This is my French New Wave short film, directed, and starring myself. The soundtrack used in my film is Eminem's 2000 hit song 'Stan'.
Thursday 15 December 2016
French New Wave Film
This is my French New Wave short film, directed, and starring myself. The soundtrack used in my film is Eminem's 2000 hit song 'Stan'.
Wednesday 14 December 2016
Experimental Filming- Opening Doors
Today; as part of my task, I was required to make a short film; the theme being opening doors, and turning it into something creative. I instead chose to take a slightly different approach from the ordinary thought of someone opening a door. Instead I opted for using 'opening doors' as more of a metaphor rather than an actually action.
My short film details a few hours in the life of a drug user who relies on his marijuana cigarettes as a 'key' to 'unlock' his mind. Below is my finished production.
My short film details a few hours in the life of a drug user who relies on his marijuana cigarettes as a 'key' to 'unlock' his mind. Below is my finished production.
In my short film, I have intentionally left several instances in which audiences may pick up the way in which the drug user's mindset is set up. More active audiences should be able to achieve the preferred reading.
The first occasion this occurs at is 11 seconds in, when the first first-person scene is shown; allowing the audience to empathise with the drug user by showing them the world from his perspective. To reiterate this point, the background behind the 'spliff' is not in focus. This was done to draw attention towards the drug user's 'key' and signify his obsession.
The next instance occurs at 34 seconds when the film displays the first in-colour shot. Prior to smoking the 'joint' the video is displayed in black and white, however once the effects of cannabis begin to set in on the drug user, 'his' world becomes colourful.
The last observation to be made is that in the video the only shots displayed in colour are also in first-person. I deliberately did this because it is an experience that is only felt by the drug user and so I felt this had to be transcended in a manner in which could still be experienced by the audience.
How Meaning is Constructed in Film through Analysis of Visual Signification- Lighting in Comedy
Meaning is constructed in film through visual significance through a number of methods and techniques. These include Lighting, Mise-en-scene, Representation, Actors/Actress, etc.
Lighting in Comedy
In contrast to the bleak, eerie lighting implemented throughout the horror genre, the comedy genre opts for a brighter, more colourful approach to its lighting preferences. This is utilised to set the mood and project the preferred audience reading a positive, humorous demeanour.
One example of
In contrast to the bleak, eerie lighting implemented throughout the horror genre, the comedy genre opts for a brighter, more colourful approach to its lighting preferences. This is utilised to set the mood and project the preferred audience reading a positive, humorous demeanour.
One example of
Wednesday 7 December 2016
How Meaning is Constructed in Film through Analysis of Visual Signification- Lighting in Horror
Meaning is constructed in film through visual significance through a number of methods and techniques. These include Lighting, Mise-en-scene, Representation, Actors/Actress, etc.
Lighting in Horror
Lighting is one of the easiest, yet most useful techniques utilised to construct meaning in film. An example of this is the contrast in lighting between different genres. Take horror films for example, where as this genre conventions detail that lighting should be dark, with use of shadows to connote a sense of danger and fear. On the other hand, a more mellow genre such as comedy, would prefer to implement a brighter lighting to set a more relaxed, humorous mood. 2 supporting examples to back up this theory can be seen below. The use of low-key lighting techniques could be said to represent a Freudian need to repress the Id or signify that there is an aspect of the villains personality that is evil.
In this official movie trailer for 'SAW II' (2005), clear use of high contrast lighting and shadows are present within the first 10 seconds of the video clip. Used to set an eerie atmosphere; a technique used consistently throughout the horror genre.
Similarly in the movie trailer for a more contemporary text, 'Annabelle 2' (2017), even as early as the first scene, the establishing scene is set to low brightness to give the preferred reading of darkness and evil. Shadows are then utilised in the establishing shot; the next scene inside the house to set an terrifying atmosphere.
Lighting in Horror
Lighting is one of the easiest, yet most useful techniques utilised to construct meaning in film. An example of this is the contrast in lighting between different genres. Take horror films for example, where as this genre conventions detail that lighting should be dark, with use of shadows to connote a sense of danger and fear. On the other hand, a more mellow genre such as comedy, would prefer to implement a brighter lighting to set a more relaxed, humorous mood. 2 supporting examples to back up this theory can be seen below. The use of low-key lighting techniques could be said to represent a Freudian need to repress the Id or signify that there is an aspect of the villains personality that is evil.
Similarly in the movie trailer for a more contemporary text, 'Annabelle 2' (2017), even as early as the first scene, the establishing scene is set to low brightness to give the preferred reading of darkness and evil. Shadows are then utilised in the establishing shot; the next scene inside the house to set an terrifying atmosphere.
Friday 25 November 2016
Operating Camera Equipment Safely
During the task of exploring Riversley Park, Nuneaton and capturing and displaying different camera shots; along with their uses and applications within the real world, it was important for photographers to make sure the camera equipment was being operated safely. This includes procedures to ensure that the health and safety of everyone involved (Photographers, models, and bystanders) were respected, equipment was not damaged or stolen, etc).
One procedure that we made sure to follow, was the the equipment at no moment of time was to be left unsupervised and unattended. This procedure was one that we considered crucially important to guard against theft attempts from strangers. Between the 5 members that made up the group, we were able to delegate roles within the group so tasks were not left uncompleted. 1 of the 5 in the group were drafted the task of watching the camera equipment.
Another procedure that we were careful to follow was ensuring the bystanders' health and safety was respected. One way in which we maintained this standard, was by ensuring that camera equipment such as tripods were not impeding the paths of pedestrians; thus minimising the risk of damage to the camera equipment and the risk of injuries to bystanders through faults of our own. Another less significant procedure we followed, was attempting to take shots away from the public, this wass mainly done to avoid capturing bystanders and pedestrians in our footage, but another reason was the camera flash can be blinding to unsuspecting victims and could be further agitating for people who suffer from conditions such as seizures. Directing the camera flash away from people enabled us to have more freedom in how we captured our footage without the limitations that may have constricted the laissez faire mentality we utilised for our task.
One procedure that we made sure to follow, was the the equipment at no moment of time was to be left unsupervised and unattended. This procedure was one that we considered crucially important to guard against theft attempts from strangers. Between the 5 members that made up the group, we were able to delegate roles within the group so tasks were not left uncompleted. 1 of the 5 in the group were drafted the task of watching the camera equipment.
Another procedure that we were careful to follow was ensuring the bystanders' health and safety was respected. One way in which we maintained this standard, was by ensuring that camera equipment such as tripods were not impeding the paths of pedestrians; thus minimising the risk of damage to the camera equipment and the risk of injuries to bystanders through faults of our own. Another less significant procedure we followed, was attempting to take shots away from the public, this wass mainly done to avoid capturing bystanders and pedestrians in our footage, but another reason was the camera flash can be blinding to unsuspecting victims and could be further agitating for people who suffer from conditions such as seizures. Directing the camera flash away from people enabled us to have more freedom in how we captured our footage without the limitations that may have constricted the laissez faire mentality we utilised for our task.
Tuesday 22 November 2016
Butterfly Lighting
Butterfly lighting (also known as 'Paramount lighting') is yet another basic camera lighting applied to the work of cinephiles and photography-enthusiast. The butterfly lighting technique consists of just one main light that is pointed directly straight ahead at its subject, raised just high enough to create a downwards shadow on the subject.
The butterfly lighting technique is a renown camera lighting setup in the field of high-fashion and glamour photography.The name 'butterfly' stems from the butterfly-like shadow thats created on the underside of the model's nose.
On occasion, photographers using this lighting technique augment a fill light/reflector just in front of the subject, underneath the camera's field of view. This is usually done because capturing images of models from high angles often darkens the light around the subject's eyes. The fill light/reflector bounces some light into the subject's eyes to produce a higher quality image.
The butterfly lighting technique is a renown camera lighting setup in the field of high-fashion and glamour photography.The name 'butterfly' stems from the butterfly-like shadow thats created on the underside of the model's nose.
On occasion, photographers using this lighting technique augment a fill light/reflector just in front of the subject, underneath the camera's field of view. This is usually done because capturing images of models from high angles often darkens the light around the subject's eyes. The fill light/reflector bounces some light into the subject's eyes to produce a higher quality image.
Tuesday 15 November 2016
Edge Lighting
Edge Lighting, or Rim Lighting as it is also known as in photography and film terminology, is another basic lighting setup. Edge Lighting is lighting placed on a subject which gives the appearance of a light outline. This lighting setup offers a sense of depth and dimension to what is being captured by pulling the subject apart from the background.
Edge Lighting is achieved by setting up the lights in a 'triangle formation', with the main light being assisted by two fill lights/reflectors. This results in an image being captured, where the subject appears separate to the background surrounding it/them. This is especially useful in instances where the camera-person wants the audiences focus to be drawn to the subject. An example of edge lighting application in use in the real world can typically found in perfume posters/billboards.
In this image of Chanel's marketing campaign for their popular 'Bleu de Chanel' line features a close up of model Gaspard Ulliel, with edge lighting being utilised to draw the audience's attention away from the insignificant background, and pull their focus towards the subjects; the perfume bottle and the model's swagger.
In this image of Chanel's marketing campaign for their popular 'Bleu de Chanel' line features a close up of model Gaspard Ulliel, with edge lighting being utilised to draw the audience's attention away from the insignificant background, and pull their focus towards the subjects; the perfume bottle and the model's swagger.
Thursday 10 November 2016
Personal Statement
My experience in the field of Journalism started during my early years. My aunt (whom I used to reside with during the first few years of my childhood), became a junior reporter for
Rembrandt Lighting
Rembrandt Lighting is just one of the known basic lighting setups used by photographers. Named after the famous Dutch painter; Rembrandt Harmenszoon van Rijn, who was widely recognised for his consistent use with this type of lighting.
