Below is a list of the props that we need to film our opening sequence-
GIRL'S BEDROOM
-radio
-hair dryer
-makeup bag (lipstick, mascara, eyeliner etc)
-wine glass
-photo frame
-hairbrush
-purse
KITCHEN
-clock~ preferably an analogue clock
-white latex gloves
-large kitchen knife
-grapefruit (several, to allow for practice and retakes)
[written by Holly]
Monday, 30 November 2009
Wednesday, 25 November 2009
Shot List
SHOT LIST- THRILLER FILM OPENING SEQUENCE
1. CU radio (hear static noise at first, fades to music playing)
2. MS young woman drying her hair
3. MS of the dressing table, pan to show her putting on lipstick
4. Multiple on-screen shot-
*left half of screen~ woman standing in front of her wadrobe, opens it
*top right of screen~ CU of glass of wine
*bottom right of screen~ MS of her makeup scattered on the table
5. Bird's eye shot- woman getting her shoes on
6. Worm's eye shot- of her feet, leaving the room from the gap in her door (she goes out of shot, light turns off, door slams)
7. CU of clock ticking
8. ECU of scattered makeup
9. LS of kitchen, hear the tap dripping, see the flash of car lights going past window
10. Low angle shot from the banister at bottom of stairs (hear scratching, the door opens, shadow of man is seen)
11. ECU light switch, light comes on
12. MS (from doorway, looking at the man's back) man walks to kitchen
13. LS establishing the kitchen
14. MCU him putting gloves on
15. CU of him dragging his finger along the worktop
16. POV checking his fingers for dirt
17. MS (side on) opens fridge, slowly reaches in
18. (cut to) Over the shoulder shot, him reaching into the drawer for knife
19. MS (side on) him lifting up the knife- it shines slightly in the light
20. Bird's eye shot of the knife cutting grapefruit, he puts his fingers in the juice, lifts hand to mouth
21. ECU (slow motion) wiping the juice from his mouth
22. MS he throws the gloves into the bin
23. Low angle MLS- his legs are seen as he goes up the stairs
24. MS from the gap in her bedroom door, stillness and silence, his face suddenly appears in the gap
25. Worm's eye shot- door slowly opening and he comes into the room (see his feet)
26. LS from behind photo frame. He is out of focus. His head turns, he comes into focus. He rushes towards the photo
27. POV, he lifts up the photo
28. ECU of his eyes, he stares intensely
29. Over the shoulder shot (but slightly further away than the shoulder) he puts the picture down gently. Sudden turn of his head, half of his face is seen
30. Low angle MS slowly reaches for the hairbrush on the table, holds it still and pulls a hair from it. begins to wrap it around his little finger lovingly. Hear her come in, see his reaction. Stillness as he waits for her, we hear her coming up the stairs on the phone, getting nearer. He looks up at the door
31. LS of door from the bed where her purse is, door swings open, she enters the room. Moment of stillness, grabs the purse, turns to go and notices ensuite light is on. She goes to the door
32. CU of her hand on the door handle
33. Two Shot- the door splits the screen, he is stood hidden behind the door and she is on the other side, she reaches for the light switch
34. black screen END SCENE
[group work]
1. CU radio (hear static noise at first, fades to music playing)
2. MS young woman drying her hair
3. MS of the dressing table, pan to show her putting on lipstick
4. Multiple on-screen shot-
*left half of screen~ woman standing in front of her wadrobe, opens it
*top right of screen~ CU of glass of wine
*bottom right of screen~ MS of her makeup scattered on the table
5. Bird's eye shot- woman getting her shoes on
6. Worm's eye shot- of her feet, leaving the room from the gap in her door (she goes out of shot, light turns off, door slams)
7. CU of clock ticking
8. ECU of scattered makeup
9. LS of kitchen, hear the tap dripping, see the flash of car lights going past window
10. Low angle shot from the banister at bottom of stairs (hear scratching, the door opens, shadow of man is seen)
11. ECU light switch, light comes on
12. MS (from doorway, looking at the man's back) man walks to kitchen
13. LS establishing the kitchen
14. MCU him putting gloves on
15. CU of him dragging his finger along the worktop
16. POV checking his fingers for dirt
17. MS (side on) opens fridge, slowly reaches in
18. (cut to) Over the shoulder shot, him reaching into the drawer for knife
19. MS (side on) him lifting up the knife- it shines slightly in the light
20. Bird's eye shot of the knife cutting grapefruit, he puts his fingers in the juice, lifts hand to mouth
21. ECU (slow motion) wiping the juice from his mouth
22. MS he throws the gloves into the bin
23. Low angle MLS- his legs are seen as he goes up the stairs
24. MS from the gap in her bedroom door, stillness and silence, his face suddenly appears in the gap
25. Worm's eye shot- door slowly opening and he comes into the room (see his feet)
26. LS from behind photo frame. He is out of focus. His head turns, he comes into focus. He rushes towards the photo
27. POV, he lifts up the photo
28. ECU of his eyes, he stares intensely
29. Over the shoulder shot (but slightly further away than the shoulder) he puts the picture down gently. Sudden turn of his head, half of his face is seen
30. Low angle MS slowly reaches for the hairbrush on the table, holds it still and pulls a hair from it. begins to wrap it around his little finger lovingly. Hear her come in, see his reaction. Stillness as he waits for her, we hear her coming up the stairs on the phone, getting nearer. He looks up at the door
31. LS of door from the bed where her purse is, door swings open, she enters the room. Moment of stillness, grabs the purse, turns to go and notices ensuite light is on. She goes to the door
32. CU of her hand on the door handle
33. Two Shot- the door splits the screen, he is stood hidden behind the door and she is on the other side, she reaches for the light switch
34. black screen END SCENE
[group work]
'Opening of a Thriller Film' Project- initial ideas
After getting into groups of three, Laura, Joe and I started to plan some initial ideas. To begin with our idea centred around a technique, whereby we film the sequence in black and white and highlight key objects in red (to represent blood, symbolising anything linked to the crime that had taken place).
Our idea then developed to an opening sequence of a man running through the streets of London. We would cross cut between this and a woman in her flat, moving at normal speed, doing her daily routine. To make the idea more original we discussed reversing this sequence, so he is running forwards but she is running backwards. We then wanted to bring the two sequences together, linking the characters. However, we decided that this would be complex to film, difficult to link the two characters and it would possibly become difficult for the audience to understand.
