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Scene Recreation – reflection

The scene our group has chosen to make is taken from the film Butch Cassidy and the Sundance Kid. In this exercise, I was in charge of the on-set sound recording, as well as arranging the set and light filters. Most memorably, longer takes were a little difficult as it required holding up the boom stick for some time, as well as shifting it to follow the actors. We spent some time arranging the interior of the bar into a more convenient and similar environment, which took more time than expected. It was also helpful to learn how to fine-tune the lighting by using different layering of filters. I also worked on the final shot where the gun, after being shot, skids across the floor and rebounds off a chair leg. This was done by pulling the gun with a string slowly according to a designated route, then speeding up the shot to the desired pace. It took a few attempts before the correct positions could be achieved, but ultimately the effect was quite satisfying. 

The most successful part of the recreation is in the setting and the tone, as the location we chose was a bar that resembled the one in the original film. This made it easier to give off the same atmosphere and time period. The sepia tone, same as in the film, also helped to harmonise the mood of the exercise. Our actors are very devoted and in-character, and contributed to keeping the tense action and mood of the original dialogue. We managed to have similar lighting angles for most of the shots and create quite a close imitation of the film excerpt. However, some of the larger movements couldn’t match the original entirely, as the angle was a little awkward with shuffling around the tight space. Having to move up from behind the table created some difficulty. The background was not the same as the original, but was hopefully not too distracting. Most importantly, the final sequence showed sufficient speed. On the whole, I think we captured the feeling of the film in this scene recreation. 

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Short of the Week review – Heptapus 

This short film handles quite a few changes in mood very adeptly, from its early sense of action-suspense to the slow grief of its latter parts. The setting of each scene contrasts well against one another, from the tough grey boxing gym, to the cosy vintage living room, to the off-putting colours of the beach. Varying degrees of lighting create a sense of comfort or danger. Each character shows a distinct personality and the dynamic between the main duo works out well to a humorous effect, having the charm of a small comedy without the typical embarrassment that pops up in this genre. 

The story proves to be a genuine surprise, as rather than a prolonged struggle against an octopus, it is the protagonist’s internal struggle that takes centre stage. His need to prove himself as well as his need for companionship is brought to surface by the loss of his dog. While quite heartwarming in its current form, it would have been interesting if the reconciliation between the two main characters took longer, and showed more change in the characters’ priorities. However, the general absurdity of the film allows for this quick resolution, and it is coherent with the world built. Overall, it is an enjoyable short film. 

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‘Language of the Lens’ – Reading Summary

The lens is used to communicate greater meaning in the image captured, through various ways alongside the choice of frame. Different lenses can normalise or alienate the image to the audience, in how they differ or align with human vision. The recreation of depth, as well as the size of an object in the frame, express its cinematic importance. Wide lenses can create distorted images with strong psychological effects, while telephoto lenses compress space and create a flattening effect. Long lenses also make images more attractive and change how we perceive movement, in favour of speed. 

Other methods may be used to manipulate the mood of an otherwise innocuous image, such as enlarging elements of the scene, motivated lighting, and framing. Another tool is the selective focus, which shifts the attention of the audience, between objects in foreground or background, or between characters as they speak and experience emotional moments. Certain lenses also offer visual effects, such as flare or soft lenses. High angles or low angles could give variety and provide perspective, showing non-human worldviews for example, or show power differences. Disorientation can be created with a dutch tilt that places the camera off level. 

All these are ways in which the lens may create more layers of meaning in the image. 

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Film Production Workflow Exercise 1 - Framing and Composition

In this exercise we are to portray a character taking an action, in two versions; one with centre framing, the other in accordance with rule of thirds.

For this exercise, we chose to have our protagonist learn to waltz by himself. He begins with timid steps, then grows more confident, but falters eventually when he realises how lonely this prospect of dancing alone is. Framing is used to show solitude but with different connotations.

Centre framing:

In this version, the protagonist is really seen as a main character, and we follow his emotional journey alone. His performance is the centre of attention. The camera follows him and his interior feelings are visually placed upon him. There is less of a focus on the surrounding environment.

Rule of thirds:

In rule of thirds, the absence of a partner is made more prominent with the negative space. The protagonist occupies less of the frame and what is lacking is more obvious. The interior loneliness of the character is projected into the surrounding environment, the exterior as a reflection of the interior.

Personally, I prefer the rule of thirds framing, as it creates a stronger feeling of absence and loneliness, and what is not seen is often as powerful as what is seen. Planning and filming this exercise was fun in figuring out how to use the space and movement and remain in line with a certain framing choice. Really realising the infinitely large number of ways the same action could be shot is interesting.

Below is the script of the exercise: