Tuesday, 11 October 2011
Wednesday, 13 April 2011
Film Noir Lighting
Continuing on from my previous post on Film Noir, here are a few examples of Film Noir lighting and how to achieve it.
I have already used Film Noir influenced lighting in a couple of my films. I plan to really focus on the lighting and creating a Film Noir look on the film I will develop over Easter.
I have already used Film Noir influenced lighting in a couple of my films. I plan to really focus on the lighting and creating a Film Noir look on the film I will develop over Easter.
Parkour Film Notes
* POV Bullet Cam
* Follow 1 primary person but they cross paths with others
* Protagonist tasked with picking up and delivering a package - meets some obstacle
Story
* Start with Will stood overlooking Sheffield
* He looks down at a piece of paper
* Written on it are co-ordinates
* He tears up the paper
* Background noise of music becomes full volume as he puts his headphones on
* General Parkour video to get to the pickup
* As he gets there another courier arrives with the bag
* They look at each other (POV) we hear each other's music
* Some elaborate handshake/passover
* As first runner leaves we see through the eyes of another runner
* He speeds towards Will and relay passes him more coordinates in an envelope
* Will heads off
* Men in black car screech to a halt blocking his path, he vaults the bonnet, he runs faster but unalarmed (as if expecting the trouble)
* Other men dressed in black keep appearing as he runs - with earpieces - tracking him
* Runs along a rooftop - someone similarly dressed is blocking his path - he changes direction - vaulting/jumping but they follow him also jumping/vaulting
* Will begins to look less composed but becomes more determined - the pursuer keeps up the pace
* The pursuer makes a bad landing in an alley, breaking his ankle and collapses into a heap
* Will stops and turns as he tries to stand but drops to his knees
* Will pauses but then turns and runs
* Will arrives, breathing heavily at the dropoff
* Follow 1 primary person but they cross paths with others
* Protagonist tasked with picking up and delivering a package - meets some obstacle
Story
* Start with Will stood overlooking Sheffield
* He looks down at a piece of paper
* Written on it are co-ordinates
* He tears up the paper
* Background noise of music becomes full volume as he puts his headphones on
* General Parkour video to get to the pickup
* As he gets there another courier arrives with the bag
* They look at each other (POV) we hear each other's music
* Some elaborate handshake/passover
* As first runner leaves we see through the eyes of another runner
* He speeds towards Will and relay passes him more coordinates in an envelope
* Will heads off
* Men in black car screech to a halt blocking his path, he vaults the bonnet, he runs faster but unalarmed (as if expecting the trouble)
* Other men dressed in black keep appearing as he runs - with earpieces - tracking him
* Runs along a rooftop - someone similarly dressed is blocking his path - he changes direction - vaulting/jumping but they follow him also jumping/vaulting
* Will begins to look less composed but becomes more determined - the pursuer keeps up the pace
* The pursuer makes a bad landing in an alley, breaking his ankle and collapses into a heap
* Will stops and turns as he tries to stand but drops to his knees
* Will pauses but then turns and runs
* Will arrives, breathing heavily at the dropoff
Tuesday, 12 April 2011
Something to do after Easter
Because we have almost 5 months between the end of Easter and the start of our third year I intend to use that time to develop and Direct several films. Here is a short film idea that I am developing with a friend of mine.
A ten-minute film that literally opens with a bang. It begins at the inciting
incident. Some dramatic event has occurred moments before the film began. A
murder?
Aesthetic ideas to explore include:
The idea of two contrasting cinematic style means that a dramatic event has to occur that is big enough to warrant such a change in style. Something must occur to the protagonist that changes the path they are on.
A ten-minute film that literally opens with a bang. It begins at the inciting
incident. Some dramatic event has occurred moments before the film began. A
murder?
Aesthetic ideas to explore include:
- Film Noir, something visually expressive that uses light and shadow and is thoroughly thought out in pre-production.
- The idea of the long take, as in Orson Welles’ Touch of Evil.
- Contrast – two styles of aesthetic. The stylised and expressionistic nature of Film Noir versus the raw and loose nature of the French New Wave.
- Sound should be an important component of the film. How can it be used to dramatic effect? The use of soundscapes etc.
- A film that has a proper and professional colour grade, with sufficient post-production given to this.
