LO4: Be able to record cinematic quality footage

LO4: Be able to record cinematic quality footage

Media Influences

The Big Lebowski

The characterisation of the characters within the short film was inspired by The Big Lebowski and some shot types such as a transitioning/panning shallow depth of field to give focus to the object of the shot. The object then creating a parallel with the object to the character. 

I took influence from this shallow depth of field and its characterisation by planning a panning shot that changes the camera's focus as it pans towards the protagonist; in this case, rather than the iconography of a bowling ball, it's a pint of beer.

I want to further a similar characterisation with  the assistance of practical effects to parallel The Big Lebowski and it's iconic 'White Russian' cocktail. I want to use tungsten lighting however, to differentiate the shots and resemble the golden colour palette of the (Old Fashioned) cocktail the film's protagonist would make. I wanted to further this with extravagant props and the appropriate close-ups to convey them; juxtaposing the protagonist's lethargic demeanour with exaggerated props.

Reservoir Dogs

During conversation between character dialogue, I want shot types and cuts, such as shot-reverse-shot sequences to create a similar effect to the dialogue interchanges within Reservoir Dogs, partly due to its similar genre. The ambient day-lighting also furthers verisimilitude for the situation rather than a stereotypically dark shot which is something I'd like to consider contextually in the production of the film.

Using over the shoulder shots to signify which character is talking to who and immersing the audience into the listener's perspective as a specified individual takes centre stage in the conversation: in Reservoir Dogs case, this is Mr. Pink; in the case of the short film, this would be the protagonist during his meeting with the mob boss. However, to create tension and characterisation between the two, I would use primarily low angle shots of the mob boss to signify his power in the situation.

Rushes

Scene 1 - Character Introductions

Before

After

I wanted to create a parallel montage in how the other mysterious mob member and the film's protagonist: between the offline and post-production edits, I created adjustment layers with varying extents of low-key lighting applied to their respective footage. In application, this gave more emphasis to mid-tone shadows in the first (mob member) montage to create and further the motif of mysterious or dangerous connotations applied onto these gangsters. The higher exposure and emphasis on contrast applied to the protagonist however, juxtaposed this with a greater emphasis on high-key lighting to reflect the good-nature of the character in contrast to the others in the scene. In comparison to before editing, the shots were similar in lighting and therefore, characterisation, so this lighting change to create these conflicting connotations was necessary. 

Scene 1 - Mob Boss Meeting

Before

After

After some post-production editing, the shots to introduce the Mob Boss had their lighting changed to create darker tones within the picture to further connotations of mystery or unease when he's on screen. I wanted this to juxtapose the protagonist who was exposed by natural lighting allowing for a binary opposition (Levi Strauss 1958) to take place between the characters and their contrasting high and low-key lighting. I achieved this by applying a vignette and adjusting colour tones via adjustment layer in Premiere Pro.

Scene 6 - Car Argument

Before

After

For this scene, I wanted to alter the lighting with an adjustment layer that would further the contrast of the image with colour key controls and give a more vivid impression of dusk; blurring the background further to give more focus to the close-up of the protagonist. This allowed me to artificially increase the aperture of the shot. This created a more cinematic picture with deeper contrast. 

Scene 5 - Drug Bag 

Before

After

To further the gritty connotations of the crime drama genre, I used further contrast techniques following lighting rushes to create exposures of shadow in this scene; creating a cinematic, gritty appearance to the image.

Rushes Meeting Conventions

The rushes I have outlined follow the plans for camerawork and lighting as highlighted in each individual scene. Examples such as scene 1 and 7 with their high-tension connotations and juxtaposing character dynamics, are highlighted in the rushes with low-key lighting conventional of other crime-dramas like Reservoir Dogs. This is evident in both storyboard planning and footage with juxtaposing shades of low-key lighting (exposure against darkness) and shallow depths of field to create cinematic shots of characterization. 

Further examples in relation to other influential media, like The Big Lebowski, can be seen in camerawork and lighting in scene 2 through conventional montage sequence progression. The effect of the scene's tungsten lighting and how it floods the character's home creates connotations of isolation with no daylight to be seen, which are then furthered by the flamboyant tracking camera shots that follow the creation of a cocktail. The camera finally pans outward on the man collapsed on a sofa, exposed without a care in the sanctity of his home. This is juxtaposed however, by an over-the-shoulder camera shot to introduce Giovanni as the mysterious friend to Custeau, the protagonist and establish how their relationship functions by hidden exploitation. This matches the tone set by the storyboard's introduction of the characters as Custeau is characterized by the actions of his daily life through a flamboyant montage and body language for a drab action. This parallels the kind of introduction through a panning wide-shot of 'The Dude' in The Big Lebowski as he is characterized in the same way. This scene did change however, from the planned storyboard to further differentiation from the two media as Custeau's original montage was within a supermarket and his conversation with Giovanni occurred over the phone in his car.

