My project is about a young girl (aged 23). She goes about enjoying her day like every other girl of her ages - she wakes up, gets ready and makes her way to work. The audience are shown quick flashbacks inbetween of bruises and blood. These are used to create confusion to the audience.
It then cuts to the girl finishing her day at work. She leaves in her car to go and pick up her boyfriend. The audience are then made to notice how her behaviour changes. She becomes paranoid and scared. Her boyfriend greets her lovingly. The journey home is an awkward silence. All of a sudden, the random flashbacks play. The clip ends with a menacing smile from her boyfriend.
This is when the audience realise the bruising and blood is from the abuse she recieves from her boyfriend.
Monday, 23 January 2012
Monday, 16 January 2012
Developing Ideas
Initially, for my own production I want to create a short video that can be streamed from the internet - but after considering the other ideas, i decided i would like to make the video available to be played on media device - such as an ipod or iphone. This is because i think a music video type of video will be watched more on an ipod/iphone.
I will use Rembrandt lighting when trying to create a sorrowful scene as I think this worked very well for Memento, so I would like to implicate this into my own work. The editing will be obvious and noticeable so it will cause the audience more confusion.
These ideas are all inspirations from films I have seen such as Memento. I have taken elements I have found interesting and thought of how I can interpret them into my own production; such as the emotion of sadness and how it can be portrayed through the use of lighting and mise-en-scene. I took this emotion and added it to my list of ideas. I also wanted to have a chance to look at an up tempo emotion and play around with its different use of elements. This is why i came up with an idea which included both a happy and sad emotion.
There are a few techniques I would like to learn and use in my production such as racking focus and non-linear narrative. For racking focus, I will have to learn how to adjust camera lenses to change the focal point to make specific things sharp whilst others are blurred. This will be a difficult technique to master as you have to have knowledge on different camera lenses and depth of field. You have to be aware of all elements such as aperture, focal length, ISO and shutter speed. This will take practice to know how to switch focus from one point to another. It will be effective in my work as I will be able to show emotions of two different characters and be able to tell the audience which one I would like them to focus on.
I will use Rembrandt lighting when trying to create a sorrowful scene as I think this worked very well for Memento, so I would like to implicate this into my own work. The editing will be obvious and noticeable so it will cause the audience more confusion.
These ideas are all inspirations from films I have seen such as Memento. I have taken elements I have found interesting and thought of how I can interpret them into my own production; such as the emotion of sadness and how it can be portrayed through the use of lighting and mise-en-scene. I took this emotion and added it to my list of ideas. I also wanted to have a chance to look at an up tempo emotion and play around with its different use of elements. This is why i came up with an idea which included both a happy and sad emotion.
There are a few techniques I would like to learn and use in my production such as racking focus and non-linear narrative. For racking focus, I will have to learn how to adjust camera lenses to change the focal point to make specific things sharp whilst others are blurred. This will be a difficult technique to master as you have to have knowledge on different camera lenses and depth of field. You have to be aware of all elements such as aperture, focal length, ISO and shutter speed. This will take practice to know how to switch focus from one point to another. It will be effective in my work as I will be able to show emotions of two different characters and be able to tell the audience which one I would like them to focus on.
Tuesday, 10 January 2012
Ideas
I like the idea of using make up to portray obvious emotions - as the example i posted earlier.
I would like to take this further and play around with different emotions you can portray through the use of makeup.
Reading Summaries
Sight, Sound and Motion - Herbert Zettl
Chapter 2
Light allows us to identify spacing and time. It has the power to change the way we interpret different objects, people, places and scenes. Not only in real life but also in video and film – lighting is used not only to make things visible but to also set an atmosphere and emotion/mood to the scene. Not only is the lighting important but a lot of the time shadows formed create a bigger effect and feeling to the film.
Lighting Purposes
‘Lighting is the deliberate control of light and shadow’ -> page 20.
Lighting allows us to identify objects and the texture of them.
Nature of Shadows
A lot of the times, we take shadows for granted. Only sometimes do we actually take time to notice shadows casted. When shadows are created, you can make an object look three dimensional rather than flat and two-dimensional.
Attached and Cast Shadows
Attach shadows is inevitably fixed to its object. It is impossible to remove if kept under the same lighting conditions.
Cast shadows always fall on something. It not necessarily attached to the object.
Fall Off
==> The brightness contrast between light and shadow sides of an object.
==> The rate of change from light to shadow.
Contrast is measured by ‘fast’ or ‘slow’ falloff.
Change being measured in the same.
Chapter 3 -> Structuring the first aesthetic field -> lighting
The standard photographic lighting technique is knows as the ‘photographic principle’ or ‘triangle lighting’.
==> This consists of a key light, fill light and back light = usually placed in the shape of a triangle.
The two principle lighting techniques are chiaroscuro and flat.
Chiaroscuro -> emphasises contrast light and shadow areas with fast falloff.
