WEEK 4 : HOW TO BECOME A CAMERAMAN AND WHAT DO THEY DO ? : UNIT 3

What They do ?

  • Camera Assistant

A Camera Assistant must have an excellent knowledge of cameras, Lenses and all related equipment  and have excellent eyesight. They can Accurately judge distances and have agility and speed yet they must pay strong attention to detail.

They have to be able to collaborate and work as part of a team. They also have to be diplomatic and sensitive when working with artists and crew and know about health and safety legislation and procedures.

However though Their Lowdown’s are Adjusting the camera lens or pulling focus to follow the action on set and Managing and maintaining camera equipment and accessories whilst Following instructions from the Director or Director of Photography (DOP)

How to become a Camera Assistant.

It is one of the most skilled jobs on a film crew.

1st they are responsible for focusing and refocusing the camera lens as Actors move within the frame of each shot. They do not look through the lens to do this but ‘pull focus’ according to a set of complex marks placed on the set, floor, props, etc… during rehearsal.

As it is impossible to see whether the focus is sharp until the rushes ( raw footage ) are screened. 1st AC rely on experience and instinct for each focal adjustment. Because re shooting scenes is expensive and actors may be unable to recreate their best take.

1st ACs are usually asked  for by the Director of photography or the Camera Operator and work on a freelance basis. Hours are long and the work can be physically demanding.

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  • Cinematographer

Cinematographers are the chief over the camera crews working on a film, television production or other live action piece and is responsible for achieving artistic and technical decisions related to the image.

They are the ones who provide the shape and look of the film, They know all about camera equipment and have an in depth knowledge of lighting techniques and how to achieve them. They have strong eye on detail ( like the director ) have to be immensely creative and be able to make decisions very ,very quickly. While having a good colour vision.

The only way a Cinematographer can achieve it’s goals are by working with the Director, Camera crew and lighting department to achieve this.

Here are some of the best images shot by true professional cinematographers.

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In the image above these shots were taken by Christopher Doyle.

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In the images above these shots were taken by Larry Smith.

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Mexican_standoffThe Good, the Bad, and the Ugly (1966)

In the images above these shots were from Tonino Delli Colli.

facts about Cinematographers .

The Director of Photography must discover the photographic heart of a screenplay, using a variety of source material including still photography, painting, other films, etc.

They work closely with the Gaffer ( who runs the lighting team ), the production designer, Costume Designer, and the hair and Make up Department.

On smaller films, The Director of Photography can often work and operate the camera during the shoot.

Although the hours are long most DOP’s ( Director of Photographers ) will require some foreign travel but that kind of work is highly creative and rewarding.

How to become a cinematographer

If you already work as a Camera operator , you might be able to become a cinematographer through second unit work.

You will need to gain experience of working on short student films and you will need to provide some work as part of a camera crew to full understand an on set systems in which members of an organization or society are ranked according to relative status or authority. Or in plain English ”Hierarchy and the original traditions of working.

  • Camera operator

Camera operators carry out the Director of photography’s and the Director’s instructions for a shot composition and development. They usually are the first people to use the camera’s somewhat eyepiece to assess how all the elements of performance, art direction, lighting, composition and camera movement come together to create the cinematic ( or the ultimate ) cinematic experience.

The highs and the lows of a camera operator

The highs .

They must know how to operate a camera.

Be patient ( Actually very patient )

Making sure they have to be strong and fit with a physical co-ordination.

( like the cinematographer ) They must pay strong attention to detail.

And must be able to contribute and collaborate as part of a team.

The Lows.

They Must manage other cameras in the department staff and communicate with other actors.

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How to become a Camera operator .

You can expect to begin your career as a camera trainee or Runner, progressing to 2nd AC and, as you gain more experience, to 1st Camera Assistant . Though you will have to continually make a build up on your own personal experience while operating a on multiple cameras in order to achieve your goal as a Camera Operator.

