Production Skills #2 - AVC & 3 Point Lighting

In this weeks session we focused on the AVC digital cameras in the morning, and in the afternoon we focused a little more on three point lighting. Following on from last weeks session on lighting. The morning lesson revolved around us being given a technical demonstration from Lee, where we took notes on the features of the AVC camera. We were already kind of familiar, including myself with this camera model as we had used the Mini-DV and VHS tapes for a month previous to this. The cameras are extremely similar aside from a few technical aspects which of course make this one digital opposed to tape. This camera for example requires an sd card. We are all reminded that we must have our own for our own work, and that if any footage is left on the camera from that person the card will be formatted and that will all be discarded. We also went over the basics of interlaced and progressive video content, and the differences between the two. With this camera in particular we were told to stick to PH 1080/50i. 

Below is an image taken in class of Lee giving us a demonstration of the cameras features, which was set up on a tripod in the middle of the class. These kind of demonstrations are extremely effective and very informative, that is if you decide to pay attention first thing in the morning. 

In the afternoon we picked up where we left off from last week with three point lighting. This week we were put into groups and allowed to go off and experiment ourselves with the lighting and create our own visual techniques. 

Before we did this we were given a crucial lesson on the scientific aspects of lighting use. This covered the basic science and mathematics, which are used to determine the risks and safety factors when using the lighting equipment. I learned that in the UK the standard wattage is 240. In other European countries such as France and Italy it is slightly lower at 230. The average plug socket can hold up to 13 amps. This is where the maths come into it. Because a plug can hold 13 amps this means that the average wattage (240) must be divided by how much the plug can take. 

So, in basic mathematical terms. 240 x 13 = 3120. An average plug can hold 3120, anything above or near that amount is considered very dangerous. 

This becomes important to us as filmmakers, because we have to be aware of how much lighting equipment we can rig up or put into a plug without it becoming a hazard. The blondies (key lights) that we use are 2000 watts, and the portable red-heads are 800 watts. This means that if a plug can hold up to 3120, only one blondie can be used, or two redheads simultaneously. We were reminded that it is important to stay away from totalling up your wattage to anything near 3000 or over, even though the plug may be able to hold it. This just reduces the risks or any chance of the lights exploding etc. If a plug can hold 3000 for example, it would be safe to use two redheads totalling 1600 keeping the wattage at half of what the plug can handle. Using three or more may become dangerous. 

If it is not possible to use a required amount of lighting equipment within one singular plug, a generator can hold up to 32 amps, opposed to the 13 in a plug. This means that generators can be very effective on night shoots or sets where more lighting equipment is needed. Again, doing the simple mathematics, 240 x 32 - 7360. This means that a generator can now hold more than double what a plug can, allowing for use of more blondies or redheads without risk of combustion or overheating cables. 

Below is a panoramic image I took on my phone of the three point lighting set we created in one of the IT rooms. We positioned the key light nearest the door and directly upon the subject. We used one filler light also aimed directly at the wall behind the subject, and one to their side to illuminate their face and body with the lens gel. First, we filmed some dialogue with a singular character with all three lights on at the same time. This created some bright and harsh lighting, which forced us to take some care with the iris controls within the camera to find the right exposure levels. 

After this, we tried using only the filler light with a lens gel. This had the opposite effect to the key light which created some very high key lighting. The combination of the filler light with the lens gel had a very sinister effect, mainly through our use of the red lens gel. The red is very powerful and is cast heavily upon everything in the shot, including our character and these two props from Star Wars, in the image below. The filler light also created some highly visible shadows, which can be used to create an outstanding effect if you are aiming for something dark and intimidating. 

Me, Myself & I - Storyboards

Below are some scanned images of my drafted storyboards. I sketched these very swiftly to give myself an idea while the inspiration was still fresh in my mind. I felt like focusing too much on the intricate details of the drawings would negatively impact my thought process as I got into my continuity flow. The drawings are completely awful but on the bright side they allow myself to visualise how the shots will look in my mind, and are also very helpful to use whilst shooting so I do not lose sense of direction. 

Me, Myself and I - Introduction

Introduction to Me, Myself and I module:

The upcoming task of Me, Myself and I is to create a 3 minute moving image piece, centred around my life. The piece can be entirely experimental, and the aim is to show something about your life through a series of shots. The shots can make up a narrative, or can simply show things in your life that you fear, love, value etc. We will be working in teams of 3 on the project; sound op, camera op, and director (myself). We are being graded on working within a team and working within our areas, so it is of importance that we take each role on each others project seriously, as we will be making our projects in a three-way cycle. 

The personal concept for my project is to show my life as it would be on my ideal day. As I no longer have much spare time on my hands from balancing Uni and my part time job, I would like to show people how I would ideally spend a day off. From waking up in the morning to going to bed at night. I think this is a fantastic way to sum up my personality and capture the essence of my life, interests and passions. 

I will do this in a linear style, from morning to night. First capturing the morning light rising with some landscape cinematography, based at some of the more photogenic locations of my surrounding area. Then moving onto the morning and midday activies which will be myself at the driving range, then meeting up with friends to go skateboarding. I will end like I started with some cinematography, with sophisticated shots showing the going down of the sun. 

The initial idea is not set in stone, I may have room within the content to include another form of hobby such as football which I could easily film a small sequence of with a voiceover. Another idea I has which is connected to the soundtrack which I will move on to talk about in a moment, is to include myself as an orchestra conductor. With the right soundtrack I could show myself in a visionary light, being the director of my own passions. I would do this by filming myself possibly in the studio against a set, in a tuxedo or suit. This is again just an inspiration which came from a soundtrack option. 

The soundtrack I will be using within my project will most likely be a royalty free piece of music I will buy the rights to use, as a student. The network audio-network has an extensive range of songs from many genres and musical categories. I believe the soundtrack to be an extremely important aspect of any moving image piece, as it really sets the mood and contributes immensely to what you see on screen. 

At present I have composed a list of possible pieces of music I will look to buy from audio network, so that I do not forget them. 

Film & Screenwriting #1

Today was the day we put forth our ideas of our script, and presented them to the class in our seminar room. Last week we were given the task of filling out a concept checklist. The checklist was divided into sections of practicality, format, length, audience and originality. Our task was to pool our ideas together, and find one that fit into each section of the checklist. When we had an idea that was both original and practical, and would appeal to an audience, that was when we had a solid idea that we could continue with. 

I myself had 3 ideas, one clear and two rather vivid. I went forth and filled out the concept checklist with my solid and most favourable idea throughout the week. I added to it as ideas and inspiration made their way to my mind. The outcome was what I shared today in class. So far the synopsis was the most developed area, along with originality. I believe the concept of my script is both original and practical, but the problem areas lie with the ability to pin down my ideas into two 10 minute scrips or one 20 minute script. The way this whole concept had panned out in my head was certainly feature film length. 

The concept itself is based around a young unemployed man living in London. Through a series of swift and unexpected events the man buys an ex-service black cab illegally, and begins driving it picking up fares. The film revolves around this life of the man in the taxi meeting new people and the emergence of unlikely friendships. The film has a feel-good factor to it which makes up the thick layer, the things we see and force us to feel. The deeper layers of the film are made up with Marxist and Weberian perspectives on the social order or large cities such as London. The character development throughout the film entices the audience into critical thinking. We become critical of the structure within London, and how people are ignorant in the face of one another. The general representation of London as the main location is that it is very cold and distant. People walk by one another on the street without any acknowledgement. Our main protagonist in the taxi driver sees this and acts upon it, spreading awareness and love amongst the passengers he picks up. 

Character influences and visual influences. Below are images from the films Nightcrawler and Taxi Driver. My idea and concept of the film is heavily influenced by these two films. I took a lot of inspiration from how Martin Scorsese directs the character of Travis Bickle through the streets of New York in a spectacular visual fashion. The film focuses primarily around the unstable nature of the protagonist, the same goes for the character of Lou in Nightcrawler. These films both had a hold on me long after the credits rolled. I believe this is because these kinds of characters are underrepresented in cinema. These are self made humans, coming from a less than privileged background. Both of these characters are also very intriguing. Lou is a self-made man who teaches himself how to run a business and manipulate corporations to suit his needs. It is a very complex rags to riches story that I will be similarly trying to put across within Black Cabbie. Travis from Taxi Driver on the other hand has immense character depth from the fact he was a soldier in Vietnam. From this we understand his unstable nature and obsession with putting forth his affection onto the female character companion in the film. It is evident Travis has went through some trauma in his life, despite not showing this on screen we feel it and are very subtly hinting toward it.

Visually, the film takes inspiration from both of these films through how they represent their locations. Both set in major cities, they both achieve the distant effect and atmosphere I aim to create. Within Taxi Driver, Travis sees the harsh and disgusting stench of nightlife in New York. Lou also sees the same in Los Angeles, and both characters take full advantage of the cities corruption. Both films use very low key lighting which makes rare use of bright colours really stand out. In both instances it is the colour of the vehicles that stand out. The yellow taxi in Taxi Driver and the red Mustang in Nightcrawler. This can be interpreted in different ways. The way I see it is the colours are reflective of the nature and attributes of the characters. The Yellow cab represents the simple existence of Travis and his simplistic spirit. On the other hand the red mustang represents the dangerous and unstable nature of Lou. He is fast paced, gets things done and acts with upmost integrity. 

In the context of Black Cabbie, the black cab shows the dark origins of the character. He is very discreet and his whole life revolves around remaining hidden, and hiding in plain sight of everyday life. Not only this but the colour of the cab is linked to the actual colour palette of the film and the use of lighting. The low key lighting and night-time scenes enable the cab to become camouflage. In turn this connects the vehicle and the character and shows their similarities, the cab blends in with the location whilst the character blends in with other people. 

Within our scriptwriting session on 26th October we looked at 10 step and 20 step outlines into our scripts. These exercises are used to enhance the specifics and more intricate details of our scrips. I started off with the ten step outline, working out the key events chronologically of my narrative. Starting with the character buying the black cab and ending with the post disequilibrium events, which leads the character back into a new equilibrium and state of peace. 

The 20 step outline comes after the 10 step outline and adds even more depth to the script. The 10 step outline more or less outlines the key events of the film, such as key scenes and arrival of key characters or catalysts within the narrative. The 20 step outline adds detail between each key event or scene, giving me room to work with character development and establishing the setting of each scene or piece of dialogue. 

Below are some scanned images of my 10 step outline of the concept. 

Production Skills #1 - Lighting Session

This week in our production skills session we looked at studio lighting. A set was constructed to help with the demonstration of three point lighting. The main thing we focused on was the roles of the key light, the filler light and the backlight (or kicker light). We were demonstrated by our lecturer Mike on how these things can be combined together, or used alone to create different visual effects or moods. The key light itself is what is used to light the entire scene, and is the most powerful of the three. This creates some very high key lighting within a scene, illuminating both the characters and the backdrop of a set or location. Along with how lighting is used effectively, we were also taught the health and safety regulations. Primarily because lighting is the most potentially dangerous equipment we will be using. The lights themselves can become extremely hot, and a cooling down period of 20 minutes to half an hour after shooting is required before they are physically handled. Failure to do so will result in a serious burn, as the lights become so hot they can take the skin from your hands! Another level of health and safety we explored was the surrounding environment, and where you should or shouldn't use studio lighting equipment. Using the lighting equipment near water sources e.g. bathrooms, riverbanks or the sea falls into high risk. Working with such high voltage equipment near water is potentially very risky, and the utmost caution must be taken. 

This is an example of how the key light works. This shot shows the key light being used to light two characters in a two-shot. The key light is powerful enough to create a natural and basic amount of light within a scene, so that the audience can clearly identify the characters and setting. With the key light being the most powerful, it can define how your lighting looks and how a scene feels. The key light helps create a very natural atmosphere you would see in Hollywood films and genres such as Drama, Rom-com and Comedy. It allows the characters and setting to appear normal, or in this case with the wallpaper rather mundane. 

Next, we looked at the filler light, and how the filler light (or side-lighting) can be used to achieve certain affects or visuals. The filler can be used alone to project substantial light, but is often used with the key light to fully illuminate a scene. The filler light in the examples below is shown to light up a particular character or artefact. Instead of the key light which lights the entire shot or scene, the filler light is effective in drawing attention to something particular. In this instance we had Yiannis on the left side of the sofa, and Andy on the right side. The filler light is focused on Andy, therefore emphasising his importance and making him the more important of the two characters. The filler light when used to focus on something leaves the rest of the scene dim, which used correctly can have an outstanding effect. The filler light is often used with gels to change the colour of the scene entirely. 

Finally, we looked at the backlight, or the kicker light. This light is often placed behind the characters or at the back of the scene, to create light from behind. The result this has is that it softens the shadows created by the lights in-front of the characters, such as the key and filler lights. The kicker light, like the filler light is used with the gels to create a mood from the use of colour. When the kicker light is placed behind a character, it significantly softens the harshness of lighting created by the key light or filler light. This can make a scene or shot look more professional and the attention to detail such as this enhances the overall visual. The images below show the examples of how lighting is used from the gels to create a mood, the red in this shot makes the character on screen seem dangerous or evil. The other image is an example of how the backlight has created smooth lighting which is projected onto the side of the characters face from behind. 

24 Hour Film Challenge

In the third week of our introduction to filmmaking, we were given a practical task to complete over a day. Our class was divided into three groups of four and each given a genre; Western, Musical, Sci-fi or Rom-com. Our group was given the western genre, and we quickly got to work on finding suitable locations, props and narrative structure. The pre-production planning process was the most lengthy, mainly because we were shooting and editing in camera so there was no need to set aside any time to edit. Although this did mean that our shot lists and storyboards had to be very detailed and thought out, ensuring we made no mistakes with the wrong shot at the wrong time, as this would mess up the tape. That problem can be a very tricky one to fix, we came to learn. We figured out our narrative and location then went ahead with the risk assessments. In detail we outlined the potential risks we would be facing on location, to ensure no one would get hurt and that there would be no damage to the equipment. The main thing in our risk assessment being the use of replica guns in public. We rang up Teesside police and asked to be put through to cleveland police to inform them of our whereabouts. This reduced any risk of a member of the public ringing the police over the concern of a bunch of cowboys on seaton crew beach shooting each other. The woman from the press office of Cleveland police politely told us between 6-7 would be fine to go ahead with our shoot, and we wouldn't have to worry about hassle from the police. 

The image below is an image of our establishing shots, which took place in the modern timeline of our narrative. The shot shows our director and camera-op setting up the shot, and white balancing our camera with the correct exposure. We used a simple but effective technique in the rule of thirds, placing our subject in the bottom right hand corner of the frame and leaving a lot of space around the left and upper halves of the shot. The effect this had was that the character in the frame came across as trapped. Both behind the black fence which the shot went through, and inside the room surrounded by dead space.

This image is of myself, fully in costume ready to play the part of the Western sheriff before we headed off to our location. The costume itself is rather effective, costing a grand total of £1! I already owned the white shirt and leather gloves, the prop cupboard at University had a random cowboy hat, and my flatmate created this superb wanted posted with a sharpie pen, some teabags and a lighter. The neck scarf, sheriff badge and gun were all part of a kids western toy set from the pound-shop. It's interesting to see what you can come up with on a small budget when you ask yourself the question what have I already got that I can use? And what can I create, or ask others to create if it is out of my abilities? As a Film student it's essential that you keep an open mind to what you can create or obtain, especially on how to save money which can be spent on other areas of your film. In this case it was transport. We all chipped in a few quid each to get to the beach for a few hours and back in a fellow students car. Running favours is a big part of being a student, I have found thus far. Even more so attending a small and intimate University with a lot of common faces. It's nice to know people are willing to help you out in time of need, and that favour will most certainly be returned if it is ever needed.

This final image is a shot of our actor and camera-op at work on location. This was a test shot, to ensure the character was suitably positioned in the frame. This test was also to find the right lighting by adjusting the exposure. This was a major issue with our film, and quite a large focus. This was because of the time we were filming out on location at the beach. It was around 7 o'clock, the time when the lighting significantly changes and becomes dark before you can even notice. This meant that we had to keep on top of our exposure settings. This shot had significant depth of field which added to the essence of our film. The large wide open landscapes are a common convention of the Western genre. We did our best in terms of mise-en-scene to create a Western atmosphere. We even borrowed a few cacti and shot them at a low angle! In the background of this shot there was a large steelworks that we managed to capture in a large depth of field. Although we knew that it was a steelworks as we live locally, within the context of the film it could have been a large Texan plantation or brewery. The more of a mood you create through subtleties such as our props, the more stuff like the steelworks is left to the interpretation of the audience, who will now most likely see it as an element of a Western location. 

