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Scene Recreation: Her (2013)

For our final project, we decided to recreate the ukulele montage scene from Her (2013), directed by Spike Jonze.

orginal scene (Begins at 0:59):

Recreation:

Scene recreation files (production schedule, kit list etc):

Contribution to Production

For this project, I fulfilled the role of director. This involved directing the actor so their movements would reflect that which was shown in the scene, capturing the same mannerisms and mood. Additionally, whilst on set I would work with the DOP to describe the lighting and the camera needed to achieve the same visual effect as shown within the shot. Another big part of the scene that added to its mood was the camera movement, this involved lots of handheld movements and in some shots, the camera would track the main actor, so I had to direct the camera operator to properly fulfil this.

Furthermore, I helped oversee preproduction and worked on securing the costume and deciding on a location, once the location was set, I helped with production design to create props used within the scene as well as some background elements, we did this using cardboard and painting it to resemble the look of it in the scene. I also overlooked the postproduction stage working with the editor to ensure the final project resembled the scene, including colour grading.

Challenges on set

On the set the location we were working with was very small, so production design had to be mindful of props and where to place the camera as there was little space to work with.

The location we chose has a wall with a different texture than the scene. To overcome this, we had to dress the set to capture the similar textures seen in the scene. Additionally, the wall in location was a whiter colour meaning light was bouncing off the walls which, although initially proved to challenge our lighting, also helped us control it more as we could bounce the lights off of it.

Another hurdle we faced was our lenses we only had access to one zoom lens (18-35mm) which made capturing the wide angles very difficult, especially for our DOP with lighting, we had to use forced perspective in some instances to get it right.

A wide shot in the scene:

Our recreation:

This is an example of a wide shot we had to shoot using a zoom lens (35mm) but managed to place the light it like that of the actual scene but had to use forced perspective on props like the red chair. This creates the same floorplan but due to the lens, the shot feels more compressed compared to what it would look like if we used a wide angle lens, objects look closer together than they are.

By prioritising composition, lighting, camera movement and performance the shot still captures the atmosphere and feeling of the original scene.

Overall We collectively worked as a group to produce a recreation of the scene that captures the mood and atmospheres of the orginal while solving problems that arised during production.

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Tableau Film 2: Restricted

I worked on this film as the DOP intending to create a mysterious, strong atmosphere. This atmosphere was partly created using colour which helped define a tone. We filmed just after sunset, so the lighting was already very blue before it got completely dark, there was also a contrast between the cool sky and the environment which was yellow. These opposites in the colour wheel created contrasts between the two parts of the frame, evolving a dreamlike atmosphere and in turn creating ambiguity from subtlety in colour.

Another part of the shot that added to this atmosphere was the sense of depth. Using a soft foreground both allows the viewer to focus in on the main character but also raises a question. It could be a point-of-view shot, alluding to the feeling the character is being watched. It builds a sense of mystery and uneasiness which develops into the character as he is unsure of where he is.

Ultimately, I think this tone was set but I would improve on framing. Some elements of the set are barely visible, ending up being distracting to the viewer. These could have been placed elsewhere on the set or the frame could’ve been readjusted to take them into account. More so these elements could of subtly built up the world as a character of its own, which I think the first shot does well but it never gets expanded upon when reframed.

Overall colour and depth are important tools to utilise as a cinematographer, but framing is equally important, everything should be, or should not be, in the frame for a reason.

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Mid90s Unique Look

Chris Blauvelt’s work as a cinematographer on Mid90s results in a look that is natural and nostalgic which is achieved beautifully. To achieve a sense of nostalgia Blauvelt chose to use film instead of a digital approach to create a look that feels reminiscent. Another aspect of the cinematography that strives to do this is including a 4:3 aspect ratio. The aspect ratio also amplifies the central framing that is used often throughout the film which heavily immerses us in the environment as well as being used for comedic effect.

An example of the film's use of central framing:

The lighting is another integral part of achieving the nostalgic look. There was minimal artificial lighting used to make the film feel natural as it the camera had just been placed and nothing else. During interior scenes, lighting is used to mimic the way lighting naturally acts on the subjects whilst also enhancing it.

Combining a use of film, a naturalistic approach to lighting and unique framing Blauvelt creates a truly nostalgic and stylised look that mimics the look of cameras from the mid-90s. Film allows the look to feel older without having to work the image at all through filtration or other techniques. As an audience we feel as though we’re transported back to that time, remising about it or discovering an era that we’re too young to have seen yet experiencing nostalgia for it all the same.

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Saltburn's Subtle Cinematography

Cinematography is an integral device of storytelling, and it works best when it works subtly. Saltburn is a gothic thriller where this subtlety works perfectly to help tell its mysterious narrative. The central character in Saltburn is Oliver Quick (played by Barry Keoghan) who, towards the end of the film, is shown to be sinister and manipulating. This turn in character is however foreshadowed throughout some shots of the film with the use of reflections and lighting. This shot is a perfect example of subtly hinting at Oliver’s true motives:

DOP Linus Sandgren utilises mise-en-scène in a beautiful way to quietly foreshadow Oliver’s character twist. Framing the shot from an upside-down angle is the central element here, with Oliver’s reflection looking directly into the camera, it conveys Oliver as not truly who he seems, the reflection is his true self. With The reflection directly looking into the camera at the viewer reinforces this giving a more sinister intention. Using low-key lighting also introduces this mysterious atmosphere into the shot which couples with this to make us question what Oliver is up to. It is then revealed towards the end of the film after it’s shown Oliver orchestrated his first meeting with Felix and many other events throughout the film.

In another shot, the dining room is shrouded in red after Felix’s death. This subtle change of colour speaks loudly as it greatly contrasts with some of the families’ efforts to keep calm about the situation and pretend as if nothing has happened. Red connotes the uncertainty and shift from normality the family feel showing another subtle piece of cinematography that enhances its storytelling.

Although The film reveals every part of Oliver’s plan and how he manipulated it, I feel as though this was done too far as it took away most of the mystery within the film that was making me think. Would it not have a stronger effect to only show some of what Oliver orchestrated and leave the other parts for the audience to wonder if he had a part in that too? With this, the cinematography would have had a much more intense presence especially once the film had finished because it could hint at these answers in a non-concrete way.

Saltburn is intense and rich thematically and character-wise, which is complimented by its subtly in the cinematography. This truly shows how cinematography can add to the story, in ways viewers never notice.

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Dream Scenario

Dream Scenario is a genuinely funny satire comedy. It has an ambiguous ending but due to a rushed third act, it isn’t fully developed which takes away from its value. In the end, Paul attempts to visit Janet in her dreams after they split up. The final scene shows a reunion between the two, tying back to a dream Janet speaks about. They begin to float up to the sky and Paul says, “I wish this were real.” This adds ambiguity to the ending, has Paul managed to enter Janet’s dream? Or is Paul only thinking about it in his head?

This does represent the themes of fame in the film, with Paul now realising that fame is not important and that Janet is. However, the narrative that leads up to this ending feels rushed, especially the third act. The only way viewers know that Paul misses Janet is through one scene towards the end. Little is done to subtly build up this desire Paul has, there are a lot of moving parts that the ending could have also implemented, like Paul’s children. But as the ending only focuses on one part of Paul’s character everything else that is shown towards the ending seems unfinished. Filmmaking has elements that could’ve been integrated like cinematography and sound design, but these were not used to their full effect here. It forms an ending that is only slightly thought-provoking, leaving more to be desired and feels depressing which clashes with its otherwise strong comedic elements.

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Exercise 2: Documenting a Place

Walking around here you immediately feel the history flowing through the place. Looking at the graves you can learn the names of those who walked the city before us. The few beautiful statues show a glimpse of a culture from the past to reminisce. On an early cloudy morning, the atmosphere feels colder and moodier, and the yellow leaves of autumn appear like subtle rays of the sun. People walk in and the atmosphere holds them as they head through. It feels oddly peaceful with its otherworldly echoes of history and nature. Plants and trees have a strong presence that intertwines with the buildings, almost reclaiming but not quite wanting to.  St Cuthberts Cemetery has a harmonic relationship with both history and nature that allows you to breathe in to feel the serenity of its atmosphere.

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The Price of Cheap Rent - Thoughts

The Price of Cheap Rent is visually great, but the themes it presents could be explored in deeper ways. Its visual elements create a subtle tone that breathes into its comedy elements and adds subtext. Telephoto lenses are used to make the apartment feel cramped and slightly claustrophobic to show how it’s an average New York apartment. The lens also isolates the subject giving it an eerie feeling that plays into the idea that the place is haunted by ghosts.

It is a very aware film that gives it a comedy documentary style. Despite this, it attempts to explore themes of race on top of the haunted parts of the narrative. This doesn’t add much to the film though as it doesn’t explore it in a deep enough way to give it any real value. It ends up being part of the narrative but doesn’t mean much to the viewer by the end.

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'Language of the lens' Chapter Summary

'language of the lens' from " Cinematography: theory and practice: image-making for cinematographers and directors"

The central vision of the human eye is around 40° making a 50mm lens the normal focal length. However, this depends on the size of the video receptor, for example for 16mm film the normal focal length is 70mm. Wider lenses have shorter focal lengths such as 35mm. When using a wide lens, depth perception is greatly exaggerated, movement is heightened, and objects appear further away than they are. A wide lens will also distort objects when they are closer and imply a greater sense of purpose. Along with this wide lenses also have a greater depth of field allowing wide lenses to achieve a deep focus where everything in the frame is in focus. Differently, telephoto lenses have longer focal lengths and compressed space – the opposite of wide lenses. Distant objects appear closer, and the movement of characters and objects is intensified. Telephoto lenses isolate characters in a space as the depth of field is more limited.

Perspective can be manipulated by changing the focal point of a shot. By selectively focusing on one subject over another it can create meaning and isolate subjects. Rack focus is when the focus gradually shifts to another subject in a scene. Conventionally the focus is the main subject or actor of the scene. To manipulate perspective in a different way older lenses can be used to soften the image, creating a more dreamlike look. Older lenses do this because the fall-off from a sharp focus is masked by softness. Lens flares can also be used to showcase the environment or objects.

By adjusting the height of the lens different meanings can be created. During a dialogue scene, the camera is traditionally at eye level to immerse the viewer in the scene. Changing the height allows the view to interact with the scene differently. In a high angle shot, the camera dominates the subject making it feel weak whereas in a low angle shot the subject dominates the frame. Additionally, a Dutch tilt can be used, this creates a visual tension and implies that there is disorientation in the scene or narrative.

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Excercise 1: Framing and Composition

Centre Framed Film:

Rule of Thirds Film:

Script:

Rule of thirds composition creates interesting, atheistically pleasing images that are considered more natural. They can make use of negative space and positioning of subjects to give insights and tell a story within a single frame. Off centred characters can draw the audiences’ eye and background elements can make the audience feel certain ways. Centre framing also creates interesting images. It opens the use of symmetry or can very easily draw attention to a particular subject.  It can help create order and power or be used to create humour. Depending on the story I prefer to use the rule of thirds as not only does it suit my personal style better, but it gives more versatility into storytelling within a frame.

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The Past Lives Openning Scene

Past Lives is a film that is delicate and beautiful, its opening scene especially.

This scene ultimately acts as a pivoting point that I found myself constantly thinking back to whilst watching the film.  The opening line “Who do you think they are to each other” said by one of the off screens on lookers is simple yet memorable. With the use of acousmatic sound, it temps us as an audience to ask this question ourselves. I found myself doing this as I learnt more about the characters.

As we begin to think about this line further in the film the themes of the past much more developed, adding a layer of intricacy to this line. We begin to think about that question in a different way and this is a big part of the film that creates this enigma to us as the audience. We want to continue to learn more about these characters so we can truly find out. By the time we reach this scene again we do in a way know who they are too each other. It comes full circle and now we know who they are to each other. But then, we begin to ask what could’ve been and Nora is as well.

One element that makes Past Lives a memorable film is its themes of what could’ve been. The opening scene begins to paint this and allows the audience to develop a truly unique connection to the characters.