When considering the type of cinematography I wish to use in my film, I know that one of the main focal points of my film is emotion, specifically Reeds reactions to the events transpiring as he drives.
I will take inspiration from the film Locke (2014. Steven Knight) and its Director of Photography, Haris Zambarloukos.
I love the cinematography in the film as it brilliantly demonstrates the chaos that’s happening in his life without directly saying it. I think this can help me portray the emotions that my character is experiencing without always relying on dialogue.
Reed: White trainers, blue jeans, blue jumper – a large(ish) box, watch, wallet, deodorant, 1 pair of jeans, several pairs of jumpers, car keys, car.
Sarah: The audience never see her in full detail at any point in the film. She is present at the beginning but is only a blur in the background with the focus on Reed. She will however still require a wardrobe, such as: Dressing gown (Pink preferred), Slippers.
Miles: (At no point in the film do we see her on screen, therefore props or wardrobe is not required for this character)
Kayla: (At no point in the film do we see her on screen, therefore props or wardrobe is not required for this character)
I attempted some different practice shots that I might find useful for my film. They are unedited so there is no image stabilization which means that they are a little shaky, especially the pedestal shot which I had to complete handheld. A Steadicam or gimbal would have proved useful for some of these shots.
I plan on using the Canon 250D as it will be suitable for my film and is readily available for use as I have owned it for the past year and therefore have experience in using it. The camera can shoot in 4k RAW, meaning that there will be opportunity for greater detail and brighter images which will help as i will be shooting in low light conditions.
I will use the Zoom H1n as a potable sound recording device that will allow for a wired connection for headphone use. It offers 24 bit audio which means that it gives clear sounding audio recordings which will work well when focusing on the dialogue as opposed to the car engine.
As for lenses, I know that primarily my film will use largely close-up and medium shots so a lens with a smaller focal length will be required such as an 18mm lens. I doubt I will need to use a lens with a focal length as small as 10mm but i might need a larger focal length when focusing on things at a distance such as when Reed walks up the path and the approaching car. I own a 18-55mm lens which will work with my Canon 250D camera, enabling me to use these shots effectively.
Due to filming in dark conditions, lighting will not primarily come from natural lighting, instead I intend to use practical lighting such as street lamps etc. I’m considering going for a blue aesthetic to the films appearance so I might consider using bounce lighting to achieve this.
Due to Covid-19, I will be unable to do a location scout in person because of lockdown measures put in place by the English Government, therefore i will being using Google Maps for locations that would work well for my film.
Ext. House:
House, Thorney, England, Peterborough, St Mary’s Close
The locations I require will be of the house at the beginning of the film, the street in which Reed walks down and climbs into his car and the motorway, where 2nd and 3rd act take place and the films ends. I have chosen Thorney in Peterborough because it is a quite village that allows for easy filming and the house I intend to use is owned by a friend. My idea is to have the car placed parked on the adjacent side of the road several feet down so that when he leaves there is a long walk to the house from his car.
Ext. Street:
Street, Thorney, England, Peterborough, B1167
A quite street that will be seen from the interior of the car as he drives but will also serve as a stand in for the motorway when filming in a busy and built up area isn’t possible to accomplish.
Ext. Motorway:
Motorway, England, Peterborough, A47
The setting will be at night and I have experience with the area so I am aware that the roads are quite at dark which will make filming far easier. The motorway would be the most difficult of conditions to film in. To combat this, static shots would be used when the road is in view so that realism is maintained while other shots such as when Reed glances to his box of possessions would take place on a quieter road. Most importantly, this location will be crucial to the climax of the film, when the main character collides with an oncoming vehicle. The filming will take place on the motorway while the action of the steering wheel will be done at a street location for safety reasons.
(Stock photo) from ‘Fleet News
The main location for the film will be in the car on the roads. This is a stock photo as I intend to use my fathers car but due to Covid-19, I am currently unable to obtain a photograph of the actual car but this stock photo serves its purpose. Largely the interior will be used but there will be some exterior shots but not many as I want to keep the tension high and to do this, I will film mainly in the interior to create a claustrophobic atmosphere.
Reed – 30-35, Male, Dark(ish) black hair in a classic combed back style, Well groomed.