All of these crew members are vital to provide the best film and shots possible. Like the Copa shot from Goodfellas , like the opening sequence from Strange Days like the Rosebud shot from Citizen kane or the final shot from Akira Kurosawa’s Ran. None of those shots can be provided without the Cinematographer , The Camera operator, And The Director of Photography.

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The last shots from Akira Kurosawa’s Ran ( 1985 ) With the cinematography from Takao Saito, Masaharu Ueda and Asakazu Nakai.

END

 

WEEK 4 : HOW TO BECOME A CAMERAMAN AND WHAT DO THEY DO ? : UNIT 3

WEEK 4 : INTRODUCTION TO MISE EN SCENE UNIT 4

In English it means everything put into a scene.

A French that is used whilst providing the pitch perfect scene on what The characters , The locations , the scenario, the mood , the lighting The camera movement , Absolutely everything.

It was originally used in stages and plays. It’s The arrangement of scenery and stage properties in a play, film, music video etc…

Here are 3 examples of 3 different scenes from 3 different movies.

1#  A Scary scene from David Lynch’s Neo Noir Horror” Lost Highway ” (1997 )

Robert Blake Lost Highway In this Scene Fred played by Bill Pullman is casually strotting around in a cosy conventional party. He picks up a glass of wine and suddenly out of nowhere appears a black dressed man  , whom is pale to the point it looks like make up and black round eyes . The camera is pointed slightly lower on Fred rather than upwards which is the case of The Mystery man character since he is smaller than the latter.  And in the image above the camera is OTS also known as Over the shoulder.

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Now David Lynch is well known for lighting and sound. So here the slightly smooth and near moody lighting is kept the same. We have a close up shot and the ambient music from the party stops. Disturbing music comes into the foreplay and the atmosphere of the environment has fallen dead silent, indicating that this Mystery Man represents something of an evil nature.

In the same shot The mystery Man says to Fred that they have met before haven’t they.

LOST4

Cut to Fred the setting is still the same the environment is still stone cold dead and lighting is warm but the atmosphere is slowly growing a sense of unease. So Fred puts the glass of Champagne down on a table in which we distinctively hear, And replies to the Mystery man I don’t think so , where was it you think we met ? The Camera is positioned into a medium close up with a little background.

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Cut to the Mystery man with same cold ambience and the same medium shot used in the previous shot of The Mystery man. He replies with At your house don’t you remember ?

Cut to Fred with same shot from the previous still of Fred, again same camera angle , lighting , sound etc. He replies with No , No I don’t are you sure ?

LOST10

Cut to The Mystery man in MCU. One other thing the camera lenses is focused on the Mystery man and the background is blurred. The Mystery man replies with as a matter a fact I am there right now. By that moment the Soundtrack becomes slightly louder and darker with a moody and unnerving score. As The Mystery Man’s expression get’s more serious.

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Cut to Fred in which the camera has zoomed in a little. The unsettling music carries on and Fred is obviously intimidated and confused by The Mystery Man’s reply. So he ( this is more on a psychological level ) Flips out a little and replies with That’s Fucking Crazy man !

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Cut to The Mystery Man’s Phone. The camera has tilted down to take a near close up shot of the object the Mystery Man has in his hand. The Man presses the button and the beep is loud and clear to obviously make a precision on the sound and the quality of the scene since it is becoming more an more weird and darker as the atmosphere and score is kept the to same balance.

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Cut to the Mystery man in the same atmosphere and MCU he tells Fred to call me. Fred picks up the phone the and the Mystery man replies with dial your number.

Cut to Fred in which he is hesitating.

Cut to The Mystery Man who replies with go ahead in a semi forceful tone. Both shots have the same soundtrack , same lighting and MCUps with blurry backgrounds.

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Cu to Fred puts the phone to his ear . Same lighting and MCU with a blurry background and a focus on Fred. Fred dose not believe this with his expression and takes this as some kind of joke. But he dials his own number calling his own place.

