basic light theory is important, it not only could help the light design and also help the future project.

General Reflection

For exercise 6. Our group choose to shoot indoor. We have found a place which is in building 10. The lighting condition in there is already pretty good. This place already has strong top lighting in there. So we didn’t fill much lighting in the first shot, and we’ve used a white reflector to reduce the shadow of the actor’s face. Also, the reflector gave the actor more shape of their face, which is looking beautiful in the frame. Furthermore, the top light makes the actor’s face shaper, because there no much back/fill light in both side, the reflector was under the actor’s body/face, so that, there are no much shadows on their face. The continuity shot is they still sitting in the same position but we change the place. So we have recreated the lighting but trying to make the same lighting with the first shot. So there is a spotlight, we’ve using two reflectors to make the light collective. One is under the light, another reflector is on the top of the light so that the lighting looks the quite same with the first shot.  The other group’s shooting is in outside. I have found they didn’t use additional light source. In the Jagger’s medium shot, the chairs in from his back in a bit overexposure in the frame, so that it will make the video looks too bright. The solution to fix this removes the chair or to adjust the gain from the camera or change the IOS in the camera. But for another solution is we could do some colour grading in the after editing.

For exercise 7. We still shoot indoor. For the lighting set up. We’ve used tungsten light for the overall lighting. And on dedo for the key light. Because of we want to create natural daylight so we have adjusted the temperature of the tungsten light, also the actor is standing beside the window, so the tungsten light is facing the top, and the light is reflected from the roof so that to make natural daylight looking. Furthermore, if the light face straight towards the window, there will appear shadows and reflection in the window. Also, for the shooting, we have using handhold. So that for the continuity shot will be easy to have a transition shot. But when we watch the video, the actor’s face still looks dark in the frame. I think the solution for fix this problem is we could move the light closer to the subject, but for our group’s situation, we could make the light closer first and adjust the temperature brighter, if its works we could use a reflector under of the subject, which is could make the light collective and stronger. In this shooting practice, I was handle sound. For set up the sound, the most important( for me) is to check the channel is from the Mic or camera. So that the sound comes from in right equipment. The another groups are  shooting in black& white. The first shot in their video is she standing beside the window, the difference between our shot is her face is facing the window, in out shooting, the actor’s face is facing adverse. So, they don’t have the problem like us is the lighting is too dark. But I have found in the dirty shot, the light from outside is overexposure in the video, the contrast is pretty significant. So if I were them I will adjust the ISO or adjust the gain.

In exercise 8, the shooting place is in indoor, and there was an automatic glass door. So the light condition is quite good. We have totally 4 shot in the video. In the first shoot, the actor is standing beside the door, as we can see in the frame, the lighting is coming from the south but not directly towards the actor’s face. So is it not looking exposure in the camera, of course, we have adjusted the setting before starting out shooting, which is to make sure the quality of the video. The second shot is that have a conversation and the camera panning to right a little bit. Because of the inside of the lift, there’s no fill light (extra lighting) in there, and the light condition is good, so we didn’t use the extra light. The next shot is the actor who talking to another, he was standing beside of the wall, and we have checked the white balance, and gain, also we have tried different distance between actor and the automatic door, which is to make sure there’s no overexposure in the frame. Which is I learned from exercise 6. In the last shot, is outdoor shooting. We didn’t use any extra light equipment and reflector etc. in this exercise, I have learned, shooting in a good lighting condition’s requirements and camera settings. The similarity with exercise 5 is those two exercises are both shooting outside, and we all have to think about the distance between the subject and the camera. In exercise 5, there is a scene is shooting beside the wall, so the lighting comes from another side. So, we can see the shadows appears only in the right-side face. But in the group’s shooting, I have found a tricky one thing, which is in the wide shot, there’s no light towards to actor’s face, in the medium shoot( conversation shot) the light appears from the right side. So the continually is quite important in the shooting. The differences between those two exercises are, in the exercise, we only focus on one subject, so that we only check the lighting for those two actors. But in exercise 5, there are two subjects, we have to make sure they are all in the correct light condition, we are not only seeing the people in the front but also the people in the back.

In class 16, we have an experiment with a night interior. in this experiment, we have discussed what soft light could bring to the film, as my own point, I think different lighting could create different atmospheres. As we tried soft light, the actor’s face is hush and the edge of his face is not clear. But to compare the strong lighting, the edge is shaper. So, from what I learned before this course, to create lighting is to create a mood, if we say the film is lighting, then lighting is the mood. So, the lighting could make the film looks better. The first is to decide what kind of atmosphere of the shooting plan. There is an example, if you want to have a chewable and relaxed looking, the way to make is to dimmer and more muted lighting, and also we could use the dedo to highlight the area you want to show. From the experimented in the class, we are inspired by this and set up the light in the practice shooting. In asst 3, we are planning three different scenes to show different atmospheres. One of them is we are planning to shoot outside, and we gonna use a book to make the storyline complete.

n exercise 9, we were shooting in class and we split the work, I was handling the sound stuff. The sound stuff is quite easy to set up, after the camera did, I input the mic and checked the channel is in the correct position. in waiting time, I was looking at what other people do. To make the background is clear and in the frame, there’s no reflection, we adjust the height of the stand for the dedo light. And in the backlight is tungsten light, we have set up the temperature bit lower. Also two reflectors, one is for the background, another one is on the top of the actors, which is to collect more lighting. Throughout the first half of the semester, I have gained knowledge in class but more practical things in the shooting. Those are all helps me to understand FILM LIGHT. Even my past two asst was not going well, but I truly found the value in the last of them. The in-class technical knowledge and out-class practice all help me a lot.

