FInished

Now that this class is finished, I can really look back and see how far it has taken me. I can wholeheartedly say that I learned more in this class than any of my other TCF classes combined. When the semester first began, I wasn't sure if I would like this class. I was coming from a 201 class that I learned very little from and to say it didn't prepare me for higher classes would be an understatement. Like others, before this class, the only thing I had touched was a PD-150 (and even then, not very much). I was basically starting blank. In a way I felt handicapped because of this, but now I can tell just how much I've learned from then.

I have learned so much from Rachel's instruction, the hands-on stuff, from others in the class, from the assignments, and from watching my own work evolve as I grow as an artist. I can't even really begin to organize my thoughts on what exactly I have learned because there is just so much of it. Compared to the beginning of the semester, I am much more confident in my work and am confident that I will continue to learn.

I think that because of where I was at the beginning of this class, my weaknesses were all over the place, so that's really what I want to keep working on. Everything. I want to continue to explore. Continue to grow, never stopping. I would love to get comfortable with more cameras, especially DSLR cameras. I want to continue to work on camera movement because I think it speaks so much in a visual story. I want to continue to learn about lighting and become more comfortable with it. I know that I have a long way to go, but I feel like the experiences this semester in this class really jump started me in the right direction.

This has been one of the most valuable classes that I have taken and I am so very thankful to have the opportunity to be a part of something like this.

Director/DP Reel

Director/DP Reel from Bethany Rogers on Vimeo.

Artist Statement

Moving images can pull you out of your own reality and take you to another world. A world with another story for you to experience. A world that teaches you something or that provides an escape.

Ever since I can remember, I have appreciated the way that this can happen. Growing up, movies, TV shows, and similar things fascinated me because of the adventures I could experience through visuals in front of my eyes. There were hundreds of stories that I got to play a part in. Over the years, I learned more about how things like this were made and I developed admiration for those who could produce those beautiful visuals for everyone to encounter. That admiration soon led to my own aspirations.

As I begin my journey as a visual storyteller, I am learning each day how to create that new world that others can enter into. I’m learning how to translate my thoughts and ideas into a language that others can understand and appreciate just like I did. I don't think I have found that one style that defines me or is the essence of my visual storytelling, but with each new day of learning and new experiences in my reality, I am searching for it. I'm searching for it so I can share it with the world. When I find it, I can build a visual for others to join me in living. 

I want my aspirations to continue to grow into inspiration so I can provide a world for others and make it the best that it can be. I know that is why I’m here.

DSLR

The DSLR movement has gained a lot support in the filmmaking community in recent times because of the many benefits that come with shooting video with a DSLR camera. However, sometimes it seems too good to be true. There are downsides to this mode of shooting also. Something to always keep in mind is that DSLR cameras were not built with shooting video in mind. They are built as still photography cameras and therefore have limitations.

Some of the benefits: The image quality that DSLR cameras can get is amazing. They shoot very well in low light situations and have rich color. If you want to achieve a shallow depth of field, the DSLR cameras can do that much easier than other film cameras. These cameras are very small in comparison, and therefore are much more mobile, portable and easy to travel with. The post-production work-flow is faster than that of cameras that use tape because of the memory card used in the cameras.

Some of the limitations: Audio capture on DSLR cameras is below average. To get good audio, you would need an external mic which might be a hassle if in a hurry. Also, if you're not careful, fast movement can cause the unwanted "jellyroll effect" on your image.

I haven't shot on an DSLR camera very much; I've only used the T2i one time for a few minutes. I would love to get more experience with them not only to add variety to my range of camera use but also because I really love the benefits of the cameras.

DP Reel

As a DP, a lot of hard work goes into achieving the final product. Whether it's planning a shot, organizing, or filming, it takes time and effort. That work just sits there unless something is done with it. That's where reels come in. A DP reel should above all showcase the hard work of an individual. It should feature the best characteristics of their work. It should highlight their strengths. It should catch your eye, and make you want to go out and work with the featured DP right away.

After looking through a lot of reels and seeing what other people have accomplished, I found some reels that I enjoyed more than others. Although the shots are generally very simple, it caught my eye with it's color


DP reel from Joel Roewer on Vimeo.

This is another reel that I liked. Just like the one above, the color really stood out to me. Also, the variety of shots was appealing.

Geoff George - DP reel from g s george on Vimeo.

Just like some DP reels can be very attractive and visually appealing, others can be the opposite. While some reels may not be compelling to certain people based on pure visual preference, there are things that generally make a reel less appealing. If the reel runs too long, the viewer might lose interest. If the shots don't vary enough, there might not be enough material for the viewer to see the DP's full potential. Sometimes if the pace of editing doesn't match up the pace of the shots, it might feel off. There are a number of things that might contribute to a less compelling reel.

$$$

Anytime I watch a film, there always seems to be that one shot that makes the entire movie worth it. That one shot that is so beautiful, that speaks so much, that sums up an entire feeling, or even the visual that the entire plot depends on. Money shots. They can bring in the money and make the movie a success, they can be the shot that cost most of the budget...either way, money shots are certainly something that many want to capture.

Sky from Philip Bloom on Vimeo.


Iceland, Eyjafjallajökull - May 1st and 2nd, 2010 from Sean Stiegemeier on Vimeo.

For my own DP reel, I think I would be happy to get shots that look even just a fraction as beautiful as these above along with others I've seen. I think that what makes these types of shots so compelling is a combination of things like color, subject matter, time lapsing, composition...and many more.

Reflections: Scene Assignment

In many ways, this scene assignment was what I expected it to be and at the same time nothing like what I expected. I think I learned a great deal about how I work as a director and a DP, but I think the emphasis of my learning was definitely on the whole process of making the finished product, which in this case was one scene. I was reminded of the importance of pre-production and organization as a director. My scene went much smoother because of the planning that happened before filming began. Pre-production should never be underestimated.

For me, the most difficult part of directing a scene is letting go of technical control. I found it very hard for me to stay away from the camera and completely trust my DP to achieve the vision that I had. As a DP, I think the hardest thing to master is the application of my director's vision. I think it's really hard to hear the ideas from the director and take those and make it happen. That is definitely something that I want to continue to work on.

I think that for the most part, my scene and my DP's scene turned out okay. There are mistakes I made as a director and a DP that I wish I could change now once I saw the footage in post-production however. These mistakes are simple and careless though, so I know that they can be improved upon. 

Camera Movement

I love camera movement. It can make a simple scene much more detailed, elaborate, and beautiful. It can speak about a story just like any other aspect of art used in film, such as creative framing, composition, color, and lighting.

This tracking shot in the film I Am Cuba is really beautiful and works to tell so much detail in the visuals.

Simple dolly or glide track shot can also be very effective in visual storytelling. It can guide the viewer where to look. This clip features several of these types of shots.



Handheld camera work is also a way to incorporate movement into the visuals of a shot. It often gives the scene a very distinct mood, much like a documentary. It feels much more raw and honest. This scene in Harry Potter and the Deathly Hallows demonstrates this.

DP: Wally Pfister

I don't think that I have one favorite DP, mainly because I don't know as much about notable DPs as I could. Despite this, one that has recently come up on my radar that I enjoy is Wally Pfister who has collaborated many times with director Christopher Nolan. Some of his noteworthy accomplishments include Inception, The Dark Knight, Batman Begins, The Prestige, and Momento. I think part of the reason that I enjoy Pfister's work is simply because I enjoy a lot of the films as a whole that he has shot, but also, I think Pfister has a certain style that is evident in his work.

He uses dim lighting quite a bit, which often conveys a darker, more gritty mood in a story.

The Dark Knight

The Prestige

The Prestige

Batman Begins

Inception

Handheld camera work is another characteristic of his style. In an interview with a magazine, Pfister was quoted, "Every time the camera can be on my shoulder, it's on my shoulder. So that creates an enormously free-form way of filming. I can pan around any direction."


This is a scene in Inception that features a lot of handheld camera work done by Pfister.

Even though Pfister has a distinct style that is evident in his work, a lot of what comes out on film, similar to many DPs, is a collaboration of his style as a DP and the director's vision. In his own words, "It's just getting on the set and looking at what's there and either creating the life or taking what's there and augmenting it and making something out of it based on the director's vision, and the rehearsals, the actors, and all the other elements combined."

Scene Assignment

Scene Assignment from Bethany Rogers on Vimeo.

Lighting

Lighting is one of those things that I always knew was a part of film and photography, but I never knew just how much it can do for a shot until I had to think about it for this class. Lighting can make or break a shot. It can set mood and tone or tell the audience where to look, and therefore must be gone about very carefully.

When lighting a people in a scene, side key lighting is interesting to me. The shadows that are cast on the face when this happens give a much different meaning than lighting from the front. Without any words, a character can say so much.

Like shadows, the color of light can do a lot for the mood of a shot also. I really love when lighting is warm with an orange tint to it. For example, the type of light a flame would give off. Whether this is natural or staged light, it still emits an inviting image that I enjoy.