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In the same shot the phone rings , we hears this distinctively and the phone of whom Fred is calling is picked up with  The mystery man’s voice in which we hear as clear as daylight who says I told you I was there . Suddenly Fred’s expression changes the score becomes louder and more unsettling

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In the same shot of Fred he replies he lays down the phone and says to the Mystery man how did you do that ?

Cut to the Mystery man who replies with ask me. Same shot as the others including lighting , soundtrack , Score etc….

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Cut to Fred in same angle and atmosphere with blurry background and focus etc who replies with how did you get inside my house, He begins to give a small inch of panic.

In the same shot we hear the Mystery man on the phone saying that you invited me it is not my custom to go where I am not invited.

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In the same shot . In MCU Fred slowly replies with who are you ? in a serious manner.

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Cut to the Mystery man . In MCU but this time the response of The Mystery man is both on the phone and his presence as we slowly gives a maniacal laugh. His laugh on the phone is louder than The man who Fred is looking at. As to provide a sense of creepiness, the volume is turned higher up on the phone to provide a strong sense of disturbance and near horror. And yet the atmosphere and soundtrack is kept the same as the previous shots.

Cut to Fred holding the phone in MCU with blurry background and cold silence with unnerving score by Angelo Badalementi. The Mystery man on the phone asks Fred to give me back my phone. Fred looks at the Mystery man and returns his phone.

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Cut to the Mystery man in the same shot as the previous ones , ( Again always in MCU ) in which he aggressively takes back his phone and puts it in his pocket without another shot of the phone. He finally replies to Fred with it has been a pleasure to you.

In the same the Mystery man turns around and walks away the background the camera lenses begin to focus on the background as much as the back of the Mystery Man. The cold tense soundtrack slowly stops and suddenly we can hear the music from the party and the crowded people chatting away.

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Cut to Fred this time with a more cosy atmosphere and music playing in the background. The camera zooms out a little bit. And Fred’s expression is tense and worried.

In all of these shots there is mainly MCU . And precision on sound. With 2 soundtracks one The cosy party music playing in the background. The other is a dark and unsettling piece. whenever the Mystery Man is present indicating suspense and possibly evil around the corner.

Lost Highway is very Abstract puzzling movie in which Identities are changed and multiple lies reign supreme. It has all the qualities of a noir There is that femme fatale and Troubled Anti hero. There is also lot’s of darkness with neon lighting and there is of course a lost highway.

It also has elements of Supernatural horror , The Mystery man keeps appearing out of nowhere and at one point Fred transforms into someone else. The Cast is Bill Pullman , Patrcia Arquette , Balthazar Getty and Robert Blake. And it is Written by David Lynch and Barry Gifford and Directed by David Lynch

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2 # Deconstructing a shot from Battle of Algiers ( 1966 )

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Directed By Gillo Pontecorvo , it is a controversial and landmark film about the Algerian war against the French government it was banned in France until 2004.

Now in this shot a group of Algerian terrorists plan to attack the French military.

It was shot in a documentary style black and white to provide a sense of realism ( Just like Spielberg did with Schindler’s list ) The prospects got a used military truck and the camera is positioned beneath the back doors of the truck. the door opens and thus The Terrorists with their firearms jump out. Since it was back in 1966 the crew were on a tight budget and so they used non professional Algerians actors to play the Enemy of the French. The Only Professional actor in the movie is Jean Martin who plays a commander leader of the French army. But in this shot all of these characters we see holding firearms are non-professional. To add more detail the man holding the sub machine gun on the right side. Wearing a grey jacket and a black buttoned up shirt with light black trousers . His cloths are near filthy as much as the character himself who is also covered in sweat.

The Man with a moustache in front left is also holding a Submachine gun Firearm but is seems less tense than the other. Wearing a black buttoned up shirt and dark trousers. He is less dirty than other and much more calm.

