Zettl discussed in his book the basic sound structures and that really appealed to me. Firstly pitch is the high or low sound within a film which can create certain tension within a film. For example in Jaws then pitch went from one level to another to create that element of suspense. Also the idea of dynamic and tonality to productions what that creates. In relation to my piece I want it to be very quiet a subtle because it’s very abstract but perhaps after reading this get more dynamic to create certain excitement or important points within the sequence. One song that came into my mind from reading this sound chapter and in relation to my production was ‘Kool and the Gang- Summer Madness’ because it’s a very melow tune that fades into a background with a real change in pitch in the middle something I want to emulate.
Kool and the Gang, [Youtube] Summer madness, 1975, Mercury Records.
Chapter 7 looked at the different directions and positions of the camera. He tells us that there is both horizontal and vertical directions but with horizontal we are most comfortable as we spend much time within that direction, such as sleeping therefore gives a sense of calmness. Although vertical does give that more excitement Zettl says that it was build in a vertical direction to reflect the human upright orientation, towards heaven and God.
Chapter 8 went on again from chapter 7 to look more into the camera effects and forces. How the off screen center and centered camera can have different perceptions to a scene and how an audience consumes that. Also looked at the idea of vectors which is the force leading your eyes from one place to another within the screen. They are powerful according to Zettl and done in many ways whether it be the actor or props in the scene. Lastly it looked at balance; static, dynamic and pushing balance all looked at how that inter-played within the screens forces.
Chapter 9 looked at depth and volume. He talked about how this process gave the illusion of three dimensional space on a two dimensional screen and how it was appearing to be solid with volume. This is done through screen depth such as planes giving layers of space by persons or objects. and depth cues giving more perceived depth. He mentioned the idea of feild of view which is how far away or close we perceive an object appearing on screen and with depth and volume is can aid that perception.
Personally I found that these chapters all intertwined with one another, which is a good thing which meant I didn’t drift off topic at all.They all looked at the aesthetic field of light however chapter four drifted more into colour. Chapter 2 talked about the nature of light so how it comes about and the effects it can have on a production in many different ways. For example you can have a lighting which makes thing very dark and creepy or a lighting set which makes things very bright like a dream so can have many effects in achieving certain settings. Then from that it looked at it’s functions within a film and it’s purposes within film. How it aids film and help it achieve certain narratives. lastly looked at the nature of shadows. For an audience it can help set the time of day in the scene or create a certain emotion. It can give someone main focus in the scene also or give them a weird feeling towards an audience too especially if they have a big shadow. You’ll notice many noire-neo films such as crime detective thrillers tended to have that silhouette and shadowy look and feel with the lighting to give it an urban feel and of the time feeling as well.
Chapter 3 looked at the idea of chiaroscuro lighting and what effect that has. The strong contrasts between light and dark has helped many films and even television series to produce that more emotion and volume. Touched on the ideas of how cameo lighting or Rembrandt lighting has it effects on certain scenes within film. I personally believe Eastenders has use chiaroscuro to give that sense of realism. What the effect produces has helped Eastenders give the characters and more so setting that grimy urban look and feel to make the whole thing seem more real to an audience.
Lastly Chapter 4 looked at colour and how that can have a psychological effect on how we perceive it within film. Through gray scales, colour mixing and spectrum’s colours can be changed and modified quickly to give certain moods and effects towards and audience. For example giving a low and cold temperature on colour and mixing that into the background can give off a dark and cold feeling to a scene, for example a scene with a homeless person really giving that lonely feeling.
The beginning of chapter 12 talked about what us as consumers, audiences and bloggers even can learn from film and cinema? How do directors make certain style choices or location choices to suit a specific genre of a film so well. Film reviewers such as Ferguson who reviewed the ‘Wizard of Oz’ had a impact on other reviewers then and now but also how that effected the film world. It’s true to say that reviewers like himself would of changed how directors approach making films and in turn how audiences would view them. A good bulk of the chapter touched on Ferguson saying what he liked from films, what techniques he adored and disliked and how his skills would craft a film and art era. However it also looked at how Ferguson made a scene which last for a minute or so but took ages to set up, titled the four camera in one. Different cameras were set up through different angles and even camera lenses to keep the actors in screen and add the sense of fluidity to the shot as in the scene the camera keeps changing direction or angle every second shot.
It then skips into a more recent date with the film ‘Gravity’ and looks at how the cinematographer and director filmed certain scenes to portray different emotions or moods. Also touches upon Cuaron and Lubezki and there opinion of current film technology technique and effect.
I think overall the book shows how far we have come in technology in film to produce more experimental and amazing films and more so certain individual shots which really change the film world. It’s good to see how history in the film and art world has had a positive effect to produce such wonderful images.
This is part of our required readings for our course. From the beginning of Chapter 2 the book explains how one should generate a production and approach a production intelligently. In other words an idea for a production can come out of no where but making that idea a reality needs planning. It often mimicked the book ‘Seven habits of highly successful people’ in that you should plan everything you do in an order of how quickly it has to be done and how important it is. For example you wouldn’t start planning a casting day if you hadn’t written a script, even if you wanted to get the casting day out of the way a script is higher in the list of things to do.
A lot like we have done so in the labs and lectures the book went on to touch up the importance of story boarding in chapter 5. I think myself the book was trying to illustrate that before any production is made the storyboard is the first thing that portrays your idea so it has to be a good one. It’s important if looking at potential funding for a production as those investors want to see something to see if the production is worth while in invest it.
Going into chapter 8 looked at the idea of the finished date. Again this mirrors the Sevens habits book mentioned before in that in order to see that deadline point you must visualize it and the points leading up to it. You must have a rough idea from the beginning when you will be done or else you get lazy and take too much time to complete filming points ect. Therefore it gives you a target to finish and time to look back at anything you can improve.
Chapter 13 is the initial preparation for the shoot in regards to the different preparations one has to take as a director not only the creative side. Things such as casting, crew, equipment hire and insurance too. It also explains that if the shoot happens somewhere in Africa these expenses will build up so there is never a fixed cost to these things. It explains also that different genres of productions deal with these things in different ways and timings. For example a documentary will not proceed without verification and consent that people can be interviewed in depth so those things have to be dealt with in pre-production as well.
This is the spatial continuity and also a hint of Eisenstein editing technique of tonal montage.
This is leading on from the last post. This is my attempt at Rhythmic Montage, one of the hardest ones in regards to the clips we were given.