We took the idea of a woman, doing her daily routine, contrasting it with a man in a dark room, looking at photographs of her and her children and smiling. At first this does not seem strange then with a combination of music and more unnaturalistic camera angles, this would start to seem strange. The photos become more strange (eg. ones of her taken from a distance- in a coffee shop or across the street from him), giving the impression he has been stalking her. Although we liked this idea, we felt it lacked energy and it might not be thrilling enough.
Developing this idea of a creepy stalker character, we decided to have the man inside the woman's flat when she is not at home. He is going around normally, treating it like his own house. Then he is interrupted by her coming home. We could leave the opening on a cliff hanger to build suspense and tension in our audience's minds. Her movements will be loud and energetic compared to the man, who will be still, composed and mechanical.
Our idea then developed to an opening sequence of a man running through the streets of London. We would cross cut between this and a woman in her flat, moving at normal speed, doing her daily routine. To make the idea more original we discussed reversing this sequence, so he is running forwards but she is running backwards. We then wanted to bring the two sequences together, linking the characters. However, we decided that this would be complex to film, difficult to link the two characters and it would possibly become difficult for the audience to understand.
We took the idea of a woman, doing her daily routine, contrasting it with a man in a dark room, looking at photographs of her and her children and smiling. At first this does not seem strange then with a combination of music and more unnaturalistic camera angles, this would start to seem strange. The photos become more strange (eg. ones of her taken from a distance- in a coffee shop or across the street from him), giving the impression he has been stalking her. Although we liked this idea, we felt it lacked energy and it might not be thrilling enough.
Developing this idea of a creepy stalker character, we decided to have the man inside the woman's flat when she is not at home. He is going around normally, treating it like his own house. Then he is interrupted by her coming home. We could leave the opening on a cliff hanger to build suspense and tension in our audience's minds. Her movements will be loud and energetic compared to the man, who will be still, composed and mechanical.
Tuesday, 24 November 2009
Target Audiences for Thriller films
I think that a target audience can be quite hard to pin down because although some social groupings are into the same sorts of movies, it can be hard to generalise. However, particularly with a genre like Thriller films, there are certain people that you can rule out of your target audience such as young children (and depending on the nature of the film, possibly even anyone under 15 or 18).
Creating a film for a younger generation (such as the 15-25/30 age group) would make decisions about characters, locations, language, graphics... etc. quite easy because a director could make these choices specifically to target a younger audience- for example using young, popular actors and using lots of attention grabbing special effects or camera angles.
If you are aiming for a more adult audience (eg. 18+) you may choose to make the actors/locations/characters... more neutral, or atleast have more variety in your film. For example, an actor like Zac Efron would perhaps be better suited to a younger target audience. Bruce Willis or Gearge Clooney might be more appealing to a slightly older age range. Some directors may decide to expand the target audience (in order to increase box office sales), in which case somebody like Brad Pitt, who falls in the middle of the age brackets, could appeal to both ends of the spectrum.
Alot of directors do make definate decisions when creating a film because the more specific the target audience, the more powerful it should be. For example, some thriller films are extremely mysterious and pyschological (requiring a fairly intelligent audience) whereas others are extremely explicit- invloving lots of blood, fast car chases and stereotypical characters.
I think that when it comes to putting together our own Thriller film opening, we should make it interesting for young people like us to watch. However, I think it would be good to avoid a limited target audience (such as 15-25) because this could restrict our ideas slightly and it could become cliched and not so "thrilling".
Obviously our work will be done as a group but at the moment I see our piece being quite a sophisticated, pyschological-thriller, rather than a cheesey thriller-with-elements-of-horror film. This could allow us to make our piece more subtle, using very specific camera angles or movements to state a point to the audience, rather than throwing the plot into their faces.
Creating a film for a younger generation (such as the 15-25/30 age group) would make decisions about characters, locations, language, graphics... etc. quite easy because a director could make these choices specifically to target a younger audience- for example using young, popular actors and using lots of attention grabbing special effects or camera angles.
If you are aiming for a more adult audience (eg. 18+) you may choose to make the actors/locations/characters... more neutral, or atleast have more variety in your film. For example, an actor like Zac Efron would perhaps be better suited to a younger target audience. Bruce Willis or Gearge Clooney might be more appealing to a slightly older age range. Some directors may decide to expand the target audience (in order to increase box office sales), in which case somebody like Brad Pitt, who falls in the middle of the age brackets, could appeal to both ends of the spectrum.
Alot of directors do make definate decisions when creating a film because the more specific the target audience, the more powerful it should be. For example, some thriller films are extremely mysterious and pyschological (requiring a fairly intelligent audience) whereas others are extremely explicit- invloving lots of blood, fast car chases and stereotypical characters.
I think that when it comes to putting together our own Thriller film opening, we should make it interesting for young people like us to watch. However, I think it would be good to avoid a limited target audience (such as 15-25) because this could restrict our ideas slightly and it could become cliched and not so "thrilling".
Obviously our work will be done as a group but at the moment I see our piece being quite a sophisticated, pyschological-thriller, rather than a cheesey thriller-with-elements-of-horror film. This could allow us to make our piece more subtle, using very specific camera angles or movements to state a point to the audience, rather than throwing the plot into their faces.
Sunday, 22 November 2009
Music in Thrillers
Music can be so influential- it can change somebody's mood, make them think, move them emotionally, used to relax, to dance to etc. In Thriller films, Directors often use music in order to enhance the atmosphere in a scene.
It could be used non-diegetically to add tension to the scene. Sometimes the music used is slow, haunting and orchestral to make the audience feel on edge, where as at other times it is much louder and more dramatic to scare or shock. The music could use both of these dynamics, peaking and falling in order to build and release tension as appropriate. The music could be structured to parallel the on-screen action (for example, it could be in time with the character's footsteps) or it could be used in opposition (to make the action seem strange and dislocated).
Music could also be used diegetically, eg. a character is listening to the radio (establishing a normal situation) and the lyrics could reflect something eery or the music could be covering up the sound of someone approaching their victim... etc.
Music may also be used to disturb the audience. This could be because the lyrics are linked to the action, contrasting to the action or maybe just because they sound quite strange (like synthesised instruments to make them sound odd and distorted or flawed music, such as the screeching sound that can be made on a violin).
It could be used non-diegetically to add tension to the scene. Sometimes the music used is slow, haunting and orchestral to make the audience feel on edge, where as at other times it is much louder and more dramatic to scare or shock. The music could use both of these dynamics, peaking and falling in order to build and release tension as appropriate. The music could be structured to parallel the on-screen action (for example, it could be in time with the character's footsteps) or it could be used in opposition (to make the action seem strange and dislocated).