Sarah – 30-35, Female, Brunette, Long hair (Only seen in the distance and out of focus so specific details are not too important when considering casting)
Miles – 14, Male (Not seen on screen so specific appearance not required)
Kayla – 30, Female (Not seen on screen so specific appearance not required)
I know that I want to use music in my short film but I think my film is going to take a more dialogue focused route. Music will therefore be used largely at times of heightened emotion and tension so as to manipulate the audience.
On considering whether all the music will be non-diegetic or use some dietetic music, I think that there is an opportunity to use dietetic music on the cars radio without taking the audience out of the atmosphere of the scene. I wont use it when the husband first arrives as I want the focus to be on the dietetic sounds of the car approaching and his footsteps as he walks towards the house, creating a sense of unease.
I’m almost certain that I want some sort of suspenseful music in the final scene of my film, just before he swerves into the car, stopping momentarily on a fade to black and continuing faintly as the credits roll, making the moment impactful for the audience.
Using music effectively to shape meaning and produce emotion
Non-diegetic music is most commonly used to establish the mood of a scene
Music can affect the way that an audience observes and judges a character, developing their character
Used to portray emotion: a neutral face can be interpreted by an audience as being calculating and with an intent of malice but with a different song choice, an audience might view them as being compassionate in that same moment
Leitmotifs – certain characters can have a specific sound associated with them whenever they are on screen or referenced
Music choice can create a specific atmosphere in a scene, with one specific sound having the ability to establish the tone of either the rest of the film or scene
You can use a song that is the exact opposite of the mood in the scene to create a feeling of chaos or alternatively a calmer feeling
Effecting Editing
Music can be used between a scene change or during a montage as it binds shots together so that they can be understood as a whole and the flow of scene change can be easier
Illustrate movement when music syncs up with the motion on screen
Sometimes a scene doesn’t need music. It can just be as impactful without as it can add tension to a pivotal scene in the film:
Resources used: (‘No Film School), (‘StudioBinder’), (‘Premium Beat’), (‘Aputure’), (Kriscoart’ on YouTube)
When lighting scenes in a film, certain things can be used when considering character and story:
‘The eye is drawn to the brightest part of the frame so make sure your lighting communicates that such as when looking at an important object, person etc. If you need the audience to see something, lighting can influence where they are looking.’
‘Lighting can be used to foreshadow a characters motives in the film.
Lighting can be used to differentiate between two types of character; good and evil.
Match the quality of light used with the emotional impact of that scene. Soft lighting for scenes where characters are joyful or emotionally fulfilled. Hard lighting communicates difficult or dark times.
Use Colour to push emotions.
Consider depth. Light what the character can see.’
Considering Colour
Colours impact the way in which people view certain things or people and establish the mood of a scene. Three factors when determining colour:
‘Hue – The colour itself
Saturation – The intensity of the colour (Can create a contrast)
Brightness – How light or dark the colour is’ (Bright images often seem lively and exciting while darker images seem dramatic)
Association of Colour:
RED – Passion, Danger, Anger, Vengeance, Violence etc.
ORANGE – Warning, Warmth, Growth etc.
YELLOW – Value, Power, Enlightenment, Success etc.
GREEN – Growth, Sickness, Decay, Luck, Jealousy, Envy etc.
BLUE – Tranquility, Loyalty, Sadness, Cleanliness, Distance etc.
PURPLE – Wealth, Wisdom, Arrogance
BROWN – Earth, Home, Comfort etc.
BLACK – The Unknown, Power, Mystery, Fear, Remorse etc.
WHITE – Clarity, Reflection, Youth, Innocence, Purity etc.
From ‘Colourchat’ by Stephen Westland
Colour schemes:
Complementary – Two colours on the colour wheel opposite from each other. Creates contrast and a visually striking image.
Dominant Colour – One colour more prevalent in the shot which help to draw attention to certain things, with a secondary colour contrasting this colour.
Analogous – 3 or sometimes 4 colours that are next to each other on the colour wheel (Pleasing to the eye and often very relaxing)
Monochromatic – 1 colour from the colour wheel used
Triadic – On the colour wheel, 3 colours, separated by 3 colours in between them in the circle.
‘The 3 point lighting setup is the most basic and common type of lighting technique, utilising a key light, fill light, and back light that sets the subject apart from the background of the frame.‘
From ‘No Film School’
‘Most of the time you will want to flank the camera with the key light and fill light at an angle of roughly 60 degrees‘
From ‘StudioBinder’
Film Editing Techniques
From ‘No Film School’
Examples of different types of film lighting techniques:
Natural Lighting
‘Natural lighting is about using the light that’s already available at the time of filming and the location that is in use.’
From ‘The Revenant’
Key Lighting
‘The key light is the primary source of light when shooting a scene and will usually light either the actor or another subject. It is the brightest and most important light in the frame.’
From ‘Prisoners’
High Key Lighting
‘Reduces the lighting ratio in order to change the mood and tone of a specific scene. Created by heightening the key light and an increased use of fill lights which results in virtually no shadows being present at the light on all subjects being balanced.’
From ‘Harry Potter: The Deathly Hallows Part 2’
Low Key Lighting
‘Removing entirely or slightly the amount of fill light in a shot so that its shadowy which creates dramatic and menacing looking scenes.’
From ‘There Will Be Blood’
Fill Lighting
‘The purpose of a fill light is to remove the shadows created by the key light. Its a lot less brighter than the key light.’
From ‘Blade Runner 2049’
Back Lighting
‘The backlight will hit the subject/s of the frame from behind them to give a more three-dimensional appearance, separating the subject of the shot from a dark background.’
From ‘Shutter Island’
Practical Lighting
‘Using existing light sources in frame such as lamps, candles etc. Mainly used when there is a lot of movement in a scene and the shot choices are wider and show off a greater amount of the set. Often used in cohesion with other lighting techniques such as soft lighting so that the light is more balanced.’
From ‘Moonlight’
Hard Lighting
‘Created with a ‘direct beam from a light source’ creating shadows and silhouettes. Can highlight anything that is in the frame.’
From ‘Blade Runner’
Soft Lighting
‘Whether a scene has hard or soft light is determined by the size of the light source. Its used to remove shadows from a scene and gives the impression that light is coming from sources in the characters world.’
From ‘Her’
Bounce Lighting
‘Light that has been reflected such as with reflectors, foam boards, or the surface of a wall or ceiling in a room. Reflectors can create a hard light depending on the distance from the light source while foam boards have a soft light.’
From ‘Terminator Salvation’
Side Lighting
‘The light that enters the frame from the side. Often used for creating a dramatic mood. They are good for showing texture and “for better dynamic lighting, it is best to use it without a fill or have the fill ratio very low such as 1:8”.’
From ‘Casino Royale’
Motivated Lighting
‘The imitation of natural light when the scene is otherwise in a location where there is none available. Some might increase the effect of the practical lights already present.’
From ‘The Exorcist’
Ambient Lighting
‘Ambient light is the light that is always present unless the scene is completely dark. Ambient light will change according to the time of day when shooting.’
From ‘Road to Perdition’
My Film:
I am considering taking inspiration from the short film ‘Stutterer’. I like the use of natural lighting when shooting in dark areas which is sometimes assisted by the use of a fill light. This will be useful for my film as I am shooting exclusively at night so i will require natural lighting such as street lights and a fill light when a clear natural lighting source cannot be found or placed into the scene, specifically when the husband walks from the ext. of the house to the int. of the car.
In ‘Connect’, I might plan to use the bokeh film lighting style when looking at the headlights of cars, especially in the ending where the husband looks off into the distance at the approaching cars as it provides a disorientating effect.
‘A storyboard is a sequence of diagrams that break down the shots used in the production of a film with the purpose of illustrating a story and planning the final product of the film in a shot by shot format.‘
Storyboard Example from ‘StudioBinder’
‘Storyboards can contain as much or as little information as required by the filmmaker but there are certain conventions to storyboarding that will generate a better planning process and ensure that the information is there when it comes to production so the process is as seamless as possible. Such examples include’:
The character name – Who is in the scene?
Camera Angles – (High, Low, Dutch, Eye-Level)
Location
General description about what is happening – (Are there nay specific actions taking place by the character?)
Transitions – (CUT TO, DISSOLVE TO)
Sound – (V.O. , O.S. , Are there any specific music choices occurring in the shot? Diegetic or Non-diegetic?)
Timing – How long will the shot be?