There is another character behind the calm man on the left side, wearing squared glasses and has short hair. He too seems more calm and confident.

And finally there is the character on the right side sitting behind the more stressful man paying attention to the Man on the left with the buttoned up shirt. he is wearing squared glasses.

It is a simple shot too decorate. We have a filthy truck with 4 men inside holding submachine guns and wearing business clothes from the 1960’s of Algeria. A tense semi tragic score is played in this shot. As it lasts about 5 seconds at most.  The camera is pulled back to catch every actor in the frame. and positioned downward . Not necessarily meaning they represent power instead it is more like someone else is watching these people and following them with an old camera on mode low quality black and white.

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3 # Describing the camera angles and the getting the right colour angle. From this shot of Paris Texas by Wim Wenders ( 1984 )

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In this shot , the camera angle is positioned downward and pointing upward. At Harry Dean Stanton. He is calling his ex love interest from a sex booth and on the other side of the window is Nastassja Kinski. Harry’s Character Travis is under a blue neon light bulb representing innocence. He is explaining his sorrow over what he did to her over the past by letting her down. she listens distinctively and realises this is not a natural customer.  Wenders main interest of mise en scene from this shot was capturing a dreamlike sense of Melancholy. as The camera is shot in a more darker shot rather than bright light to make sure that the film is dramatic and adding a more deeper style and meaning to what we are watching. On an artistic point of view the shot is a mythological  an image of a regret full man on his knees explaining his pain as the angel above him is understanding . Providing this with modern day reality. You have the scruffy old man ( a abstract version of a broken creature ) And you have the blonde beautiful woman ( a version representing beauty ) this shot is similar to this one from Bridge of the Madison county.

The Bridges of Madison County (1995)

Again you put the characters into a natural environment then the objects must be placed properly in the shot like in the image above . You have the shelf with the food providences next to the sink the lighting must be correct to make it look rather melancholic and somewhat romantic. You make sure that the score is smooth and fits the shot and even the movie itself.

And it is the same for the Paris Texas shot. Smooth romantic music whether it’s Jazz or even soft rock for that matter . It must fit the style of the sequence. Then you make sure on what the characters are wearing. If say A scruffy old man tries to look smart . The character must wear clothes on where he comes from and also what he thinks is correct ( slightly psychological ).  If the Woman in the Paris Texas shot is meant to look absolutely and naturally ravishing . Then she must have a certain amount of make up to look good on the camera and as such for Harry Dean Stanton’s Character.  while wearing something smart and natural. then with the woman being in more bright full  environment so a shiny natural light is provided rather than blue neon. then giving the right prospects if on the script it is said that she is this kitchen environment then thus the location she is at , it must look like a kitchen.

END

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WEEK 4 : INTRODUCTION TO MISE EN SCENE UNIT 4

WEEK 3 : INTRODUCTION TO GENRES UNIT 4

Film Genres are the type of film , It is the sort of storyline the film is telling us and the audience .

Here are some film Genre examples :

Film Noir :

What is it –

Known as the grandfather of film genre . It is a style that was used back in the 1940’s and 50s and even to some extent the early 60’s.

It is highly influencial and is commonly known for it’s unique style ( hell Film noir is arguably the most stylish genre in the film aspect ). Like the use of Black and White and immense shadows and fog.

Film noir’s themes are mainly anti heroes , hard edged private detectives or men with a gritty history or even cool smart talking journalists. lots of coats and multiple packet of cigarettes in an urban environnement. Often set at night lots of voice over describing every detail on what is going through the protagonist’s mind and what is happening to him with an inch of black humour.