Music could also be used diegetically, eg. a character is listening to the radio (establishing a normal situation) and the lyrics could reflect something eery or the music could be covering up the sound of someone approaching their victim... etc.
Music may also be used to disturb the audience. This could be because the lyrics are linked to the action, contrasting to the action or maybe just because they sound quite strange (like synthesised instruments to make them sound odd and distorted or flawed music, such as the screeching sound that can be made on a violin).
Thriller Actors
Obviously most actors do not work in only one genre but some are seen more regularly in Thriller films than others. Below I have listed some of the actors who I have seen in Thrillers who have inspired me in some way.
BRUCE WILLIS
Bruce Willis is a fab actor who usually appears in Action films such as the 'Die Hard' movies. The film 'Hostage' could probably fall into several genres, including Action, but it is extremely thrilling. He plays the hero, out to save the day (as always). His "hard man" characters usually show a softer side (in this film his affection for his family makes emotional) that contrasts to his strong exterior. He is great to watch, both in action sequences and still moments where his character is reflecting or hiding.
JULIA ROBERTS
I still haven't seen the entire film but 'Sleeping with the Enemy' is a good example of a Psychological Thriller that really makes you empathise with the female lead, sticking to the thriller genre but really messing with your head along the way. Julia Roberts is a great example of an actress who can act naturalistically and comically, meaning that when you see her play "scared", there is real contrast and it's quite unnerving.
ROBIN WILLIAMS
Again, Robin Williams is a terrific comedy actor. However, in 'One Hour Photo' he does a great job of creating a disturbing, obsessive character. Because he looks like quite a normal man, seeing him play a role like this is particularly disturbing. You almost begin to question other "normal" looking people around you. He draws you in, before scaring you away with his sudden changes in character as the film goes on.
JODIE FOSTER
When I saw 'Flight Plan' at the cinema, I was actually terrified. Jodie Foster is a really interesting, believable actress and because of this, you really empathise with her in this film. Her eyes are really distinctive and alot of her panicked performance is seen there.
BRUCE WILLIS
Bruce Willis is a fab actor who usually appears in Action films such as the 'Die Hard' movies. The film 'Hostage' could probably fall into several genres, including Action, but it is extremely thrilling. He plays the hero, out to save the day (as always). His "hard man" characters usually show a softer side (in this film his affection for his family makes emotional) that contrasts to his strong exterior. He is great to watch, both in action sequences and still moments where his character is reflecting or hiding.
JULIA ROBERTS
I still haven't seen the entire film but 'Sleeping with the Enemy' is a good example of a Psychological Thriller that really makes you empathise with the female lead, sticking to the thriller genre but really messing with your head along the way. Julia Roberts is a great example of an actress who can act naturalistically and comically, meaning that when you see her play "scared", there is real contrast and it's quite unnerving.
ROBIN WILLIAMS
Again, Robin Williams is a terrific comedy actor. However, in 'One Hour Photo' he does a great job of creating a disturbing, obsessive character. Because he looks like quite a normal man, seeing him play a role like this is particularly disturbing. You almost begin to question other "normal" looking people around you. He draws you in, before scaring you away with his sudden changes in character as the film goes on.
JODIE FOSTER
When I saw 'Flight Plan' at the cinema, I was actually terrified. Jodie Foster is a really interesting, believable actress and because of this, you really empathise with her in this film. Her eyes are really distinctive and alot of her panicked performance is seen there.
Thriller Directors
To learn more about the Thriller genre and to inspire my own work, I have done some research on Thriller Directors.
ALFRED HITCHCOCK
I am not a huge fan of Thriller films but I had heard of Hitchcock, probably because he is one of the most influencial British film directors of all time- due to the fact he embraced new technologies and changed the world of cinema with both the new found "talkies" and with his unique directing style.
He grew up with very strict parents (which is reflected in some of his films). He studied engineering and worked for a while as an advertising designer for a cable company but he soon became interested in the technology of photography. This intrigue led him to go for a job at what was to become Paramount Pictures in London. He started off designing titles for silent movies and, within five years of his career at Paramount, he made his way into directing.
To begin with, his films were under-financed and flopped but eventually he made his break. After several UK successes, Alfred Hitchcock moved to America under a new contract and began directing there. His films (he made in his lifetime) were nominated for several awards, although he never won the academy award for Best Director.
*Key points of Hitchcock's work*
-His 10th film 'Blackmail' (1929) was one of the first films made with sound in the UK
-One of the first directors in America to film on location, as opposed to in studios
-Developed a technique of using famous landmarks as the location for suspence sequences
-Hitchcock's films 'often placed an innocent victim (an average, responsible person) into a strange, life-threatening or terrorizing situation' [http://www.filmsite.org/thrillerfilms.html]
-He used a technique whereby he placed a lightbulb inside a glass of milk, to give it a glowing, supernatural quality. This created a greater contrast between the colours in the scene and manipulated the audience into looking at certain parts of the screen.
-Sometimes he used heightened music, suchas in 'Psycho' where he included a screechy violin
-He created great suspense and anticipation in films like 'Frenzy' by using long camera movements, taking the action from inside a building to outside and to the other side of the street, slowly revealing the whole picture
-Hitchcock was a fan of withholding information from the audience to build tension, sometimes by hiding the identity of characters or making them seem dangerous/vulnerable (depending on the situation). He did this through the use of filming characters in profile or in partial shadow
-'Strangers on a train' included a sequence where you see the murderer in the reflection of the victim's glasses
-He often filmed sequences in confined spaces to build the suspense and heighten the emotion of the scene
-In some of his films, Hitchcock was more experimental, exploring his interest in Expressionism. An example of this is the surrealistic dream sequence in 'Spellbound', in which he used many of the above techniques. http://www.youtube.com/watch?v=dzxlbgPkxHE
I think that there are several elements of Hitchcock's style that I would like to involve in my own work, such as the use of shadows, confined spaces, loud music and revealing things slowly to increase anticipation.
ALFRED HITCHCOCK
I am not a huge fan of Thriller films but I had heard of Hitchcock, probably because he is one of the most influencial British film directors of all time- due to the fact he embraced new technologies and changed the world of cinema with both the new found "talkies" and with his unique directing style.
He grew up with very strict parents (which is reflected in some of his films). He studied engineering and worked for a while as an advertising designer for a cable company but he soon became interested in the technology of photography. This intrigue led him to go for a job at what was to become Paramount Pictures in London. He started off designing titles for silent movies and, within five years of his career at Paramount, he made his way into directing.
