FILM 140 CH 5

Storyboards

a sequence of drawings, typically with some directions and dialogue, representing the shots planned for visual production -sketches help guide the cinematographer in coordinating the camera and lighting

1 Element of design: setting, decor, properties

setting: the environment (real/imagined) in which the narrative takes place -creates a mood and has a social, psychological, emotional, economic, and cultural significance -the size, layout and features of the space tell us a lot about the characters background, circumstances, personality, and emotional state shoot on location: existing interior/exterior spaces that suit the needs of the story, then alter the sets to the preferred mise en scene -required too secure access, may be timed, expensive and unpredictable etc. -older films preferred this for authenticity, natural depth and available light shoot on set: interior spaces/sets that are created to fit the needs of the story and mise en scene -older films had flat backdrops, similar to a theater setup -now movie studios, soundstages, etc make sets more available, accessible, easy to use -only those aspects of the exterior/interior needed are built, miniature or to scale backlots: constructed buildings and streets that include classic examples of various types of architecture and can be used again and again to help meet the needs of the narrative decor: the colors and textures of the interior decoration, furniture, draperies, and curtains properties: props and set dressing -any object handled by actors is considered a prop -set dressing is anything used to create the look of the environment in which the action takes place, curtains, paint, carpet, objects visible in the area, furniture, books, decor, etc.

Motion capture technology

"digital makeup" used to create computer generated animated layers over live performances

Films cinematographer

"director of photography" plays an important role in the visual design process, responsible for lighting and shooting everything the production designer creates and collects -helps create the look of the film by selecting film stock or digital format, overseeing lighting and camera operators, and by manipulating color, saturation and other visual qualities (color grading)

Mise en scene

"staging or putting on an action or scene" "staging" -everything we see in every shot, objects, people, surroundings, arrangements, etc. -everything on screen is chosen for a reason, authenticity, mood, character development, situations, era, expectations, presentation of effect, etc. -the combination of these elements give each shot its overall meaning -can be highly personal and help distinguish one directors work from another -genre formulas also have an influence on what is on screen 4 primary components: 1. design 2. lighting 3. composition 4. movement/kinesis

Rule of thirds

-our mind seeks order, form of balanced composition in films rule of thirds breaks the frame into three vertical sections resulting in a grid, which acts as a guide that filmmakers use to balance visual elements in the frame, usually for every element placed in one section, there will be a corresponding element in another section to counterbalance the composition -composition is built in basic units of three: top, middle, bottom/ left, center, right/ foreground, middleground, background -our gaze is drawn to the top horizontal line of the composition, faces of characters are often placed in this area, with their eyes lining up with the line, providing headroom above the subject symmetry can

2 Element of design: costume, makeup, hair

-people go to movies to see visually beautiful things, actors must look attractive to be beautiful and loved by the viewer -classic Hollywood makeovers and studio contracts of beauty for actors to be considered the "ideal man/woman" now we are culturally trained to use visual clues, to identify the period the narrative presents makeup and hair can create those cues to the audience -these elements provide visual attractiveness, visual cues, narrative information, meaning, and verisimilitude to the film costume: communicate an image and information (may not be accurate, historically etc.) -convey character progression and status/motive -historically accurate, glamorized, exaggerated, influenced by: history/literature/future/culture/geography/etc. makeup: enhance or alter features, facial and body -can be digital -contribute to characterizations and storyline prosthetics: synthetic materials attached to an actors face or body, makeup -artificial skin, body parts, etc. -used to increase an illusion, improve similar features, and transform characters -can be digitally remastered hair: to create a look appropriate for the characters role in the story -styled, wigs, hairpieces, digital -contribute to characterizations and storyline

Composition

-what really makes mise en scene work is how those elements are arranged each shot, the organization, distribution, balance and general relationship of objects and figures as well as light, shading, line, color, movement within the frame -important for a number of reasons, a consistent approach to composition throughout a project makes for a united aesthetic style -how elements are arranged helps guide the viewers eye through the frame and makes us aware of what elements are most significant in any given moment, and can help the viewers understand the characters state of mind and relationships -composition can minimize or enhance the appearance of depth in a shot previsualization: drawings, sketches, plans for each individual shot to help achieve a unified approach to shot compositions -storyboards, overheads (camera positions)