Additional Reflection

Reflections for other groups

In the class we had a presentation, there is some conclusion of what I learned from other groups.  The Joseph’s group, they have to use the LED light to be their backlighting, they have to bounce the light to make the shoot looks wide and narrow. In shot 3, they trade off the ND filter, so the background becomes whiter. Also, they have adjusted backlight and the key light to see how the lighting will affect the subject.

The Ada’s group, they have shown some screen cut from the film, which is really good to telling us their concept and also related to their project. Also, they have used colour gel.

Eleanor’s group, the source they have to choose are Lost in Translation, IT, HER, and Awival. They recreate shoots which are related to the scene they’ve shown to us. To recreate Lost in Translation, they are using soft light, heavy fill. To recreate IT, they set up in low key light, stylistic, heavy fill and shadowed, furthermore, the reflector is down of the actors. To recreate HER, they set up the heavy fill and diffused.

In the Chole’s group, they adjust the colour temperature and white balance, they have shoot 4 different functions for one scene which are normal white balanced, white purple balanced, blue light, normal white balance and blue light orange white balance. As we see, a different colour temperature could make a different atmosphere.

Reflection for asst3 practising 

In the past asst, our group was planning to shoot in three different concepts. Which are nature daylight look, horrible, and magical, fantasy look? For the nature daylight shot, we were shooting outside, and we didn’t use any of light equipment. We were shooting at a low angle and we using the reflector to reduce the shadow and gain more edge. For the horrible shot, we were shooting in the Melbourne old jails. The lighting condition in there was pretty good. There already have a light come from the top, and it is a soft light, so that could be out the backlight. In this shot, we didn’t use the key light. Furthermore, we were using the blackboard to make gave more edge of the actor’s face. In the last shot, we were shooting in the house. We want to create a magical and fantasy looking so that we used to different lights. We’ve set up the tungsten light for our backlight, the light is directly light the wall, and the pink colour gel in it. Furthermore, the dedo light to make the key light, which is light up the actor’s face, the dedo was setting in half mitre height and half mitre distance of her. But we’ve found a problem is light on her face make her face looks greenish, we have discussed, and this might be the colour composition, because the actor is an Asian, and she has yellow skin so that the pink light on her face makes her face looks greenish on the screen.

Reflection for the final project

https://drive.google.com/open?id=1AMQoJ80kYoeGZeuRBhpFH9KsO46JbnS4

In the final shooting project, we’ve shot in the black box studio building 10. The concept for this project is similar to the practising shot but more collective. This time, we were planning a horrible conception video. so we prepare the dark green and blue colour gel for the tungsten light. Furthermore, to make this atmosphere, we did not use the fill light for most of the scene. In the beginning, we’ve set up the tungsten light to be out background light, and apply a deep green& blue gel on it, but the lighting looks a bit strong on actor’s face, so we applied a defiler on it to reduce the sharpness. The first scenes picking up the book, we have used the blackboard on the right side of the actor, it not only collective more light but also create a space which looks like suitable for our concept. Furthermore, the camera angle was low. And another shot, we practised in asst 3 which is magical and fantasy concept. But at this time, we’ve changed the setting a little bit. The tungsten light is still using for the backlight, and we using the dedo for the fill light which is to light up her face, and apply a pink colour gel on it. The angle of dedo is low height and looking up like 45 degrees. The result is pretty good because the pink spotlight makes the atmosphere lively and I think it is better than we practised before. After this shot, we change the lighting setup.  For this shot, we want to create a reddish, horrible look, so we only used tungsten light. The background is white, so we apply a red colour gel on the light, but it doesn’t show that much with our expectation, because of the light on the white fabric looks orange and bright, so I apply a clear black colour gel on the red gel. This time the result is approached to our expectation. Those lighting set up are mainly we used and some of related to the previous practise shot.

The second video we were shooting outside at night. We didn’t use extra lighting equipment but adjust the setting of the camera. The light condition was not much as we expected, but the concept of this video is horrid so that it approached the topic. I have adjusted the gain to 6 db. As we know, the db of the camera controls the amplification of the signal sensor. So that it fixed much better for the image of our shooting. After the “running scene”, the next shot is a quick panning shot, we want to show someone is chasing her, and it is the POV shot. In the previous shot, we are shooting in the same lighting condition so that could keep the video’s consistency but except the last shot. The last shot is the girl finally wake up, even we shot in the same location and in the lighting was same, but we were using our phone light to be our fill light. We were using two phone light on both sides of her face, the angle was sort of 45 degrees and looking down.  The lighting was fixed many shadows of her chin. Also, it looks like we shooting in another place after we use light.  After this project, I have learned something that I don’t know before, in this course we use different light equipment and more technical knowledge, those help me to know the light is important in the filming. At the beginning of this course, I was arrogant, and I thought I knowing that much, but after asst 2, I realized the practising is much more important than thinking. This is a fantastic course and I have gained some more experiences.

