From Dusk Till Dawn scene I directed for class
- Thread starter Kent OGP
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I liked the camera work. Although, it gave a different view of the scene when compared to the real scene.
I don't know though, but the audio of the video of QT arguing with the reporter woman bothered me.
Overall, I liked it. The actors could've done a better job, but they had their own takes on the character so I liked it.
What did you film this with?
I don't know though, but the audio of the video of QT arguing with the reporter woman bothered me.
Overall, I liked it. The actors could've done a better job, but they had their own takes on the character so I liked it.
What did you film this with?
I must admit I missed the original film, so if my comments are irrelevent (if you recreated the exact camera angles, etc) I'm sorry. They are, I believe, generally useful, so read on if you'd like.
A lot of times in student films I feel color correction get's looked over, and I feel this might be the case for your film. Some tricks I use when the walls are so bland (if I can't change locations to provide more gradations in colors, textures, etc) is to change contrast to 'crush the blacks' and 'bring out the highlights". If there is any lighting gradient on the walls, faces, etc, it will be exaggerated through this process, allowing for a more stark, cinematic and generally pleasing look for this genre. Another idea is to use the lens on the digital camcorder to allow for greater depth of field by backing up and zooming in and acquiring the same shots you would have otherwise. This is one more trick for that cinematic 'look.' Another trick is to provide a color theme in the post correction process, (IE the blue look in Alien and other scifi, the bright and 'fluffy' colors of a romatic comedy). This film lacks a definite color theme and certainly needs some general correction.
Some other things. As we know with a two person conversation there must be a 180 degree line drawn between them, allowing the scene to cut within that 180 degree parameter. This can provide some difficulty, but you can use its strengths: find tighter shots (the back-up and zoom in process for DOF) and don't be afraid of utilizing the basic 1/3 rule which includes, in my book that is, both the physical frame and the depth of frame, meaning make sure your flat frame is composed in thirds but also that there is foreground, subject, background composition as well, which will bring out that depth of field for cinema. Take a look at some of the best cinematographers, off the top of my mind Christopher Doyle, who purposely distorts this third rule but uses its strengths. There are few shots, master or otherwise, in 2046 that aren't 'framed' by foreground and background elements, as well as color and texture framing.
There's a lot of work for you to do with this raw footage, and the skin tone leads me to believe you used a high compression method (DV, HDV) and low color space. Keep in mind for 3800 you can purchase the HVX and if used correctly the 4:2:2 at a high bitrate will provide better skin tones. This leads me to my final qualm with your film.
Light the picture. Your film has the look of an 'internal' video look, or the look of when a character in the movie takes out his video camera and we see video cam's pov. The above elements will help in differentiating that look from the look you're striving for, but lighting helps too. Take a look at Blaine Blair's books on lighting and cinematography - they're invaluable tools to own (comes with a dvd) and it explains some aspects of cinematic lighting. Now for my opinion on what to change (specifically) in your film as regards lighting.
Create a gradient on the walls. This can be done easily by using 150 led's in corners and bringing them out by 'bumping contrast' in post. Play with framing a little more, if you can. Perhaps 2/3 frame behind something, just peaking out at the action, or an angle cut off by furniture, moving camera that goes to and from behind objects. The cinematographer's nightmare is to just point and shoot a couple static angles.
Create a source. Your lights need to come from somewhere. If they're flourescent lights in the ceiling get an upshot of them somehow relevantly. If they come from a lamp get it in the foreground of a shot. Use the source as the primary reason for the entire place to be lit and then accent with backlights, splashes on the wall, moonlight, etc. To me, your film lacked these elements.
When I was in film school it was tough just to get a few people together for an hour to shoot. So be proud. If you were just focused on acting, sorry for all the cinematography crit., but maybe theres something there for you. Good luck on future films.
A lot of times in student films I feel color correction get's looked over, and I feel this might be the case for your film. Some tricks I use when the walls are so bland (if I can't change locations to provide more gradations in colors, textures, etc) is to change contrast to 'crush the blacks' and 'bring out the highlights". If there is any lighting gradient on the walls, faces, etc, it will be exaggerated through this process, allowing for a more stark, cinematic and generally pleasing look for this genre. Another idea is to use the lens on the digital camcorder to allow for greater depth of field by backing up and zooming in and acquiring the same shots you would have otherwise. This is one more trick for that cinematic 'look.' Another trick is to provide a color theme in the post correction process, (IE the blue look in Alien and other scifi, the bright and 'fluffy' colors of a romatic comedy). This film lacks a definite color theme and certainly needs some general correction.
Some other things. As we know with a two person conversation there must be a 180 degree line drawn between them, allowing the scene to cut within that 180 degree parameter. This can provide some difficulty, but you can use its strengths: find tighter shots (the back-up and zoom in process for DOF) and don't be afraid of utilizing the basic 1/3 rule which includes, in my book that is, both the physical frame and the depth of frame, meaning make sure your flat frame is composed in thirds but also that there is foreground, subject, background composition as well, which will bring out that depth of field for cinema. Take a look at some of the best cinematographers, off the top of my mind Christopher Doyle, who purposely distorts this third rule but uses its strengths. There are few shots, master or otherwise, in 2046 that aren't 'framed' by foreground and background elements, as well as color and texture framing.
There's a lot of work for you to do with this raw footage, and the skin tone leads me to believe you used a high compression method (DV, HDV) and low color space. Keep in mind for 3800 you can purchase the HVX and if used correctly the 4:2:2 at a high bitrate will provide better skin tones. This leads me to my final qualm with your film.
Light the picture. Your film has the look of an 'internal' video look, or the look of when a character in the movie takes out his video camera and we see video cam's pov. The above elements will help in differentiating that look from the look you're striving for, but lighting helps too. Take a look at Blaine Blair's books on lighting and cinematography - they're invaluable tools to own (comes with a dvd) and it explains some aspects of cinematic lighting. Now for my opinion on what to change (specifically) in your film as regards lighting.
Create a gradient on the walls. This can be done easily by using 150 led's in corners and bringing them out by 'bumping contrast' in post. Play with framing a little more, if you can. Perhaps 2/3 frame behind something, just peaking out at the action, or an angle cut off by furniture, moving camera that goes to and from behind objects. The cinematographer's nightmare is to just point and shoot a couple static angles.
Create a source. Your lights need to come from somewhere. If they're flourescent lights in the ceiling get an upshot of them somehow relevantly. If they come from a lamp get it in the foreground of a shot. Use the source as the primary reason for the entire place to be lit and then accent with backlights, splashes on the wall, moonlight, etc. To me, your film lacked these elements.
When I was in film school it was tough just to get a few people together for an hour to shoot. So be proud. If you were just focused on acting, sorry for all the cinematography crit., but maybe theres something there for you. Good luck on future films.
Haha, thanks for the advice but I didn't plan out how I was going to shoot it at all, or do any color correction. I didn't intend this to be a short film, it was just my final for a class about working with actors, which we were allowed to film (my instructor was sitting behind me while I filmed lol). You can click the link in my sig to see actual short films I've made.
I shot it with my 7d, but I had to convert the footage to standard def because I edited on my slow laptop.
I shot it with my 7d, but I had to convert the footage to standard def because I edited on my slow laptop.