Natural lighting is always beautiful to me because it is just that, natural. It looks realistic because it is and it can make even simple images beautiful because of this reality. Light from sunrises and sunsets are one of my favorite types of natural light.

Silhouettes can also be very beautiful if done right. Like other forms of lighting, they can serve as a great contributor of tone and mood in a shot. The detail of the subject is completely gone, but the focus is now on the subject as a whole, its outline.

Shot by Shot Analysis: Pirates of the Caribbean

The scene that I chose comes from Pirates of the Caribbean: The Curse of the Black Pearl. This is the first time in the movie that Jack Sparrow appears, so the scene introduces the character for the first time to the audience. One thing that is really notable about this scene is the camera movement within each shot. Many of the shots either move with the action or are still on the action but move with the movement of the ocean, or handheld camera operation. It really sets the mood for the scene as an active, dynamic, determined set of shots.

It opens with a low angle shot from behind as Jack is sailing into port. The shot moves from this angle 

all the way to a still shot of Jack overlooking the water. This is a great shot for showing Jack’s point of view while keeping him in the shot. Here you can already see the rocking movement of the camera, as the horizon is not level. This movement really gives the illusion of being on the water with Jack.

Then in the next shot, we see Jack from the front. A moving shot, it begins as a 3/4th shot

and moves to a close up of Jack’s face. Since this is the first time we see Jack’s face, the movement closer to his face is important.

Next it cuts to another low angel shot, the view from the bottom of whatever Jack is sailing on.

At this point we have only really seen Jack. We know he is on something, but until now, the details whatever he is on are unclear. It cuts to the floor of the boat,

which Jack then jumps onto.

Now we get to see the what Jack is on in its entirety. It gives the little details that we have seen up to now a bigger identity. This shot also illustrates the solitude that Jack is in on the boat. All we see is him and an empty sea.

Then it cuts to a closer frontal shot of the action going on in the boat with Jack in the right third of the frame.

An even closer view of a bucket that Jack is about to use.

Another full shot of the boat.

Now, a closer look as Jack throws water out of the boat. The water is headed straight toward the camera and even splashes onto the camera lens. This makes the scene more like the audience could really be there. 

The focus of the scene now changes drastically from Jack and his entrance to what he is entering into. The audience knows a little more about where the scene is headed. This shot shows a few skeletons hung.

Next we go back to a medium shot of Jack who is now aware of the bodies, just like the audience.

A closer shot of the hanged bodies is next. We get more detail of the scene with the sign that reads “pirates ye be warned.” This tells a lot about what kind of area that Jack is about to enter into. It creates a small sense of anxiety even though a feeling of adventure is still in the air from seeing Jack.

Next, there’s a close up of Jack showing his sympathy to the unfortunate. 

Then, it’s another moving shot from the point of view of Jack on his boat. This is the first time we see the port that he is sailing into. Notice how this shot is very green and full of people. It is a big contrast from what we’ve seen so far, a lonely Jack in a big blue ocean. It starts from far out...

and moves to focus on the old man. The old man is looking at...Jack?

No, it’s a bucket!
Now with this shot, we are confused as to why Jack gave up on throwing the water out of the boat. It keeps interest.


Then we get a panning shot of the crowd watching.

 Once again, the swift movement of the camera adds to the steady, flowing mood that is created with Jack’s sailing boat.

Finally, we see why there was a bucket floating and what the people are looking at. This shot is a moving shot that starts wide on Jack on the top of his boat 

and widens as Jack gets closer to the dock. The widening shot comedically reveals that the boat is sinking.

The next shot is a moving shot once again. it starts as a close up on the step Jack takes on the dock, which shows depth from the diagonal lines of the dock

and widens and pans around to the right as Jack walks down the dock. The movement even now as Jack is off the boat and on “land” still contributes to the determined mood of Jack’s entrance into Port Royale.

Close up of Jack and the dock manager watching the boat. The close up is important because this is the first time Jack speaks, so we are getting to know him more and more. First visually and now, audibly as well.

POV shot of the sinking mess.

Close up of Jack’s interaction again. 

Close up of his offering to the manager in exchange to keep his name secret. The detail of his hand reveals even more about Jack’s appearance, with the rings and hygiene.

Now we see the manager’s reaction to the money.

This shot is quite interesting to me. The book covers the middle of the boy’s face the entire shot. I think that this just emphasizes the expression his eyes make at the  interesting exchange Jack just made.

Now we get a different angle, nearly the angle that the boy we just saw has. 

 After the interaction, the two parties split. A medium shot of the manager and the boy leaving to the left.
And one of Jack leaving to the right,

but not before taking a sack of coins sitting on the desk.

Definitely, a part of his character.