There are 2 key principles that Rembrandt lighting complies by. One of these is lighting on one side of the face; which in turn produces a shadow on the other side of the subjects face, and a triangular area of lighting often labeled a 'triangle shadow' or a 'chiaroscuro' as it is more commonly known by photography enthusiast. With 'true' Rembrandt lighting the chiaroscuro should be no wider than the eye, whilst the length should be limited to the size of the nose.
Occasionally, a reflector or a dimmed light source operating at lower power may be implemented to slightly illuminate dark shadows surrounding the subjects face.. This is labeled as the 'key light' in photography terminology.
Monday 31 October 2016
French New Wave Essay Draft
Introduction
The French New Wave was an artistic movement in the film making industry, that lasted between the years 1959-1964 The French New Wave was a self-aware movements based around a rejection against the trends of traditionally Hollywood-styled film. In its own sense, the French New Wave movement was an innovative project, who's influence on worldwide film over the past decades has been profound. The French New Wave has been credited for birthing 'auteur' and saw the rise of 'camera style', an explosion of young and vibrant film makers, and has been admired as a 'cinematic revoltution'.Origin
The French New Wave movement's origin seem to stem from Alexandre Astruc's 1948 publication from L'Écran Français; titled 'The Birth of a New Avant-Garde: La Caméra-Stylo'. Alexandre Astruc; a French film director and critic, was fundamental to the movement's progress, it was his ideologies and beliefs that would be later be expanded by fellow film maker/critic 'François Truffaut' and the Cahiers du Cinéma magazine.“the cinema is becoming a means of expression like the other arts before it, especially painting and the novel. It is no longer a spectacle, a diversion equivalent to the old boulevard theater...it is becoming, little by little, a visual language, i.e. a medium in which and by which an artist can express his thoughts, be they abstract or whatever, or in which he can communicate his obsessions as accurately as he can today in essay or novel”.
- Alexandre Astruc
By declaring this, Astruc was implying that, cinema had now developed into an expression of the 'artist's' imagination. The same way painting is personal to its artist, film; as an industry, had now become just as much of an artistic life-form as other forms of emotional imagination.
"Our New Wave would never have come into being if it hadn't been for the young American Morris Engel, who showed us the way to independent production with this fine movie."
- François Truffaut
In 2008, Truffaut claimed that he took inspiration for his film 'The 400 Blows' from young American film maker; Morris Engel's 'Little Fugitive', showing his appreciation expecially in the film's spontaneous production style. By this quotation, Truffaut connotes that much of the French New Wave movement built its foundation on the Little Fugitive. Also signifying that the film provided the 'guidelines' on independent production.
Andre Bazin, was also a prominent figure of influence in the rise of the French New Wave. Bazin; just like like Astruc, believed that cinema was equal to the novel, and thus he invested much his time and efforts on the cause. In 1951, Andre Bazin co-founded a French language film magazine along with several other film makers and critics titled 'Cahiers du Cinéma'.
Cahiers du Cinéma
Cahiers du Cinéma is a French language film magazine; founded by Andre Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca in 1951. During its earlier years, Cahiers du Cinéma could be considered as to playing a pivotal role in the success of the French New Wave movement.
French New Wave Essay
Introduction
The French New Wave was an artistic movement in the film making industry, that lasted between the years 1959-1964 The French New Wave was a self-aware movements based around a rejection against the trends of traditionally Hollywood-styled film. In its own sense, the French New Wave movement was an innovative project, who's influence on worldwide film over the past decades has been profound. The French New Wave has been credited for birthing 'auteur' and saw the rise of 'camera style', an explosion of young and vibrant film makers, and has been admired as a 'cinematic revoltution'.Origin
The French New Wave movement's origin seem to stem from Alexandre Astruc's 1948 publication from L'Écran Français; titled 'The Birth of a New Avant-Garde: La Caméra-Stylo'. Alexandre Astruc; a French film director and critic, was fundamental to the movement's progress, it was his ideologies and beliefs that would be later be expanded by fellow film maker/critic 'François Truffaut' and the Cahiers du Cinéma magazine.“the cinema is becoming a means of expression like the other arts before it, especially painting and the novel. It is no longer a spectacle, a diversion equivalent to the old boulevard theater...it is becoming, little by little, a visual language, i.e. a medium in which and by which an artist can express his thoughts, be they abstract or whatever, or in which he can communicate his obsessions as accurately as he can today in essay or novel”.
- Alexandre Astruc
By declaring this, Astruc was implying that, cinema had now developed into an expression of the 'artist's' imagination. The same way painting is personal to its artist, film; as an industry, had now become just as much of an artistic life-form as other forms of emotional imagination.
"Our New Wave would never have come into being if it hadn't been for the young American Morris Engel, who showed us the way to independent production with this fine movie."
- François Truffaut
In 2008, Truffaut claimed that he took inspiration for his film 'The 400 Blows' from young American film maker; Morris Engel's 'Little Fugitive', showing his appreciation expecially in the film's spontaneous production style. By this quotation, Truffaut connotes that much of the French New Wave movement built its foundation on the Little Fugitive. Also signifying that the film provided the 'guidelines' on independent production.
Wednesday 19 October 2016
4 Key Factors of Aperture
F-Stop
The aperture is responsible for controlling exactly how much light is allowed to enter the camera lens. Aperture has a direct affect on the depth of view of a image. Altering the F-Stop will impact on the depth of field of the final image/film. A lower F-Stop will allow more light to enter the camera lens, which results in a more shallow depth of field; whereas, a higher F-Stop will allow less light to enter the camera lens, which results in a wider depth of field.
Focal Length
The focal length refers to the size of the camera lens. A longer the focal length (Telephoto) results in less scenery being captured. This camera lens is especially useful in instances when the photographer wants to capture an image that draws the audience's attention to a certain aspect; for example, if a director is trying to point the audience's focus to two characters engaging in a conversation, a telephoto lens would be the first choice pick.
Alternatively film makers may also choose to use a wide angle lens when trying to acquire panorama-styled footage. This enables more of the scenery to be presented to the audience. This is especially useful in scenes shot with establishing shots, where more landscape footage is preferred.
Focal Distance
In its simplest definition, the focal distance is the space between a photographer/film maker's camera and his subject (The person/object he is acquiring footage of).
Physical Depth
Physical depth is the space between to subjects that be captured as the depth of field in an image/recording. In order to see the effects of Depth of Field, there will need to be some physical depth behind the subject.
The aperture is responsible for controlling exactly how much light is allowed to enter the camera lens. Aperture has a direct affect on the depth of view of a image. Altering the F-Stop will impact on the depth of field of the final image/film. A lower F-Stop will allow more light to enter the camera lens, which results in a more shallow depth of field; whereas, a higher F-Stop will allow less light to enter the camera lens, which results in a wider depth of field.
Focal Length
The focal length refers to the size of the camera lens. A longer the focal length (Telephoto) results in less scenery being captured. This camera lens is especially useful in instances when the photographer wants to capture an image that draws the audience's attention to a certain aspect; for example, if a director is trying to point the audience's focus to two characters engaging in a conversation, a telephoto lens would be the first choice pick.
Alternatively film makers may also choose to use a wide angle lens when trying to acquire panorama-styled footage. This enables more of the scenery to be presented to the audience. This is especially useful in scenes shot with establishing shots, where more landscape footage is preferred.
Focal Distance
In its simplest definition, the focal distance is the space between a photographer/film maker's camera and his subject (The person/object he is acquiring footage of).
Physical Depth
Physical depth is the space between to subjects that be captured as the depth of field in an image/recording. In order to see the effects of Depth of Field, there will need to be some physical depth behind the subject.
Tuesday 18 October 2016
French New Wave Editing Brief Amendments
Repeated footage is also on the cards as a mechanism to emphasise an aspect of my film's significance.
Fluid panning and tracking shots were a signature trait of the legendary French New Wave cinematographer: Henri Decaë. I could incorporate Henri Decaë's filming techniques in my own French New Wave project; adopting and adapting them to explore my own filming style.
French New Wave Filming Brief
Post-studying the French New Wave movement and analysing Jean-Luc Godard directed films; Alphaville, Breathless and Vivre Sa Vie, I have come to the conclusion that for my own personal French New Wave project, that I am going to capture ordinary, everyday life. This is a common narrative theme in the French New Wave movement, particularly in my research subject's films; Godard. My plan is to capture a day in the life of a subject that I am fond of to mimic the manner in which Godard often incorporated actors and actresses that he was familiar or found interest in. For example; Anna Karina, an actress that featured in the vast majority of Godard's early work, was actually his wife for several years. I intend on keeping my project short, a film roughly 4-5 minutes long. My project is set to follow a non-linear narrative about adolescent youths entertaining themselves throughout the day.
My film will be recorded in natural locations around the Leicestershire and Warwickshire areas; the regions in which I live and attend college, however, I intend to acquire footage in public, familiar locations to both me and my subjects. I believe that shooting in a location that myself and my subjects are accustom to will add a sense of familiarity that enables the actors/actresses in my film to feel more relaxed and thus project a more realistic representation of the French New Wave movement. Another common convention of the French New Wave movement is to shoot in public, natural locations, with improvised dialogue. For that reason, I have also decided to take inspiration from other films in this genre, and incorporate these courtesies into my own project.
My film will be recorded in natural locations around the Leicestershire and Warwickshire areas; the regions in which I live and attend college, however, I intend to acquire footage in public, familiar locations to both me and my subjects. I believe that shooting in a location that myself and my subjects are accustom to will add a sense of familiarity that enables the actors/actresses in my film to feel more relaxed and thus project a more realistic representation of the French New Wave movement. Another common convention of the French New Wave movement is to shoot in public, natural locations, with improvised dialogue. For that reason, I have also decided to take inspiration from other films in this genre, and incorporate these courtesies into my own project.
Henri Decaë's Signature Filming Style
Fluid panning and tracking shots were a signature trait of the legendary French New Wave cinematographer: Henri Decaë. I could incorporate Henri Decaë's filming techniques in my own French New Wave project; adopting and adapting them to explore my own filming style.
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Wednesday 12 October 2016
French New Wave: Design Brief 1
I have decided on taking guidance from three of Jean-Luc Godard's films; Alphaville, Breathless and Vivre Sa Vie, taking into account filming techniques used and etiquettes that are purposely rejected with the aim to produce a visually exciting short film.
Post-studying the French New Wave movement and analysing Jean-Luc Godard directed films; Alphaville, Breathless and Vivre Sa Vie, I have come to the conclusion that for my own personal French New Wave project, that I am going to capture ordinary, everyday life. This is a common narrative theme in the French New Wave movement, particularly in my research subject's films; Godard. My plan is to capture a day in the life of a subject that I am fond of to mimic the manner in which Godard often incorporated actors and actresses that he was familiar or found interest in. For example; Anna Karina, an actress that featured in the vast majority of Godard's early work, was actually his wife for several years. I intend on keeping my project short, a film roughly 4-5 minutes long. My project is set to follow a non-linear narrative about adolescent youths entertaining themselves throughout the day. My film will be recorded in natural locations around the Leicestershire and Warwickshire areas; the regions in which I live and attend college, however, I intend to acquire footage in public, familiar locations to both me and my subjects. I believe that shooting in a location that myself and my subjects are accustom to will add a sense of familiarity that enables the actors/actresses in my film to feel more relaxed and thus project a more realistic representation of the French New Wave movement. Another common convention of the French New Wave movement is to shoot in public, natural locations, with improvised dialogue. For that reason, I have also decided to take inspiration from other films in this genre, and incorporate these courtesies into my own project.
I have the intention of using predominately diegetic sound (Sound in which the source is visible to the audience on-screen), to comply with the rejection of non-diegetic sound within the French New Wave genre, however I may opt to add non-diegetic sounds in the form of music; just as Godard utilised a score for his 1961 film; One Femme Est Une Femme (A Woman Is a Woman). However, instead of using a score like Godard, I have chosen to to make use of a soundtrack. I am still undecided as to whether the music will sync with the visuals of my film, as this is not very common within French New Wave, due to the movements rejection of commonplace Hollywood-styled editing, however I believe if done in moderation (Some segments synced, some segments un-synced), this may deposition the audience; reminding them they are watching a film, thus discouraging them from developing real life emotions; Another common convention in French New Wave.
In terms of filming techniques, I aspire to experiment with providing liberation from the tripod for the camera, instead using hand-held camera movements, possibly favouring elongated long takes, sometimes lasting minutes. Ambient, natural lighting will be light source, which is likely to differ the shooting from high-key to low-key between shots, depending on the time of day the scenes are recorded. Natural lighting is especially appealing to me due to the manner in which it echoes the idealism of realism that was the foundation for the French New Wave movement, something I aim to recreate in my own project.
I intend on keeping my editing minimal; simply using jump-cuts as an alternative to 'smoother transitions' to conform to the standards set about by the French New Wave movement. Godard was well acknowledge for his extensive use of jump-cuts; particularly in the movie 'Breathless'. Repeated footage is also on the cards as a mechanism to emphasise an aspect of my film's significance.
In response to the state of my technical settings, my aim is to ensure that my footage is correctly exposed; adapting
Post-studying the French New Wave movement and analysing Jean-Luc Godard directed films; Alphaville, Breathless and Vivre Sa Vie, I have come to the conclusion that for my own personal French New Wave project, that I am going to capture ordinary, everyday life. This is a common narrative theme in the French New Wave movement, particularly in my research subject's films; Godard. My plan is to capture a day in the life of a subject that I am fond of to mimic the manner in which Godard often incorporated actors and actresses that he was familiar or found interest in. For example; Anna Karina, an actress that featured in the vast majority of Godard's early work, was actually his wife for several years. I intend on keeping my project short, a film roughly 4-5 minutes long. My project is set to follow a non-linear narrative about adolescent youths entertaining themselves throughout the day. My film will be recorded in natural locations around the Leicestershire and Warwickshire areas; the regions in which I live and attend college, however, I intend to acquire footage in public, familiar locations to both me and my subjects. I believe that shooting in a location that myself and my subjects are accustom to will add a sense of familiarity that enables the actors/actresses in my film to feel more relaxed and thus project a more realistic representation of the French New Wave movement. Another common convention of the French New Wave movement is to shoot in public, natural locations, with improvised dialogue. For that reason, I have also decided to take inspiration from other films in this genre, and incorporate these courtesies into my own project.
I have the intention of using predominately diegetic sound (Sound in which the source is visible to the audience on-screen), to comply with the rejection of non-diegetic sound within the French New Wave genre, however I may opt to add non-diegetic sounds in the form of music; just as Godard utilised a score for his 1961 film; One Femme Est Une Femme (A Woman Is a Woman). However, instead of using a score like Godard, I have chosen to to make use of a soundtrack. I am still undecided as to whether the music will sync with the visuals of my film, as this is not very common within French New Wave, due to the movements rejection of commonplace Hollywood-styled editing, however I believe if done in moderation (Some segments synced, some segments un-synced), this may deposition the audience; reminding them they are watching a film, thus discouraging them from developing real life emotions; Another common convention in French New Wave.
In terms of filming techniques, I aspire to experiment with providing liberation from the tripod for the camera, instead using hand-held camera movements, possibly favouring elongated long takes, sometimes lasting minutes. Ambient, natural lighting will be light source, which is likely to differ the shooting from high-key to low-key between shots, depending on the time of day the scenes are recorded. Natural lighting is especially appealing to me due to the manner in which it echoes the idealism of realism that was the foundation for the French New Wave movement, something I aim to recreate in my own project.
I intend on keeping my editing minimal; simply using jump-cuts as an alternative to 'smoother transitions' to conform to the standards set about by the French New Wave movement. Godard was well acknowledge for his extensive use of jump-cuts; particularly in the movie 'Breathless'. Repeated footage is also on the cards as a mechanism to emphasise an aspect of my film's significance.
In response to the state of my technical settings, my aim is to ensure that my footage is correctly exposed; adapting
Wednesday 5 October 2016
French New Wave
The 'French New Wave' was an artistic movement whose influence on film has been profound. The French New Wave has been credited for birthing 'auteur' and saw the rise of 'camera style', an explosion of young and vibrant film makers, a cultural revolution.
In 1951, Cahiers du Cinéma; a French magazine of film criticism was formed by a collective of intellectual French film critics, led by André Bazin and Jacques Donail-Valcroze.
They had been influenced by the wrings of French film critique, Alexandre Astruc; who had argued for breaking away from the 'tyranny of narrative'; instead, adopting a new form of film (and sound) language. The Cahiers du Cinéma critics gathered by André Bazin and Jacques Donail-Valcroze were all young, cinematic production enthusiasts who had grown up during post-war years watching mostly great American films that hadn't been available in France during the Occupation.
Cahiers du Cinéma had two guiding principles
In 1951, Cahiers du Cinéma; a French magazine of film criticism was formed by a collective of intellectual French film critics, led by André Bazin and Jacques Donail-Valcroze.
They had been influenced by the wrings of French film critique, Alexandre Astruc; who had argued for breaking away from the 'tyranny of narrative'; instead, adopting a new form of film (and sound) language. The Cahiers du Cinéma critics gathered by André Bazin and Jacques Donail-Valcroze were all young, cinematic production enthusiasts who had grown up during post-war years watching mostly great American films that hadn't been available in France during the Occupation.
Cahiers du Cinéma had two guiding principles
- A rejection of classical montage-style film making- The French New Wave was innovative in the sense that it was unique in its approach. The French New Wave refused to conform to traditional conventions found in mainstream film. The French Wave; unlike mainstream Hollywood films during the same time period, preferred the reality of their production over manipulation via editing (E.g. . In addition to this, French New Wave film makers often drew attention from audiences using discontinuity to continuously remind the audience that they are watching a film.
- The ideology that the best films are a personal artistic expression and should bear a stamp of personal authorship- As other great works of literature bears the stamp of the writer (E.g. Romeo & Juliet, Othello and Hamlet have feared the stamp of William Shakespeare over the course of time), this latter tenet was later dubbed the 'auteur theory' by US film critic Andrew Sarris.
The film makers of that made up the French New Wave collective were original and distinctive enough to pursue their own solo careers, however when associated as a clique, this group achieved some of the most influential movements in cinematic history, providing a platform for new film makers to take inspiration from. Some film makers to take influences from the collective's work include American film directors; Steven Spielberg, Martin Scorsese
Although the accomplishing mainstream success is not on the agenda for new wave film makers, many films have become popular and critically acclaimed worldwide over the years. 'The 400 Blows'; a French New Wave film directed by François Truffaut, received a UK release just under 10 months after its initial release. The five collective film makers who came from Cahiers du Cinéma; Chabrol, Godard, Rivette, Rohmer, and Truffaut were prolific in their prime. During the peak years of the French New Wave; 1959-1966, they directed 32 films between them.
French New Wave movement was first established to show that film did not have to abide to the typical Hollywood conventions and editing/filming techniques to still maintain quality. Instead. the French New Wave introduced a previously unseen alternative way to direct that allowed film makers more creative by rejecting the Hollywood conventions. Typical practise within the French New Wave movement includes:
French New Wave movement was first established to show that film did not have to abide to the typical Hollywood conventions and editing/filming techniques to still maintain quality. Instead. the French New Wave introduced a previously unseen alternative way to direct that allowed film makers more creative by rejecting the Hollywood conventions. Typical practise within the French New Wave movement includes:
- The auteur directors were often also deployed as script writers/scenarist for their directed films as well.
