Pre-Production - Alice Opening Scene Lighting Test - (28/02/17)

Today we had a lighting test for the opening scene of 'Alice'. Within the creation process of the script and story, I always had my mind set on opening within a bar setting. I envisioned dingy and blurred lights behind the character of Alice as the entire scene is held in one uninterrupted shot. From this we began looking for locations from the earliest stages of pre-production, as we searched for a bar that could meet our needs. In doing so I had a vague idea that I couldn't necessarily imagine pulling off, but I thought it was worth a shot. I decided we should attempt to make use of our very own art cafe within the university. The cafe has a makeshift bar for student nights etc, which we attempted to make look like an actual bar area. Infront of the bar is a few long tables which students sit at during lunch hour. I found that if we only use the end of one of the tables, we could show the bar behind the subject of Alice (who is sitting alone at the table). Myself and the cinematographer have attempted to replicate a particular shot from the film 'Shame' through lighting and lens perspective. We decided it would be better to get the shot on a zoom lens, so that we could keep the lights and bar in the background safely out of focus enough to connote what the location is. 

Below is an image from the start of the shoot. We took this image of a subject sitting in the same place the character of Alice will. This shot is with the fill light only, and was taken before it was dark outside. Evidently this shot is lit in all the areas we wanted to avoid. The large windows in the art cafe let in a lot of light, which is evident from how lit the background and foreground are in this shot. 

Here we can draw comparisons between the above and below images. The image above was taken around 5PM before the sun set and it got dark. The below image was taken around 6:30PM when it was dark outside. The difference is staggering in terms of visual flair and depth. The below image was achieved through the use of a two point lighting system. The right hand side of the subjects face is lit using a fill light in the back right of the room, which was also covered with a red gel and scrim. This enabled the subject to have a slight red light over their face, and it also kept one side of their face shadowed. This in turn allowed the subject to achieve a deeper symbolic meaning which I wanted to achieve within the scene. As the audience when a characters face is half lit, we assume they are hiding something from us, or that they have a darker side to what we are seeing. The key light within the scene was placed in front of the subject, also to his right. What I am seeing now is that by using a two point lighting system on the same side of a shot, the right hand side of the character is lit a lot more than the left. The left hand side of the subject is unrefined, and it is blending heavily into the background of the shot. To fix this I may consider implementing a side light into a three point lighting system. I will be looking to place this to the far left on line with the key light, to fill in the unrefined area to the left of the subject. Hopefully this will bring out the subjects shoulder and overall frame, without adding too much light to the scene or the left hand side of their face.

The lighting system used in the scene through the use of redheads is only half of how we achieved this shot. In discussion with my cinematographer, I wanted to achieve a sleazy and dim ambience. I believe we have done this through the background of the shot. A few weeks ago my cinematographer shared with me his plans to buy external light sources that could be used within the scene. These lighting sources would in no way light the scene like a redhead would, but they will provide attention to detail and subtle visual flair. As seen in the background of this shot, we used lanterns and tea-lights to bring the bar slightly into focus, but also out of focus enough for the main attention of the shot to be on the subject in the foreground. By shooting on a zoom lens we were able to compress the image, bringing the bar in the background closer to the subject but also keeping it in soft focus. I strongly believe the depth we have created within this shot is achieved through these lights on top of the bar. Without them, as seen in the above image which is taken without them, the shot appears to be empty and lacking style. 

Tag - Lighting Test (23/02/17)

Today we had a lighting test for the production of 'Tag'. I am currently cinematographer on the project and this is the first time in pre-production we have had any tests.

For this test, we found a location suitable enough for the opening shot of the film. Over the past few weeks of pre-production, ongoing talks have occurred regarding finding a large window. Everyone involved has struggled to match the criteria of this window as everyone threw suggestions in left right and centre. The witch-hunt for a window finally ended when we found something suitable enough to test out. This was progress of some sort as it meant myself as cinematographer and the director were able to begin the process of working together. As the director spoke of his intentions I grew in confidence and understanding of what he was trying to achieve. Sitting round a table discussing where we could shoot or where to find a window was getting us nowhere. We got out on location, mapped out the scene and began seeing how it would look. That is where we begin to learn and understand the direction the film is going in. 

The nature of the shot is to introduce a set of characters in one uninterrupted take. The shot exposes the audience to a turbulent world in which the characters argue and spout hatred at one another. This shot gives me as a cinematographer such a great opportunity to explore meaning through camera movement, but more importantly lighting and colour. Unfortunately within this test shot we didn't have time to set up the lighting equipment. Instead we stuck with the bare bones of the shot, which was to pull out from the window using the slider. As the shot pulls back, two characters simultaneously walk into a two shot. They become silhouetted by the window behind them. 

The initial shot we tested was using the slider. Below are a few images of myself and the director experimenting with the slider position infront of the window. As the shot pulls out from the window on the slider, it is important for me to get the timing of the pull out just right. As the shot pulls out and the two characters walk into shot, the shot then has a different focus and no longer requires that movement to keep the interest. I had a lot of trouble using the slider on this test shoot however. In the past the slider has always been a reliable way of getting a steady shot. This time around it felt incredibly unstable due to a problem with the track on the slider. It was forcing the moving part of the bottom of the camera to get jammed in parts. I'm certain a few others have had the same problem with the equipment. Due to this problem when we watched it back we essentially got the shot we wanted, just a version of very poor quality. The second test next Thursday I'm sure will be an improvement. 

The second part of the test shoot was used to capture the opening scene from a different angle. Although we have no pictures of the location layout, the picture below shows me standing at the top of the stairs. In the above pictures I am on the landing just infront of the window. By moving to the top of the stairs I was able to see more of the scene unfolding, including the characters actually moving up the stairs toward the window. By shooting this scene from the position I was in I had to swap over from the slider to a shoulder mount. I felt like the shoulder mount was a good enough option for the test shoot to get a general idea, but for the real shoot I would seriously consider using the glide-cam. By shooting the scene at this angle it also means we could gather a lot of coverage from one shot. We would have less to worry about if we had the correct sound for the scene as we would have shot it all in one usable take (which is what the director wanted). The only problem I had with the shoulder mount was the backwards movement. The director requested that the shot pulls out again from this angle, which meant that from the top of the stairs I had to begin walking backwards with the shoulder mount. With a bit of practice I think I can get it a lot steadier, however. In next Thursdays test shoot I will practice this, along with the incorporation of lighting into the scene. 

Master Shots Research

In this post I will be discussing my research on master shots. Master shots are found frequently within television and cinema, and by definition a master shot is one interrupted take where the camera captures an entire scene or sequence in one shot. A master shot usually requires complex movement, whether from a height (a jib) or a track via a tracking dolly or steady-cam. The reason I am researching and aiming to increase my overall understanding of what a master shot is, is because I plan on executing on within the film 'Alice'.  The more understanding I have of master shots as a director, the more equipped I am to implement one effectively into my own film. The first time I came across the concept of a master shot was little over a year ago. As I undertook directorial research for my previous short film, I read a book named 'first time director'. The book was extremely informative and educational on the dos and dont's of directing from start to finish. An entire chapter of the book was dedicated to master shots, which I learned a great deal from. From what I had read within the book regarding master shots here's what I learned. 

• Master shots do not have to be opening shots. This is a common misconception. Master shots can take place at any point within a film, but are often used by directors as ways of opening a film as a statement and as a way of introducing the world. 
• Master shots must gather coverage, above allowing the scene to play out in one take. 
• The coverage must vary in angles and proximity. E.g. over the shoulder shots, close up and mid shots should all ideally be implemented into one master shot. 
• A good master shot must always have a focal point or a subject for the shot to follow. Without it the camera becomes noticeable. 
• The camera MUST remain invisible within a master shot. A master shot must always serve the story as best as it can. It must follow characters or events whilst avoiding complex aimless camera movements which the audience can notice. 
• 'Eye candy' is extremely important in a master shot. This is movement in the background and to the sides of a subject or character as they move. It adds depth and visual appeal to the shot. 
• A master shot must clearly concisely demonstrate spacial awareness within a scene. If I was to shoot two people running toward each other in a master shot for example, I would ideally show them facing each other at an extreme wide then come down to their level (or an over the shoulder shot). 
• A master shot must have a clear starting and ending point, and must constantly move towards that end point. 

These are all points that I have recently gone back over in my mind to refresh myself on what a good conventional master shot should do and why. Although I did not use a master shot within the short film I researched for last year, it is clearly coming into effect now. I also find that whilst its good to look at the conventions and rules of things like shot types, those rules are there to be broken. I am a firm believer that those rules can only be successfully broken when there is a sufficient knowledge of the rules in the first place. Above theoretical research of master shots I've recently been looking at some physical examples within film and television. I have found examples of some great master shots which do everything a master shot should. I firmly believe that when pulled off master shots take the production values of whatever is being shot to a whole new level. If we manage to pull the shot off how I want then the film will surely be a huge step up from what is generally expected of student productions. 

On top of reading Gill Bettmans 'First Time Director' in which I gained insightful knowledge of the master shot, I also picked up another book from the library. The entire book is about Master Shots, and included step throughs of the many master shot techniques. What I found most exciting about the book is that it includes breakdowns of the great master shots used within films. I found myself acknowledging this as I'd seen a good 80% of the films included. What this does is remind me of a shot and then delves into why and how they did it, which is the real stuff I need to know as a filmmaker. Below is an image of the book I am talking about along with a few examples of master shots from popular films. 

Below are two scanned images of a sequence from 'Master Shots' which discusses the camera travelling with a subject within a scene. This sequence is informative and helpful for the master shot scene within 'Alice' as the shot is following Alice, the main subject. At times the camera lends itself to other subjects within the scene. E.g. for a few moments it follows someone else, before it pans back to Alice emphasising her importance. The camera will also occasionally pan to someones face as she walks as they react to her. Again, this emphasises the importance of Alice as a pivotal central subject. This shot also discusses the importance of empty spaces around the actor. Within the master shot in 'Alice' the space she inhabits is filled with drunk individuals who offer her no solitude to the people who are tracking her. Alice uses this to her advantage, deciding to kiss one of the drunken boys against the wall. The camera at this point emphasises the empty space of the corridor as the trackers come very close to her. Without this there's no real reason they wouldn't just see her straight away. The second image from this chapter of Master Shots shows us with images how we can put this into practice. 

This second chapter from 'Master Shots' discusses character switching, and how the camera can make a character become important simply through movement and positioning. In this chapter we are given an example from the film 'Children of Men'. I found Children of Men to be a very important film in terms of researching master shots as it's made up of many. Alfonso Cuaron and Emmanuel Lubezki, the Director and the Director of Photography, have teamed up numerous times. The result is often films with breathtaking cinematography that pushes boundaries. Children of Men is certainly a film that pushes the boundaries of how long a shot can be held whilst the story unfolds. This is also the case in 'Gravity' another film which was the result of the Cuaron and Lubezki partnership. In the scene discussed below in the chapter from Master Shots, the focus is on how the placement of the camera really tells the story of Clive Owens character in one single shot. The way be bustles through the crowds to announce himself as a physically superior character is done through height of the camera alone. Following this opening sequence the camera lowers itself making Owens character the subject, tracking him through the crowd within the shop. Below the shots of the chapter is a link to the scene from Children of Men. 

Another example of a successful master shot I could think of off the top of my head is this opening shot from Paul Thomas Andersons 'Boogie Nights'. The shot has an uninterrupted duration of 3 minutes. This is a perfect example of an effective master shot because it really pushes the story forward. We start in a high angle of a street and lower ourselves to the pavement where we eventually begin to track a group of people. The combination of the car and people walking us two things to look at and keeps the shot visually stimulating. We approach a club and track a group of characters into the building. This is effectively story building because we learn the importance of those characters through dialogue. When we get inside the building the camera takes a life form of its own. The camera is simply in the scene as a person would be, bouncing off people and following points of interest. This is definitely how I'd like the master shot of the party scene in Alice to play out, bouncing off of people and allowing the scene to flow but also giving the audience a point of focus throughout, which would be the character of Alice. 

This next example is one of the most famous master shots of all time. The opening master shot from Orson Welles 'Touch of Evil' is innovative cinema. The opening shot has a duration of 3 minutes and 30 seconds, and introduces us to characters, the location, and most importantly it sets a tone for the film and foreshadows events to come. This is the perfect master shot in many ways. It maintains our focus at all times, for instance when we need to look somewhere the camera doesn't simply pan. If it did, something within the subconscious of even the most novice cinema-goer would think 'why is it doing that? What am I supposed to be looking at?'. Instead the shot gives us something to follow and those things however subtle or blasé make a master shot work. A shadow running across the wall at the beginning of the scene, moving from left to right is an example of this. It leads our eyes and focus to the next point which is the car. The camera then moves upwards and hoists itself above the scene where we see a couple walking towards the car. Our eyes follow them, then they follow the car, then they follow another couple and so on and so fourth. The importance is in the 'eye candy' which I spoke about earlier. Without it a master shot becomes empty and pointless, you could just cut. But with it there is no need to cut at all, as the audience are visually immersed in a sequence of events. The set up and the execution of a master shot are obviously very complex but its purpose remains simple. Tell a story in one sequence that pushes the whole story of the film forward in some way. 

This week following my master shot research I found that it wasn't too early in the point of pre-production to test out our own. Myself, the cinematographer, the producer and the sound-operator visited the location we were to use for the master shot. We simply explored the location and discussed possibilities. As director I looked at it from every angle, how we would move characters alongside the camera to create a successful master shot. The important thing for me was to find a way to tell this story in one big shot, a story which required us to see two opposing sets of characters. This scene is about Alice Vs the young guys she's following. She's there to track them and capture them on camera. A problem arises when they notice her and try to grab her. In the test we documented on camera, the extras aren't there which will add to the scene greatly when the time comes. However we had enough people to play out the scene as I wanted it in terms of who the camera will follow and when. Below is an example of the master shot we created as a preliminary test. This is the bare bones of the shot without lighting and extras and cast, but hopefully it gives a clear indication of the direction we're hoping to go in with the master shot. 

Pre-Production - Steady-cam test 2 (14/02/17)

This week we had a second test for the house party scene in which we used the steady-cam for the second time. I recorded the results of the first test here on my blog. The initial findings were semi-successful, but as we shot the scene without lighting we had a limited understanding of how things would ultimately look in the final scene. This time around we set up our lighting plan around the location before we started the test shoot. In total we had three redheads within the scene and one cool lamp. I wanted the lights to act as part of the scene to give a colourful party vibe. We had two redheads placed within the corridor with a blue and red gel on each. This merges nicely into a purple that fills the corridor. The problem here being the final light at the end of the corridor. It is clear a light source is coming from infront of the harshness of the light on the wall. To avoid this I think we're going to place extras on that wall to absorb the light. The cool lamp is placed within the kitchen behind the main area of the scene where Alice has a conversation with Millie and Sam. This provided an ambient green light which fills the entire room. I really liked the effect this created as you could also see the light when Alice passes the end window. Green spills out of the room onto her face slightly which is a subtle way of introducing her to the party. 

At the very beginning of this scene, we found that in the dark we needed a light source to illuminate the path Alice was on slightly. To her right there are small LED lights placed every 5-10 metres. The light that these gave off wasn't enough to give a clear indication of what was happening. With the help of the redhead coming through the window, this time around we clearly establish what's happening. Alice passes around into the front garden. Unfortunately we weren't able to gather enough extras that day to place some around the railings etc. I decided to use the few spare hands we did have for the important parts of the scene. This worked out well because it was the first time I got to see the scene play out from start to finish with a body to fill each role. 

This time around we also recorded some dialogue to incorporate into the scene in post production. The last time we applied some music to the scene in post and it enhanced the scene greatly, but it was still without dialogue that was to take place in the scene. I also wanted the dialogue and the music to be balanced. If one was louder than the other it would be quite distracting. I looked at a few scenes from films and one I found done this very well is a scene I'm using for inspiration. This scene below is from 'The Guest'. Notice how the music and the dialogue do not cancel each other out. They seem to naturally beside each other within the scene. 

Below is a link to the second test shot which is uploaded to YouTube. Sometime soon I will be updating this post with a new version of the same test shot, but with both the soundtrack and digetic dialogue. 

Pre-Production - Steady-cam Test (10/02/17)

Today we took the steady-cam to the location where will be using it within the production to get in some valuable practice. The house party scene in the middle of the film is to be shot in one large tracking shot which will probably end up being around 2-3 minutes long. We have over a month of pre-production so we thought it would be best to start practicing as soon as possible. Over numerous discussions with my D.O.P we agreed this shot would be very hard to pull off due to the immensity of effort that would have to go in to character movement, camera movement, sound etc. I recently completed floor plans which enabled me to see the scene in full how it was to play out from a birds eye view of the location, which I am very familiar with. I went over this with my D.O.P and we estimated that the amount of extras within the scene would be around 20-30 if we wanted to give the impression that this house party was packed, which is exactly what I want. 

We visited the location at around 3 o'clock as we'd scheduled to use the steady-cam until 5 o'clock. We had a two hour practice session which we used to plan out the scene and then practice it a few times over. As there was only four of us we had to use our imagination to picture a drunken crowd of young people there, along with the lighting that will set the tone of the scene. 

Below are two images I took of the main areas of the flat which will be used in the scene. The first image is of the living area. The table will be moved to the centre where characters will be playing beer pong etc. The crowds will gather in this area, and this is where Alice will come into contact with Millie and Sam, thus seeing Nathan and Lucas in the background, where she photographs them. The second picture below that is where Alice heads to when she realises she's being followed. 

We found that the test was very successful for the first one we had done. We are yet to do a second and third test but we all agreed that it would be needed. The main issue we found is that with it being shot at night, the opening 10-20 seconds were very dark. The shot start down an alleyway which has very little light meaning the limited visibility stops us from seeing Alice as much as I'd like. 

Below is an embedded video of all our tests shots compiled into one. Evidently a few of these shots were monopod and a few were glide-cam. 

From watching this video and from being on location for test shoots in general, myself and the crew learned a lot of things. Everything we learned from trial and error we can take on to other tests and continue to make progress. One of the most important things we learned from watching this back as a crew was how dark the interior and exterior parts of the shot were, and this is considering it is still slightly light outside. We found the way to change this will be to take more redheads on the next test to figure out placements with them. We also found that it would make a lot of sense to change lenses. For this entire test shoot we were using a Canon 40mm pancake lens which draws everything further into the foreground and makes it harder for the cinematographer to maintain a safe distance from the subject and to frame them in a wide shot/2 shot. As Alice comes in through the front door (I was playing the role of Alice in the test footage) she is greeted by two young women. At this point the camera turns with her to face them and frames them in a wide shot in conversation. Getting back to the topic of the lens, when we do another test shoot we're going to do it with a standard 18-50mm DSLR lens to see the difference between the two. I imagine from experience that shooting on a standard lens instead of a pancake 40mm gives us the ability to change the lens perspective, but also shooting on 18mm will allow the cinematographer more freedom and more ability to work people into the frame in such a short space that is the flat. All we can do for now is to continue practicing until we're confident with the camera movement, character movement and lighting. Until all of those things work synonymously then we simply aren't ready. In the following weeks we'll continue to document our progress and what worked opposed to what didn't and why etc. 

Last night myself and Jack returned to his flat when it was dark to continue with the tests. Over the course of the night we went about our lives as normal but I couldn't get the thought of 'what will it look like at night?' off of my mind. I contacted Jack and we decided to do a few more tests with his own camera to find out the results. I also wanted to see what the outside sensor light would look like with a red gel over it. Unfortunately this didn't work how I wanted it to and instead it just cancelled out most of the original light which was essential to the scene. We need the opening area infront of the flat to be as lit as much as possible. Below are some shots which can be used as a reference as to how much the lights illuminate what is around them (not that much) so now we're going to look on to using more light sources at our second test on Tuesday night. 

Pre-Production - Alice Soundtrack (09/02/17)

In this post I will be discussing the soundtrack for Alice. Upon initially coming up with the idea for Alice, I knew from the start I wanted to use soundtrack to full advantage. A soundtrack can impact a film so much and elevate it to new heights. This has always been my experience with my favourite films which have inspired the creative process in Alice so much. I decided it would be the best bet to get in contact with one of my friends Liam, who is also a DJ, to see if he could meet my demands in creating an original soundtrack for the film. Upon our first chat he sent me over a sample based on the idea I'd given him of this dark and ultra-violent world which Alice lives in. He came back to me with a synth and bass heavy sample which I loved. Liam agreed to be part of the project as the soundtrack composer. Right now I'm waiting for him to get back to me with some additional samples which I'll then listen to and figure out if they can be used within a scene etc. I'm very excited to see what Liam gets back to me with and I'm confident I can work with him over the coming months to craft something unique and fitting for the film. 

As far as influence goes, I sent Liam some examples of what I was ideally looking for. I'm a huge fan of 80s inspired, dark synth soundtracks which have resurfaced over the past few years. A lot of films are now heavy on the whole 80s nostalgia soundtracks which pay homage to the era. Some examples are; Stranger Things, Drive, The Guest and It Follows. One of my main goals in Alice is to pay homage to the opening credits of 'Drive' which is one of my all time favourite films which inspires me endlessly. I aim to have an opening credit sequence between the second and third scene which shows Alice amidst the nightlife of a city, going about her shady business. The sequence will feature a very synth-esque bass heavy soundtrack that booms alongside the neon imagery. Below I have included the opening credit sequence from Drive as a reference point. 

Whilst I'm incredibly keen on the intent of bringing in someone qualified enough to create an original soundtrack, I've stumbled across some royalty free gems. As a student it goes without saying that we try to make the best use of royalty free soundtracks to avoid copyright. 90% of the time it is simply terrible and there's no denying that. With respect to the artists, there's obviously a reason and an element of justified polarisation between quality artists who would charge thousands to use their music, opposed to crediting them to use it for free. Despite this, in my experience you can find some hidden gems from unknown and undiscovered artists who will let you use it for some credit and recognition. I recently came across an artist named 'HOME' on YouTube. One of their videos is extremely popular and viral, reaching almost 10 million views. This is copyrighted, but upon searching their channel I found that they knock out some fantastic stuff weekly. They make a lot of synth wave stuff, some of which is crap, and some of which is fantastic. The vast majority of it is copyright free I found upon enquiring. As I was listening to some tracks I found it so easy to imagine them playing over some of the imagery in the film. So in this sense, even if Liam does deliver with an amazing soundtrack, I have backup stuff I can use for free. Not having to spend anything on a soundtrack at all (without the quality of said soundtrack suffering) gives us a bigger budget for production. All the artist asks for is crediting in the film or whatever creative piece is being used with the music. 

Below is a track from the artist 'HOME' which I may find myself using. I see this as a fantastic piece of music to use for the opening sequence. It is very similar to Kavinskys 'Nightcall' which is used in the drive opening credits I referenced earlier in this post. When the bass builds up and kicks in within the song I can really picture in my head what I want and it's very exciting!

Pre-Production - Jib Test (08/02/17)

Today myself and a few of the crew had a test with the jib. The last time we had any sort of experience with the jib was in October 2015. Needless to say our minds needed refreshing before we were going to use such a complex piece of kit in our production. The last time we had any contact with the jib was only through a tech-dem, so we lacked any hands on experience with it at all. At the time we documented the necessary steps to set up the jib, which we most likely still have saved somewhere. Despite this we wanted to see if we could do it from memory with as little help as possible. We took the jib parts over to the production design department to set up there. We did so because the studio was unavailable and it was raining outside. This was the nearest place with enough space. Also, another crew were planning to use the production design set in their production and they wanted to use the jib and this helpful for them as it was us. 

It took us around 1 hour to 1 hour and a half to set up the jib entirely then take it down. This took longer than anticipated because of the fact there was a piece missing. We sent two of the crew to the nearest DIY shop to hopefully pick up the part we were missing and thankfully they came back with it. I'm very pleased we chose to test the jib this early. Although we might be a few weeks from shooting, the jib is quite hard to use and requires time and patience. This way we are able to maximise the potential of the jib by seeing it in action. Before today I had an idea of how I wanted to use the jib and why, and now I am refreshed with the size scale of the jib and what it can do. I can now plan my shots around the jib with greater precision. It also means we have a clear idea on how long we should be spending on set with the jib to set it up and take it down again. This will potentially take half an hour to an hour out of our shooting schedule which we'll keep in mind. 

Below are a few shots of myself, the producer and the D.O.P setting up the jib. 

Editorial Influence (For Beth)

I will be using this post to embed some examples of scenes from films for Beth to have a look at. We spoke briefly the other day about what editing techniques or styles I'd want to implement. We spoke about the use of long takes, and I feel the script calls for them and it would compliment the atmosphere I want the film to have. I've embedded a couple of scenes that I've thought of off of the top of my head and I will be using these types of posts as a platform to build upon. Hopefully we can both continue to share examples of scenes and imagery we feel could inspire and benefit our creative process. 

I feel that in conclusion of the scenes I have shared in this post, my primary goal is what I will refer to as 'conservative editing'. By that I mean using cuts only when it is important to cut. I hope to avoid choppy and noticeable editing so that the images being shown can be absorbed without interruption. 

This is a video from 'Every Frame a Painting' which is an extremely insightful YouTube channel focusing on a range of film related topics. This one in particular I feel is very important for an editor to watch, but for directors alike. 

This is a scene from In the Mood for Love, I imagine Beth's heard me banging on about it before. I've chosen to share this scene because not only is it a perfectly crafted sequence but I also hope to use slow-motion at points throughout the film. This is something I think we need to get to grips with early on so we can experiment with speeds to find what works best etc. There's one particular shot I have in mind in 'Alice' which I hope to transition from regular speed to slow motion in the same shot, which is also a backwards tracking shot. 

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Again, below are two scenes from Only God Forgives. Something which I reference frequently. This time around I'm stressing the importance of the editing in both of these scenes, instead of the visuals. The editing is exquisite because it is so invisible within these scenes specifically. The cuts are timed and executed to perfection. It gives the scene a steady and uninterrupted flow which I think is very important for scenes of such dramatic depth. The last thing you want is to notice a camera movement or a misplaced cut, as these things drag you straight from the action. 

This is a scene from 'Shame'. Like the above scenes from Only God Forgives the importance lies in the obscure amount of cuts and transitions. In this scene Carey Mulligans character is the focal point in an uninterrupted shot. This shot still works because it absorbs the attention of the audience. It is visually rich, and the performance and emotion are visible. The cuts are only used because they only move on to show something of equal or significant importance to the thing we're already seeing. It cuts to Fassbenders character (her brother) to allow him to convey his emotion, and it cuts back, allowing us to enjoy the importance. This also allows us through one cut to observe the relationship between the two characters, as though they are the only two characters in the world at that moment in time. I'm ranting because I love this film very much but you get the point. 

Terrence Malick - Director Research

Terrence Malick, the elusive mastermind behind films such as; The Thin Red Line, Days of Heaven, Tree of Life, Knight of Cups and The New World. Malick is always someone whom I have greatly admired. Not only because of his fantastic filmography, but because of his lack of self indulgence and ego. Malick is a man who has been nominated for countless oscars, and has not turned up to any of the ceremonies in anticipation of winning an award. Below is an image which is one of the very few images that have ever surfaced of Terrence Malick. Sharing similarities with Stanley Kubrick, both men are widely known as reclusive, and as incredibly talented filmmakers who hold their cards extremely close to their chest.

Malicks style is something which has been viewed by most as enigmatic and unexplainable. One can easily establish that what they're watching is a Malick film, but they cannot say how or why they know that. This fascinates me to no end and I think as a filmmaker it is the ultimately compliment and is a statement awards can't cover. For people to know your work by simply looking, but for them not to know how tells you that Terrence Malicks style is not overly self indulgent, like say Quentin Tarantino. It is very subtle but powerful none the less. It is rare a director can attempt to completely take themselves out of the picture, out of the limelight and all the external attention films get yet still leave a piece of themselves in a picture for all to see. It is a testimony to the genius of Terrence Malick. 

Malicks long time collaborator is three time academy award winning Emmanuel Lubezki. Lubezki and Malick come together to create films of visually beautiful, ethereal nature. Lubezki is a master of the one shot. He is the only cinematographer working today who can pull off the most complicated of master shots. Examples of this can be found in Gravity, Birdman, Tree of Life and The Revenant. I aim to replicate these long shots in Alice which have a profound effect on the viewer, and more importantly enhance the production values of a film significantly. In my experience student films are extremely one dimensional cinematically. There is little movement of the camera, whether that is an artistic decision or whether it is a simple case of not having the equipment or skills to pull it off. I aim to pull it off however, as I think master shots capture so much of what is being shown without distracting the audience with cuts, meaning they stay immersed in what they see subconsciously. Examples of this come frequently in the collaborations between Lubezki and Malick. Below is an image from Knight of Cups.

Within Knight of Cups and the work of Terrence Malick, the camera takes a human form. It places itself amongst the characters, it follows them and moves around them. It has a freedom of its own as if it has human limbs. The speed of the camera movement and tracks is also very important. In crowded scenes within Knight of Cups, the camera dances and moves as part of the drunken horde. In the slower and more emotional scenes, it wanders the landscape and the faces of the characters. Its movement becomes melancholy. 

As I stated in my pitch, I wanted to leave behind the idea that this film is a student film as much as possible. By replicating the long tracking shots found in Malicks films I will be elevating the production values to a level that is rarely seen in student productions. I am aware that this will require a lot of time spent on location prepping with my cinematographer, but if it means this film can be accepted for a short film above student standards I am very happy to do so. 

Darren Aronofsky - Director Research

In this entry I will be discussing the director Darren Aronofsky and how he has influenced by own creative process, with 'Alice' in particular. Aronofsky is a very intense director who approaches his subject matters with an intense ferocity. Black Swan and The Wrestler are two films from Aronofsky, which in the creation process of Alice from script to visual realisation, have both impacted it greatly. Black Swan and The Wrestler have a lot of similarities which I will be focusing on in relation to 'Alice' yet it is worth mentioning that they are two very different films. Black Swan is almost a psychological thriller posing quietly as a horror, whereas The Wrestler is a subtle yet extremely powerful drama. Whilst the subject matter within 'Alice' is far from the level of intensity in any of Aronofsky film, I previously discussed in an earlier entry the importance of tracking shots. 