To begin with, his films were under-financed and flopped but eventually he made his break. After several UK successes, Alfred Hitchcock moved to America under a new contract and began directing there. His films (he made in his lifetime) were nominated for several awards, although he never won the academy award for Best Director.
*Key points of Hitchcock's work*
-His 10th film 'Blackmail' (1929) was one of the first films made with sound in the UK
-One of the first directors in America to film on location, as opposed to in studios
-Developed a technique of using famous landmarks as the location for suspence sequences
-Hitchcock's films 'often placed an innocent victim (an average, responsible person) into a strange, life-threatening or terrorizing situation' [http://www.filmsite.org/thrillerfilms.html]
-He used a technique whereby he placed a lightbulb inside a glass of milk, to give it a glowing, supernatural quality. This created a greater contrast between the colours in the scene and manipulated the audience into looking at certain parts of the screen.
-Sometimes he used heightened music, suchas in 'Psycho' where he included a screechy violin
-He created great suspense and anticipation in films like 'Frenzy' by using long camera movements, taking the action from inside a building to outside and to the other side of the street, slowly revealing the whole picture
-Hitchcock was a fan of withholding information from the audience to build tension, sometimes by hiding the identity of characters or making them seem dangerous/vulnerable (depending on the situation). He did this through the use of filming characters in profile or in partial shadow
-'Strangers on a train' included a sequence where you see the murderer in the reflection of the victim's glasses
-He often filmed sequences in confined spaces to build the suspense and heighten the emotion of the scene
-In some of his films, Hitchcock was more experimental, exploring his interest in Expressionism. An example of this is the surrealistic dream sequence in 'Spellbound', in which he used many of the above techniques. http://www.youtube.com/watch?v=dzxlbgPkxHE
I think that there are several elements of Hitchcock's style that I would like to involve in my own work, such as the use of shadows, confined spaces, loud music and revealing things slowly to increase anticipation.
Wednesday, 11 November 2009
180 degree rule
The 180 degree rule can be tricky to understand but it is an important rule to remember when filming.
Between the actors is a straight line that divides the scene in half. On one side of the line is the camera and on the other is the background of the scene. In this shot, you would see actor 1 on the left and actor 2 on the right of the screen.
(BACKGROUND OF THE SCENE)
ACTOR 1--------------------------------------ACTOR 2
CAMERA
(somewhere along this line)
If the camera was to cross this line and show the scene from the other side, the actors would appear to be on opposite sides- you would see actor 2 on the left and actor 1 on the right of the screen.
CAMERA
(somewhere along this line)
ACTOR 1------------------------------------ACTOR 2
(BACKGROUND OF THE SCENE)
This would become very confusing as a director and as an audience member because switching from one shot to another would make it look as if the actor had moved places in the scene.
However, as long as you stay on one side of the line throughout a film sequence, you can move within the space. This means that you can move backwards (creating a wider shot) or closer (to film CUs).
Positioning the camera in the middle (as shown above) establishes the entire scene because more of the picture can be seen. The closer that you get to the 180 degree line, 'the more the viewer's point of view resembles the character's' (http://www.solutioneers.net/cinema/axis.htm). This would give the audience a sense of empathy with the character because they are seeing the scene through their eyes.
If done by mistake, breaking the 180 degree rule can confuse and disorientate the viewer. However, some directors make a conscious decision to step over the line. It can be done to disorientate the audience on purpose in a more abstract way (this would not necessarily work in a more naturalistic, linear sequence). Some directors cross the line by filming a shot where the camera moves from one side of the line to the other. As long as this is included, breaking the rule can be effective because we as an audience have seen the camera switch sides, therefore we understand where we are in relation to the scene. This can show us something from another perspective and reveal more of what is taking place. Directors such as Yasujirō Ozu and occasionally Stanley Kubrick sometimes crossed the line and broke the rule, to different effects.
Between the actors is a straight line that divides the scene in half. On one side of the line is the camera and on the other is the background of the scene. In this shot, you would see actor 1 on the left and actor 2 on the right of the screen.
(BACKGROUND OF THE SCENE)
ACTOR 1--------------------------------------ACTOR 2
CAMERA
(somewhere along this line)
If the camera was to cross this line and show the scene from the other side, the actors would appear to be on opposite sides- you would see actor 2 on the left and actor 1 on the right of the screen.
CAMERA
(somewhere along this line)
ACTOR 1------------------------------------ACTOR 2
(BACKGROUND OF THE SCENE)
This would become very confusing as a director and as an audience member because switching from one shot to another would make it look as if the actor had moved places in the scene.
However, as long as you stay on one side of the line throughout a film sequence, you can move within the space. This means that you can move backwards (creating a wider shot) or closer (to film CUs).
Positioning the camera in the middle (as shown above) establishes the entire scene because more of the picture can be seen. The closer that you get to the 180 degree line, 'the more the viewer's point of view resembles the character's' (http://www.solutioneers.net/cinema/axis.htm). This would give the audience a sense of empathy with the character because they are seeing the scene through their eyes.
If done by mistake, breaking the 180 degree rule can confuse and disorientate the viewer. However, some directors make a conscious decision to step over the line. It can be done to disorientate the audience on purpose in a more abstract way (this would not necessarily work in a more naturalistic, linear sequence). Some directors cross the line by filming a shot where the camera moves from one side of the line to the other. As long as this is included, breaking the rule can be effective because we as an audience have seen the camera switch sides, therefore we understand where we are in relation to the scene. This can show us something from another perspective and reveal more of what is taking place. Directors such as Yasujirō Ozu and occasionally Stanley Kubrick sometimes crossed the line and broke the rule, to different effects.
Tuesday, 10 November 2009
Filming Prelim Task (take two)
This time, we all came to the lesson with ideas as to where we could film. Our location was decided quickly which meant that we could focus on filming. Our new setting meant that we had to adapt a couple of our pre-planned shot types (for example, in the corridor there was not enough room for a side-on long shot so we cut this out and filmed a couple of alternative shots to try out in the editing process)
We also found that it was more time effective for us to film some of the shots out of sequence because of where we had the cameras set up. This meant that we had to keep a record of what we had previously filmed to prevent missing any shots out.
Once we got started, we got a few new ideas of how to improve our shot types so we experimented as we worked, making sure we got several takes of each section and sometimes from different camera angles so that we could use the best sequences in editing.
