'Cinematographer's Block'

iamWZA

iamWZA

Active member
A phrase coined by WZA, 2013. It's the filmmakers' equivalent of writer's block.

I'm shooting my first film in a couple of months and there's still one scene I'm unsure about how to shoot. I could visualise the other scenes very clearly and easily but it's just not coming to me for this one scene. Do you ever get this? What do you do?
 
Talk to the director :-) You're painting the picture in his head and he alone can provide you with the visual.
 
iamWZA said:
Always willing to do that!



I am the director!

Thanks Allan - nice suggestion.
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Then given how some people approach these sorts of things... Hire a DP that correctly 'intuits' your vision, even if you don't have one... and given what estimate your budget to be... get such a person who will work for free...

The questions I have are... 1) did you write the script, if so, then what did you have in mind at the time... 2) if you are director, then are you also the photographer? 3) do you draw stick figures or better, and have drawn out the scene either in some sort of 2-d 'perspective' or at the very least a 2-d top down view of the placement of talent, props, and camera on the set for the scene?

For my last short I did do a few 2-d perspectives, and much larger number of 2-d top down 'maps' of the sets... the problem was that I did not have access to the actual shooting location until 'the day of the shoot', so I did have to take about an hour to align my preplanned shots to the 'reality of the location'. But for those scenes I had preplanned at least to the 2-d top down views, they went very fast.

In that case while I did not write the original script, when I received the script it was not anywhere near a 'film script'... more like a libretto with some amount of dialog. So I did do an amount of work turning that original in to something that could be shot, and shot on a couple of weekends... So, I did have more time to create visuals in my mind's eye.

As for 'director's viewfinder'... These days, an iPhone or similar or a DSLR with video capability, may be a good way to learn to 'see'. I have an iPhone app that allows me to configure the 'view' to my GH-1 (and a number of other DLSRs as well as 'real(tm)' cameras...) with various lensing options, and will record location info, virtual focal length settings, etc. which I have found handy for scoping out locations.
 
jghenderson said:
I now know what i'm getting myself for my birthday. Thanks for the link.
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If you have an iphone you should check out the artemis viewfinder. It's 25 dollars and will give you the fov of all the different camera lens combinations available. It's a bit more versatile than a viewfinder like that as you won't have to make any conversions for the given crop factor or lenses you have available.
 
Viewfinder? - id go for a cheap DSLR and 17-80 zoom or suchlike - very close to the look of the actual shoot camera no doubt.

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So this scene? What is in place? Mood? Location? etc

I mean for example a couple could meet in a bar - fine - but they could meet at the fun fair, or at the zoo - would open up some shot ideas no doubt

They are chatting? - fine you could do a typical OTS shoot.. or spice it up with a long steadicam walk

Really the world is your oyster.

Munich - the bloke is being offered a job - so why at the seaside? why while eating cake? - really just for cinematographic fun (and also I guess undercurrents of the 'normal' life they are 'protecting')

munich-2005-62-g.jpg
 
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The OP is about to shoot his first film, so I'd say, he's just starting out.

I'd say the Artemis is for users with experience, it wasn't available when I started and you need a suitable phone.

I've still got my a KISH Optics DFV, now discontinued.

The value of it was, it's small, I could take it with me everywhere and use it whenever I got a few minutes. You look at a scene and practice frames,
it's a dedicated rig and it promotes confidence.

These days a vid camera with various lens is better, but you can't pocket it every time you go outdoors.

Imo for someone starting out that Cavision DVF is good value, I'd get their VCM11X case too.

Cheers.
 
j1clark@ucsd.edu said:
1) did you write the script, if so, then what did you have in mind at the time... 2) if you are director, then are you also the photographer? 3) do you draw stick figures or better, and have drawn out the scene either in some sort of 2-d 'perspective' or at the very least a 2-d top down view of the placement of talent, props, and camera on the set for the scene?
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Yeah I wrote the script, and originally the two characters were going to be indoors at a table (it's a quite and important dialogue scene) but I've come to realise it has to be outdoors. It would have mainly been over shoulder shots. But now I'm shooting it outside (day), I just can't seem to think of a way to shoot it.

Is there supposed to be a 'why' in question two? I'll answer that question anyway...basically I don't have enough money to pay a DP who I know I could trust. I know how to shoot the large majority of my film, and I'm just not willing to bring in an amateur DP who may not completely understand my artistic vision. I wouldn't be able to relax. It may not sound like I know what I'm doing as far as DPing but it's really only this one scene I'm struggling with!

And yeah I've storyboarded with photos from the actual locations, accompanied them with maps of the locations with notes on lighting set ups and camera position etc. I've also shot quite a lot of the film roughly with friends and family as 'actors' so I know everything is gonna cut together properly. Still in the process of doing that actually.


morgan_moore said:
Viewfinder?
So this scene? What is in place? Mood? Location? etc
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Two main characters are having a normal talk that slowly becomes a bit more serious. It's a pivotal scene actually. Mood is kind of upbeat and uplifting which is why I'm choosing to shoot outdoors. I'm near to the seaside, I've got a small town, a nice garden...All potentially great locations but it's more with the shot choice where I've drawn a blank.

I'm not necessarily looking for suggestions, I'm just wondering if there's anything other people might do to get past with this block. Thanks for all the responses thus far!
 
i found a few sites/blogs a while ago that had hundreds of screencaps from different movies/tv shows. let me know ifnyoud like the links and ill see if i csn dredge them up. its a good way to look at buttloads of different shots/framings/etc. in an efficient manner. maybe something there will inspire you or spark an idea that breaks your block.
 
Thanks refocusedmedia.

Josh - if you could find them I'd be really interested to see. I think that's the most likely source for sparking my imagination.
 
iamWZA said:
I'm just wondering if there's anything other people might do to get past with this block. Thanks for all the responses thus far!
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What about just shooting it - boring - I mean fundamentally cinematography is to serve the story - and if the actors/script is good the scene will be good

I mean why does it have to be somehow 'inspired' - Personally I think funny angles affects whatever get in the way of the story unless they are motivated

S
 
Think about which character in the scene is the main character. Who's point of view is the scene from? There can really only be one. What is their goal in the scene? These types of questions (drama, conflict) can help you figure out how to shoot the scene. Which character has more power in the scene? Does the power dynamic shift? How does the exterior location comment on the drama of the scene? Is it better to play it very close to their faces, or does it work better to keep us at a distance from them? As a director myself, I often want to know the first shot and the last shot of the scene. And I like to have interesting transitions between scenes. So ask yourself, what is the scene that comes right BEFORE this one, and what scene comes right AFTER? Knowing what comes right before and after can also help you figure out how the scene needs to be shot. But other posters have already mentioned the main thing: just keep it honest. Make the camera angles serve the story and you can't go wrong.
 
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