Camera Movement – (Static, Tracking, Pans)
Camera Shot Distance – (Close Up, Wide Shot, Medium Shot)
Showing camera movement
‘The following storyboard examples detail how to demonstrate specific camera movement. Arrows are an alternative to using several diagrams to show this movement’:
From ‘StudioBinder’From ‘StudioBinder’From ‘StudioBinder’From ‘StudioBinder’
Resources used: (‘Writers Store’) and (‘StudioBinder’)
From ‘Writers Store’ by ‘Mario O. Moreno and Kay Tuxford’From ‘StudioBinder’ by ‘SC LANNOM’
Other Key Notes:
Character
‘When introducing a character into a scene, the name needs to be in capitals in the action description, and the age of the character along with they type of person they are, traits and personality.‘
From ‘StudioBinder’ by ‘SC LANNOM’
Scene Heading
‘Typically choose either EXT. or INT. with a description of the setting in which the scene is taking place and what time of day the scene is occurring
If the scene goes from the outside to the inside or vice versa then you write EXT/INT or INT/EXT
You can use heading next to the scene heading so as to give more details such as specific locations‘
From ‘StudioBinder’ by ‘SC LANNOM’
Subheading
‘Used to show a change in location without breaking the scene such as ‘Hallway’, ‘Garage’ or ‘Later’ so its assumed that the time of day is the same‘
From ‘StudioBinder’ by ‘SC LANNOM’
Transitions
‘Not used very frequently but help to make clear the development of the plot and the story
Transitions need to be capitalised‘
From ‘StudioBinder’ by ‘SC LANNOM’
Action
‘Action lines should be written in the third person in present tense
Remove unimportant pronouns etc. so that the script has a better flow and therefore easier to read
Words that imitate sounds or important objects are often written in capital letters to draw attention to the importance of them‘
‘Be vague. Rather than go into detail about a characters internal thoughts, give a specific emotion such as ‘Jess is angry’
From ‘StudioBinder’ by ‘SC LANNOM’
Dialogue
‘Dialogue is centered and the name of the character is capitalised
Characters name should remain consistent throughout in the ID‘
From ‘StudioBinder’ by ‘SC LANNOM’
Extensions
(O.S.) – Something said off screen
(V.O.)- voice over
(pre-lap) – ‘Dialogue from the next scene begins to play before the current scene has finished‘
(CONT’D) – ‘Dialogue continues with the same character speaking when there’s been a break for something such as an action line etc.‘
From ‘StudioBinder’ by ‘SC LANNOM’
Parenthetical
‘Used to show actions that help to direct actors ‘(Taking out his…)’
‘Not needed to be used all the time, so use when necessary and leave when this information can be otherwise inferred by the actor
They can also show how the line should be performed such as ‘(hesitates)’
They are placed under the characters name‘
From ‘StudioBinder’ by ‘SC LANNOM’
Camera Shots
‘Suggest shots without selecting the actual shots to use unless there is a specific look you have in mind (only when critical to the scenes outcome)
In this example, POV makes clear that we are to see it from his perspective which has importance to the story
Do restrictively so and only vaguely such as POV rather than giving full in detail breakdowns of the shots used‘
From ‘StudioBinder’ by ‘SC LANNOM’
Lyrics
‘Don’t write down all lyrics as it would take up too much space
Either: (a) Disperse the lyrics across the page with shot and action directions to choreograph the scene; or (b) describe the feel of the song and the sequence together, as seen below from the film, ‘La La Land’ by Damien Chazelle‘
Sourced from ‘StudioBinder’. From the film ‘La La Land’ by Damien Chazelle
Titles
‘The text that appear over the screen
Begin with a subheading that describes the background of the title card such as ‘OVER BLACK’
Use by starting an action line with ‘Title’ in all capitals, followed by the relevant information that you want to show to the audience such as the time of day, location etc.‘
Script examples and developing on these notes:
Get Out – (Written and Directed by Jordan Peele)
From ‘StudioBinder’ by ‘SC LANNOM’
‘Introduces the character. Capitilisation of their name. Their age. The traits and personalities that they posses.‘
Dunkirk – (Written and Directed by Christopher Nolan)
‘Dunkirk’ Screenplay
‘Use of extensions. Several things are happening simultaneously while Tommy is providing voice over for all. Action lines used throughout. Multiple scene headings as the action alternates from train, to beach, to plane.‘
Shaun of the Dead (Written by Simon Pegg, Edgar Wright and Directed by Edgar Wright )
‘Shaun of the Dead’ Screenplay
Scene heading. Action line. Dialogue.