(3) Aspects of lighting setup

1. quality: quality of light falls on a spectrum between hard and soft light -hard light: direct, light shines directly from the source to the subject, creates a clear sharp boarder between areas of bright illumination and dark shadows, is high contrast, details are sharp and defined which can make hard light unflattering for those with wrinkles or textured features -serious or scary situations -soft light: diffused, the beams of light are broken up or scattered on their way from the source to the subject, bouncing the light or passing it through a filter "diffusion", is low contrast, where illumination ends and shadows begin are less noticeable, is considered to be more flattering -romantic or comedic situations 2. ratios: the level of illumination on a subject, as compared with the depth of the corresponding shadow, is called the lighting ratio -three point system: casts a flattering and natural-looking light on subjects, using three sources of light aimed in a different position in relation to the subject, key light, fill light and backlight -key light: main/source light, the primary source of illumination positioned to one side of the camera, creates deep shadows -fill light: positioned at the opposite side of the camera from the key light, may come from a reflector -backlight: rim/kicker, provides highlights in the hair or along the edges of the subject, help the actor stand out from the background when little/no light is used: the ratio between bright illumination and deep shadow is very high, the high contrast effect is called "low-key lighting" -produces harsh gloomy atmospheres, seen in horror, noir, and crime film -increased contrast "high-key lighting: produces an image with very little contrast between the darks and lights -used in musicals, dramas and comedies -decreased contrast when the intensity of the fill light = that of the key light: "highest of high-key lighting, no shadows at all 3. direction: light can be thrown from virtually any direction, which can create a mood and convey information of the subject being lit -backlighting: can create dramatic lighting effects, especially when it is the only light source -subject is thrown into a silhouette, eliminating recognizable surface detail and abstracting the character which can make them more frightening or impressive -halloween lighting: lighting from underneath a character, "bottom lighting" reverses the placement of normal light and distorts the way we see facial features -is used in horror films to emphasize the situation or subject -top lighting: light cast on subject from above, usually looks relatively normal, can be glamorous to emphasis the subjects hairline or cheekbones, but if the angle is extreme it can obscure the actors eyes causing the subject to appear mysterious or threatening -frontal lighting: light aimed at a subject from the same angle as the camera, no shadows are cast on the subjects face, the face appears flattened which may convey figurative flatness/shallowness of the character

Set decorator

a cinematic interior designer/decorator who is in charge of set dressing, and supervises a variety of specialists -to bring the production designers dream to life

Production designer

artist and executive who is responsible for the overall design concept (the look) of the movie, the sets, furnishings, properties and costumes, and for supervising the heads of the departments creating the look -departments include: 1. art 2. costume design and construction 3. hair 4. makeup 5. wardrobe 6. location 7. properties 8. carpentry 9. set construction and decoration 10. greenery 11. transportation 12. visual effects 13. special effects the production designers process begins with intensive revisualization: imagining, discussing, sketching, and planning -many designers become directors

Lighting

illumination and shadow effect the way we see and interpret settings, makeup, hair, costumes, and design effects so during production designers include an idea of lighting in their sketches and storyboards -lighting can be used to express mood, tell a story, and convey character -during production the cinematographer determines the lighting once the camera setups are chosen lighting creates a sense of cinematic space by illuminating people and things, creating highlights and shadows, and defining shapes and textures -light is controlled and manipulated to achieve expressive effects, there is rarely any natural lighting in projects

Design

the process by which the look of the settings, props, lighting, and actors is determined -set design, decor, costume, makeup, hair all shape overall design

Makeup artist

works closely with the production and design workers to perform transformations and touch ups on hair, makeup and other work

Prop master

works with the production designer to find and select props, then maintains each object and ensures it is ready when the actor needs it for shooting