Planning Cinematography

Planning Cinematography

Our group planning notes of cinematography

Cinematography could be defined as the style and art of motion-picture photography. It is essential to films of all genres as it introduces the combination of, a variety of camera angles, shots and techniques, all of which are crucial to promote an emotive response from the audience. Planning cinematography allows me to explore my knowledge of each individual shot, whilst applying this knowledge to successfully apply them to my opening thriller film. I have taken a lot of consideration into the placement of different angles and shots, as to ensure that the action will: shock, create suspense and surprise. The three key words are fundamental for creating a classically conventional, and action packed, opening scene. This planning also helps me form a structural skeleton to refer back to and use during filming. In addition, this means that filming will be less time consuming, as we have a basic outline, thus providing myself and my group more time to analyse each shot and edit them effectively. 

Two shot

Two shot- 'The Shining'

Two shot simply refers to the representation of only two characters on screen, usually as they are having a conversation with each other. This shot helps to establish the relationship, the characters on screen share for each other. The image of both characters conveys an equality and coming together of the both people as they share the same input visually onscreen. By depicting just the conversation between two character, whether they are stationary or in transit, this allows the audience to devote their attention to what is being said, grasping some context of film, whilst not becoming distracted by the setting. As well as providing the viewer with contextual information, it also allows them to easily analyse both characters body language, facial expressions and how they influence and interact with each other. For example, above is a captured two shot from the famously acclaimed 'The Shining'. The image depict a conversation between a mother and son. The mother has lowered herself to the young boy's height, this conveys how she is trying to reach out and make him understand, easily presented through their use of levels. The young boy's rigid stance, paired with his perplexed facial expression, displays how his childlike naivety prevents him from understanding fully what his mother is telling him. Paradoxically, the young boy may be rigid with fear, scared of the sinister and certain foreboding he has been introduced to. In regards to my own thriller, a two shot will be first introduced when the two female protagonists are waiting at the bus stop. This is featured as the first scene and is used to engage the audience, as they analyse the conversation for important context. Furthermore, this allows the audience to immediately label the female protagonists as, extremely vulnerable and becoming aware that their vulnerability puts them in a very dangerous position. Thus providing a sudden suspense for the audience, a key convention of a film of the thriller genre. 

Panning

Example of Panning

Panning refers to the movement of the camera, from left to right, or vice-versa, as it follows a moving object. As the audience follows the object it enhances the realism of the scene and puts the audience in the action, as the the camera imitates the viewer also following the object. This shot usually means the camera is mounted onto a tripod. Within my thriller film I aim to include this shot as the two female protagonists walk home, down the the pavement. The slow pace of the shot creates a progressive tension and forebodes a sudden break that will leave the audience tense in anticipation. In addition, the viewer can easily put their selves in the position of the protagonist, this enhanced sense of empathy builds fear within the viewer as they realise that they could just as easily be the protagonists, in the same position as they are in. Panning also focuses on the setting not just the characters, for thriller I have chosen to use panning whilst the two female protagonists are walking home, and revealing the ill lit street at night whilst doing so. A sense of sympathy would be created by this shot as the complete focus on the two protagonists forebodes that they are in danger, leaving the audience tense, a convention all thriller films aim to achieve.

Handheld Shot

Handheld camera 

A handheld is when a camera is literally hold by hand, a pose to being mounted onto a tripod etc. This shot allows a great freedom of motion, meaning the shot can mirror the typical movement of the characters being portrayed. The jerked movement created is used to make the audience feel uncomfortable; the realistic movement captured pulls them straight into the action, as they are no longer viewing something in the same frozen camera angle. In my thriller film I am to include this shot when the protagonist is running through the forest, away from the antagonist. This will help to develop a strong bond between the audience and the protagonist, as they are taken into the scene with the use of the realistic camera shot, in turn building tension and suspense.

Extreme Close-up

Extreme close-up

Originally, as presented at the top of the post in the first image, we had planned and agreed upon exploring and including a closeup, in our opening thriller scene. However, we later decided that the use of an extreme close-up instead would be more effective. The reasons for this were that we felt an extreme close-up would provide a rapid, dramatic effect. Due to the limited time provided, for the duration of our thriller film, this shot provides the dramatic effect we aimed to include, in a shorter time frame. An extreme close-up refers to when an object or features of the face fill mostly all of the frame. Especially within thriller films, extreme close-up is usually used to present the face, in particular, the eyes. This sudden change in distance, from the audience and the character conveyed may make the viewer extremely uncomfortable, as the closeness creates a sense of suffocation for the viewer. Also, the close-up of a person aids the emphasis of their emotional state, building a clear idea of exactly what the characters, thoughts and feelings are. As well as presenting the protagonist, the antagonist is often conveyed through an extreme close-up.