- The directors rejected following a strict, free-established shooting script, instead opting for more improvisation from their actors/actresses.
- Directors had a preference for shooting in real locations, as opposed to artificial locations (e.g. movie studios) favoured by Hollywood films.
- The director was known to keep his crew size small. One reason that this may have occurred is the low budget French New Wave films were accustom to.
- Directors favoured using direct sound in their films, as opposed to reflected sound.
- The auteur directors were reluctant to incorporate additional lighting to their films. This ties into their preference for filming in natural locations. Another reason for this is, within French New Wave films; one convention is their ability to dispositioning the audience from narrative, consistently reminding them they are watching a film. This perspective seeks to ensure that audiences do not experience real-life emotions for the narrative.
- The auteur directors favoured using non-professional actors/actresses. This adds to the realist vibe French New Wave films aimed to create. Auteur directors were also perceived as being unintimidated by big-name actors/actresses, and would direct in the free manner they saw fit.
The French New Wave opened up a new platform in which directors and film makers could develop. Some benefits that the French New Wave brought about were:
- A greater sense of creativity as by rejecting Hollywood conventions, film makers were able to create the film their way, without the constraints of abiding by blockbuster film patterns.
- The French New Wave movement was credited for erasing the boundaries between professional and amateur cinema.
- The French New Wave allowed auteur directors to explore contemporary issues (E.g. The 400 Blows documents the issue of petty youth crime during the post World War 2 era; a time period in which crime in adolescent youths was increasing).
- The French New Wave movement was famous for its ability to create quality films on a low budget, particularly attracting unknown film makers who were limited to strict financial constraints.
Common French New Wave techniques of filming include:
- Natural lighting with a sharp contrast between black and white colours.
- Liberation for the recording camera from tripod, encouraging more handheld filming.
- The appropriation of certain cinema techniques and director styles worked as a self reference for some French New Wave film makers.
- Embracing Mistakes- Claude Chabrol was famously recorded looking at a bolt when asked to look through the camera eyepiece in his debut film; Le Beau Serge (1958).
- Coutard's Influence.
- Alternative Framing.
- Recording using a hidden camera
Monday 26 September 2016
Aperture, ISO and Shutter Speed
As part of the lesson, today we explored different camera techniques to achieve different outcomes. For example, the shutter speed on a camera is used to control the amount of time in which the camera lens is exposed to light. However, modifying the speed of the shutter speed directly affects the motion blur of the final image; a faster shutter speed will result in a more stable film/image, whilst a slower shutter speed will result in more motion blur being present. Today I experimented with shutter speed, aperture and ISO.
The aperture is responsible for exactly how much light enters the camera lens. Altering the F-Stop will impact on the depth of field of the final image/film. A lower F-Stop will allow more light to enter the camera lens, which results in a more shallow depth of field; whereas, a higher F-Stop will allow less light to enter the camera lens, which results in a wider depth of field.
ISO measures the sensitivity of a film, to lighting. Altering the ISO will impact the lighting of the final image/film. Having the ISO set to a lower value (i.e. 100) ensures that the grain is kept to a minimal, thus resulting in a higher quality for the final product. Increasing the ISO to a larger number (i.e. 1500) enables the user to capture more lighting within their production, however, sacrifices the quality of the image to do so as higher grain will be evident.
A short video that displays my experimentation with different camera techniques can be found embedded below...
Taking part in this activity allowed me to develop my camera techniques; I am now confident that I am able to sacrifice one of these three features (ISO, Shutter speed or Aperture) and still be able to achieve adequate
The aperture is responsible for exactly how much light enters the camera lens. Altering the F-Stop will impact on the depth of field of the final image/film. A lower F-Stop will allow more light to enter the camera lens, which results in a more shallow depth of field; whereas, a higher F-Stop will allow less light to enter the camera lens, which results in a wider depth of field.
ISO measures the sensitivity of a film, to lighting. Altering the ISO will impact the lighting of the final image/film. Having the ISO set to a lower value (i.e. 100) ensures that the grain is kept to a minimal, thus resulting in a higher quality for the final product. Increasing the ISO to a larger number (i.e. 1500) enables the user to capture more lighting within their production, however, sacrifices the quality of the image to do so as higher grain will be evident.
A short video that displays my experimentation with different camera techniques can be found embedded below...
Taking part in this activity allowed me to develop my camera techniques; I am now confident that I am able to sacrifice one of these three features (ISO, Shutter speed or Aperture) and still be able to achieve adequate
Friday 23 September 2016
Shutter Speed
The shutter speed is responsible for how much light manages to enter the camera lens. This is done by a shutter that slams shut within a pre-set time, disallowing anymore light to enter the lens. The more time that is pre-set by the user for the shutter to shut, will mean more light for the image; however because the image is exposed to light for a longer period of time, the photographer may find that objects/people in motion during the time the image was taken will experience motion blur. For my experimentation on shutter speed, I needed a subject that would be in motion over a short distance; knowing this I chose to take still images of cars driving by a street.