‘Shaun of the Dead’ Screenplay
Action lines. Extension of off screen dialogue.
‘Shaun of the Dead’ Screenplay
Lyrics. Initial line of the song starts as they all are bemused and while the song continues, the focus shifts to the dialogue and action lines, describing the feel of the sequence.
In order to complete this project, I will need to prepare for my production by researching into certain key aspects such as set design, costumes, actors, equipment choices and props.
For my film, I won’t be requiring the use of extreme amounts of make-up as the actors chosen will be around the age of the characters they are representing. Make-up will be needed in small amounts to prevent lens glare caused by the lighting and will work towards giving them distinct characteristics such as appearing in a positive way or negative.
The locations used will be of an exterior of a house, part of a street, the interior of a car and a main road. My current idea is that the exterior of the house will be light by 2 lamps placed symmetrically either side of the main door which will be on the left of the house while there will be a room to the right with a large window. All ideas are subject to change depending on what’s available at the time of production. The cars interior will be ‘nothing special’, there will be a bluetooth screen to call the people and to shot/reverse shot with, seating will be black so as to focus on him rather than his surroundings until specifically told to.
There are 4 characters: the wife; the husband; the son; the woman he cheated with. The wife will be roughly the same age as her husband although the only character seen in detail will be him so it’s more important that someone who appears around the age of roughly 35-40 will play them both, but that the main focus should be on that their voice sound suitable for that age over appearance, likewise for his 14 year old son and 30 year old woman he cheated with.
The costumes will not be difficult. The husband will be wearing some sort of smart shirt and smart trousers as if hes been out somewhere fancy, and the few clothes he’s given will be jumpers and sweaters, with rather dilly and boring trousers and shoes implying that he’s got dressed up smart for a reason. The only shot of the wife will be of a silhouette at the window and a hazed figure standing at the door whole he walks away, so a smart casual dress will be appropriate for her as if to day ‘hey, this is what you’ve given up’.
Props required will be a basket of some sort, see through, to carry his possessions, car keys,
Equipment I initially believe will be required include:
After completing the delivery of my pitch, the idea put forward was well received and the feedback I gained will go towards producing a film at the highest level of quality. Before I had only considered the narrative aspect of the story and now feel that I would like to focus on a specific theme or emotion that will work to drive the story and the plot forward. The emotion I am intending to focus on is going to be a combination of loss/regret in which Reed starts at a very low place when his wife is kicking him out but continues to get worse and worse as he slowly comes to terms with the mistake he made which will lead to be at the very worst and lowest point he has experienced before which will cause him to take a rash decision and move into the way of the oncoming car. I have considered not starting immediately with Reed and his wife arguing, instead starting with Reed walking into the house and still having an exterior shot of the house and see the argument start rather than pick up midway through so the audience can see his progression from a state of wellbeing to one of desperation and understand the drastic impact of his actions but I feel as if starting the film with an intensity and high tension right from the off and will set the tone for the film moving forward, where this tension continues to be pulled and pulled, never fully releasing until the films climax in order to have a greater effect on the audience. This is something I will consider when completing my screenplay.
The film includes both of the following: ‘a narrative which establishes and develops a single character’ and ‘a narrative which portrays a conflict between two central characters’.
There are 4 characters: Sarah, the wife; Miles, the son; Kayla, the woman Reed has an affair with; and Reed, the husband and main character in the film and the only one we see in detail.
2 locations: Reed and Sarahs house; and in the car on the road (A quiet road to begin with then joins a busy main road).