The idea of two contrasting cinematic style means that a dramatic event has to occur that is big enough to warrant such a change in style. Something must occur to the protagonist that changes the path they are on.
Grindleford Ideas
Padley Manor and Gatehouse
- Meeting of a secret society
- betrayal
- Initiation
- Conspiracy
- Seems oldern but watched by photographer?
Money Tree
- Fairy Tale
- A boy is walking through the woods with his parents
- They stop for a picnic
- He goes to wonder off, they tell him not to go far
- He finds the money tree
- He meets a young girl
- They talk
- They play together
- She takes him on a magical journey
- They get back
- His parents call for him
- They find him but the girl has gone
- We see a small plaque dedicating the tree to the little girl
Smugglers using tunnels in the mountains
Fantasy film using the entrance?
The Secret Society:
Premise: Jonathan Parkes, an investigative journalist falls foul of a secret society he has been investigating after he finally uncovers them.
Short 3-5 minute film, but possibly the idea could be the start of a 10 minute film.
Main focus is the chase
Characters:
The Journalist:
- Jonathan Parkes
- 31
- Slim, Dark Hair
- A good photographer but not well established as an investigative journalist
- Works for a small local newspaper
- Boss doesn't believe in the story so he investigates on his own time
- Just discovered proof of their existence, actual photos of them
The Hooded Men
- Members of an acient society
- It is very powerful and far reaching
- They have been watching John for some time
- He go too close and must now be dealt with
The Story:
- Padley Manor Gatehouse - Night
- The hooded men are gathered around in a half circle, the only light are the burning torches, they are talking in a ritual. A figure with a black hood covering his face is dragged on.
- Flashback to Forest - Day
- JOHN (31) a slim, dark haired man is breathing heavily. A camera is dangling precariously from a strap around his neck, the lens cap still removed. With a look of absolute fear he runs, faster than he ever has before. The thin white trees whip past him as he goes by.
He steals a quick glance over his shoulder and he sees them, the hooded men. They are advancing slowly but somehow they are always close behind him, no matter how fast he runs.
- Continues running
- Running for his life, moss covered rocks slow his escape. He doesn't look behind him now but he knows they are there.
- Tunnel
- See the stone entrance, has heard of tunnels through the mountains so runs, hoping. He stumbles down the steps and into the darkness, his phone lights his way.
- Exit tunnel
- The tunnel becomes narrower until he is crawling. He emerges in between a formation of rocks.
- Standing
- He breathes a breath of relief, but it is short lived. A dark bag is placed over his head and then darkness.
- Back to the Manor
- A knife is handed to one of the hooded men, nervously he steps forward and removes his hood.He hesitates and we see from Jonathan’s eyes as the knife is thrust through his heart. The world begins to fade and then Jonathan’s body slumps to the floor. Then thrown in a grave with his camera.
- A knife is handed to one of the hooded men, nervously he steps forward and removes his hood.He hesitates and we see from Jonathan’s eyes as the knife is thrust through his heart. The world begins to fade and then Jonathan’s body slumps to the floor. Then thrown in a grave with his camera.
- People stood around talking at night, fire, in cloaks
- Initiation
- Words being spoken for it
- Flashback to someone running away
- It's day and night we can see the monks moving slowly behind him
- He runs through several locations
- He finds the tunnel entrance and bolts down it
- Running in the tunnel using phone as torch
- Get out of the tunnel, possibly in rock formation, stands on top.
- Looks at view, breathing heavily.
- Stands up and a hood is put over his head.
- We hear voices but see nothing, then the hood is removed and a young monk with a knife is stood opposite him.
- He approacehes (still pov), leans down and thrusts the knife towards the man, we hear his scream.
- Then we seem him slump forward (third person) with the young monk stood over him with the bloody knife.
- Cut to burying him, there is a camera with photos of them
- The camera is destroyed/buried with him
Discover more
Good pace and tone
How to we know that the character knows? Show it 'looks determined'
The Rules of Film Noir: Documentary
The Rules of Film Noir is a BBC Four documentary about the origins and influences of the Film Noir Genre. Film Noir is a genre that I have always found interesting. I have been wanting to make a Film Noir film for a while now.
Film Noir is a world of cigarettes, rainy streets, shadows, guns and black. It is a world of sinners starring a dame with a past and a hero with no future.