WEEK 4

In week 4, we’ve learned about how to build the natural lighting look. There is some equipment we use. we have learned using the reflectors. if you are out on a light sunny day and your talent is wiped out entirely in sunlight, you will want to use a reflector to make some negative fill to match the talent’s face. Or similarly, if your actor is beside and your camera does not focused on details in the dark condition, it will be essential to have that bounce. also one of the number one items that indie natural light studios do not seem to give enough attention to is using banners and reflectors, and you can find it a mile away. Furthermore, to create a natural look, having the sun behind your actor or topics is essential for daytime outdoors. watch any large-scale function film filmed in accessible sunshine and you will realise it is accomplished in almost every picture of the outside day, and for excellent purpose. on of the ugliest sights you can get when working with natural light is to get your actor to beat their heads with rough sunlight, producing shadows and unflattering images all around. you are fundamentally doing 2 stuff by placing your actor in a manner that puts the sun behind them to reach the side of their faces. Also, they will obviously have a backlight with the sun behind them that will distinguish them from the backdrop and produce a beautiful border around their face.

In the class for lighting practice, I can see the backlight in this shoot is bit strong, and when she looking the left, I can see her face is over exposed. furthermore, outside of window is over exposed as well. but in the second  shoot, the lighting on their faces is getting better after we adjusted the ISO and the use the reflector. The light in there become some and none much over exposed contrast. After 2:05 in the video, the fill light in the left side is strong so we can see actor’s shadow on their face.

WEEK 5

In week 5, first of all the value of describing a painting is to gain the knowledge of what does the lighting effect a painting, which about the color’s lightness or darkness. since we see items and comprehend items because of their darkness or color, valuation is incredibly essential  to architecture . and also improve to recognise the colour.

In week 5 we have talked about the soft light source. the shift from dusk to bright is progressive the soft light. Instead of an readily recognisable row in which the shades begin, there is a gradual gradient in which the bright regions move to the darkness. It’s less dramatic and often flattering widely. Soft light shoot can still be contrasting. light and shadows still exist, the room hard light. Also the pictures with soft light are less drastic with a less abrupt shift between the colours and the darkness.

In the lighting comparison shoot. First shoot, the light come from the window. So we can see the actor’s left face is brighter than her right face. and the lighting is bit soft, so the shadow doesn’t appear much. In the second shoot which is we using the blue gel bounced off core board. in this shoot we trying to build a natural lighting look, so we using the blue gel to bounce the light which is to make a soft lighting condition. and we didn’t using the reflector in this shoot so we can see the lighting on her left and right face is really different, there are more shadows on her right face, but to compare for the first shoot, this shoot is most similar with it. In the third shoot we using the same light set but with the reflector. we could see the lighting on her face become balanced and the light is soft, there are no much shadows on her face anymore.

WEEK 6

In week 6 classes, we’ve  talked about why film need light. I think good graphics makes the distinction between a excellent and a bad clop, nobody likes to see a film that is not properly illuminated. it is also essential to note that excellent ventilation helps to improve sharpness, everybody understands how hard it is to bring a small brightness clips or photo or when it is  too noisy. studying an understanding how lighting works id useful and can’t be achieve in just one day. So film is lighting.

In class, we have learned the top light. We are using the reflector on the top of the subject. Using a reflector works with this by projecting available light in to the regions of the body of the subject that without shadow. In exercise 6, we have using this tips for our shooting. In the first shoot we set up in the building 8 canteen, there is a beautiful top light. Furthermore, we change a another place for recreating the light, we have found 2 spotlights on the wall and it is flexible, and we are using 2 reflector, one of this is on the top of our actors, another one is down of our actors, so we created a quite same light with our first shoot.

SUDDEN FEAR(1952) Scene analys

In class 12, we’ve watched a scene of SUDDEN FEAR.

Sudden Fear is a 1952 American film noir thriller directed by David Miller, and starring Joan Crawford and Jack Palance in a tale about a successful women who marries a murderous man. The screenplay by Lenore J. Coffee and Robert Smith was based upon the novel of the same name by Edna Sherry. (WIKIPEDIA)

We have watched the scene is Irene hidden in the chest. In this scene the plot is compact and the music creates an atmosphere of tension. In this scene, most of shoot of Irene is MCP, because her acting, expression was crucial so that to foil the film’s atmosphere. A narrow sense of film noir- genre, it refers specifically to Hollywood crime movies of the 1940s and 1950s, often depicting shady urban corners, decadent male protagonists, deadly femme fatales, and the moral abyss of fatalism. For talking about this film’s style, scene scheduling and visual style, low Ley and back white photography, in terms of narrative style, the plots are laid out in a non-linear way.

REFERENCES

https://en.wikipedia.org/wiki/Sudden_Fear

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