Final Reflection

At the beginning of this class, I only knew what I had gleaned from my other classes, which was nothing very technical and all focused on creating and researching a story for documentaries. I wasn't very confident in my film language before this class, so I would always question whether I really knew what someone meant when they said an OTS or a reverse shot. So I was excited to learn another side of the filming process that I really had no clue about before and solidify my wavering knowledge. Technically, I knew nothing. What is ISO? What is striking? What is the difference between a zoom and prime lens? I had no clue before.

Where am I now? I feel MUCH more confident about using filmmaking terms and have a better grasp on at least the surface of the technical world of film. Am I a technical genius? In no shape or form! But I know enough to continue to teach myself, and that is a GIANT leap from where I was at the beginning. Taking this class has definitely proven that documentary is what I want to do. Planning for the portrait of a place was more comfortable and natural, and the scene assignment took more focus and control for me to keep up with all that goes into fiction production.

I believe doing the scene assignment was very helpful, and opened my eyes to what I am capable of when it comes to fiction films. Cinematography has always been important in my mind, but taking this class has helped me appreciate the work that cinematographers do. This class has also helped me find my own style in filmmaking, and has showed me how to make things look good.

My Reel And Artist Statement

Gabrielle's Director/ Cinematographer Reel

Artist Statement

As a documentary filmmaker I want to bring social and even more so, cultural, aspects of life around the world to the forefront. Understanding a person’s culture is what helps you to understand that person better. I used to believe that I knew all about my own culture as a black American, but really I only knew the surface. Once I started to purposefully look deeper, so many new and unknown qualities that characterize black America appeared, and let me tell you, it looks nothing like mainstream media. What I love to see is the reality in film, fiction or documentary. Factors like art and music should enhance what is already there, not cover it up. I am tired of seeing mainstream media showing black people as being only one or two ways, instead of the many varied ways that are a part of everyone cultural and racial group.

I am inspired by Dwight Cammeron, as my teacher and as a seasoned fellow black documentarian, as well as all of the black filmmakers in the world who are known and not known, yet know their purpose and their role in uniting the world and exposing its virtues and vices. I hope we all keep moving forward until our voices are heard. I am also inspired by black American culture specifically, but all cultures overall. Thinking back on the history of black people in America, how can I not feel pride, sorrow, joy, pain, love, and despair, all at the same time? And even though I feel all of these things, I rightfully claim it as a part of me.

I want to educate people with my documentaries and fiction films. I hope that every one who watches a film I’ve made will learn something they did not know before, whether it be about a social issue that was unknown, a cultural aspect that helps explain why a certain group of people do what they do, or the story behind a community or problem. I believe that I should contribute my perspectives, interactions, and beliefs, if for no other reason but to help my country and the world learn a little more about a place, person, thing, or event.

P.S.: Please Reply (Final Scene Assignment)

Link to P.S.: Please Reply here:

http://vimeo.com/71308671

Visual References and Goals for Scene (#8)

GOALS FOR SCENE:

I really want there to be a visual contrast between the messenger angel and the main character, something that clues the audience in that the letter deliverer is not just an ordinary person.

 I also want to film all of my shots in about 4 hours on Saturday. 

VISUAL REFERENCES

The high lights that are seen on Touched by An Angel are what I want to use for my Michael character.

Daytime lighting and natural, daytime look of this photo.

I like how the rooms look using daylight.

The natural looking light, but still has nice contrast with the shadow on his face.

Again, the daylight is good, but the shadows it makes against

the people in the picture shows more depth.

The "Best" Cameras Are... (#7)

It’s hard to categorize things like cameras because each type can be and is used for so many different purposes and reasons. So anything that I may consider “the best” is relative. But, I will say what I believe to be the best camera for me and what it is that I want to do with film.

DSLRs are my kind of camera. For sure. I don’t know everything about them, but I do know that DSLRs are some of the more lightweight cameras and have an amazing cinematic look to their video without costing the price of a three bedroom, two bathroom house. 

For me, a documentary filmmaker, I know many of the situations that I will be in will call for a good quality video with tight and cramped spaces. A Sony EX3 is gonna be difficult to use in that situation, and because I am an independent filmmaker, I do not have money to spend on a large crew. So ingenuity and effectiveness are huge for me. Why use a much chunkier camera when I can get the same look with a DSLR and save my arms from utter destruction?

Philip Bloom tagged the phrase “it’s not the camera…” in his post reviewing what kind of DSLR to buy. I agree with him. It’s not always about the camera you have, but how you use what you’ve got. There is always going to be some new camera to film with, but if you haven’t learned how to use said camera, then the cool functions and awesome video does nothing for you. You can’t use it efficiently. So I say, understand how YOU figure cameras out, and then every camera will seem like “the best” when it’s time to use it.

Inspiring Lighting Styles (#6)

1. I like the fact that there is only a side light. I think it tells more about the person because there is still something more to be shown about him.

2. I like the halo that this backlight gives to the woman. She looks significant and ethereal.

3. I love shadow, so the shadow that falls on his face as well as the shadow from the blinds is awesome! Plus, it helps define the undercurrent issues that happen in the movie to this seemingly happy family.

4. Somehow they've made this entire scene look really blue and cold, enhancing his feelings of isolation after being separated from his family.

5. This photo is really interesting, maybe because there's a lot of shadows (which I love). But I think more than that, the way that the light gets softened and muffled by the curtains is really cool.

6. Usually you wouldn't want something to look SO amber/orange, but because of her setting in the alleyways at night, with only the tungsten street lights to show the way, I think she looks even more engulfed in the alleys.

7. I had to put an example from a documentary. Banksy wanted to stay anonymous, so instead of lighting his face, the main illumination is on his graffiti wall behind him, and his hands in front. Really cool way to light an interview.

8. These two photos are from the same movie, The Man From Nowhere, and both styles are really cool. The first lights the main character with really white lights; harsh and unforgiving, like the actions he's just taken. The second photo is cool because its minimal light plays to the difficult situations both characters are in. Something to note: the soft light falls on the girl's face, while the man in completely in shadow.

9. Shadows are awesome, and also, I like the high light placement of the lamppost.

10. Again, minimal can be really cool and sometimes more dramatic and effective than a lot of lighting, but it definitely depends on the story, setting, and circumstances.

DSLR Techniques--Strengths and Limitations (#5)

DSLR Techniques: Strengths and Limitations

Strengths:

1.     Great cinematic look of video

2.     Have ability to use zoom and prime lenses

3.     Lightweight and easy to hold compared to cameras like the JVC, EX3, and Sony HDV

4.     Has a Manual mode

5.     Small enough to fit on many different things like a fig rig, dolly, etc.

Limitations:

1.     Not the fastest lens in the world—less light comes in

2.     Camera is made for photographs first, so you must study the camera to know what the camera can do with video.

3.     Only the 5D shoots in full frame, the 7D and T2i are not.

4.     Doesn’t have audio options like an XLR outlet

5.     Sometimes racks focus because something is too close to fully focus on.

Portrait of a Place

Here is my Portrait of a Place piece!

Link is here: https://vimeo.com/70374435

Midterm: Scene Analysis (#4)

As a secret western fan and an open Clint Eastwood fan, I decided to do my scene analysis on a scene from The Good, The Band, and The Ugly. This scene is at the very end of the film, when the three main characters have their showdown.

The entire ending of this movie is about this showdown, but this part I am going to talk about is like the preparation scene, and the next section is when the shooting actually takes place.

1. The scene first starts with a wide establishing shot of the characters walking into the flatland where the showdown will take place. The characters walk in and help set up the rule of thirds in where they walk into the shot. The lighting is most likely all sunlight, as the sky is clear and bright.

2. Then they turn the same shot around to suddenly see all of the characters’ faces, while showing the rest of the flatland where the showdown will take place. Clint Eastwood’s character is also placed in the shot using rule of thirds, and his eyes are in the “sweet spot.”

3. Then it goes to a cutaway of Clint Eastwood’s hand placing the stone into the ground. The camera zooms in at this shot to show the significance of what has been written at the bottom of the stone. The also put the stone right in the middle of the frame, maybe to give even more emphasis on how important this showdown is.

4. Then there is a MCU on “The Bad” guy, again the frame puts him right in the middle to show his discomfort and anxiousness.

5. The same type of framing is done for “The Ugly” character as well.

6. Then the scene cuts to a wide shot of all three men on the flatland, making the audience even more nervous as the scene stalls the actually shootout from happening yet.

7. They cut to Clint Eastwood as he begins to back up into where he will perform the shootout. The camera doesn’t move, but he backs away from the camera, turning the MS into more of a Medium long shot.

8. “The Bad” guy is framed in a MS, but the camera tracks him as he steps up closer, doing, in fact, the opposite of what “The Good” guy is doing to prepare for this showdown. The tracking shot ends by showing “The Ugly” character, who has not moved from his original spot, showing how that character is a little in between the other two characters in personality.

9. Clint Eastwood is now at a “cowboy” shot looking towards “The Ugly” character.

“The Ugly” character is shown at a CU, with his eyeline towards “The Bad” guy.

Then the next CU is of “the Bad” guy, looking back at “the Ugly” guy.

10. Then it goes back to the CU of “the Ugly” guy, before cutting back to the two person MS of “the Bad” and “the Ugly” character. They’re obviously trying to stare each other down to intimidate the other.

11. Then the scene cuts to a two-person wide shot, with Clint Eastwood’s character more in the background. This shot is establishing the distrust between “the Ugly” and “the Bad” guys. Then every character finally starts making their way into their real positions before the shootout.

12. For an even greater dramatic effect, the scene cuts to an Extremely Long Shot to showcase how big the space is that these men are about to battle in. Looks like they made this a crane shot, actually. This shot is held for longer than necessary to create even more uneasiness.

13. Another wide dramatic effect shot, but shot from another angle so as the include pieces of the graveyard, a symbol of where the secret treasure is held, but also foreshadows death. After this shot, the preparation is over and the shooting will happen when you least expect.

