DSLR

DSLR from UA, Telecommunication and Film on Vimeo.

Midterm Self-Reflection

    I have learned countless lessons thus far in TCF 312, but there are a few in particular that I think are the most valuable. First, from a director’s standpoint I have learned that finding a Director of Photography that can accurately depict your vision is vital in making your film. A DP must have the ability to view a scene in his mind and know how to manipulate shadows and colors to recreate that mental image. No matter how talented a Director of Photography is, the Director must go through extensive preparation to assure the intended vision is achieved. I never realized how much preparation is required before a shoot can start off on the right foot. Without the proper preparation, the story and intended message will be utterly lost, leaving a shell of a movie remaining. Shots that would normally be pleasant to view become distractions when they are not motivated by the story. In a properly executed film, each shot is not random or done for a cool effect, but each shot must be a message sent to the viewer by the director, translated by the Director of Photography. Prior to this class, I was beginning to understand how specific a Directors role is, but during this class I have realized how much pre-production is required of the Director.
    From a technical standpoint, one thing I have found extremely interesting and useful is the camera’s ability to capture motion in so many different ways. With different combinations of settings, the way something appears to move on screen can change drastically. I intend on becoming as familiar with the camera as I can possibly be so that I will never be hindered in achieving an intended vision because of technical ignorance. I have found that my strength as of now lies in Directing. I have a passion for acting and that offers me some insight into what the character should be feeling in the moment. I hope that through experience I can become a master of filmmaking, but that will not happen without a lot of hard work.  

Portrait of a Place

ForestLake Vimeo from UA, Telecommunication and Film on Vimeo.

Lighting Style

 1.) This shot uses a lot of warm colors and soft lighting so that the entire painting feels warm and appears to glow. I have noticed that I usually enjoy warm colors over cool colors, although cool colors can also be visually pleasing. The beams of light are made visible with the addition of smoke. There are a few areas with dark shadows, like under the trees, which I think adds an interesting element to the frame.

 2.) Another element that I enjoy in a frame is water. So many breathtaking effects can be achieved by using water in a frame. The colors in this shot are like candy for the eye, and the reflection makes the colors pop even more. There is a lot of glow in this shot and the colors are saturated.

 3.) This shot is another one that utilizes warm colors and high contrast. Once again the lighting in the frame appears to be a beam, only offering light to one small area. The eye is naturally drawn to this area of the frame, which would be a useful tool when constructing a shot.

 4.) This is a shot with cool colors that I love. Once again water is in the shot, and the colors are deep. The moon is not as harsh of a light source as the sun, bathing the entire frame in soft glowing light. I enjoy when something in a shot (such as the mysterious looking island) is not lit as the rest of the shot is. The manipulation of darkness is just as important as the use of light and shadows. Casting a shadow in a specific shot can be just as effect in drawing the viewer's eye as a beam of light.

 5.) This frame utilizes saturated warm colors, water, and high contrast. The silhouettes even cast themselves onto the reflection below, which i think is a brilliant effect. This is a very reality based location, but the lighting almost gives the illusion that this could be on another planet or that the travelers in the photo are on some epic adventure. in my opinion lighting effects the mood of the shot far more than any other element of the frame.

 6.) This is eye candy. The colors are vibrant, but they are softened. The reflections are even softer. This makes the frame feel dreamy and also fills it with more color. The contrast between the illuminated foreground with the dark background enhances the vibrancy of the colors 

 7.) Here is high contrast, dark shadows and warm colors used in a film setting. This shot from Apocalypse Now has the light appearing to come from a singular source. This casts shadows virtually everywhere else and allows for many opportunities to manipulate the shadows. 

 8.) By using the dark shadows, the antagonist, Kurtz (Marlon Brando) is lit to be partially hidden  throughout the scene, revealing his face more and more ever so slowly. This makes him appear dark, mysterious, and the viewer is terrified to learn the truth after so much suspense has built up to the moment of reveal.

The contrast of light and darkness is a visual representation of the insanity that has befallen Kurtz

JVC Projects (unable to upload to group log)

Style: Classic Hollywood
Director: Shane Fair
DP: Robert Lacoste
Sound: Conner Simpson
Actors: Alec Barnes & Justin Rudolph
Camera: JVC
Shutter: 1/48
Iris: F/3.8

Where You Been (Auteur) from Justin Rudolph on Vimeo. Where You Been from Justin Rudolph on Vimeo.

Style: Auteur 
Director: Alec Barnes
DP: Justin Rudolph
Sound: Shane Fair
Actors: Robert Lacoste & Conner Simpson
Camera: JVC
Shutter: 1/60
Iris: F/3.8

Scene Analysis

Scene Analysis

Film: Silence of the Lambs 


Scene: Hannibal Escapes

    

1.) In the opening shot, pictures are revealed. Drawings of Agent Starling (Jodie Foster) are highlighted. This further shows the viewer the depth of his obsession with her.