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As for the Female Characters… Where to begin. The Women in Film Noir are a quitessential essence to the genre and since Noir focuses more on crime and romance combined. Noir focuses usually on femme fatales in which the women are also in trouble and yet untrusted since often she can double cross it’s male lead and sometimes the male is the little snake who rats out on the woman. In Film Noir when the male flawed characters have something to say in voice over they usually describe the woman of being incredibly beautiful and mysterious. In a nutshell the Women  have a classy coolness to them despite there Actions which is why they are sexy and because they are often dangerous. It’s Danger that attracts the mystery of the unknown which can sometimes be scary ( in horror and thriller mainly ) but also frustratingly sensual and attractive because you can deny it despite itself. It is also why Film Noir is considered a romantic genre as well . So in this case Danger is Sexy.

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Also Film Noir usually ends unhappily. it’s a genre where the ending is unclear while we watch during a noir film since it can break the rules of narrative not necessarily breaking the 4th wall but as in it’s slow ( and romantic build up to suspense) Because the situation it’s gritty characters are in. Indicating one way or another somebody is bound to get hurt.

Film Noir usually is set in a Gotham City esque urban near claustrophobic environment mostly set in 1947 or somewhere around that time. lots of isolated alleyways. Jazzy music, and clubs. ( Jean Luc Godard, Michael Mann, Francois Truffaut, Robert Altman, John Cassavets, Brian DePalma and Quentin Tarantino took as an influence in their own movies ) Often in Film Noir there are sudden outburst of extreme unflinching violence and every character has  one way or another a dark side to their aspect.

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History of Film Noir –

During the second world war. The term noir was inspired by literature called Hard Boiled. They were crime novels and other mini stories with a title  Tarantino uses called ” Pulp Fiction”  these short stories back then were very popular. Another theme that influenced film noir was German Expressionism and The French poetic realism from the 20’s and even 30s. Because of the amount of exaggerations that were used in each of those aesthetics and Film Noir has a lot of the so called ” Over the Top”.

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These set pieces were highly popular back in the 30’s thus American used these ideas and put time into a movie melange. At first  the movies were somewhat loosely based on these factors. But eventually found it’s own style.

The French ended up calling it Noir.

Noir meaning Black . A.K.A. Dark. For it’s bleak portrayal of Human Civilisation despite it’s stylish convention. One of the quintessential Noir’s is A film Called Detour ( 1945 ) by Edgar G. Ulmer. It was banned in Cinemas because the film broke one of the rules in cinemas.

Having a closure.

Detour was in fact one of the first films that had an ending that left the audience in Question.

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The Classics of Film noir.

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THE RULES OF NOIR.

Who populates the Darkness of film noir ? It’s our sinners, This is a fallen world we are in.Goodness here is as rare as natural daylight. The Lawyers are all crooked, The District attorneys are all bent, And The Cops ..Well you wouldn’t even trust them to tell you the time.

A Dame with a past and a Hero with no future. A Formula that is quintessential in the Noir aspect..

References

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https://www.google.co.uk/search?biw=1366&bih=623&tbm=isch&sa=1&q=out+of+the+past+%5Eposter&oq=out+of+the+past+%5Eposter&gs_l=img.3..0i30j0i8i30.12062.13088.0.13233.7.7.0.0.0.0.153.428.0j3.3.0….0…1.1.64.img..4.3.427.IEK3JM3QWoI#imgrc=Yo-2KSrcfxuAYM%3A

https://www.google.co.uk/search?biw=1366&bih=623&tbm=isch&sa=1&q=the+lady+from+shanghai+poster&oq=the+lady+from+shanghai+poster&gs_l=img.3..0.30908.35698.0.35951.25.24.1.0.0.0.269.2732.0j18j1.19.0….0…1.1.64.img..7.9.1199.wIvzs_ejq2k#imgrc=BqpJ2PItDyWzeM%3A

https://www.google.co.uk/search?biw=1366&bih=623&tbm=isch&sa=1&q=the+third+man+poster&oq=the+third+man+poster&gs_l=img.3..0j0i7i30l2j0i30.94806.97459.0.97743.13.13.0.0.0.0.279.1902.0j7j3.10.0….0…1.1.64.img..7.6.1186.g78bC1EDN8Y

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WEEK 3 : INTRODUCTION TO GENRES UNIT 4

WEEK 4: INTRODUCTION TO CAMERAS – 180 DEGREE RULE UNIT 1

The 180 degree rule is basically different shots in the exact same scene. Using Multiple film cameras and postitions etc to convince the audience.