Tracking shots within Black Swan and The Wrestler are examples of the kind I wish to implement in my own production. They are perfectly executed throughout each of the films. This kind of tracking shot Aronofsky uses tracks the subject from the back in a mid-shot style, framing them from the waist upwards. This type of shot essentially places the audience within the scene, allowing the camera to feel the audience following the subject with their own footsteps. This is further achieved through slight shake from the camera. Despite it being a tracking shot, the subtly unstable nature of the camera adds layers of realism. Without handheld style shake to a tracking shot it can feel unnatural and mechanical, therefore distancing the audience and allowing them to understand that this is just a camera movement. In 'The Wrestler' I have found an example of a scene that executes this style of rear tracking shot. Below are some screenshots from said scene. 

Black Swan is also a good example of how Aronofsky uses rear tracking shots to follow his subjects. I could not find the scene I was thinking of however. I intend to use a rear track shot several times within 'Alice' to heighten the production values and expectations from a student film, but also because I think it is a fantastic way of placing the audience within the scene. By using this type of shot you essentially bind the audience to the character. They see the same world around them the character is seeing, they are essentially walking in their footsteps. This can have a profound impact as it enables the audience to see and know the truth of a film without the manipulation of cuts or editing. It is a simple way of inviting the audience to be part of this world and to follow a character on their journey. 

Going back to Aronofsky, Black Swan has recently been compared to Damien Chazelles 'Whiplash'. I fully understand the comparison for a few reasons. The obvious reason being that both of these films are about the virtue of obsession, and the lengths that an individual will go to in their stride for greatness. Both films have the tendency to view their characters as central minded and only focused on one goal - their passion. Within Black Swan it is ballet, and in Whiplash it is drumming. The similarities do not end there. I believe that in discussing how Aronofsky has inspired my creative process, he has also inspired Chazelles. 

Below are some screenshots from a scene within 'Whiplash'. This turbulent sequence follows the aftermath of the car crash the character has just been in. Despite his obvious injuries he carries on toward his goal. Going back to my point of the film being about the characters obsession with drumming, he won't stop at anything. This scene makes use of the rear tracking shot that Aronofsky so frequently uses. The shot also adds significant amount of shake, which the audience can accept as it is a reflection of the characters mindset and how the world around him may look. As the shot places us in their footsteps, we interpret the subtle messages from a shaky tracking shot subconsciously in our minds as we know this in an unstable character who is worse for wear. 

Below are some screenshots from the scene I have just discussed in 'Whiplash'.

Michael Mann - Director Research

In this post I will be discussing the director Michael Mann. I will be discussing how Mann has influenced my creative process and the impact his films have on me. Mann is widely regarded as a master of the modern crime thriller, and one of the most decorated American filmmakers working today.  Films like Thief, Heat and Collateral are all brilliant examples of incredibly suspenseful, well crafted and visually superb films. Mann has a very sweeping array of skills as a director, which is something I found as I watched some of his films. Mann is a rare breed of director who can boast both incredible visuals with great performances from his cast. This is what I often think of as balancing the concept of both style and substance. Heat it a perfect example of this. The film looks amazing, and the plot plays out so swiftly and effortlessly under confident direction and immense performances from Al Pacino and Robert De Niro. 

One particular way Michael Mann has influenced the creative process of Alice immensely is through the opening credit sequence, and the night exterior shots. Mann frequently uses a shallow focus to silhouette his characters or subjects, and adds a great amount of visual depth with his environments pulled from the focus. This often creates a dark and atmospheric feel, without allowing the audience to be too consumed by grief and darker emotions. The bright, neon lights always push a sense of optimism in the way of the audience, albeit very subtly. Like many great filmmakers, Michael Mann uses his visuals to such an end that the characters down to the environment seem to be part of something much bigger. Using visuals to profound effect in the way Mann does allows the film to feel contained and within itself. In Heat and Collateral, the characters are bound to the empty streets splashed in neon. They act very little outside of the world that the visuals create, and this often makes a film tick. Like many of my favourite filmmakers I've previously discussed such as Refn and Wong Kar-Wai, their visuals are consistently brilliant throughout every single shot and every single scene, which in turn maintains the mood of the film. 

Below are some shots from the filmography of Michael Mann. The top is Robert De Niro in Heat, the second is Tom Cruise in Collateral, and the third is James Caan in Thief.