Film Noir Characters:
People in Film Noir desire to escape this world gone wrong. They are trapped in these spaces, trying to rip their way out of them. The inner monologue is often used to carry along the narrative.
The visuals of Film Noir are smoke, dimly lit streets and long shadows. It is monochrome, dark and moody.
The European film-makers who moved to America to escape the Nazis in WW2 brought new styles with them such as German expressionism, which heavily influenced Film Noir.
Noted Film Noir:
Film Noir is a world of cigarettes, rainy streets, shadows, guns and black. It is a world of sinners starring a dame with a past and a hero with no future.
Film Noir Characters:
- Femme Fatalle - the black widow, beautiful and sexy but you can't trust her, dangerous, superior
- Men - drink too much, earn too little, struggle under the weight of their cynicism
People in Film Noir desire to escape this world gone wrong. They are trapped in these spaces, trying to rip their way out of them. The inner monologue is often used to carry along the narrative.
The visuals of Film Noir are smoke, dimly lit streets and long shadows. It is monochrome, dark and moody.
This is achieved with very stylized Cinematography. The lighting is down low, with only 1 or 2 lighting sources. Low angle shots make characters appear taller as they come towards the camera to appear more menacing. Off-screen space was often used for violence to get round strict censorship laws but also because the audience will imagine something much worse than anything the film-maker might show.
The European film-makers who moved to America to escape the Nazis in WW2 brought new styles with them such as German expressionism, which heavily influenced Film Noir.
Noted Film Noir:
- Double Indemnity, by Billy Wilder - 1944
- In a Lonely Place, by Nicholas Ray - 1950
- The Killers by Robert Sidomak - 1946
.
Monday, 31 January 2011
The Long Take
The long take " is an uninterrupted shot in a film which lasts much longer than the conventional editing pace either of the film itself or of films in general, usually lasting several minutes. It can be used for dramatic and narrative effect if done properly, and in moving shots is often accomplished through the use of a dolly or Steadicam. Long takes of a sequence filmed in one shot without any editing are rare in films" 1
The long take is something that really interests me as a film-maker, it's not something I've ever done before and I'm very keen to try it. Although it probably won't be anywhere near as impressive as some of the more well known examples of it.
One of the most famous uses of this is the opening scene of Touch of Evil by Orson Welles:
It's an amazing shot both technically and dramatically which ends with the explosion of the car.
Another great example is the corridor fight scene from OldBoy. Traditionally fight scenes involve a lot of different shots and quick editing. So it's really interesting to see it done in this way:
There's a great blog post with several more examples of the long take: Here
It's fascinating to see how different film-makers have used long shots. Alfred Hitchcock wanted to make his 1948 film Rope entirely in one continuous shot but due to the limits of how much film a camera could hold he was limited to 10 minutes at a time. The final film is made up of 11 shots that are cleverly edited together into one seamless take.
Snake Eyes is a great example of invisible cuts. The first 20 minutes of the film appears as one take, but there are 8 cuts clever hidden throughout. This is another aspect of long takes that I am keen to try.
Perhaps with a lot of practice with my steadycam and a dolly-track I could come up something half decent. We'll see.
The long take is something that really interests me as a film-maker, it's not something I've ever done before and I'm very keen to try it. Although it probably won't be anywhere near as impressive as some of the more well known examples of it.
One of the most famous uses of this is the opening scene of Touch of Evil by Orson Welles:
It's an amazing shot both technically and dramatically which ends with the explosion of the car.
Another great example is the corridor fight scene from OldBoy. Traditionally fight scenes involve a lot of different shots and quick editing. So it's really interesting to see it done in this way:
There's a great blog post with several more examples of the long take: Here
It's fascinating to see how different film-makers have used long shots. Alfred Hitchcock wanted to make his 1948 film Rope entirely in one continuous shot but due to the limits of how much film a camera could hold he was limited to 10 minutes at a time. The final film is made up of 11 shots that are cleverly edited together into one seamless take.
Snake Eyes is a great example of invisible cuts. The first 20 minutes of the film appears as one take, but there are 8 cuts clever hidden throughout. This is another aspect of long takes that I am keen to try.
Perhaps with a lot of practice with my steadycam and a dolly-track I could come up something half decent. We'll see.
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