Time: Pitch Black (Night), Early hours of the morning
“Argument between wife and husband can be heard inside their house and he’s forced out, exchanging insults as he leaves – He goes out on to the street into his car and lashes out in anger before driving onto the road at high speed – He calls his wife using the bluetooth in his car, she answers and she demands that he never contact them again, stating that he can’t see his son and hangs up – he attempts to call again but is declined immediately causing another fit of rage – some time later he goes to call the woman he cheated with but is interrupted by a call from his son who calls out of curiosity and resentment rather than love – he admits to his son that he made a mistake and this gives him the confidence to turn around and try to win his wife and son back but is stopped by his sons reluctant attitude and mentions that it wouldn’t be a good time as someone else is in his house at the moment – the phone hangs up as we hear his mothers voice telling him to hang up and a male voice – he doesn’t say who the man is – he feels he’s lost his son and wifebut doesn’t want to admit it – he calls Kayla who answers after a brief time – Reed turns to her for help and asks to stay over but she clearly doesn’t want to and tells him all they had was a fling and she never felt any connection with him – she hangs up – Reed is left with nothing – there’s a moment of silence as the world around him becomes distorted – he’s already indicating to turn left but glances at the approaching traffic to his right – another moment of silence – a close up of the wheel as he shifts it to the right and cuts to black just before the apparent impact of a car.”
Focus on emotions throughout – Highlighted in bold
It’s pitch black; 12:34 am. Sarah and Reed are inside their home; now just hers. The couple argue about an affair, one he has had with another woman for the past few months. Reed is kicked out with a box of his few possessions and forced to get in his car to leave his family, exchanging a barrage of insults as he strides off. He throws his box on the seat and sits silently for a few seconds before lashing out in anger, striking the wheel of the car and driving away and joining the main road, regaining composure.
Driving at high speed, Reed calls his wife, preparing himself for another round of verbal abuse. She picks up and they argue about her decision to stop him from seeing his son. Sarah demands that he never contact them again and immediately hangs up on him. He calls again but after letting it ring out it’s clear no ones picking up, causing a fit of rage from Reed .There’s a brief pause as he makes the decision on who to call, choosing to contact Kayla, the woman he had an affair with only to be interrupted by his son calling him. He immediately changes his attitude, shifting to something that would suggest to his son that nothing is wrong. Miles, a boy of 14, seems conflicted between worry and resentment, forming a fascination with his fathers departure as just another event rather than a life changing decision and therefore seems almost uninterested and slightly disgusted in his father, alienated by his actions. Reed does his best to deflect his sons curious questions and admits to making a mistake, giving him the belief that he can turn around and put everything right but stops when Miles mentions that an unnamed man is present at the house again. There’s a faint background noise of footsteps and his mothers voice which causes his son to hang up the phone before he says who the man is, leaving Reed shouting desperately at a now already blank screen in desperation and despair. He’s lost his son and his wife to someone else, he just doesn’t want to admit it.
Reed phones Kayla. After multiple buzzes from the phone as she seems to take an eternity to answer, the voice of Kayla can be heard echoing through the cars speakers. Reed is now desperate, Kayla is the last person he can turn to for both physical help in the hopes of staying over and mentally as he continues to lose those around him. It becomes clear however that his pleas are in vain as he learns that she never felt that connection with him as he did for her and that it was just a fling, nothing more. She hangs up. There’s a moment of calm as the world closes around him, to his left the turning he’s indicating for and to the right, a herd of oncoming cars. A moment of silence, nothing is happening, he looks to the side of him at the box of possessions, nothing. As he glances at an approaching car, he leisurely begins to shift the steering wheel to his right and cutting to black just before the impact of a large car and the sound of a loud crash of metal on metal.
I envisage a film with one central character, revolving around conflict and the development of this character that will result in a negative course of action at the films climax.
Brainstorming different ideas for the film such as characters, occasions etc.
Chronological draft
Chronological draft cont.
Goes to phone the woman he had an affair with but interrupted by son calling him.
Son starts talking, he’s not supposed to be calling him, they both talk, he wants to turn round, finishes with son mentioning that someone is over which causes panic for the husband, can hear his wife telling him to hang up and then call cuts short.
Silence. It’s dark. Lights from outside reflect in to the car as the colours from headlamps surround him.
Calls woman he had an affair with. Rings for a long time. He asks if he can stay over at hers because of what happened. She clearly doesn’t want to, she never loved him (just a fling). She hangs up after they talk.
He begins to panic/self-destructive, less tears more anger and rage, looks to the barely filled box of possessions to his side that he was given when he was kicked out (he has nothing)
There is a moment of calm (everything muffled)
Spots an oncoming car to his right
Close-up of his steering wheel as he leisurely shifts the wheel to turn right and cut to black before the impact.
Aaron Bruce's Film Studies Blog 