Extreme close-up of 'Annabelle' 

The second image of the 'Annabelle' doll supports this idea. This style of shot would be used for the antagonist to make the audience uncomfortable, as the antagonist appears close in proximity to the viewer. This specific shot of 'Annabelle' presents the doll, not looking directly into the camera, but slightly above the camera lens. This subsequently builds suspense for the audience, as they analyse the eyes for a sudden shift to the conventional, direct glare into the camera, and shock as the frame abruptly changes. Furthermore, finding out the thoughts and feelings of the antagonist may scare the audience as they begin to create a bond with the supposed evil character, and may possibly come to find similarities between themselves and this character. The fixed glare often conveyed in thriller films creates a vast suspense. This is because the audience anticipates what will happen suddenly to shock the viewer, after the gaze is broken. In regards to my thriller film film, I will use an extreme close-up to present the antagonist opening his eyes and waking from his series of flash backs. Although the extreme close-up itself is highly effective, I will pair the depiction of their eyes opening with a loud, miscellaneous crash noise, to emphasise the sudden shock for the viewer. The artificial and magnified style of the shot will leave the viewer fearful and intimidated as the antagonist fills the entire frame. This shot is highly conventional for the reasons mentioned above, and also for its ability to entice and draw the audience into the focal point, and leave them anxious, as they scrutinise every fine detail.     

Point Of View Shot (POV)

Point of View Shot- 'The Silence of the Lambs'

A point of view shot simply means the shot mirrors what the subject can see from their own perspective. The use of this shot puts the audience in the character position and promotes an extremely effective reaction as the audience experience the action through the characters eyes. This means the viewer can build a relationship with the character and relate to them, meaning they will be more aware of what is going to happen next in the scene. The still image displayed captured from 'The Silence of the Lambs'. The point of view is displayed from the perspective of, forensic psychiatrist and cannibalistic serial killer, 'Hannibal Lecter'. He is watching the character of 'Clarice Starling', an FBI agent, as she attempts to retrieve information from his character. The style of shot means we can analyse how Hannibal influences 'Clarice's body language and facial expressions. As well as this, it places the audience behind bars and allows them to put themselves in the eyes of a killer. The image shows 'Clarice' through her facial expression as quizzical and intrigued. However, her body language suggests she is extremely tense, as she sits in an upright, rigid position, possibly presenting connotations of the phrase, ' frozen with fear'. The tension in the characters body is then inflicted upon the audience as they anticipate what the killer will do next, much like the protagonist. In my thriller opening, I will use a point of view shot, from the antagonist's perspective when they are standing in front of the protagonist preventing her from moving or escaping. The female protagonist will be screaming, therefore the audience will be extremely sympathetic as they are put in the position of the antagonist and left to feel, some what responsible for her distress. In addition, this shot will be highly conventional of a thriller film due to its suspense created when the audience are left questioning what is making the protagonist so distressed, and more importantly, what is going to happen next. 

Long Shot

Long Shot- 'Se7en'

A long shot typically presents a character in their entirety or head to toe. Not only is there a strong focus on the character, but a vast amount of background is also presented. The image I have used is captured from the thriller film, 'se7en'.The long shot captures the psychotic antagonist being spotted and supposedly caught, by the two detectives on the other side of the hallway. The antagonist is typically presented as the character of greater power and authority, however, this shot makes the antagonist appear extremely small. This was included to trick the audience, as the camera angles display a weakening of the antagonist, suggesting that he has succumb to his inevitable fate and essentially given up. However, this later proves to be false as he cunningly escapes and goes on to commit many more brutal murders. A long shot, such as this example, has an unrealistic, abstract effect, leaving the character tiny in proportion, much like a doll in a dolls house. Therefore, the character captured through the long shot presents the idea of manipulation and how, like a doll, they are not responsible for their actions. With this in mind, I will be including a long shot from the protagonist's perspective, focusing on the antagonist as they stand in the way. I believe the idea of the antagonist being manipulated creates a sense of ambiguity and renders the audience quizzical, questioning if they should be in complete disgust with the antagonist, or sympathise as they wonder whether the boy may have been possessed or forced into these evil actions. The shot will appear suddenly, much like the extreme close-up, featured as the antagonist opens their eyes. Therefore, similar to the close-up, I will pair the sudden change of shot with a loud crash style sound effect. This will help to further emphasise the link between, the character standing in front of the protagonist and the character who awoke from a series of flashbacks. As well as this, it will effectively shock they audience. Furthermore, as the antagonist is shown, a reasonable distance from the camera, and a low key lighting is prevalent, the antagonist will appear to almost be a shadow. The lack of detail provided to the audience, in terms of the antagonist's appearance, enhances the suspense and builds the strong theme of ambiguity, used to specifically to entice the viewer, leaving them wanting to find out what happens next. In addition, the vast amount of forest background in my thriller film will create a juxtaposition; the forest holds connotations of a free spirit and the knowledge that there are endless paths or routes. This creates a paradox within the scene, as the girl is 'trapped' by the antagonist. More over, this leaves the audience in suspense as they urge the protagonist to break free from the antagonist, through the vast forest space displayed. 

Planning cinematography, within my group, allowed everyone to voice their own opinions, meaning I was able to collect and expand on ideas I had not previously even thought about. The shots we decided to use and analyse in further detail are extremely varied, from presenting a magnified view of a character, through the use of a close up, or presenting a vast amount of background, with a long shot. The contrast of numerous camera shots presents the clear divide between, antagonist and protagonist, or an overall portrayal of good and evil. Also, I feel our group has chosen numerous techniques that will provoke a conventional thriller response from our audience, i.e shock, suspense and surprise. Furthermore, I believe this plan of cinematography has proven highly effective as myself and my group now have this plan to work from and use when beginning the filming process. In addition, this means that the process of filming and creating our thriller film will run smoothly, as we already have a strong and in depth plan to work from, providing us with more time to look into the tiny details and perform any finishing touches that will make all the difference.