Sunday, 26 April 2015

exercise: screen space

Lexercise - two people communicating

script for screen space production exercise

Sarah is seated alone. She is holding something (a book, mobile or other item) that has  her attention. She seems distracted, absorbed by what she holds. 
Dan is standing [50m] off across the [park]. He notices Sarah but looks away.
Sarah looks up for a moment and notices Dan. She reacts with [loathing]. 
Sarah continues to look at Dan.
Dan becomes aware that Sarah is looking at him. He looks up at her. 
Sarah smiles at Dan. 
Dan begins to walk towards Sarah. 

Plan a series of shots (each containing only one of the two characters). Sketch the frame and think about the size. Think about how the size of the frame you choose and the space you place around the characters affects the apperception of the off-screen space. 

Sketches:

In my sequence, Sarah is not very pleased to see Dan. He is not very interested in talking to her either, but it seems that her feelings might be a bit stronger, as she cannot stop staring at him. Once Dan notices she has seen him, he acts friendly. Sarah regrets glaring at him immediately, but tries to smile while he approximates. 

Filming:
This is getting difficult as my main actor is 1,226 miles away. Therefore I have filmed this by myself. It is not easy to organise things in the screen in this manner, but I've done my best. 
When the facial expression was important I've gone for closer shots, even different camera angles. The result is below:



I have requested some feedback and the comments have been:
- the story is difficult to follow. Only if you read the script it is understandable. 
- it is hard to identify that they are in the same space. I should have found more linking elements in the landscape, or make a clearer opposition angle between them. 


An example of a good exercise is in Richad's blog. The angles of the camera and the space are clear and simple. Some very good acting here also! 
http://rjdown-dfp-log.blogspot.co.uk/search/label/Project%2011%20Screen%20Space

assignment 2 - feedback and reflections

I have received the feedback from my tutor, Robert Enoch, on assignment 2. In summary:

Well done:

  • confident use of lighting and composition - This is a good improvement from the feedback received in assignment 1 about the use of lighting. 
  • Scene 2 - well edited transition scene. Good use of dark and lit sides of the images. 
  • Good use of 'absence of diegetic noise' when needed by the story.
  • Under the sheets shot - Illness really can be isolating and makes one feel overly ‘in the body’ and this shot expresses this well. Good use of your imagination here. And the fade out works well to suggest a time has passed. 
  • Last scene - excellent use of light as a symbol of health
To work on:

  • story rhythm - The film is again, as it happened in assignment 1, a bit slow. I must keep on working on length of shots to generate the adequate rhythm of the story. 
    •  The beginning is way too slow and empty 
  • narrative - The film starts somewhat strangely in an empty kitchen - away from the main story of the sick man in bed. And that disrupts your use of a ‘narrative of light’ because you needed to begin the story in the dark room and then progressively bring the light in
    • about the scene of the tea - Is this really meaningful? - No, actually it isn't. I thought it would be interesting to have an introductory shot, but, as also Robert comments, the kitchen is too 'domestic'. He's got a point, as this breaks the hospital environment I wanted to create. 
  • acting - it's nice that Robert has appreciated the acting in both assignments. This is mainly thanks to Juan, main actor. Well done Juanito! and many thanks for your help!
  • mise-en-scene - I could have improved the first scene if I had given more importance to the pills, which are in the scene but don't get prominence.
  • camera viewpoint in scene 3 - should have been modified when she takes the thermometer and when she leans forward, to keep the focus on the sick person. Keep your audience in the privileged position of zoning in on all the key actions unless is a deliberate reason to obscure it. 
  • Increase content in your Research section - so true. I should report much more my work.  
If you want to contract time in a scene, you can use either:
a) Jump cuts: cutting only the most pertinent and telling actions together.
b) Cutaways: cut away from your scene of making tea to a shot of something related, like a clock ticking. When you cut back to the scene, you have shifted the action further along: she’s finished the tea.  

Suggested reading and viewing
Mood and atmosphere is very strong in Ridley Scott's movies. He was one of the first directors to make excessive use of light and often smoke (it makes light 'visible'). 