A Scary scene from David Lynch’s Neo Noir Horror” Lost Highway ” (1997 )

Robert Blake Lost Highway In this Scene Fred played by Bill Pullman is casually strotting around in a cosy conventional party. He picks up a glass of wine and suddenly out of nowhere appears a black dressed man  , whom is pale to the point it looks like make up and black round eyes . The camera is pointed slightly lower on Fred rather than upwards which is the case of The Mystery man character since he is smaller than the latter.  And in the image above the camera is OTS also known as Over the shoulder.

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Now David Lynch is well known for lighting and sound. So here the slightly smooth and near moody lighting is kept the same. We have a close up shot and the ambient music from the party stops. Disturbing music comes into the foreplay and the atmosphere of the environment has fallen dead silent, indicating that this Mystery Man represents something of an evil nature.

In the same shot The mystery Man says to Fred that they have met before haven’t they.

LOST4

Cut to Fred the setting is still the same the environment is still stone cold dead and lighting is warm but the atmosphere is slowly growing a sense of unease. So Fred puts the glass of Champagne down on a table in which we distinctively hear, And replies to the Mystery man I don’t think so , where was it you think we met ? The Camera is positioned into a medium close up with a little background.

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Cut to the Mystery man with same cold ambience and the same medium shot used in the previous shot of The Mystery man. He replies with At your house don’t you remember ?

Cut to Fred with same shot from the previous still of Fred, again same camera angle , lighting , sound etc. He replies with No , No I don’t are you sure ?

LOST10

Cut to The Mystery man in MCU. One other thing the camera lenses is focused on the Mystery man and the background is blurred. The Mystery man replies with as a matter a fact I am there right now. By that moment the Soundtrack becomes slightly louder and darker with a moody and unnerving score. As The Mystery Man’s expression get’s more serious.

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Cut to Fred in which the camera has zoomed in a little. The unsettling music carries on and Fred is obviously intimidated and confused by The Mystery Man’s reply. So he ( this is more on a psychological level ) Flips out a little and replies with That’s Fucking Crazy man !

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Cut to The Mystery Man’s Phone. The camera has tilted down to take a near close up shot of the object the Mystery Man has in his hand. The Man presses the button and the beep is loud and clear to obviously make a precision on the sound and the quality of the scene since it is becoming more an more weird and darker as the atmosphere and score is kept the to same balance.

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Cut to the Mystery man in the same atmosphere and MCU he tells Fred to call me. Fred picks up the phone the and the Mystery man replies with dial your number.

Cut to Fred in which he is hesitating.

Cut to The Mystery Man who replies with go ahead in a semi forceful tone. Both shots have the same soundtrack , same lighting and MCUps with blurry backgrounds.

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Cu to Fred puts the phone to his ear . Same lighting and MCU with a blurry background and a focus on Fred. Fred dose not believe this with his expression and takes this as some kind of joke. But he dials his own number calling his own place.

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In the same shot the phone rings , we hears this distinctively and the phone of whom Fred is calling is picked up with  The mystery man’s voice in which we hear as clear as daylight who says I told you I was there . Suddenly Fred’s expression changes the score becomes louder and more unsettling

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In the same shot of Fred he replies he lays down the phone and says to the Mystery man how did you do that ?

Cut to the Mystery man who replies with ask me. Same shot as the others including lighting , soundtrack , Score etc….

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Cut to Fred in same angle and atmosphere with blurry background and focus etc who replies with how did you get inside my house, He begins to give a small inch of panic.