2.) The next shot pans from the left to right, revealing a distorted-faced Dr. Lector behind a silk curtain. This almost gives him the appearance of a monster or ghoul.

   

-->
(pan right)

3.) The shots below tilt up from Dr. Lector’s dinner to the policemen who are delivering it to him as the camera man tracks the movement. This shows the lavish treatment that Lector is being given.

  




4.) We then cut back to the ghoulish face of Dr. Lector through the silk screen. It almost appears as if he is himself a painting in this frame within a frame/medium close-up.

 



5.)   This is the first time we see Lector’s face clearly. The added suspense adds to the feeling of impending disaster. He is facing away from the guards, not breaking concentration. The object in the foreground adds an interesting texture to the frame.



6.)  When prompted to move towards the bars so that he can be handcuffed, the close up shows Lector producing a small sliver of metal that he hides it in his hand.





7.) The camera zooms in on the sliver of metal, and with the zoom the suspense builds, highlighting the importance of the object and foreshadowing a significant event. The camera is unstable alluding to handheld or some sort of stabling contraption that allows camera movement.


8.) As Lector prepares for the restraints, the viewer is fully aware of their impending uselessness.  
The shot is framed around Lector and follows him as he sinks down the bars.

  9.) The shot of Lector’s face shows an absolute lack of emotion, as if he is far away in thought. He is biding his time for the perfect moment to strike. This suspense is incredibly strong at this moment, and it constantly builds with the lack of motion from Lector within the frame where he is composed dead center and with a close up.

10.) As Lector ask one of the officers to “mind the drawings, please”, it is becoming clear that each and every moment has been constructed by Lector to bring about the officer’s demise and his escape. A simple, logical request such as to “mind the drawing’s” is an honest request but at the same time it is bringing the unfortunate officer into the perfect position for Hannibal’s strike. 



 11.) The close up of Dr. Lector as he makes his move is like a jolt of thunder. He explodes into motion, capturing the officer before he has any clue what is going on. The tight frame allows the motion to appear far quicker.

 




12.) This two shot has Lector’s face partially blocked from view, making his already horribly satisfied face appear all the more terrifying. 




13.) Lector is in full attack frenzy at this moment. He appears to be enjoying himself immensely. The shot from beneath him gives the illusion that he is large, daunting, and powerful. 





14.) The angle of this over the shoulder allows the viewer a clear view of Lector’s eyes. It also allows the viewer to internally visualize the violence and often that is far more unsettling as the mind usually assumes the worst. 


 



15.) The reverse shot gives the viewer a clear view of the receiving side of the attack, once again the blatant violence is left up to the audience’s imagination.

16.) This medium shot shows the desperation in this officer’s face. The camera is slightly tilted at a downward angle, because he is handcuffed low on the bars, but this also makes the officer appear powerless, desperate and doomed. The dark background also adds to the hopeless feeling, with the singular overhead light making the area they are in appear like a patch of light in absolute darkness.

17.)  The blood shown of Lectors face is the focus of this shot, with the officers obscured head being thrashed violently. This makes the blows to the head appear far more violent, with the viewers mind once again doing the majority of the work. This is incredibly effective in my opinion.

18.) The chemical mace the officer was wielding is used against him. His hands logically move to nurse his eyes, blocking all of the horror that Lector has just inflicted. The shots are all brilliantly designed to never reveal too much to the audience.  

19.) We see Lector (from the viewpoint of the trapped officer) slowly raise the billy club he has taken from the officers. The upward angle makes him appear incredibly imposing with the officer (and viewer) feeling trapped, with no possible hope for escape.


 

20.) This close-up of pure horror from the officer is incredible powerful. The downward angle is again utilized for the inferior, powerless feel. The camera zooms in upon the officer, giving the illusion that something (namely, Dr. Lector) is closing in on him, slowly and methodically.

21.)This medium close-up shows Dr. Lector mercilessly beat the officer. The camera slowly zooms in, as if it is implying that this goes on for a good while. The lighting angle allows the center overhead light to make his face dark and sinister. The upward angle once again makes Lector appear quite imposing and powerful. 





22.) The shot pans left, revealing all of Lector’s previous handiwork and revealing Dr. Lector serenely waving his hand back and forth in enjoyment of the symphonic music that he was listening to at the beginning of the scene. This upward angle with the overhead light shining down upon his almost makes it appear if he is having a religious moment. The light clearly illuminates his face, as if he has found clarity. The frame almost appears dutched when you factor in the cage as a reference point. This gives a creepy unnatural feeling.