Another example which  followed drama conventions influenced by inspiratory media was the shot-reverse-shot, close-up structure between Custeau and Giovanni within the film: this was made in parallel to the similar sequence in The Big Lebowski to signify the tension of the situation (through close-ups) juxtaposed by the intimate, long-time relationships and facial languages of the characters. This followed the planned sequence of the storyboard.

The shots I created for these two sequences where the protagonist is introduced to the mob boss and other gangster followed conventions akin to media influences like Reservoir Dogs. Evident in the first shot which followed planned storyboard shot-types of a shallow depth of field panning shot (low angle), an intimate and isolating shot juxtaposes the protagonist against the gangsters. This is then conveyed in a wide shot where the protagonist's position in the shot's centre, furthest away from the camera as the other two stare at him in contrasting, formal costumes. 

I juxtaposed this wide-shot with isolating shots of each character and a challenge of conventions of power representation in the scene to convey the point of the narrative. A shot-reverse-shot creates an eyeline match between a low angle of Custeau and a high-angle of the Mob Member. What follows is another low angle of the Mob Boss who tells the gangster to leave. This use of camera angles, as planned with the storyboard, furthered by the editing of a shot-reverse-shot, eyeline match, signifies who is really in charge of the scene as the Mob Boss controls the total presence between characters in his juxtaposing traditional camera angle and connotations of power.

Overall, the rushes for the film followed the conventions of the crime drama genre through stereotypes (of Mis-En-Scene) like formally dressed gangsters and sketchy bars for interrogative meet-ups with shot types that further the connotations of those stereotypes. These would include shots with low angles and low-key lighting set-ups. This is furthered by post-production editing on the rushes, and the  stereotypes which are challenged so that they can be subsequently reinforce the characterisation of intimidating and controlling characters.

 

Planned editing structures like shot-reverse-shots further this characterisation in combination with shot-types like close-ups that signify the intense intimacy of grittiness or character relationships in the crime drama genre. This kind of characterisation is something taken from my media influences and the representation of stereotypes (of power) in The Big Lebowski and Reservoir Dogs.

Aperture

For my aperture values, I'm going to use a value of F16 due to the natural lighting of my outdoor scenes to create verisimilitude and cinematic picture quality in those outdoor shots. However, for my indoor lighting scenes, I planned to use a larger aperture value to create further contrast in the image and use low-key lighting to create connotations of tension within those scenes. Therefore, an aperture value of  F1.8 would be appropriate. This is because a bigger lens (aperture size) is needed to capture more light in a darker location. 

Shutter Speed 

To create cinematic picture quality which is consistent throughout the film, I'd use a shutter speed setting of 1/250. 

Lighting & Camerawork Notes

Scene 1

Camera: Shallow depth of field with F4 (low) Aperture and focus change, high shutter speed, ISO 800 due to daylight tones but indoor imagery

Lighting: Low-key with natural daylight and artificial tungsten lighting: focus on tungsten lighting when depicting Mob Boss and daylight when showing Custeau/protagonist

Scene 2

Camera: Shallow depth of field with F4 (low) Aperture, high shutter speed, ISO 1500 due to indoor, low-key artificial tungsten lighting

Lighting: Low-key artificial tungsten lighting

Scene 3

Camera: Deep depth of field with F20 (high) Aperture, high shutter speed, ISO 200 due to outdoor natural lighting

Lighting: High-key natural outdoor lighting

Scene 4

Camera: Deep depth of field with F20 (high) Aperture, high shutter speed, ISO 200 due to outdoor natural lighting

Lighting: High-key natural outdoor lighting

Scene 5

Camera: Deep depth of field with F20 (high) Aperture, high shutter speed, ISO 200 due to outdoor natural lighting

Lighting: High-key natural outdoor lighting

Scene 6

Camera: Deep depth of field with F20 (high) Aperture, high shutter speed, ISO 200 due to outdoor natural lighting

Lighting: High-key natural outdoor lighting

Scene 7

Camera: Shallow depth of field with F4 (low) Aperture and focus change, high shutter speed, ISO 800 due to daylight tones but indoor imagery: focus on tungsten lighting when depicting Mob Boss and daylight when showing Custeau/protagonist

Lighting: Low-key with natural daylight and artificial tungsten lighting

Scene 8

Camera: Shallow depth of field with F4 (low) Aperture and focus change, high shutter speed, ISO 500 due to daylight tones

Lighting: Low-key evening outdoor lighting

Evidence of Setting Up Camera Equipment

Camera

Setting up Camera & Tripod for Scene 2 Montage Sequence

Lighting

Use of Artificial Tungsten Lighting With On-Hand Equipment (Scene 2) And Limiting Natural Sunlight in The Scene

Altering height of tripod to achieve a low angle effect and limiting the exposure of natural sunlight to create dusk-like low-key lighting 

Using a free-hand camera without the tripod to achieve a low angle close up for a cut during a short montage sequence