We did make a few minor errors such as moving props and forgetting where they went back. Silly mistakes like this could ruin our film sequence so it is good to make these mistakes sooner rather than later. Also, whilst editing, we noticed that at one point you could see my reflection in the window in the background, filming Jake. This is something we had not thought of whilst filming!
Even though Jake and Samson acted in our piece, we all took turns to set up the camera equipment and we made group decisions about any changes made or if one of us noticed that a shot was not working, we would come to a collective solution to the problem.
We also found that it was more time effective for us to film some of the shots out of sequence because of where we had the cameras set up. This meant that we had to keep a record of what we had previously filmed to prevent missing any shots out.
Once we got started, we got a few new ideas of how to improve our shot types so we experimented as we worked, making sure we got several takes of each section and sometimes from different camera angles so that we could use the best sequences in editing.
We did make a few minor errors such as moving props and forgetting where they went back. Silly mistakes like this could ruin our film sequence so it is good to make these mistakes sooner rather than later. Also, whilst editing, we noticed that at one point you could see my reflection in the window in the background, filming Jake. This is something we had not thought of whilst filming!
Even though Jake and Samson acted in our piece, we all took turns to set up the camera equipment and we made group decisions about any changes made or if one of us noticed that a shot was not working, we would come to a collective solution to the problem.
Filming Prelim Task (take one)
Our first job was to take our cameras and list of shots to find a location to film. We experienced problems to begin with (it was a busy time of day so there were lots of people around who were in the way or making noise, one room would have been ideal but there wasn't very much space for our equipment, corridor areas were much darker than we expected). Eventually, we found a room but after filming a few shots, the room was needed by another class, therefore we had to leave and return to our classroom for the end of lesson.
We were really disappointed that we were unable to complete the task first time round. I now know that when it comes to film our thriller sequences, we must take into consideration a great variety of factors, including things that are out of our control like our working environment. This means we will need to have back up plans in place, just in case we get into a similar situation with our final project (whereby we will not have time to re-schedule and re-film).
We were really disappointed that we were unable to complete the task first time round. I now know that when it comes to film our thriller sequences, we must take into consideration a great variety of factors, including things that are out of our control like our working environment. This means we will need to have back up plans in place, just in case we get into a similar situation with our final project (whereby we will not have time to re-schedule and re-film).
Initial Ideas for Prelim
The plot of our prelim was not overly important so we decided to get this over and done with straight away to allow us to plan the rest of our work. We brainstormed several ideas and finally chose a patient entering the doctor's office.
To add some comedy to our piece we made our patient an overweight male, who finds out he is pregnant. We wanted to show how our character was quite large so we wanted to experiment with the cameras to show this (zooming or a handheld, wobbly effect).
To make the conversation abit more interesting to watch and to show the intensity of the situation, we wanted to use a range of shot types (POV, over-the-shoulder, CUs, two shots...).
We also wanted to find a room that we could adapt to seem like a doctor's room. However, the most important thing about our location was that we kept in mind the 180 degree rule whilst positioning our cameras to film.
Below is our initial list of shot types that we used to begin filming our piece-
*Low angle shot from the floor (Jake steps over the camera, wobble affect)
*Long shot from side-on (show him walking towards the door)
*Ped, to slowly reveal Jake (ending in a close up of him eating)
*Point-of-view shot (him knocking on the door)
*Medium shot (Samson turning, 'come in')
*Close up (of Jake opening the door, hand on handle)
*Over-the-shoulder shot (from Samson, looking at door opening and Jake entering)
*Two shot of the desk (Samson is in shot, Jake walks into frame and sits down)
*Switch between over-the-shoulder shots of both characters (dialogue)
*Close up (Jake's reaction the the news)
*Extreme Close up (Jake's darting eyes)
To add some comedy to our piece we made our patient an overweight male, who finds out he is pregnant. We wanted to show how our character was quite large so we wanted to experiment with the cameras to show this (zooming or a handheld, wobbly effect).
To make the conversation abit more interesting to watch and to show the intensity of the situation, we wanted to use a range of shot types (POV, over-the-shoulder, CUs, two shots...).
We also wanted to find a room that we could adapt to seem like a doctor's room. However, the most important thing about our location was that we kept in mind the 180 degree rule whilst positioning our cameras to film.
Below is our initial list of shot types that we used to begin filming our piece-
*Low angle shot from the floor (Jake steps over the camera, wobble affect)
*Long shot from side-on (show him walking towards the door)
*Ped, to slowly reveal Jake (ending in a close up of him eating)
*Point-of-view shot (him knocking on the door)
*Medium shot (Samson turning, 'come in')
*Close up (of Jake opening the door, hand on handle)
*Over-the-shoulder shot (from Samson, looking at door opening and Jake entering)
*Two shot of the desk (Samson is in shot, Jake walks into frame and sits down)
*Switch between over-the-shoulder shots of both characters (dialogue)
*Close up (Jake's reaction the the news)
*Extreme Close up (Jake's darting eyes)
Introduction to Prelim Task
The brief for our Preliminary Task was that our footage must include:
- match on match action
- shot-reverse-shot
- the 180 degree rule.
Our individual storyline could be anything but we had to include someone opening a door, crossing the room, sitting down opposite the other character and a few lines of dialogue.
Continuity in any film sequence is extremely important because if your shots are not linked smoothly and your lighting/props/scenery etc are not continuous, it can make your work look very amateur and nobody would want to watch it. During this task we will need to ensure we consider the continuous nature of the scene, in practice and preparation for filming and editing our thriller openings.
- match on match action
- shot-reverse-shot
- the 180 degree rule.
Our individual storyline could be anything but we had to include someone opening a door, crossing the room, sitting down opposite the other character and a few lines of dialogue.
Continuity in any film sequence is extremely important because if your shots are not linked smoothly and your lighting/props/scenery etc are not continuous, it can make your work look very amateur and nobody would want to watch it. During this task we will need to ensure we consider the continuous nature of the scene, in practice and preparation for filming and editing our thriller openings.
Wednesday, 14 October 2009
Introduction to cameras
The first time that our teacher showed us the cameras I was terrified! It seemed like there were so many buttons and functions and my first impression was that I would break it. But after being shown how to use the camera I got really excited and felt much more confident and comfortable about filming.
We were told to film some sort of journey, exploring different shot types and camera movements. Our journey took us down the stairs, round a corner, through a door and into the canteen to steal a bottle of drink. This gave us the opportunity to use lots of interesting camera angles, such as a low angle shot of him coming down the stairs and a worm's eye view of him coming through a door.
