exercise: images with depth

Thinking specifically about the sense of depth within the image, try to produce three
images that each represent one of the following atmospheres:
• Dynamic/exciting /adventurous
• Oppressive/dull/stifling
• Complicated/confusing/uncomfortable
• Refined/mature/reasonable

Complicated/Confusing/Uncomfortable 


I first took this video thinking of dullness, and was trying to get an image plain in colour, and compare it with the second shot, where I have included a tone of blue. Then I realised that the dull image needed not only to be dull, but also stifling and oppressive, which this is not... So I decided to use it to express a more deep emotional, wordiness, complicated feeling.
I think that, in context, this could be use to express this. Would really work well a hard light, creating deep shadows.
In terms of depth, the first image looks plainer than the second one, and yet the blue works OK with the mood in the image, as everything is grey/blue.

Dynamic/Exciting/Adventurous


I chose these three shots for the dynamic/exciting/adventurous subject. I thought that the sunset light would work really good with this theme, with its warm colour and soft quality, creating very soft shadings, and I think it has worked OK.
To create depth I have positioned the camera behind some people who was closer in the first two shots, so I am creating obvious depth with big elements in the foreground. I have also increased the focal length, so the distant objects are unfocused.
Wandering around with the bicycle then I found this kayaking competition. The sun was already pretty low, so the lighting of the scene is pretty poor, and I don't think this works OK with the theme, but in terms of depth it had a good use, as the warmer colour of the foreground light created depth with the shadowed area in the foreground. Depth is also created by the created perspective of the landscape and people (people in the front, and in the background building).
Action and dynamism, though, is mainly created by the subject matter and not by the shoot.

Oppressive/Dull/Stifling


My first go with this video was a shot of myself with a pile of clothes on the couch, and the light set up very low, lighting me from one side at 90deg.
The problem with that shot was that due to the light coming from the opposite side than the pile of clothes, it was difficult to see the pile, therefore you couldn't appreciate any oppressiveness. Also the depth was not very significant. On a second try of this approach, I shot from behind a bookshelf, so the same subject was framed by the furniture, giving the idea of a more closed and stifling space, and including the (required) element of depth into the equation. This didn't work either as you could not really see the messiness from the angle I shot.
Finally, I decided to go for the video above, where Juan is giving a kind of speech (he was actually moaning about having to help me with my homework). The depth has been created with illumination, as I have illuminated the shelves behind from above, in a dark space. The oppressive feeling has been created with the lighting on the actor - from below, and generating hard shadows - and also with the low camera angle.

assignment 1 - feedback and reflections

I received the feedback from my tutor, Robert Enoch, on assignment 1. In summary:

Well done:

• push the limits in the story
• experiment with framing, reflections, background and foreground 
• Last scene: "I really like this shot, the evening light, the framing of the horizon and the edge of land and sea that once again has a metaphorical value here about frontiers. But you’re doing something very special with this shot, keeping the audience waiting, thinking about these things, thinking about the woman’s situation. When the guy comes along, and just sits there silently and they slowly turn and look at each other, there’s a wonderful comic philosophical question mark hovering over the whole scene about whether this is actually what they want. It begins to bring up questions about body and soul. There is of course a mystery here about whether this guy is the one who sent the message. But in a sense that doesn’t matter, because in this context we know little about the girl either and he is only the second person we have seen."

To work on:

• think further the different shots that might be required. At the beginning, in the shots of the received message, the woman picking up the phone, the woman tapping, why not one single shot, zooming in? 
• Work on the flow of the scenes. In general, the shoots are too long, for instance the first scene, with the phone on the table, or the sequence of the woman putting on make up - only the action of the lipstick would have been sufficient, with a "beat" lapse of time after she closes the lipstick. "All you need is the most telling moment"
• light and exposure. Work on lighting the scenes, not only to allow adequate exposure but also to create the desired emotional effects. 

Suggested reading/viewing
Take a movie which has a strong sense of atmosphere and analyse one or two key scenes asking the questions:

• What does the lighting and sound contribute to the mood of the scene?
• Is the location, set or ‘mise-en-scene’ affecting the atmosphere?
• How do the actor’s performances and the dialogue (if present) affect the atmosphere?
• How does the montage (i.e. the sequence of shots) develop the mood?

To work on this proposal, I've watched Her, written and directed by Spike Jonze, cinematography by Hoyte Van Hoytema. The scene I've chosen is that one when Theodore, the protagonist, has a blind date with a woman.

While they are at the bar, the date seems to be going well. They drink and chat and seem to be having fun. They are comfortable. The mise-en-scene shows a futuristic restaurante, with warm lighting, which helps to the feeling of comfort.
The lighting elements also helps to make a kind of magical, futuristic environment, as the lights seem to be floating in the background. The fill in light is warm, as are the colours of the scene, most of them yellow and red.
The curved walls create a closed, embracing feeling.
The actors are both showing that they are comfortable with their body language (see the first image above when both are leaning forward, to each other, which express interest).
The montage moves from a wide frame (first image above) to every time more close close ups, until it ends with the face only of the protagonists. This sequence does also help to move us from seeing the ambient, the environment, to perceive their feelings closer from their expressions and looks.

Edit 29/11/15 to attach copy of my tutor's report: