#cinematog

[gothprentiss]

making gifs of wh13 is such a pain in my ass bc it's like, such a not well put together show and i am trying so hard to say that nicely. it has many charms, etc., and you can't really hold it to a standard of Convenient For Mediocre Gifmakers. but still! minor issues with continuity editing are very easy to not pay attention to while watching but then you've got, like, shot-countershot and they're each about 30 frames so you SHOULD be able to put them together in a single gif except when you do they look bonkers, and don't get me started on the lighting and color grading.

i have been trying to make gifs of this particular sequence for ages and every time i try it i've got more adjustment layers than frames and i'm almost 100% sure i've made it worse than the show looked. to be sure it's a close race. grumble!

[thoughtfulchaos773]

The Bear Season 3 & Meta Filmmaking II

with the opinions & work of William Friedkin

This is who Richie is this season.

Here is Part I on meta filmmaking, where we discuss the first branch of the film legacy: Hitchcock, who inspires the meta filmmaking choice this season and self-reflexivity- the director surrogate, Richie.

Richie, as director surrogate, guides us through dialogue inspired by William Friedkin.

The part of the legacy Storer took from Chicago native Friedkin was his passion for filmmaking and his opinion on the movies and the industry itself. Friedkin considered the Academy Awards as a fool's errand to pit art against art, and Richie's dialogue on The Star System for Restaurant highlights this.

Interestingly enough- did Storer tell his own prophecy? Before falling off Hollywood's grace, Friedkin came from a high of two highly acclaimed films (like The Bear's two highly acclaimed season), Friedkin was riding off a high from The French Connection and The Exorcist, but his third film received mixed reviews. I'm wondering if this season was Storer's big fuck you to the Hollywood System and Awards System.

Another note: Hitchcock's Vertigo received mixed reviews from critics but now is referenced in filmmaking legacies.

We haven't seen Storer give any awards speech, have we? Calo has shown up, but no Storer.

Legacy not only comes from the work but also comes from the opinions of those before you.

For Friedkin's work- it can be taken as part of the legacy and why most of us here are seeing all sorts of horror inspiration this season.

The Hitchcock-Friedkin legacy.

Fun fact: William Friedkin's Exorcist- well, exorcist steps- where the priest falls to the death were informally called "Hitchcock steps"for famed suspense and horror film director Alfred Hitchcock. But is now referred to as The Exorcist Steps. Legacy!

If we go based on other legacies—based on William Friedkin's opinions of Hitchcock, he inspired the editing of Friedkin and his understanding of suspense, which influenced his movie-making skills for The Exorcist. @moodyeucalyptus explained they see parts of Mike Flanagan's Haunting of Hill House as we discuss the hauntings of this season. How is Mike Flanagan part of the Friedkin Legacy? He was inspired by the workings of the exorcist and is now part of the new remake.

Another horror inspiration: Now how is Friedkin related to another horror legacy that @espumado wrote a meta on this week?

The exorcist legacy comes from the Night of the Hunter legacy.

Carmy: Like, um, something would start somewhere, and then, uh, people would take that thing and then they would take it somewhere else. So, all these parts of an original restaurant would end up at a new restaurant, and that kind of thing. That would happen over and over again. And then all these parts of all these restaurants, they would sort of…You know, they would find each other. And then new people would take those parts and put ’em into their restaurant. And the whole thing, it would, um… It would start to happen all over again.

This is all about legacies and meta on where Chris gets his parts.

But how does this relate to Sydney and Carmy?

As we talked about before, Richie is observing. Friedkin, whose legacy comes from Hitchcock, believed Hitchcock was Observational in his directing. Richie the character included himself in the narrative but the one narrative he stayed out of and only observed this season was Sydney and Carmy.

Richie is the director's surrogate, who highlights and explains the basics of why Carmy is the way he is—not who Carmy himself thinks he is but what the audience can take from Carmy's self-sabotage.

The story we are observing is correct. This dynamic between Syd and Carmy is worth examining because it is a central part of the story and a big aspect of the filmmaking process.

I'd say it's proof! Richie is telling us our eyes are not deceiving us; the dynamic is interesting.

As an audience, we subconsciously absorb the cinematography, music, direction, and dialogue, taking cues on the story being told and its inspirations. Another ledge that can show us that their synergy is legit its filmmaking technique in editing.

Friedkin-Scorsese-Hitchcock favorite part of filmmaking is the editing. Scorsese is the best example of this, and I'll explain his legacy in editing in the next part and why that relates to sydcarmy.

Read:

Hitchcock and His Use of Surrogates

Ancestors and The Bear by @whenmemorydies

Richie and The Viewer by @whenmemorydies

Natalie & Night of the Hunter by @espumado

The Bear Season 3 & The Mirror @currymanganese

Richie's Journey is not Over @currymanganese

The Paradigm Shift @brokenwinebox

Taglist: @yannaryartside @whenmemorydies @ago0112 @chaoswillcalmusdown @ambeauty @anxietycroissant @turbulenthandholding @tvfantic87

[evidenceof]

wicked getting cinematog/best picture noms. god it’s bleak

[sachapopmusic8rat]

Amplification of semiotic particles through a dynamic cinematic music video

Hey everyone! Today I'll try to thoroughly explain the use of amplification in music videos and as a relevant example I've decided to use one of my favorite artists during my teenage years, NF ! NF in particular always made sure there always is a cinematic aspect to his music videos. Iconic lyrics, carefully crafted intrinsic sentences and aspects to the diegesis of the message he wants to tell throughout each of his video clips and songs, yet so cinematically well used. There is a genuine need for the signifier to not lose sight of how the signified may be perceived by the audience and yet NF manages to connect the semiotics to his music videos through amplification of illustration ! I'll use one of the video clips of his latest album to demonstrate my point, I'll link the clip right here ! The name of this song is Hope.

Throughout the clip, many semiotic elements and concepts can be observed to provide concrete elements to this music clip but I'll start with the basics of what NF tried to achieve as an artist when it comes to his music videos. It is important to be aware of the fact that he strives for his music videos to be as cinematographic as possible, any of his music videos will most likely have elements of illustration and therefore something "deep" or "real" behind it for his fans even though this seems silly it is the way he brands his music and I do find it to be admirable to be as authentic as he is. Hope (the name of this song as previously mentioned) is about self-reflection and a message to NF himself, he literally talks to himself through the lyrics, back vocals and visual allowing to show the voices he is constantly hearing, reminiscing of his actions, words and past deeds. I will not further develop about the meaning of every single sequence in this music video as it is not the only purpose of this post, otherwise I would gladly spend many lines describing every references to his music in itself, all is needed to know in order to understand this post has been explained previously. Now that I've explained what I meant through his relationship with the diegesis, I'll emphasize the meaning of amplification used by illustration. The visual allows to further accentuate the intensity he wishes for the lyrics to have, the use of his face as a hook for this particular song creates more than a simple emphasis as I've explained previously, NF is directly talking to himself, he's confiding in the listener and therefore himself all he did in vain. Retrospection is illustrated by the symbolisation of him dressed in two colours in this music video, black and white representing respectively his current self and past self. Such icon demonstrates the contrast of the lyrics indeed but the parallelism used to embody the earworm rhythmic portraying the visual narractive as intrinsic to the song persuades the listener to the vision presented instead of the diegetic possibly imagined by the audience. While the visual parralels the rhythm and movements of the camera, the signifier may be confused as to what is signified. It is understandable that the complexity of coherence when it comes to musical, lyrical and visual meanings can be undermined considering the variety of contexts it can be perceived in. But I would like to argue that in the case of NF he manages to have a cohesive and catchy cinematography that allows amplification of the repeated semiotic particles to create a signified that corresponds to the signifier ! The narrative of the diegesis is shown through the use of amplification of many little semiotic elements previously explained and this illustration of the whole allows for NF to create a clear and cohesive rhythmic pattern accompanied by his voice, back vocals and lyrics following the intensity of the instruments used. This cohesive and fascinating whole brings to life this music video. Furthermore, it really has a stunning cinematography compared to some other rappers, interestingly enough, it has an earworm rhythm despite not even having a lyrical hook ! I do believe this is worth mentioning due to the fact that hooks have always been the attention seeker the music industry always thought of essential to any popular songs. Do you know of other artists using such concepts to create such an impressive cinematography ? In any case, see you next week for the next post :)

[telomeke]

LAST TWILIGHT – SOME EARLY THOUGHTS

If you're hesitating at the doorstep of Last Twilight because you're not a fan of JimmySea, or because you've been overly disappointed by GMMTV of late, or because the plot of this BL seems hackneyed and/or sappy... I think Ep.1 may yet surprise you, as it did me. 😍

Whenever Khun Noppharnach eases into the director's seat, some kind of magic happens. I have no other explanation for this... I never thought much of this branded pair; Vice Versa was one big yawn as far as I was concerned (despite some very interesting world-building – but all that promise was soon squandered), and Jimmy's acting never seemed too far removed from barely-animated woodblock (in BBS especially, though he was greatly improved in VV).

But Ep.1 of Last Twilight has made me re-think all of that... Yes the plot does reek somewhat of the contrived (bad boy meets suffering, deficient angel and each is obviously fated to be the other's salvation). But Director Aof has managed to introduce some nuance into their portrayals (Sea's Day isn't some shining, selfless martyr – he's a sardonic, cynical, self-hating Dr. House destined for a different cane; Jimmy's Bad Boy Mhok – hello do-over Wai! – has emotional baggage from his sister's death and a strangely believable, platonic and supportive relationship with his ex-girlfriend Porjai, played by a luminous Namtan). The acting from the two main leads is notches above what we've seen them do in previous outings (I live for Sea's snarky little smirks, whenever Day's self-hate threatens to explode out at the world; and there are flashes of emotion crossing Jimmy's face that I never thought I'd live to see – watch the expressions flicker across his face when Porjai visits him in the lock-up, bearing dark news of his big sis Rung).

I think part of Director Aof's talent, that we never seem to give him enough credit for, is his ability to draw out the best from his actors. If they're limited by inexperience, there's only so much he can do (thus the Wai we got in Bad Buddy) but once they have more to give, it shows and I think he's the catalyst.

The cinematog is crisp and clear, but it also makes heavy use of close-ups with elements (usually faces) always slightly out-of-frame, calling out to Day's visual predicament perhaps? 🤔

And we've already had a director cameo! Assistant Director Meng Chaiyapat Pitisutrakul was also one of the interview candidates at Ep.1 [1‌/4] 21.16 and ‌Ep.1 [1‌/4] 23.18 (he mentions his appearance on Facebook, linked here.)

I have cautious hopes for this one. You can sense Khun Noppharnach's assured hand operating behind the scenes, and it truly shows up in the work onscreen. Such a contrast with Only Friends, and so refreshing too.

[usagirotten]

Movie Review: Passages takes the risk of a more modern transformation

The romantic drama genre has been present in major Hollywood blockbusters. Whether they are based on a novel or are original stories, many of them have been awarded and multi-awarded and are liked by locals and strangers. The month of February represents a consumerism that has been established for decades, dinners, romantic details celebrating anniversaries, or simply the day of love and friendship, something that is the pillar of great moments, some with happy endings and others wishing to be, the reality Romanticism has not gone out of fashion. But what about these romances in the 21st century? How multifaceted love can be has been reflected in more real, rawer, more modern alternative stories that move away from princes charming and princesses looking for love for life, sexual and gender diversity have also featured in plots. very intense and interesting among which we can name Kiss of the Spider Woman (1985), Philadelphia (1993), Happy Together (1997), Boys Don't Cry (1999), Brokeback Mountain (2005), Weekend (2011), Tangerine (2015), Call Me By Your Name (2018), Palmer (2021) and Great Freedom (2021) are a clear example of simple works that take a very different turn from the traditional and trite. In 2023, director Ira Sachs presents Passages, a French dramatic/romantic film that addresses the issue of polyamorous relationships and their consequences in a world where diversity has earned a respectable place in a society that still refuses change.

What is the film about?

During his last day of filming in Paris, film director Tomas (Franz Rogowski) has a fleeting romance with Agathe (Adèle Exarchopoulos), a girl he meets in a nightclub on a night of drinking when Tomas proudly tells her husband. Martin (Ben Whishaw) develops a passionate relationship between the three marked by passion, jealousy, and narcissism with consequences for each of them that will be difficult and painful to face. To see a film like this we must consider that this and more do happen in real life, the context is particular about its plot and what happens in it, we are in an era in which modernity has reached all ages, areas and the romantic/sexual could not be the exception, we well know that these types of relationships have always been hidden from a society that must be politically correct and here we ask the question: who said that relationships must be politically correct? Before, it was a social imposition that marriage recognized by law and the church was between men and women, with lesbian and homosexual relationships being condemned and persecuted by them as something aberrant that transgresses the freedom of expression of those involved, leading to them being condemned and even murdered, in the 21st century, although things have changed a little, there are still too many things in which we must be more aware based on respect for the rights of others and of each individual as well as their sexual preferences and human rights. Hate and discrimination crimes are the graphic and plausible representation that as a society we still have a lot to learn, but this is not a film of denunciation or education, it is a work that shows that behind 4 walls and outside of them any relationship between adults is valid as long as it is consensual and in which those involved agree without violating their rights. We also know from a very early age that the ideological and cultural formation that each country has, as well as education, have a lot to do with the freedom that each individual has to express themselves personally, family, socially, at work, etc. Little do we understand that the human rights that each of us has are supported and based on the laws of each country, no one is more or less, but corruption and abuse of power is what is believed to give another individual the right to violate rights. of the others are men or women of any age.

Ira Sachs is one of the creators of cinematographic dramas who takes the most risks bringing different stories to the big screen, Passages takes a very specific place and moment in independent cinema that is not so commercial that it has its audience, in this case, It is a love triangle in which 2 homosexual men relate romantically and sexually with a woman, creating a relationship that falls into the turbulent, emphatically sexy and presumptuously desperate. However, the contrast between the main plot and the subplots that develop at the same time makes it extremely interesting and intense. Set in contemporary Paris, there is no outside world with which the characters can relate. That is, the environment in which they live is powerful enough to create an atmosphere in which they get involved and involve us as viewers in a plot that becomes more complex with every moment. This begins on a film set where we see the director Tomas making a period film called Passages, he is an irritable author and very demanding with the work of others, he manages and questions his cast and his extras which means that they do not Does he have an assistant director to whom he can delegate that type of work or is the production simply like that and to a certain extent abuses his power over others, during the closing party of the filming Tomas is accompanied by his husband Martin where we can see that As a couple they are fun and they get along very well, jokes, alcohol, laughter about whether they can dance or not and with whom Tomas walks around the dance floor with Agathe, a woman who has been keeping an eye on the production on set, they feel attracted. and interested in each other, Agathe has just ended her relationship with her boyfriend and is very open to whatever may arise, while Tomas is married but is also very open to the possibility of living new experiences. From this point on, the film tells us that it is not so necessary to give too many explanations about what we are going to see, they have already presented a situation and the characters getting involved with it, there is never an explicit mention of the extent to which the relationship between Martin and Tomas is open but after this film director spends the night with Agathe he tends to exuberantly share with her husband that he had sex with this woman and wants to fill him in on everything. It is to be expected that Martin does not respond with the same enthusiasm and feels jealous of her and her relationship, which he believed was monogamous to a certain extent, while Tomás nods and insists that it has been exciting, something different but that as viewers we know that it falls into a routine. of self-deception where Martin knows that he does that every time he finishes a shoot, apart from this, Tomás' objective is to edit the film so that it arrives on time for the Venice Film Festival, which further develops his character and we understand more about his motivations derived from his creative work stress to justify his behavior to others, changing this character's sexual orientation is a different and unusual approach to facing his fears and insecurities with his partner, we meet him as a fascinatingly talented guy, manipulative, creative but undesirable for others except for Agathe and Martin who feel so attracted not only physically to him but also for his confident and challenging attitude, they see him as the ideal man who can face everything and every one by defending his way of thinking, his way of being and who he loves. Passages develops a convincing and current story without falling into excesses, it presents what it should propose without taking more time than necessary, the development of the characters is neither exact nor planned, and neither Agathe nor Martin are weak but at different points in the narrative they give in to What Tomás wants, they are neither victims nor perpetrators, the three of them agree to have a relationship this stormy without taking into account the consequences that this will have for each one, as is expected and by involving feelings, they are the same ones they play with without placing limitations on their actions. After Tomas confesses to his husband and intends to maintain a relationship with Agathe Martin, he begins an affair with Amad (Erwan Kepoa Falé), a young and brilliant writer/editor who gets involved and understands what is happening, telling Martin that he is weak. and that he still cannot fully see the consequences of what he does and allows that if he continues like this none of them will survive that relationship. The ending is not hopeful but it makes it clear to us that characters and people in real life like Tomás who Despite the emotional havoc he has caused himself and other people, has not understood or learned anything and will continue doing what he does as long as others and his own life allow it.

The script written by Mauricio Zacharias and Sachs himself takes too many liberties without falling into tedium or boredom, each dialogue is strategically planned so that the entire plot makes sense and we can see a more agile narrative development that keeps us interested. Every moment of what is happening, there are no surprising twists, by the end we already know how things will end, something that does not disappoint us but leaves us thinking and wondering what we are doing right and wrong in our relationship. Is the person we are with enough to make us want to spend time with them or do we need something to turn the relationship around? The story is concrete and well-defined where it wants to take us, it is effusive and demanding in itself, and with the transitions, large and small, in the motivations and justifications, in the decisions that are made, it has a dramatic sentimentality, the sexual scenes They are not explicit but with a dose of eroticism typical of a film more for adults, it is less interactive and more observational in the intelligence of its execution and directly analyzes the moments of transition in each person's life. It is profound in the conflict of knowing whether or not they are prepared to support themselves on a more sentimental basis, at times it becomes moving and intimate in its independent approaches with the characters, in the life baggage that each one has and in The experience in their relationships raises why they do not work as a couple but do work in a polyamorous threesome or quartet in which they do not yet know how to define the rules and limits, something that is defined within the relationship itself and by the individuals involved. without taking into account an imperative culture, education, and society. However, Sachs as a director does not treat this as if it were a speech of moral reflection or emotional implosions, he does not intend to convey a message in which the love between two people is the most important thing, or that love triumphs over all things. , it is rather a look at what is happening in today's society and in the relationships that we look for in applications or our sites for that matter, whether fleeting or long-term or the importance of starting a family, abortion, as The film is not so cynical in its approach and calls a spade a spade and is explicitly aimed at an adult audience without making a complaint or attacking the way of being and thinking of those who are part of a different community. Its director as well as the scriptwriters balance very well what is desire with desperation in a marriage that has already given everything and cannot give more, narrated in 2 parts where the first half emotionally establishes the characters while The second half develops the causes and presents its ending, both simple and complex. The cast is made up of Franz Rogowski, Ben Whishaw, Adèle Exarchopoulos, Erwan Kepoa Falé as Amad, William Nadylam, Caroline Chaniolleau, and Olivier Rabourdin do a great job, each one perfectly knows how to develop their character and give it more credibility and realism. In conclusion, Passages is an independent and risky film that boldly transforms a topic that can be controversial into something more real and current about human complexity and relationships, an almost impeccable work that leaves us thinking about something beyond a simple message. Passages are now available on the Mubi and Apple TV platforms. https://www.youtube.com/watch?v=m5Kr38lovJc Read the full article

[36incheshigh]

Movie reviews if i mayy say so lol

Review of new little mermaid - main character ariels acting was Horrible a lot of the characters didnt seem to grasp their character or missed opportunities to get intoo their role! U can tell they were all too old or too young to have watched the orig/old disney movies many times, enough to understand and remember and display the dramatic extra style of disney characters performances!! Thats whatd made em fun!! Cinematog wasnt as good as orig too!! Orig was art, every frame looked beautiful and they didnt even try to make shots in here particularly artful like orig. they redid a lot of the dialogue and its awkward and unpoetic and clunky now. But they did include of a lot of important specific moments and scenes i meed from the orig. and prince eric actor was pretty good. Casting for ursula and the mom was cool and leaning into carribean culture at the time was cool. Jeanne du barry movie -perfect Good closure good performances interesting characters artful looking shots clear story telling. I was afraid it sounded like trashy period piece romance lols but it wasnt! Well plus it was a true story. Liked it leagues better than one that takes place in a nearby tome period about marie antoinette cause this was able to squeeze a point and closure out of the story, unlike the marie antoinette one. But sometimes its probs hard to calculate the point of a story if its nonfiction and not made up withh a point in mind when it was created lols!

[alexcaldownapier]

Film Project - Critical Reflection

Longboard Nights is a film that, for me, delivers on its premise and although it occasionally loses what Kate would refer to as “Narrative Clarity”, I think the broad strokes (which is the bread and butter of an action film) are affecting and impactful. The moments that work best for me are the entrance to the flat, the bathroom scene and the final moment which I will analyse to show how my work has helped to deliver the film’s story.

As cinematographer, the developing framings of the opening shot of the living room sequence, does what I intended, showing the character's intentions and action in a way that emphasises their importance and psychology. We go from a close up on the door-handle, to a close-up on Alex’s knife, onto a single of Alex and then finally into a two-shot as they creep into the flat. The close-ups communicate the careful entrance and the murderous intent, while the framing of the actors shows their performance clearly: Alex’s grim look, her making sure Casca is silent when closing the door and her then taking the lead into the room. The tracking backwards emphasises the rising action and the creeping of the characters, pairing well with Rowen’s sound design to create a rising anticipation of the coming confrontation. The developing lighting, with Alex stepping into the low-angle toppled light source, also creates a change within the shot, moving us forward from what was a softly lit opening into a high contrast close up ending shot, again emphasising the movement into a more high-intensity scene. The clear communication along with the rising tension sets the scene up well.

Shot 5.1: Multiple framings as we track backwards as the characters enter the flat.

Where I think the film stumbles slightly is in the moments that are quickly cut in order to not just meet the time restrictions, but also to communicate multiple things quickly. As in the next moment, where Alex is distracted by the photograph of the husk and his daughter and in the opening scene where we set up not just the world and the characters, but also a whole backstory relating to our protagonist. In order to show the differences in time, I designed the flashbacks to be softly lit, in contrast to the rest of the film, shot at a 360 degree shutter angle and played back only showing every third frame. However, in post-production, we decided we needed a clearer visual difference between past and present so added another layer to the shots, where we brought in vertical streaks in the image and an overall glow. While these changes are necessary to contextualise the flashback narrative, when it is combined with the quick cutting and the world-building soundtrack, it becomes a little hard to follow. This aspect of the narrative, Alex’s past with her father’s turning and how it impacts her present actions, seems to be the first thing that can stop people totally engaging with the film. Having shown it to people who did not know anything about the narrative, this was the thing they found confusing. They didn’t understand Alex’s actions, which is really quite a big aspect of the story. The fact these scenes are a little underlit also doesn’t help the confusion. (Another well-thought-out part of Rowen’s work is the shrewd timing of the line “11 years ago” from the politician’s speech which he placed underneath the first flashback, helping to smooth over the gap in communication).

Shot 2.1: The flashback sequence, with post-production alterations.

The bathroom scene and final moment both display another strength I think the film has, which is an excellent central performance from Claire Cassidy, emotively directed by Ben. Despite working with an untrained actor, Ben, through his research into directing and acting techniques, was able to get Claire to the point where she was able to fully cry on screen and totally communicate the intense panic the character is feeling.

Again, I think I made the correct choices in the cinematography in these moments to best add to the emotions captured. The handheld camerawork combined with the wide lens creates a visceral panic and a very ‘present’ feeling, if that means anything.

Shot 6.1: Wide angle, handheld shot of the bathroom scene.

Again, I used multiple framings within one shot to emphasise specific narrative beats: Alex’s panic, Casca’s precarious situation, the blood on Alex’s hands, Alex feeling overwhelmed and alone. The long take was both a practical consideration, to ensure we had enough time in the schedule, and also added to the intensity of the content of the scene. The use of the 14mm lens throughout the film was mainly inspired by the films of Terry Gilliam where they are used to emphasise the unsettling nature of his dystopias and the characters within them. In order to ensure I could achieve a similar effect in this film, I also tried to emulate the chromatic aberration of the 14mm lenses used in his film Brazil (1985). I added a “prism blur” effect to the edges of the frame to disrupt the image and make it feel more disgusting and unsettling. I used this effect on all of the 14mm shots throughout the film as I had already saved the lens for the moments when the world was particularly unsettling and the characters were sliding closer to their fate, so the addition of lens aberrations would not be out of place.

While the final shot is a little shaky and quite poorly framed, I think it is also an example of where the cinematography was able to elevate the action on screen. The camera pulls out very slowly as Alex desperately tries to get Casca up on her feet, as if saying: they’re not going fast enough, she’s not going to make it. I asked Bethany if we could repeat the last frame of the film a few times as we cut to black to ensure that the final cut leaves an impact and we keep thinking of the characters through the final moments. This final frame, like the rest of the film, was shot with a 270 degree shutter angle, to create heightened motion blur and I think it really works to emphasise the desperation of the characters’ movements.

Shot 8.1: The final frame of the film.

Overall, I think the film delivers the emotional impact of the narrative: is tense when needed, is thrilling when needed and is depressing when needed. The art design and SFX is well displayed and elevates the film. Due to its quality, we didn’t need to hide anything in the design of our shots, so the believability of the gore and the action is at a level that ensures the audience are invested and their disbelief is suspended. The sound design is another thing that really helps sell the emotion of the film, with the final announcement over the black screen leaving a really bleak tone to the ending.

As for issues with the film and my work, there are inconsistencies within the film's visuals that, while not breaking the illusion of the film, could definitely be improved. In order for the action to work, the bathroom had to be directly connected to the living room, however, in reality, this was not the case. So, to cheat this, I had a light shine through the door when it was opened, trying to match it to the lighting of the following scene. However, I used a different wattage of bulb to cheat the bathroom from what I used to actually light that scene. Samuel Duner later pointed out that the colour temperature of a tungsten light varies based on the wattage of the bulb, which meant that it was harder to match the colour of the light between scenes. Something I should’ve researched before the shoot.

Another issue comes with the motivation of the majority of the film’s lighting. As the film is set at night and the camera needs to be able to follow the action in quite a wide arc, I chose to light the majority of the interiors by placing lights outside with a combination of gels and blackout material behind them to imply street lighting. However, often there is a bit too much spill from the natural light, no matter how hard we tried to black out the sun. On top of this, the colour temperature I chose can be read as golden hour sunlight, which kind of breaks the world of the film. I tried to push the colours to a more yellowy hue in the colour grade, to little effect. The room was also quite large so there are points in the scene where the action is between my two main light sources and therefore looks flat and underlit. In hindsight, more use of practicals in the living room scenes would have helped to properly light the scene and create the desired time of night.

Shot 5.7: My least favourite shot, complete with both lighting issues and poor framing.

There are other moments where the framing is leaving a bit to be desired, especially the shot showing Alex dragging Casca into the bathroom. Due to the movement, where I was tracking and panning with the action, I was consistently missing parts of the performance. My camera operating needs some improvement and while I did eventually get a technically good shot, the take used was the best one for the story.

Interestingly, one of the main critiques of the cinematography was of the coverage of the hallway scene - the only scene where we cut a shot. We tried to combine two shots (4.2 + 4.3), due to running out of time in the day, but I still missed a section of the action, leaving Bethany not a lot of room in the edit of that scene. I think the original shot list covers what it needs to, in a way that is both practical and emotive, however, I think more inserts of specific actions in the fight scene could have helped to clearly communicate the specific actions.

The use of hard light sources, heavy grain, 2.35:1 aspect ratio, foreground elements and darkly lit interiors all contribute to a grimy and intense overall look that suits the tone of the film and the psychology of the protagonist. I think the inspirations for the look of the film definitely come through as well, most notably, The Batman (2022) and Mandy (2018).

As I’ve touched on, the narrative clarity of Alex’s backstory and its impact on the film’s story is certainly lacking and there are some technical issues throughout the film, but I am still incredibly proud of the film and my work on it. I think the visuals (mostly) communicate the story and create the appropriate tone and emotions. I’m very happy after this term and I think my pre-production and conceptualisation work paid off.

[gothprentiss]

hi just an update from my trying to pay attention 2 cinematography cm rewatch. i'm on retaliation which i think is largely kind of cool-- like following the car accident you have this pretty intensive half-pov stuff with prentiss which is inconsistent but pretty cool insofar as you're getting a clear sense of her experience (fractured and phasing in the immediate aftermath of the crash, extremely jerky handheld cam work) as well as what she's seeing (the pov shots of her shooting (ha) have always stuck out in my mind as really interesting moments in cm cinematog). the close-up & extreme close-up shots of her also really work to situate this sense of subjectivity; so when we cut in to specific details or get these full & wide shots of some of the action, we get the sense of what she's focusing on.

on the other hand though this strikes me as like, kind of... short-sighted? poorly conceived? like, as the episode goes on we'll get to see these moments revisited in the cognitive interview. and we've all had our yuks about how criminal minds treats cognitive interviews like magic, the scenes basically work like tv representations of regression hypnosis but without any formalized therapeutic element, etc. the idea is, more or less, that behind the actual memory there's this near-perfect sense memory that can be excavated with the care* and technique** the bau agents wield.

[*slowly and gently asking questions. **asking the witness to close their eyes before asking questions.]