Flat -> slow falloff and highly transparent shadows.
Chiaroscuro -> organic, directional, spatial, compositional, thematic and emotional, realistic looking, leads eyes to specific areas of picture, emphasise theme of scene and emphasise the emotion and mood.
Flat -> provide optimal visibility but also can emphasise the emotion and theme of the scene.
Chiaroscuro is broken down into rembrandt and cameo.
Rembrandt -> selectivity and fairy fast falloff.
Cameo ->only illuminates the subject with the background remaining unlit.
Flat -> highly diffused with extremely slow falloff. High – key lighting implying high energy and cleanliness.
Chapter 4 - The Extended First Field : colour
Colour
Colours are created by waves from the visible spectrum. Objects do not process colour - they just reflect back coloured light frequencies they are unable to absorb.
Colour can make an object/scene or almost anything look different. It brings excitement and joy to everything around us. Our daily lives are influenced by colours. We make judgements on colour.
Colours do not always remain the same under different conditions.
Hue - describes the colour itself. Hue helps you classify colours.
Hue circle - arranges the major hues (red,green,blue) in a circle and fills in everything in between with how the colours change from one to the other.
High/low saturation- saturation describes the richness of the colour - the strength and purity of the colour.
Desaturation - when a colour desaturates with white
Brightness - indicates how light or dark a colour appears.
Additive and subtractive primary colours
Additives - red green blue
Subtractive - cyan magenta yellow
Colours and feelings
Colours can influence our emotions. Red is usually classed as warm and blue as cold which is why all the colours along the red end of the spectrum are classed as warm and blue end as cold.
Highly saturated warm colours can make us feel more uplifted and less saturated cold colours can dampen our mood. Colour has the power to portray our emotions.
Chapter 2
Light allows us to identify spacing and time. It has the power to change the way we interpret different objects, people, places and scenes. Not only in real life but also in video and film – lighting is used not only to make things visible but to also set an atmosphere and emotion/mood to the scene. Not only is the lighting important but a lot of the time shadows formed create a bigger effect and feeling to the film.
Lighting Purposes
‘Lighting is the deliberate control of light and shadow’ -> page 20.
Lighting allows us to identify objects and the texture of them.
Nature of Shadows
A lot of the times, we take shadows for granted. Only sometimes do we actually take time to notice shadows casted. When shadows are created, you can make an object look three dimensional rather than flat and two-dimensional.
Attached and Cast Shadows
Attach shadows is inevitably fixed to its object. It is impossible to remove if kept under the same lighting conditions.
Cast shadows always fall on something. It not necessarily attached to the object.
Fall Off
==> The brightness contrast between light and shadow sides of an object.
==> The rate of change from light to shadow.
Contrast is measured by ‘fast’ or ‘slow’ falloff.
Change being measured in the same.
Chapter 3 -> Structuring the first aesthetic field -> lighting
The standard photographic lighting technique is knows as the ‘photographic principle’ or ‘triangle lighting’.
==> This consists of a key light, fill light and back light = usually placed in the shape of a triangle.
The two principle lighting techniques are chiaroscuro and flat.
Chiaroscuro -> emphasises contrast light and shadow areas with fast falloff.
Flat -> slow falloff and highly transparent shadows.
Chiaroscuro -> organic, directional, spatial, compositional, thematic and emotional, realistic looking, leads eyes to specific areas of picture, emphasise theme of scene and emphasise the emotion and mood.
Flat -> provide optimal visibility but also can emphasise the emotion and theme of the scene.
Chiaroscuro is broken down into rembrandt and cameo.
Rembrandt -> selectivity and fairy fast falloff.
Cameo ->only illuminates the subject with the background remaining unlit.
Flat -> highly diffused with extremely slow falloff. High – key lighting implying high energy and cleanliness.
Chapter 4 - The Extended First Field : colour
Colour
Colours are created by waves from the visible spectrum. Objects do not process colour - they just reflect back coloured light frequencies they are unable to absorb.
Colour can make an object/scene or almost anything look different. It brings excitement and joy to everything around us. Our daily lives are influenced by colours. We make judgements on colour.
Colours do not always remain the same under different conditions.
Hue - describes the colour itself. Hue helps you classify colours.
Hue circle - arranges the major hues (red,green,blue) in a circle and fills in everything in between with how the colours change from one to the other.
High/low saturation- saturation describes the richness of the colour - the strength and purity of the colour.
Desaturation - when a colour desaturates with white
Brightness - indicates how light or dark a colour appears.
Additive and subtractive primary colours
Additives - red green blue
Subtractive - cyan magenta yellow
Colours and feelings
Colours can influence our emotions. Red is usually classed as warm and blue as cold which is why all the colours along the red end of the spectrum are classed as warm and blue end as cold.
Highly saturated warm colours can make us feel more uplifted and less saturated cold colours can dampen our mood. Colour has the power to portray our emotions.
Subscribe to:
Comments (Atom)