In the same shot we hear the Mystery man on the phone saying that you invited me it is not my custom to go where I am not invited.

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In the same shot . In MCU Fred slowly replies with who are you ? in a serious manner.

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Cut to the Mystery man . In MCU but this time the response of The Mystery man is both on the phone and his presence as we slowly gives a maniacal laugh. His laugh on the phone is louder than The man who Fred is looking at. As to provide a sense of creepiness, the volume is turned higher up on the phone to provide a strong sense of disturbance and near horror. And yet the atmosphere and soundtrack is kept the same as the previous shots.

Cut to Fred holding the phone in MCU with blurry background and cold silence with unnerving score by Angelo Badalementi. The Mystery man on the phone asks Fred to give me back my phone. Fred looks at the Mystery man and returns his phone.

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Cut to the Mystery man in the same shot as the previous ones , ( Again always in MCU ) in which he aggressively takes back his phone and puts it in his pocket without another shot of the phone. He finally replies to Fred with it has been a pleasure to you.

In the same the Mystery man turns around and walks away the background the camera lenses begin to focus on the background as much as the back of the Mystery Man. The cold tense soundtrack slowly stops and suddenly we can hear the music from the party and the crowded people chatting away.

img73c

Cut to Fred this time with a more cosy atmosphere and music playing in the background. The camera zooms out a little bit. And Fred’s expression is tense and worried.

In all of these shots there is mainly MCU . And precision on sound. With 2 soundtracks one The cosy party music playing in the background. The other is a dark and unsettling piece. whenever the Mystery Man is present indicating suspense and possibly evil around the corner.

Lost Highway is very Abstract puzzling movie in which Identities are changed and multiple lies reign supreme. It has all the qualities of a noir There is that femme fatale and Troubled Anti hero. There is also lot’s of darkness with neon lighting and there is of course a lost highway.

It also has elements of Supernatural horror , The Mystery man keeps appearing out of nowhere and at one point Fred transforms into someone else. The Cast is Bill Pullman , Patrcia Arquette , Balthazar Getty and Robert Blake. And it is Written by David Lynch and Barry Gifford and Directed by David Lynch

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WEEK 4: INTRODUCTION TO CAMERAS – 180 DEGREE RULE UNIT 1

WEEK 3 : INTRODUCTION TO LIGHTING , UNIT 1

What they do :

Lighting Technician –

A Lighting Technician set up and operate Lighting equipment in TV and film. They work  across all types of programmes and may cover productions inside studios or outside on location.

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Whether it’s a Lighting assistant, or Lighting Technician, Lighting Designer. They are undeniably crucial for a film set because they provide the atmosphere and mood of the film whether it’s a Comedy , Drama , Horror or Sci-Fi. The Lighting team are essential to provide they right lighting colour so that it matches one of the key essence of the movie they are working on.

Lighting Designer-

A Lighting Designer or an LD works with the Director, choreographer, set designer, costume designer and the sound designer. Like the Lighting Technician and Assistant they create  the lighting, the atmosphere , mood piece etc.  they also give the time and day of the production like planning the dates the director wants them to come over and choosing what is needed and also what isn’t needed for certain kinds of lights or even smoke machines. They also take strong notice on safety issues including visibility. making sure that the light is well placed in cases it accidentally breaks. The Light Designer often works with the Stage Manager or Show Control for programming. Sometimes it is possible for a light designer to have a much more somewhat diverse subject matter, because they can be also used for providing the lighting in Rock/pop concerts or commercials ( again ) music videos.

Sound engineers work with Fish bassist Mike Gordon during his sound check at the Filmore on March 18, 2014li6

The Lighting Designer can also provide the artwork for is needed for the mood set pieces and often works with the art designer to give a stunning look at what is needed for the picture, plus with artwork it can often be in black and white . But to colour it all up that is where the Lighting designer comes in to give the vision to the artist. here are some examples on the images below.