the problem is that, as the episode has it, we've seen the memory already. this hypersubjective pov stuff is insisting we're experiencing the crash and its aftermath as prentiss does, or at least, the way she's experiencing it is being visually and aurally translated for us. the way it's shot is jumpy, it moves almost by caesura: everything we don't see, or hear incorrectly, or see fading in and out we should understand to be similarly perceived by prentiss. some of the effects of this are really cool: for example, when we cut in to prentiss' bloody hand straining for the gun, it gives us a really clear sense of exertion-- all of her focus is on this act, just as ours is. this should entail that what we're not seeing is just passing her by in her state of distress. the cognitive interview shouldn't be able to revise the way this memory is, as this scene suggests, encoded. [like, yeah, okay, it's a bad theory of memory and physical/psychological trauma (shock, concussion), whatever, it's a crime procedural not a scholarly work on the philosophy of mind.] there's also that scene in the hospital where morgan and prentiss are arguing: she says the memory will never be fresher, hit me with that cognitive interview; he says she's in shock and concussed and has no capacity for recall. since the cognitive works, at least to some extent, the idea is that time enables recall: well past the traumatic event, visuals sharpen, that material encoded in your memory becomes clearer, etc. you might say that there's a clearly filmed version hiding behind the juddery & jumping scene we see at the outset of the event.

i guess i see this making sense insofar as the episode is insisting that the storage/input capacity of memory relative to immediate subjective experience is something like 3:1, so when we get to the cognitive interview we get to see the whole thing widen out and become clearer + more focused, including details we (& thus prentiss) didn't see in the moment-- like it does work with the quasi-magical way that the show depicts cognitive interviews. but like, with the exception of how close the shots are, there's little connection being drawn between the memory we're seeing during the cognitive and the memory we saw in the initial scene. the cognitive interview isn't meaningfully doing any work here-- prentiss doesn't even have her eyes closed, she's just... suddenly transported. the episode is trying very hard to be about perspective and memory, thematizing it in pretty much every way it can, but this weird distance between the experience and the memory means that there's nothing being actually said or explored about the process of recall that it's enabling. it's not even a really impactful set piece for the episode. idk. it's just annoying to watch an episode which is really clearly intended to explore the big funny device they use a lot (i.e. the cognitive interview) and then.... it just doesn't. lol

[jackventuro]

#Repost @communityofcinema with @get_repost ・・・ GWA- GOLDEN WHEAT AWARDS Like any other festival it is associated with, one of the goals of this festival is to fight unfair competition. The involvement in of real filmmakers in festival management who are expertise in their field and seeking justice will put you in the location where you deserve at this festival. GWA, whose main principles include to create a future for the filmmakers, Based on this principle, it works to embrace all filmmakers, regardless of whether they are famous or not, to respond to their wishes and to solve filmmakers' problems. Because we respect labor, we always value every movie and never forget that they are "pieces". In the film eliminations, our doors will be open to the films which are in standard level of our festival and which we feel the labor. However, thanks to Laurel you will win, you will not only get it but also become part of a real festival and more. . Rules & Terms . - Films must be in cinematography and directing standards. - All categories and lengths are accepted. - You can submit from all the countries as being student, filmmaker or distributor; there is no restrictions. - There is no age limitation, anybody can participate. - Films such as feminist, racist and fascist (which undermines the rights of men, women, people and all kinds of living things) will be disqualified. - Submissions in languages other than English must contain English subtitles. -There is no genre limitation. - Any situation related to music and copyrights belongs to the sender. - By submitting, you agree that we can publish your film's trailers & images and you agree that sharing your data to other festivals for promotional purposes. (Just for discounts.) - There is no discount in submission fees. This rule sets the standards and quality of our community. - The fees for the films which were submitted but withdrawn later, will not be refunded. - The shipping fees of the award winning films belong to themselves. - Poster and film frames should be added to the project (for promotion) . #GoldeWheatAwards #GoldenWheat #GWA #shortfilm #shortfilmfestival #cinema #film #movie #art #sinematografi #cinematog https://www.instagram.com/p/CBBZq8Lp0mb/?igshid=srhpixokkafy

[marsapartment]

Brendan Stacey has been nominated for the Canadian Society of Cinematographer’s award for Best Dramatic Cinematography for Titans 2x11, “Bruce Wayne”. He’s nominated against:

David Greene - Impulse "The Moroi" Gregory Middleton - Watchmen "This Extraordinary Being" Boris Mojsovski - Knightfall “Death Awaits” Craig Wrobleski - Umbrella Academy “I Heard a Rumor”

[thecinematicshots]

'Inglourious Basterds' (2009) DoP./ Cinematographer: Robert Richardson

[jernahorizon]

Perfume (2019) - Seo Yi Do x Kisses

Do you know how people started to kiss? Back in prehistoric times, men checked the inside of women’s mouths to see if they ate food while they went hunting. They say that changed to become kissing. That’s the true meaning of kissing. It’s just that for us too.

[jihoonielee]

baby dont stop, PLAY (x)