Because it was not an assessed activity we didn't need to storyboard our work. However, it was at times difficult to stay focussed and organised which meant we had to re-film a couple of sections to make it more fluent as a piece. I now understand why it is so important to plan out our work before getting on with using the cameras, otherwise we may make silly mistakes.
It was good experience to put the techniques we have learnt about into practical use. I enjoyed this project and I am now looking forward to our Prelim task.
Wednesday, 7 October 2009
Past student's work
Our teachers have explained that soon we will be filming our own Thriller openings. To help us get an understanding of what is expected and to give us some inspiration, we watched some previous AS work.
As a class, we widely agreed that one of the most interesting video clips was 'End of the Line'. It used a variety of shot types to build up an erratic, fast paced introduction. I liked the way they played with the concept of time- both by using a close up of the clock and by showing the sped up movement of the London Eye. Similarly to some of the real Thriller films I have seen, they used lots of close ups initially to draw our attention to particular details, such as the memory stick. They capture the nature of a busy city by showing short, precise clips of London, establishing the setting. This city vibe is continued as we see the character exit and walk down the street, watching him from many different angles, creating the idea that you are always being watched. I thought that the combination of diegetic and non-diegetic sound was really clever, as an atmosphere was created whilst the plot was still continued naturalistically.
As a class, we widely agreed that one of the most interesting video clips was 'End of the Line'. It used a variety of shot types to build up an erratic, fast paced introduction. I liked the way they played with the concept of time- both by using a close up of the clock and by showing the sped up movement of the London Eye. Similarly to some of the real Thriller films I have seen, they used lots of close ups initially to draw our attention to particular details, such as the memory stick. They capture the nature of a busy city by showing short, precise clips of London, establishing the setting. This city vibe is continued as we see the character exit and walk down the street, watching him from many different angles, creating the idea that you are always being watched. I thought that the combination of diegetic and non-diegetic sound was really clever, as an atmosphere was created whilst the plot was still continued naturalistically.
Film Analysis- 'Red Eye'
Opening Titles
They are presented in a white, easy-to-read font on a contrasting black background. The text flashes onto the screen quickly, before fading away again. After a short time, a larger font in red capital letters flashes up- announcing the film's title. Red is significant because it is a connotation of danger, as well as fitting the theme of "red eye".Generic Themes
As soon as the action begins, some sort of conspiricy is established. The camera stalks the characters without showing faces, revealing some sense of character and family history via the photographs on the table, the contents of the wallet etc. It is slightly unclear to the audience at this point who is involved and why but all the same it puts you on edge.
The sequence that follows this mysterious opening begins answering some of the questions in the audience's mind- who is the owner of the wallet? who is the lady? why is she important? But still there is an ethos of ambguity to keep the audience guessing.
Because no faces are seen at first, this suggests that there is someone/some authority carrying out orders that wish to remain unseen. This sets up lots of plot twists for later in the film. The idea of someone/something being in control of the situation from a distance is often used in psychological thrillers in order to keep information withheld from viewers.
A strong, confident, intelligent female is introduced as the protagonist character, which immediately sets the film apart from others I have seen.
Sound
Diegetic~ noises that fit the action (banging of crates, slam of the truck door, turning pages of the hotel documents etc) are all exaggerated to heighten the tension in the opening scene. Eventually dialogue is introduced.
Non-Diegetic~ sinister music is played over the opening titles. After a climatic point that happens at the same time as the film title is seen, it goes temporarily quiet, a slight echo is heard. Inanimate objects are seen and as a character comes into shot, the music restarts atmospherically.
Mise-en-scene
~The wallet is shown close up and highlighted as a key prop. This is reinforced as the motif of the wallet is repeated- we see it go on a journey with other characters
~The film takes place at nighttime, straight away adding danger and intrigue to the plot
~A sympathetic background is used to reflect the themes and add danger/anxiety to the events taking place. For example, the rain and traffic are delaying her in the taxi (building suspense), the storm effecting the flights at the airport (immediately placing objects in the way of the situation)
~We find out lots about the central character from small details, eg. she is in a graduation gown in the photograph (suggesting she is an intelligent woman), she is the person who people ring in a crisis (a reliable, trust worthy character), she does not get stressed or flustered in traffic, when the flight is delayed, during the phonecall etc, implying she is in control)
~Photographs on the table begin to build up a family history, encouraging the audience to empathise with these characters
~The combination of smart suits, suspicious behaviour and nighttime setting suggest corruption or a bad authority/organisation
~The hotel lobby is bright, light and colourful, even the costumes are cheerful. This contrasts greatly to the dreery, dark atmosphere created in and around the taxi. This could be setting up the idea that the protagonist is doomed or heading for danger
Shot Types
*Plenty of CUs used in the opening sequence. The director is focussing our attention to certain details and disorientating us because we cannot see the full picture
*POV shots are used, particularly when the wallet it placed on the side and then stolen. This shows the action taking place but doesn't give the audience all the information, adding suspense. It also puts the 'bad' characters in a position of power
*A slight worm's eye view of the truck hides the identity of the characters involved and gives the audience a low status, making them feel vulnerable
*Both a medium shot and a two shot are used in the hotel scene. These are slightly less intense than all of the close ups used previously but they still serve the same purpose- only showing the audience what is relevant rather than giving lots of other details away
Camera Movement
There are moments of stillness inbetween some rapid movements, creating an eery, tense atmosphere. A slow, short pan is used to reveal slightly more of the environment before characters enter. Some fast tracking is used to follow the action. It is done smoothly as opposed to using steady cam, possibly to give the idea that we are absent viewers witnessing the situation, rather than another character taking part in the action. Some of the camera movements are quite fast, meaning you only get a glimpse of certain things. It begins to build a fast paced, organised feeling to the crime that is being planned.
Sunday, 4 October 2009
Film Analysis- 'Se7en'
Opening Titles
The titling sequence is not the first thing we see- it comes after a naturalistic opening scene. There is harsh, disturbing, non-diegetic music played over the titles (some random noises such as scratching and screams). The font is as if it is handwritten in an untidy scrawl, making the audience look closer to read what it says and giving the impression that someone has written them by hand. It is a higly edited sequence of disturbing images that flash and change rapidly. It is strange and slightly phsychotic in it's nature, creating an unsettling ambience. It is filmed in black and white with the odd flashes of red (denoting danger, blood, passion). Some of the shots merge unclearly from one into another, creating a feeling of disorientation. Lots of CUs are used to control what the audience focus on in the shot. It seems like someone is collecting evidence but not in an authoritive way- it is obsessive and unpredictable, suggesting it may be more of a scrapbook of somebody's achievements than an official police document. The images are POV shots where sometimes you can see the person's hands but no more, building a sense of mystery and confusion. This abstract sequence contrasts greatly with the previous scene, taking the audience by surprise and putting them on edge.