To work on this proposal I've watched two Ridley Scott movies (the two ones available on my online TV subscription), paying special attention to the creation of atmosphere and use of light: Thelma & Louise & A Good Year.

Use of elements to "show" light
We can see some examples below of how Riddley Scott uses the elements (dust in the air, or water, or smoke) to depict the light. The result is kind of magical and not obvious if you are not looking for its effects.
Curiously see how even when he wants to film in rain, he is using rain as a way of showing the sunlight.




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

Sunday, 1 February 2015

assignment 2 - creating atmosphere


For this assignment you’ll create a scene with a strong sense of atmosphere


The idea:
The objective is to film a scene where a person is ill and feeling bad, even a bit despaired. There’s someone else taking care of him. She is worried. Finally, when he begins to recover, both would show hope and happiness. The scenes would be lighted to suit the different moods, mainly the despair of the sick person and the peace of the final shots.

The light would be warm for all shots, but scarce sometimes. The colours would be based on whites as much as possible, to resemble a hospital and therefore the feelings associated with it.  Focus will be used to express not only depth, but also mood.

The storyboard:
Shoot 1: Someone prepares a tea. There's some pills close to the cup. 
I want this shot to be neutral and not to give away many things from the story. 
The mise-en-scène is pretty simple, the light is natural, clear from a sunny day. When the person who's making the coffee appears, she'll be wearing something white. The mug is also white. The only sound you hear is that from the kettle. 

Shoot 2: The person takes the tea and pills into a room which seems dark. 
The arrangement of elements is simple and straight forward this time, the viewer will see the door, the person wearing white getting into the room, into a poor lit room. There will be a change of light in this scene. All begins to become a bit gloomier. In this scene you'll hear only "silence" and the door opening. 

Shoot 3: In the room, there's a person in bed. By now the viewer would probably assume he's ill. 
The room light is very dim, natural light from the sunny day, entering through the cracks from the blackout blind. The bed cover is also white, as well as the tea mug and the "carer" clothing.

Shoot 4: The viewer listens a sound. It happens to be the thermometer that has the person in bed. 

Shoot 5: The focus is on the thermometer, so the viewer can see the sick person's fever. 
I'll use focus to show depth in this shot. You can see the unfocussed person behind the thermometer. The shot is an over the shoulder camera view. Colour is generally white (with the exception of the thermometer, that unless I buy a new one, mine is yellow with a Winnie the Poo sticker...)

Shoot 6: The person in bed doesn't feel good, therefore he covers himself with the duvet. These shot shows the person below the duvet. He'll look at the camera. I want to show his despair here. The kind of despair you feel when you are feverous and bored and tired. The light is obviously poor here. I'm thinking of lighting from outside the duvet with a warm light just over the scene, we'll see how that works. Hopefully light is diffuse but clear enough. Again the main colour in the scene is white, from the sheets, the person's shirt, etc. 

Shoot 7: The carer gets in the room. Her clothes are not white anymore, and she opens the window letting the light in. 

Shoot 8: She feels the person in bed forehead, smiles. The sensations are much happier now, just with the change of light. 

Shoot 9: She helps the now recovered man to wake from the bed. Sound needs to be more active. Probably the seagulls cries that from outside our flat. 





Evaluation 

While planning and filming the assignment 2, I have considered all the studied techniques to achieve creating atmosphere. See below a summarised analysis and some examples of the used techniques:

Colour: The main shade in the shoot is the colour white. The idea is to identify it with a hospital environment. Some colours, in certain contexts, would generate a mood. In this manner, something white in a natural lighted scene can express brightness and a light mood, but in a poor lit scene, with someone in bed, white can be associated with the, sometimes depressing and hopeless, mood of old hospitals (thankfully architects are conscious nowadays of the impact of their design in the ill person and modern hospitals move away from dimness and plainness). 

Light: The idea of depression and hopelessness would move mainly around the light. Even when it seems that it is a beautiful day outside, the feelings within the room are pessimistic and dark. Nonetheless, once the sick feels better, the natural light gets into the room, filling it with warmth. 
While he is ill, the light is coming only from one side, creating textures and shadows, increasing the sensation of uneasiness. Once the blind is open, the reflected light eliminates most of the shadows and the scene, creating an atmosphere of tranquillity. 

Balance: The rule of thumb has been generally followed for the shots, i.e. in the image where the viewer can see the thermometer, this is situated in the lower left grid point.  

Diegetic sound: I have re-recorded some of the sounds to eliminate disturbances and improve sound quality. I have also increased the sound of some elements, as the thermometer beep. In this case, the viewer would not know what is the sound until she takes the thermometer, but I have hopefully already grab the attention of the viewer to it. 
I have also used some very obvious sound effects in the last scene to increase the sensation of calmness, where you can hear some birds singing (my idea was for the birds to be outside, but some colleague has commented that it seems that the birds are in the room… I might have solved that opening the window, perhaps).

The result is, I think, only partially successful, not because the inefficiency or the bad use of the different techniques – I think they work quite effectively – but because of the atmosphere I wanted to create (despair, preoccupation, then move to tranquillity) is quite complicated. It would have been easier I think to show threat.
The first scene is neutral, introductory. The second scene, when she opens the door into the dark room, is effective in my opinion, as you can see her entering into the dim space.
The scenes within the room while he is ill might have worked better cancelling completely the natural light and using artificial, cold light, like a fluorescent.
The scene below the duvet I think that works quite well, thanks to the light colour, the dimness below the bed cover and the (very good acting) of Juan. For this scene I have also re-recorded the sight, to cancel every other background noise.
Finally, as mentioned before, the last scene is quite obvious: good warm, natural light, morning birds singing, equal tranquillity and peace. It would have been useful to insert some other colour into the scene to break with the white that was implying sickness, but I couldn’t think of a “natural” way of doing it. Perhaps a jumper that she could have left over the bed for him might have worked out. I changed the scene from the planned one in the story board, as this seemed a more normal action than getting up so suddenly from an illness. 

It has been a very enjoyable assignment, not at all easy, though. I find that I lack of some lighting equipment and, also, certain willingness to turn my little flat upside down and in that way create different stories with the adequate mise-en-scene. I have some ideas already… perhaps for the next assignment.


Monday, 8 December 2014

exercise: create a new soundtrack

OK,  I've changed my mind. It kind of felt bad not doing the exercise, and I really believe sound is half of the image (as mentioned in the course notes) so better practicing a bit... let's try and do the exercise. I have assumed the course notes make reference to the exercise in project 3, the feel of a frame, where we filmed the subjective point of view relapse of an alcoholic at home.
Here is the video, and below the list of sounds in it.



Note that describing sounds, not being an english native speaker, is not my thing. In the notes we are given some clues, like use a flavour, a smell, a colour, an emotion, physical texture...
  • the coffee machine: Mechanical, loud, vibrant, sour, dark, frightening.
  • the blinds opening: crispy, brisk, sharp.
  • the sound of the book pages and the book on the table: soft, melancholic, earthy.
  • opening the bottle: musical,  salty.
  • pouring the wine: joyous, musical, soft, light. 
Create a new soundtrack
Re-recording the sounds and editing them in the video editor. We need to create a new soundtrack for our video. The next things have been changed:
  • I have integrated the coffee machine audio between the two different shots, now the audio track is continuous
  • The blinds noise is recorded new, the previous audio discarded. Before we could hear other noises from the camera or the opening rod, i.e. the audio quality was bad.
  • In the TV shoot, I have introduced the sound earlier, when we are in the previous scene. I think this is cool, not any other particular reason. It helps to introduce a scene that is different from the previous, and quite different. 
  • I have joined the audios of the TV scenes, extending the audio from one scene into the next one and mixing them at the same level, so it seems more continuous, without obvious breaks.
  • I have eliminated sharp ends, i.e. when you stop listening to the TV, now it fades away instead of ending abruptly.
  • I have re-recorded the noise of the book. before you could hear noises from the camera, and the quality was not good, as the sound was almost imperceptible. 
  • I have re-recorded the sound of the steps. Again, the quality of the sound was poor, with some undesired noises. 
  • I have deleted, whenever possible, the noises from the camera and my breath. I have recorded "silence" in the room and filled the gaps with it. 
The results are below:



Friday, 28 November 2014

exercise: listening


Find the most silent place you can. Listen. What can you hear?
At home, in the open kitchen - living room, and alone at home. I can hear some mysterious sound from outside, it's always there, and I'm never sure where it comes from, it might be some water pumps from the bay, or some kind of equipment in the office block in front of my flat, but it's continuous, and sometimes it stops, leaving a - sometimes awkward, sometimes peaceful  emptiness. I can also hear the noise coming from the fridge, not the one when it's noisy, but the one that is there when it's quiet. Finally I can also hear the noises that my electric heating does when it's kicking off, like somebody knocking at low pace. 
Then I try to listen the same "silence" through the earphones connected to my camera. None of them, except probably the knocks from the heating, can be heard, as the main noise is created by the microphone itself. 

Can you identify the sound of silence itself?
As a building services engineer, I have studied sound as a physical phenomenon, and the different levels and measurement of sound. I know that silence can be different in different places, I know that in a classroom, in total silence, you might have 60dBA, and to design a hotel room you should select equipment not noisier than 30dBA at night (how, if 60dBA was already silent!? ah, cause silence is subjective to the environment). 
I also know that the purest silence we can create is in an anechoic chamber, and the sensations in it can be really uncomfortable, up to the point that you can't stand in it very long. 
I also know that if you create a very low noise design in an office, the people will complain, because privacy is compromised. Then you have to create some background noise (still people will only hear silence, though) to negate speech sound in adjacent areas. 
To conclude, silence is a weird thing. 

Then the notes ask to analyse the objects that were subject to make sound in the sequence we did for project 2. As I can't find any "sequence" requested in project 2, I leave this exercise... too confusing. Let's move on. 


Monday, 24 November 2014

exercise: atmosphere

Record two very short scenes (either a single shot or a maximum of four shots that edit together). Invent your own or pick from the list.
• A romantic dinner for two
• A depressed person alone at home
• Oh what a beautiful morning
• A stalker arrives
• A child takes its first steps

• Another mundane day at the office

Before you start, clearly define the atmosphere you intend to create. Think about how
you can use lighting, shade and colour to achieve this.
• Find a suitable location. Think carefully about available light and colour.
• Test how the light looks through your camera.
• Use additional materials to create desired colour and texture within the scene.
• Use reflectors and additional lights if they are available.
• Record your image(s) and edit them.


Well, this is not my most successful project. Should I have had some more time I would have tried harder, but I feel under the pressure of time, as I should already be doing assignment 2, so I have not waited to the proper light of set up the scenes properly. Below are the results for A Romantic Dinner for Two and Oh What a Beautiful Morning. 

A Romantic Dinner for Two




I tried to rely on the light of the candle to create the whole atmosphere, and it is not really successful, as we can see. Takes from above to the table, and during the dinner, would have possibly helped. 

Oh What a Beautiful Morning



In this case, it was almost necessary to have a sunny day. With more time I would have shot some takes at the park, with the sun through the trees, or having a coffee in a terrace.  
So, in summary, light is ESSENTIAL to create the atmosphere, and while editing the images I didn't stopped thinking that sound would also give a huge boost to the videos above, so lets move on to Project 10, Sound.

Tuesday, 11 November 2014

exercise: reflected light

In this exercise we test different reflectors. I tested different white textures, such as a paper and a white cloth. The white cloth reflector gives a very soft and faded reflection that is almost not captured by the camera. The major differences have been recorded in this short clip, changing different coloured hard surfaces and the white paper.
With different colour reflectors we can give the tonal colour we want to the scene, even when the main source is the same.