Introduction to Filmmaking (Weeks1-4)

This past month has been an introduction and primarily a settling in period for myself and the other students. We have been slowly introduced to our modules, our lecturers and the equipment. I believe this has worked very well for myself and others, as we are all becoming more confident with each other and the equipment also. We were given weekly introductions to scriptwriting, where we looked at narrative, genre and characters. And on a Thursday we got into the nitty gritty practical work with production skills. We done various tech dems and exercises with the VHS cameras and sound equipment. Most of this was trial and error, and as new students we were allowed to play around with the older cameras. We were introduced to the simple concepts of using cameras and what to bear in mind, such as grain, exposure, sound inputs, composition etc. We were allowed to find our own comfort zones and figure things out for ourselves with numerous exercises revolving around different briefs. 

We have also looked at the more formal side to filmmaking and digital production, such as how to prepare for a shoot, how to act on set, risk assessments and health and safety procedures. All of these things fall under general law and the laws of filmmaking, so we were taught the importance of health and safety and carefully planning ahead for a shoot. We were shown some harsh examples of how things have went wrong on previous film sets. Partially as a warning, and partially as a reminder that everything must be taken into consideration whilst filming, even the highly unlikely. 

Below are some images of our production skills lesson at week 4. Our lecturers Mike and Lee demonstrated with some of the more complex toys such as the jib and the tracking dolly. We were shown step by step how to set them up safety and efficiently, aswell as how to take them down and store them away again. Not only were we taught the practical elements of the equipment we were shown how they can make a shot more interesting, and that through movement these shots can add another dimension to a film. For example the use of the tracking dolly can be used to increase or decrease tension, depending on the speed of which it is pushed or the angle of the shot moving along the track. A fast track in on a character or artefact can make them or it seem important, therefore placing them at the centre of the narrative. A low angle shot on the dolly or with the jib can make that character or artefact seem powerful. A high angle shot with the jib or slow backwards track can have the opposite effect, making someone or something seem insignificant or weak. This is a very simple concept which is easy to understand as audience members and to create as filmmakers. With the dolly or the jib some outstanding camerawork can be crafted.

Blog Introduction

Hello, my name is Bradley George Sampson. I am 18 years of age currently studying Creative Film and Moving Image Production, at Cleveland College of Art and Design in Hartlepool. I aspire one day to be a screenwriter/director. I will be including within this blog my research, my influences and my general thought process. I will be doing this as I progress throughout the different modules on each level of my degree in creative film. Within this blog I will also be including my ideas, drafts and final products of any extra curricular work. This will be anything from scripts, photography, short films etc. I will be posting the occasional film reviews of the latest films in cinemas, as an avid moviegoer. With any spare time on my hands I may choose to review some older and some of the more classic films. (time is money, and students are skint.)

About me; 
I was born and raised in the North East town of Sunderland. I have recently moved to Hartlepool for University, and to experience the student lifestyle. I can tell you now that it doesn't really exist in the way I thought it would. I always imagined myself rolling in drunk at 3 in the morning sobering up for my lecture 4 hours away. When in reality, its kind of just 'excuse me, did you drink my milk?'. From a very young age I developed an interest in Film, primarily because of how much the concept confused and intrigued me at the same time. My first experience with film was Lord of The Rings at the age of 6. My mother bought me the trilogy on tape, and I ended up watching the full trilogy on the sofa on a day off from school after mastering the art of acting ill. To this day they remain my favourite movies of all time, and of course I still own the tapes. I work part time at the Stadium of Light in Sunderland, doing bar work that pays well especially with tips for a student such as myself. I have been working there for 2 years, as I got the job almost immediately after leaving school. In my spare time I enjoy skateboarding, this has been my main hobby for 4 years now and it is something I'm very passionate about. My other interests are Golf and Photography. Though I don't have much time on my hands for leisure these days I still try and make time for the driving range and some 35mm photography. 

Thank you for reading, and I hope you find something of interest within my blog.