Generic Themes
A sense of sadness is created in the opening. Lots of hollow, busy noise is heard yet the character seems not to notice this (suggesting he is used to the disrruption of a busy city). He is experienced at his job and truly cares, causing the audience to empathise with him to begin with. This means that when another character is introduced, binary opposition is established, creating an interesting relationship to develop during the film. A shift in status is shown quite early on, with the use of high and low angle shots, positioning of the characters in the scene and symbolic items of costume. It is a linear sequence, presenting the events in the order that they happen.
The protagonist has a hard, defensive exterior (setting him up to be opened up later in the film).
Sound
Diegetic~ rainfall, sirens, people's voices in the street/other rooms in the building, naturalistic background noise
Non-Diegetic~ the eery music used in the film's titles contrasts with the natural sounds heard in the opening sequence
Mise-en-scene
~Rain is used as a patheitc fallacy (thrilling atmosphere, reflects events in the film, a constant noise that could disguise other noises- making it difficult to be totally aware in any situation, metaphor- they are cleansing the city, bad weather acts as a barrier and stops things happening so efficiently)
~Objects that he needs for the day are laid out obsessively neatly, giving us an insight into his character
~It is relatively dark and there is a distinct lack in colour (the film was shot using natural light and minimal additional lighting)
~Costume items are symbolic (he wears a hat because he is experienced and used to the rainy city whereas the other character is trying to dodge the rain becuase he is new to the job)
~Blood is not shown in such an obvious form. It is not essential information at this point so it is suggested as opposed to seen close up. This could be to make the audience focus on the characters and their relationship rather than looking at the horrific body
~The magnets on the fridge are realistic and make the setting look like a real home. It adds a personal touch and shows the character is emotionally involved with his work
Shot Types
*Close ups and medium close ups are used initially to show the character getting ready
*POV shots are used to develop an insight into the character's lifestyle and suggesting his occupation
*The second scene (at the crime scene) is shown mainly through medium shots, showing some of the setting and involving the characters talking
*Two shots are used to connect and contrast the two characters (focussing the audience's attention on them)
Camera Movements
Most of the shots are fairly static to begin with, sometimes panning slowly to gradually reveal the location. This means the audience may feel like they are not seeing the whole picture.
A low angle tracking shot is used to show the characters as the exit the crime scene and walk own the street, giving them a powerful status. Tracking along with the action makes the audience feel present, like they are a part of the scene.
This thriller opening was very different to 'Momento' and again had some interesting conventions. I thought it was intriguing to film using only natural lighting where possible. At times it made it very hard to see what was happening which was the intention but I wasn't overly keen on this. I loved the titling sequence because that in itself was thrilling. It was mysterious and made me want to watch the rest of the film!
The titling sequence is not the first thing we see- it comes after a naturalistic opening scene. There is harsh, disturbing, non-diegetic music played over the titles (some random noises such as scratching and screams). The font is as if it is handwritten in an untidy scrawl, making the audience look closer to read what it says and giving the impression that someone has written them by hand. It is a higly edited sequence of disturbing images that flash and change rapidly. It is strange and slightly phsychotic in it's nature, creating an unsettling ambience. It is filmed in black and white with the odd flashes of red (denoting danger, blood, passion). Some of the shots merge unclearly from one into another, creating a feeling of disorientation. Lots of CUs are used to control what the audience focus on in the shot. It seems like someone is collecting evidence but not in an authoritive way- it is obsessive and unpredictable, suggesting it may be more of a scrapbook of somebody's achievements than an official police document. The images are POV shots where sometimes you can see the person's hands but no more, building a sense of mystery and confusion. This abstract sequence contrasts greatly with the previous scene, taking the audience by surprise and putting them on edge.
Generic Themes
A sense of sadness is created in the opening. Lots of hollow, busy noise is heard yet the character seems not to notice this (suggesting he is used to the disrruption of a busy city). He is experienced at his job and truly cares, causing the audience to empathise with him to begin with. This means that when another character is introduced, binary opposition is established, creating an interesting relationship to develop during the film. A shift in status is shown quite early on, with the use of high and low angle shots, positioning of the characters in the scene and symbolic items of costume. It is a linear sequence, presenting the events in the order that they happen.
The protagonist has a hard, defensive exterior (setting him up to be opened up later in the film).
Sound
Diegetic~ rainfall, sirens, people's voices in the street/other rooms in the building, naturalistic background noise
Non-Diegetic~ the eery music used in the film's titles contrasts with the natural sounds heard in the opening sequence
Mise-en-scene
~Rain is used as a patheitc fallacy (thrilling atmosphere, reflects events in the film, a constant noise that could disguise other noises- making it difficult to be totally aware in any situation, metaphor- they are cleansing the city, bad weather acts as a barrier and stops things happening so efficiently)
~Objects that he needs for the day are laid out obsessively neatly, giving us an insight into his character
~It is relatively dark and there is a distinct lack in colour (the film was shot using natural light and minimal additional lighting)
~Costume items are symbolic (he wears a hat because he is experienced and used to the rainy city whereas the other character is trying to dodge the rain becuase he is new to the job)
~Blood is not shown in such an obvious form. It is not essential information at this point so it is suggested as opposed to seen close up. This could be to make the audience focus on the characters and their relationship rather than looking at the horrific body
~The magnets on the fridge are realistic and make the setting look like a real home. It adds a personal touch and shows the character is emotionally involved with his work
Shot Types
*Close ups and medium close ups are used initially to show the character getting ready
*POV shots are used to develop an insight into the character's lifestyle and suggesting his occupation
*The second scene (at the crime scene) is shown mainly through medium shots, showing some of the setting and involving the characters talking
*Two shots are used to connect and contrast the two characters (focussing the audience's attention on them)
Camera Movements
Most of the shots are fairly static to begin with, sometimes panning slowly to gradually reveal the location. This means the audience may feel like they are not seeing the whole picture.
A low angle tracking shot is used to show the characters as the exit the crime scene and walk own the street, giving them a powerful status. Tracking along with the action makes the audience feel present, like they are a part of the scene.