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Lighting In Theatre-

Also Known as Stage Lighting.

If the director of the play is doing say a really dark play like Macbeth or The Woman in Black. Then the style and lighting is quintessential for the piece. Say for example when Macbeth kills King Duncan , It obviously isn’t a happy moment so what the director needs is a very grim set piece with an atmosphere as gloomy as a morgue. To do that the Lighting team must provide more darker than bright colours. Something in the vain of Neon red since it represents violence. it is that kind of lighting technique that is used for the piece for the play.

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Lighting in Concerts-

The Lighting in Concerts is pretty similar to Stage lighting in plays. however though it requires the amount of work of placing lighting etc is maximised 10 times more than the latter meaning that because the certain kind of style of music is say Techno or Rock or even Hip hop. a certain kind of lighting is provided for that style. The most hardest is arguably Rock and Electro since so many noises are within the music meaning so much Lighting is involved for each piece of song.

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For example in the image above. Here is a live concert from The Chemical Brothers. The Chemical Brothers are known for their unique appeal for lighting by performing hardcore electro. Music and giving a sense of surreal imagery by using strong lighting with a stylistic flour to the piece.

It’s the job of the Lighting team to give a unique visual standard to every single music. The brothers cave in when they perform live. Using Blue, Lots of Green, Yellow and Red and sometimes using other movie footage like the films of David Lynch and John Carpenter to hand in the right atmosphere and adding lots and lots and lots of splashy colours. They make using colours to create humans or human like figure with blue neon dots. Other times they would film a model, with top quality make up and even a unique costume design, then the lighting team would make an Editing process by again adding more colour , not necessarily to the background but on the model they filmed. say like adding more red on her chin or even on her hair with a little smidge of blue on the edge of her ears. So as the technician and the designer listen to one the Brothers’s  song they would add that shot they filmed and put it on the concert screen whilst providing the right time when the chemical brothers put the song on and when they hit the note within the song with the style that matches the model shot as planned. that is when the team click the miniscule shot in the concert in front of the audience. And it carries on  with different shots within the song and carries on and so forth.

How to Become a Lighting Technician –

Number One : You must not have any Vertigo,

Since a lot of the time Lighting Technicians whether it’s a gigantic Concert in which you have to climb up long ladders while holding a strong lighting equipment and attach to a pole of some sorts. Or even with Film , say in if One shot is on top of a huge tower block building just to get the right angle and brightness and colour of the lighting right whether the scene is shot at night or day light ( It entirely depends on the film’s style the director is looking for ).

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Number Two : You have to be physically fit. if by any chance you lifting a heavy light equipment and moving them from one place to another then lot of muscles are requires.On the images below are the sort of lighting you will have to lift.

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Number Three : Having a heavy knowledge on Electronics, computers and Electrical Systems.

If you ever need to work in the lighting working system you obviously need and require a heavy amount of knowledge on what you are doing with the system because since there are deadlines like when the particular light is needed for a film sequence or a concert date. Time is on the clock and what skills and technique is provided are highly necessarily and deeply needed. Because you will be planning , you will be constantly moving to different locations and often working long hours , especially when it comes to Concerts or working at the Olympics. So knowledge and grades are heavily in duty for this one.

The ways of becoming a lighting technician –

Going into drama on one hand and focus more on the technical level rather than the Acting/Performing level or gaining a practical experience by qualifying yourself as an electrician.

The Ways of becoming a lighting designer –

In a nutshell of becoming a lighting designer it is a bit like being a middle manager, There is a lot of talking, discussing and negotiating to be done with different groups of people in realising your design. You need to see as much Art and Theatre as you can , comparing colour combinations and observing and analysing how painters represent light on the canvas. You need to build many relationships and Watch others do it. It all comes up to luck and build up just like being a film Director.

END.


WEEK 3 : INTRODUCTION TO LIGHTING , UNIT 1