Okay, since we haven't done it yet, I think the best way I can blog about it is through pictures.
First: Music Videos yes, more weird al! He's just too funny.
Now we have Beyonce. The second one is really cool - she's dancing and all the girls are cut in half (?) and still images which gives her a cool pop-out effect.
Second: The Matrix Had to include this. Had no choice, this movie wouldn't have been possible without a green screen. First is the bullet camera I think it was called. It's so the camera can move with the actor really fast. See the video below, but then there was another green screen covering them so that it was easier for the editors. Pretty complicated, but mostly just pretty badass
This is the bullet camera with the green screen cover - still so awesome.
I don't know why this is so small - but you still get the jist. Fly!
I watched Sunshine Cleaning recently and thought i'd share it with you :) This movie was DPed by John Toon and it has some really cool shots in it. This is the link to his reels if you want to check them out. He also made that prius commercial with all the people that we watched in class.
Particularly about Sunshine Cleaning that I wanted to share was this one scene. Emily Blunt's character, Norah, is having a breakdown and goes under the train tracks to clear here head. I am a little obsessed with the scene - I watched it about 5 times, and took some screen shots. Ok, so here Norah is heading under the train tracks, just to set up the scene
I love this shot. LOOve it. It looks kinda like a zombie but it looks really cool moving. It's ominous and freeing.
So here we move a little closer and see her getting thrown around in the train wind. There are sparks flying down on her (it's a little hard to see here) and it's really beautiful.
We get into a close up and you can see more of the sparks here. She is having flashbacks to what her life used to be like and trying to rid herself of painful memories.
And the kicker, again, LOVE THIS SHOT. The lighting is perfect - she is pale, wearing lots of makeup, and when she lifts her head up you can see that she looks like a mess, but it works so well. Her eyes are so dark - with the limited lighting and the heavy makeup that it makes everything around her feel heavier - the fact that she is under a train, her flashbacks, her life now.
What makes a good director/DP/demo/work sample reel you ask? Cut and dry: if it's good you will get a job so it needs to have strong statement shots that show who you are and what your vision is. In less boring terms: it needs to inspiring. it needs to show how the world looks through your eyes. It can show your preferences - if you like to shoot people, or light, or landscapes, or details, or if you like artificial light v natural, everything you do without thinking about. It also can show how you edit/piece things together to make a story.
I really liked this video. I'd like it more if I could take out some of the people stuff, but there are some AMAZING shots. I really like natural light/elements and this plays with that. It also sort of has a story line and the shots make sense together.
I also liked this video (click it! It's off of YouTube). This is an example of a DP who obviously likes to shoot people. It shows off his diversity and all sorts of shots he can create. While I like people, I don't like them nearly this much, but I thought this reel was pretty awesome.
Okay, so this is a little late. However, I have done some looking around, and after playing with different toys (vest, dolly, wheel, wheelbarrow, etc) I feel like I understand more. You can accomplish many different looks with a camera if you just know how to do it.
I found some vertigo shots on youtube:
But I haven't decided if I really like this technique. Granted it looks really cool, and can be appropriate, and is pretty difficult to do, buttttt it kind of makes me sick. So, I guess if it calls for it, I'd try it, but as for right now, I have a stomachache just watching these. Good if its good, bad if its bad. Which I guess is how a lot of movement techniques are.
Jib shots: i've seen a lot of these used in opening scenes. They see something happen then lift up (i'm just assuming it's a jib) to the horizon or sky or something and show the title. I think it is a good transition affect.
Track through solid: which is a cool visual trick - like when you get a glimpse into the next door apartment when the camera goes "through the wall". it's pretty cool usually, but I don't like it when it is done really fast - like in Fight Club (see my shot-by-shot) when the camera races down the wall through floors to the basement. I can't knock it too much, since it was a good and fast transition but it, again, gave me a stomachache.
I figured music videos would probably have lots of movement. So I youtubed. I found a lot of dolly shots - first are the walk with the camera and sing, something that is pretty common in a music video: Rihanna - "take a bow"
Coldplay - "yellow" This is basically all he does the whole movie - walk along the beach with the camera, but its still a pretty good song.
Weird Al - "White and Nerdy" Such a funny guy - I just had to include him
This week we're talking about single v. multi camera shooting. There are pros and cons to both, and while there may be more appropriate times to use one over the other, either can be used (like many things in this industry) at the directors discretion.
Single camera production can be more expensive and time consuming, but the director has more control over the shots. It is time consuming because you have to shoot everything one actor at a time, and repeat the scene many times until you can move on. You also have readjust the lighting between shots, and then have to cut everything back into order later. The director/DP can also get more crucial and different shots as opposed to just having the cameras set up to blanket cover the scene, such as in multi-camera production.
Multi-camera production is quicker and more cost effective, and sometimes just more practical. It is quicker because the DP can film a master shot and cross 2s/close-ups from both angles at the same time. This also can be practical when performing a stunt that is not easily recreated and needs to be fully captured. This production also may work when filming live, as it is very borning to watch a master shot the whole time!
Update 10/29!
So I had the above part written, but I didn't want to post it until we actually did it in class. I think actually doing it was much better and production, at least for me, in terms of really understanding it. We all mostly know about single camera production, since it is what we usually do. Set up the lights and camera, and shoot it -- lather, rinse, repeat. But multi-camera is pretty intricate. Every time we moved a chair or a c-stand, or changed people, all three cameras would have to be readjusted, checked, and probably readjusted again. If something looked good in my camera it may not work in the other two. Everything had to be perfectly coordinated and it took a while! We also had a single-cam production happening with zac and he was basically able to wait around until we were done setting up and ready to start. However, the fact that we did do it multi-camera we know (or at least hope!) we got full coverage of the interview and will be able to cut together and more honest than if we had tried to shoot it 3 times from different angles. That would've worked if we had a scripted show - not an off the cuff interview. But I also think having Zac as our single-cam man, we can get cooler shots than if we just had our 3 stationary cameras. I liked the multi-cam production and also really liked working together as a production class.
This week I learned a lot working on my project. I know the topic is to write about what we learning working with a DP this week...but I didn't have one. My group got sick and I really don't like working last minute. So, I took on a project on my own - a project that I have originally planned to use as extra credit. But rolling with the punches, here we are! So what did I learn? What did I do? How well did I pull it off?
Well-lets start at the beginning. It's not a secret that I'm not great at pre-visualization. But, I did try. I went to the rehearsal ceremony, walked the grounds, talked to the bride, photographer, and owners of the venue. I arrived early on the wedding day and walked the grounds again. I got ideas of shots I needed and knew what I wanted my video to look like. But still - I went through the day getting shots I thought were cool and hoped I could edit them together. I kind of like working like that, but I know I need more structure. Especially since I take way too much footage, and then have to spend hours editing the piece down and together.
I found out that I like cool, kind of artsy close up shots of things you wouldn't really notice. Like the "mother" flower shot, or I got a great shot of the lace tie on her dress but it, sadly, didn't make the video. I also like shots that are from a different angle than you'd think, like through window when they were taking pictures. I also like telling two stories at once (neely/bridesmaids getting ready and alan/groomsmen) then they meet (gazebo) and proceed through the story together.
While I kind of liked working alone, in the sense that I know the shot I want when I see it and I want to figure out how to produce it, it was hard. I'm not sure if I could tell someone exactly what I wanted or saw in my head, but it would've been great to have someone bounce my ideas off of. It also would've been nice to have someone to think about the outside factors. Outside being outside of the small viewer that I seem to get so consumed in. I get lost in what I'm doing so easily that I didn't realize I was standing in the mud and rain for a while! At that point I was forced into holding an umbrella, sinking into the mud, and hoping my shot didn't turn out too terribly. It was a sight to see I'm sure. I think I ended up getting some good shots but if I had someone thinking about cardboard or holding my umbrella, it could've turned out much more study and professional looking.
I think to have/be a good DP you have to share the vision and know what the director wants, their style, and how they operate. They should have freedom but should be an extension of the director. They need to have a fluid relationship and be able to keep up with one and other, because I know once I figure out what I want I do it and then am off and running again. Sometimes I cannot keep up with myself and I need someone who really knows what is going on! I haven't decided what I would rather do - directing or DPing. I like having the power of finding the shots, creating the look, and putting the story together. But I may be good at DPing because someone has created the plan and I know what I need to get. I have an outline of what I need and know what I need to achieve it.
I've still got a lot of time to figure it all out, so until then I'll just keep experimenting!
So, after watching lots of short films I found a few I liked.
First one was off of The Smalls called "Seriatum". (Click the name for the link!) It's kind of cool, but I don't really know what happened? But I think it's this guy's shadow following him and he freaks out and tries to run from it and when it catches up he turns into a dog? See, it's confusing. But the reason I include it is because of the editing, the way they got the 'shadow' or whatever is really cool and is worth taking a look at.
Next one is off of The Smalls again and is called "The Trampolinist" Another cool, very short, film. This one I like because of the shots. All it is is a guy bouncing straight up and down on a trampoline, but it has so many different angles and shots in it you don't think about that. There are shots looking at his feet, from his perspective, under the trampoline, in the dark, in the rain, through the grass, and more and more. It's pretty creative for such a simple act of bouncing.
Next is from Independent Lens and is called "Pin Point" I chose to add this one, not only cause I love animated movies but also because we've been talking about pre-planning. Animation involves a lot because you have to plan your whole story out and then draw every single frame out. Lot-o-work if you ask me. But this story is planned and produced very well - it is a though-provoking, smart, and sad story about an abusive orphan caretaker and the way this little girl decides she is going to get revenge.
The next one is also from Indpendent Lens as is called "Bulletproof vest" It's a black and white film, narrated by a mom and a little girl and a little boy in Richmond, CA. I think it works that it is filmed in black and white because there is no life in these kids childhood. If it had been filmed in color I think it would've made the story a bit too colorful for the story (if that makes sense). This 9 yr old girl wants a bulletproof vest because its not safe to go to the park, she even says that you have to take your parents to block the bullets! The mom won't let her children play outside cause people get shot all the time. It is another sad story, but with some good shots of things around this town and the tent city they set up for peace.
I found a few other films I wanted to talk about, but I have to run for now. I'll try and come back to this post later and let you read more of my thoughts!
yes, more weird al! He's just too funny. 
Now we have Beyonce. The second one is really cool - she's dancing and all the girls are cut in half (?) and still images which gives her a cool pop-out effect. 
I don't know why this is so small - but you still get the jist. Fly!