In my first example, I chose a slower shutter speed (1/30th of a second). The results I would expect to see would be the a car that would be difficult to decode the features of due to the motion blur. Below is the image of my first test.
Although the car in this image appears to be slightly less motion blurred, there is more motion blur than I had expected. This anomaly may have been caused by certain errors that I hadn't compensated for. One of these may be that the car in this image may have been travelling at faster speed than in the image before, causing more motion blur. Another reason might be that the difference in car shapes; a side effect of this 'Ford Fiesta' having a longer shape may be that there is a larger surface area in motion to cause a motion blur. Another error that may have contributed to this anomaly is the shaking effect that may have occurred due to operating the camera by hand. If I was to improve on these mistakes, firstly I would ensure that the car I am using as my subject, is travelling at a pre-set speed for all three tests when the image is taken (i.e. Having the driver of the car travel at 20 mph whilst the tests is being carried out). Additionally, next time I could carry out these tests using the exact same subject to eliminate errors that might be caused by differences in the drivers/cars (i.e. Getting the same person to drive the same car). Lastly, to minimize the errors, next time I would make use of a stationary tripod to ensure that the camera is stabilized , and thus will eliminate the risk of unstable hands affecting the final image. This would work especially well, in videos where the camera is required to pan in a stable manner.
For my third and final example, I chose to again increase the shutter speed of the camera to a relatively fast rate (1/100th of a second). The results I would be expecting to see from my final test would be a crisp image with minimal signs of motion blur. Similar to a freeze-frame.
Just as I has previously predicted, due to the shortened time span the shutter was allowed to remain open for; disallowing as much light to enter the camera lens, the car in motion in this image is not noticeably motion blurred.
During the process of carrying out these tests, I feel that I was able to partially familiarize myself with balancing the aperture, ISO and shutter speed to aid me in achieving the type of image I am looking to capture. I am now more confident in sacrificing one of these three features; whether it be to lower the ISO to reduce grain, thus adjusting the shutter speed and aperture to achieve adequate exposure, or slowing down the shutter speed to increase motion blur, I believe I am now comfortable enough adjusting the settings to suit the image I am after.
In my first example, I chose a slower shutter speed (1/30th of a second). The results I would expect to see would be the a car that would be difficult to decode the features of due to the motion blur. Below is the image of my first test.
Just as I has previously predicted, due to the elongated time span the shutter was allowed to remain open for; allowing light to enter the camera lens, the 'Ford KA' in motion in this image is motion blurred.
In my second example, I chose to increase the shutter speed to a relatively normal rate (1/50th of a second). The results I am expecting to see is virtually the same image of a car driving pass, in the street, motion blurred. Below is the image of my second test.
Although the car in this image appears to be slightly less motion blurred, there is more motion blur than I had expected. This anomaly may have been caused by certain errors that I hadn't compensated for. One of these may be that the car in this image may have been travelling at faster speed than in the image before, causing more motion blur. Another reason might be that the difference in car shapes; a side effect of this 'Ford Fiesta' having a longer shape may be that there is a larger surface area in motion to cause a motion blur. Another error that may have contributed to this anomaly is the shaking effect that may have occurred due to operating the camera by hand. If I was to improve on these mistakes, firstly I would ensure that the car I am using as my subject, is travelling at a pre-set speed for all three tests when the image is taken (i.e. Having the driver of the car travel at 20 mph whilst the tests is being carried out). Additionally, next time I could carry out these tests using the exact same subject to eliminate errors that might be caused by differences in the drivers/cars (i.e. Getting the same person to drive the same car). Lastly, to minimize the errors, next time I would make use of a stationary tripod to ensure that the camera is stabilized , and thus will eliminate the risk of unstable hands affecting the final image. This would work especially well, in videos where the camera is required to pan in a stable manner.
For my third and final example, I chose to again increase the shutter speed of the camera to a relatively fast rate (1/100th of a second). The results I would be expecting to see from my final test would be a crisp image with minimal signs of motion blur. Similar to a freeze-frame.
Just as I has previously predicted, due to the shortened time span the shutter was allowed to remain open for; disallowing as much light to enter the camera lens, the car in motion in this image is not noticeably motion blurred.
During the process of carrying out these tests, I feel that I was able to partially familiarize myself with balancing the aperture, ISO and shutter speed to aid me in achieving the type of image I am looking to capture. I am now more confident in sacrificing one of these three features; whether it be to lower the ISO to reduce grain, thus adjusting the shutter speed and aperture to achieve adequate exposure, or slowing down the shutter speed to increase motion blur, I believe I am now comfortable enough adjusting the settings to suit the image I am after.
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