3 Motivated Camera Movements (#3)

          1. Prince of Egypt

This song in the movie has many tilts and pans. A great one is when Moses is running back to the palace and the camera is panning from right to left of the pillars while he runs towards the camera. I think that pan is really powerful because it’s showing how far away he is from being a prince as he’s trying his best to keep hold of it. The tilt rising up to show the giant monument of his Egyptian family as he remains small at the bottom is also significant. There are more tilts and pans in this scene, but I will leave it at those two.

      2.     Cat on a Hot Tin Roof

The motivated camera movement from this scene is right at the beginning, as Brick tries to run away from his father and everything else going wrong in his life. So the camera pans as Brick hobbles away, but then the camera also adds a tilt as it continues panning in order to convey how intense their conversation is getting.

3. Pride and Prejudice

So in this scene it starts off with an extreme close-up of Elizabeth and zooms in even further to show her shock at being caught in Darcy’s home. Great use of zoom there. Then in the next shot the camera zooms slowly towards Elizabeth as she runs down the stairs, then follows her with a pan as she runs to show her speed and urgency in getting away. There are more good motivated camera movements in the scene, but I’ll just describe those two.

5 Favorite Film Scenes (#2)

Here are my 5 favorite film scenes. Though I say these are my favorites, there are a lot of scenes I know I love but just can't remember as well as these!


1. Opening scene of Dark Days (beginning to 5:05)

This documentary is about a group of people who are homeless and live underground, in old abandoned Amtrak rail lines. This opening scene establishes the environment that the documentary is in, and the minimal lighting, really only one giant light, shows how dark the tunnels really are. Plus, filming the entire documentary in black and white helps the audience pay attention to the content.

The following of the man, with simple pans to take the viewer from one shot to the next; then leading to the frame within a frame where the subway suddenly drives past. The next two shots are again, simple, but powerful. The man is seen at a medium long shot, then medium shot, climbing down into the tunnel, and then the long shot of the man as a silhouette with the tracks grabbing your attention in the background. Then the high angle shot of the tracks shows that you are going further and further into the tunnels, with them also using the lines of the track to show even more depth. The scene continues on, establishing the types of structures everyone lives in with a simple pan continuing past. Then the canted angle of the subway, with only its headlight lighting the shot, finalizes the depth the viewer has reached, and creates understanding as the title appears on screen.

2. Pride and Prejudice: Elizabeth and Darcy’s dance

This scene is wonderful because one, it is one continuous shot, and it totally works with what is happening in the scene (I’m only focusing on the part before they start placing cuts in the scene). Elizabeth and Darcy are finally addressing their assumptions of each other, and just like they are dancing around what they think of each other, they are physically dancing too. So the camera work: the pans following Elizabeth and then Darcy as they go around other people in the line. Plus, you can tell that the shot has a shallow depth of field because the dancers in the background are blurry. The camera stays at a medium close-up for the entire time, keeping the two main characters in focus, and has dancers and musicians in the fore- and background to make the viewer really feel like they are dancing and interacting along with the characters. 

3. On The Waterfront

 One of my favorite movies ever, and one of the best scenes from that movie is when Terry (Marlon Brando) is in the taxi with his big brother, finally addressing the feelings he has kept inside for years. Because the scene is so intimate in context, and because it is the final turning point for Terry to make his decision, the camera is set as a medium long shot for the two person frame, and goes in closer with simple close-ups of both brothers, sometimes when they are speaking, and other times when they are reacting to what is being said. The entire film is in black and white, and the lighting is minimal, only to shed enough light inside the cab so that one can see, but it still has shadow to add towards the grave subject being discussed. The aesthetics are simple so the viewer focuses on what is happening, and they help at the beginning by immediately putting you right with them in the cramped taxi cab.

4. Cat on a Hot Tin Roof (1958)

The cellar scene, which is one out of two climactic arguments that are going on back and forth at the same time, has to do with Brick, the son, and Big Daddy, the father, and them discussing their issues with one another. Brick only ever wanted his dad to care about him, while Big Daddy has bought piles upon piles of “things” to claim as his own, or to buy his family’s love, but when he realizes that he’s dying, everything starts to come into perspective. Knowing that, the scene really exposes what is in Big Daddy’s head. There is clutter everywhere in the shot, and it almost engulfs the two characters as they realize what they still lack, despite all of the “things” they have around them.

With great use of rule of thirds to establish the cellar and Brick hobbling down the stairs, as well as great medium close-ups and frames within frames, this scene is heart-wrenching not only because of content of what is being said, but because of how the camera shots and movement have been filmed and placed together.

5. Fiddler on the Roof (watch from 0:35 to 2:18)

 So, it’s a musical, but this opening title sequence is amazing! It starts with a long establishing shot of the environment, at dawn, so the ground and forest are merged together as one with the slowly rising sun the only lighting in the frame. As it shows this, the camera gives a slow pan while the natural sound of birds and insects solidifies where this place is. Then the camera stops as they speed time and the viewer sees the sun rise right in front of them. Then it cuts to the next frame where the camera is panning silhouetted rooftops until it finally lands on the fiddler. Once on the fiddler, it holds a long shot of him in silhouette while he begins to play. Once the main character begins talking, that scene is over, but the fiddler continues to play which I think is a great way to transition to the main story.