This thriller opening was very different to 'Momento' and again had some interesting conventions. I thought it was intriguing to film using only natural lighting where possible. At times it made it very hard to see what was happening which was the intention but I wasn't overly keen on this. I loved the titling sequence because that in itself was thrilling. It was mysterious and made me want to watch the rest of the film!
Monday, 28 September 2009
Film analysis- 'Momento'
In class we watched the opening to the film 'Momento', directed by Christopher Nolan. We were encouraged to watch it in great detail and make notes on the techniques used that made it a good Thriller film.
The Opening Titles
Black background (establishing the dark, mysterious atmosphere for the rest of the film) small blue font (blue is a connotation of cold, eery, death). The colour of the text gets darker and fades, leaving an eery glow. The titles are seen immediately, getting straight to point.
The Opening Titles
Black background (establishing the dark, mysterious atmosphere for the rest of the film) small blue font (blue is a connotation of cold, eery, death). The colour of the text gets darker and fades, leaving an eery glow. The titles are seen immediately, getting straight to point.
Generic Themes
The opening sequence is shown in reverse which added interest and intrigue, instantly grabbing the audience's attention. The murder is shown, then it goes back in time to before the killing. This creates a sense of inevitability because you know the end point before you have seen the full story. This is a good way of creating tension and suspense in a Thriller film.
Sound
Diegetic~ any diegetic sounds (such as the sound of a polaroid shaking or the sound of the gun) are heightened to make them louder and more intense.
Non-Diegetic~ orchestral music is played over the opening sequence, it is slow and builds & falls to create an uneven atmosphere. There is also a voiceover from the main character. At times he is in shot but not actually speaking, creating the idea that the audience is seeing what thoughts are running through his mind.
Mise-en-scene
~The contrast between dark and light is heightened
~Camera is established as a key object in the scene (which becomes more relevant as the film goes on)
~Black and white is used to show the character's confusion and disorientation
~He is seen in a hotel room, suggesting something about his lifestyle
~The fast-paced opening sequence and the use of a gun link to a Thriller/Action sub-genre
~Photograph is unclear and blurred, drawing the audience in. Just as you think you can see it, the photo fades further
~Characters wear relatively smart clothing
Shot Types
*Lots of closeups
*POV extreme closeup
*focus is on the photo for a long time (unusual to have a close up of one thing for such a long time)
*CUs are used to disorientate and confuse
*High and low angle shots are used to change perspective, This reverses the audience's position from a place of power to a place of vulnerability in a matter of seconds
*Medium long shot used in the next scene to show more of his environment (less intense atmosphere, more normal and naturalistic than previous shots)
Camera Movement
No camera movement to begin with- an unusual device (most films use lots of movement to create tension whereas Nolan uses stillness, combined with other conventions, to build an atmosphere in this opening).
After this, a tilt and a pan are used to more of the situation gradually.
I liked this Thriller opening. I was really inspired by the use of black and white because it was aesthetically interesting and symbolic. I also liked the variation of the narrative structure- flashbacks used, not a linear sequence of events.
Sunday, 27 September 2009
"What are Thriller films?"
... this is the question we tried to answer. To begin with, we talked generally about film we had seen and what we already knew. We then looked in more detail at specific areas and conventions used. Below I have listed the main points that I feel contribute to a good Thriller movie.
-a Thriller should be atmospheric, exciting and thrilling
-there is usually a "fight for survival" theme, such as preventing/solving crime, a terrorist attack, a fight against corruption, a hostage situation... etc
-stereotypical characters often include
*a protagonist (an unconventional hero, often lonely )
*an evil character/organisation (usually creating mayhem, sometimes foriegn)
*sometimes include a partnership (good cop/bad cop, boss and gunman)
*usually realistic characters put in extraordinary situations
*often, although the main characters are often "important people" (police officers, doctors,
army officers...), civillians are sometimes drawn into the plot to create emotional or comic
subplots
*stereotypically male characters but female leads in Thrillers are increasing
-usually full of twists and turns in the plot to keep the audience interested
-many sub-genres are linked to Thriller films~ mystery, horror, psychological. It will be important to understand the key differences when making our own film openings to ensure they are predominatly Thrillers
-setting in Thriller films is important as it can be used to establish an atmosphere before any action has even taken place. It can also be used symbolically as a pathetic fallacy to reflect events taking place or a character's emotional journey
-a Thriller should be atmospheric, exciting and thrilling
-there is usually a "fight for survival" theme, such as preventing/solving crime, a terrorist attack, a fight against corruption, a hostage situation... etc
-stereotypical characters often include
*a protagonist (an unconventional hero, often lonely )
*an evil character/organisation (usually creating mayhem, sometimes foriegn)
*sometimes include a partnership (good cop/bad cop, boss and gunman)
*usually realistic characters put in extraordinary situations
*often, although the main characters are often "important people" (police officers, doctors,
army officers...), civillians are sometimes drawn into the plot to create emotional or comic
subplots
*stereotypically male characters but female leads in Thrillers are increasing
-usually full of twists and turns in the plot to keep the audience interested
-many sub-genres are linked to Thriller films~ mystery, horror, psychological. It will be important to understand the key differences when making our own film openings to ensure they are predominatly Thrillers
-setting in Thriller films is important as it can be used to establish an atmosphere before any action has even taken place. It can also be used symbolically as a pathetic fallacy to reflect events taking place or a character's emotional journey
Introduction to the course
In our first lesson we were told abit more about what the AS Media course involves. We will be studying the medium of film, in particular the genre of Thriller. Some of our lessons will be focussing on the genre and how it differs to other forms of filmmaking. In others, we will create and film our own openings to a Thriller film, learning different shot types and how to use the cameras effectively in the process.
I have not seen many thrillers before so it will be interesting to experience different films, rather than watching the same old ones. I am also looking forward to getting some hands-on experience with the camera equpiment!
I have not seen many thrillers before so it will be interesting to experience different films, rather than watching the same old ones. I am also looking forward to getting some hands-on experience with the camera equpiment!
Camera shots
We focussed on increasing our knowledge and understanding of different ways you can use a camera. Below are lists of the shot types, camera angles and camera movements that we discussed. I have also included a description on when and how they can be used when filming.
Saturday, 26 September 2009
A bit about me
My name is Holly and I am now an AS media student! I am really looking forward to the course and I'm looking forward to the challenges facing me and the others in my class. I love watching films so it will be really interesting to learn how they are made. I am particularly interested in camera angles and shot types, as I did some work experience with Sky TV and thought the camera operators did an amazing job. I also think that as an actress it is important to understand the world of media because it plays such a huge role in performing arts these days.
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