Making Better Movies with Moviestorm Vol 3: Sound and Light

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FAKING LIGHTING CONTINUITY Shoot the scene with the same lighting throughout. Shoot it again, resetting the lighting for each shot. (You may need to use an external video editor for this.) Review How do the two versions compare? Are the changes in lighting obvious to an unsuspecting audience – and do they distract from the story? What issues in lighting continuity were you aware of? How much extra work was involved in resetting the lights? How would that translate to a real film set in terms of shooting schedule? Is it worth it? Followup exercises Try it with an exterior daytime location, and see if the viewer notices that the sun would be changing position if this were real. 30
MOSTLY DARK SHOTS Technique Shoot a scene where much of the screen is dark, allowing the audience to focus on one small part of the shot. Most of the time, you want to use the full area of the screen. However, for atmospheric shots, you may want to have the majority of the screen dark with just a small lit area. This could be a foreground character, or a lit doorway, or an area of the set such as an interrogation table. This is often found in film noir or horror, but certainly has applications outside that; for example a character in a dark room working computer late at night, or a character may simply be against a dark background. This is not the same as shooting a scene in low light or at night, where the entire set is dark. This is an exercise in visual composition where you choose which area of the screen will be lit. Left: it's hard to make out what's happening in this shot, but the viewer's eye will be attracted to the movement of the character at bottom left by the phone box. Right: this shot shows more detail, but the viewer is unsure where to look. Left: there is a lot to see in this shot, but the viewer naturally focuses on the man seated at the desk, even though he's in long shot. Right: closing down the visible area by shooting through a window compresses the action into a small space and intensifies it. Take a scene in a single location – either interior or exterior. A scene with a single character is sufficient. This works well with silent scenes as well as dialog scenes. 31
Page 2 and 3: CONTENTS FOREWORD .................
Page 4 and 5: This excellent series of books will
Page 6 and 7: EXERCISES How to use this book The
Page 8 and 9: Once you start thinking about the s
Page 10 and 11: FOLEY OR NOT? Film the scene, and r
Page 12 and 13: AMBIENT NOISE Film and edit the sce
Page 14 and 15: REALISTIC AMBIENCE Go to a busy loc
Page 16 and 17: EMPHATIC SOUND Shoot the scene base
Page 18 and 19: USING MUSIC AS LEITMOTIF Shoot the
Page 20 and 21: USING SOUND TO BRIDGE A SCENE Shoot
Page 22 and 23: CUTTING & DIRECTING TO MUSIC Film a
Page 24 and 25: MUSIC VIDEO Film the piece in five
Page 26 and 27: Lighting a virtual movie scene is a
Page 28 and 29: REALISTIC VS UNREALISTIC LIGHTING F
Page 32 and 33: MOSTLY DARK SHOTS Shoot the scene a
Page 34 and 35: DAY VS NIGHT Film the scene in dayt
Page 36 and 37: MOVING LIGHTS Shoot the scene with
Page 38 and 39: HANDHELD LIGHTS Start in a dark set
Page 40 and 41: SILHOUETTES Shoot the scene convent
Page 42 and 43: FILMING SHADOWS Shoot the scene con
Page 44: Matt Kelland is one of the founders

Making Better Movies with Moviestorm Vol 3: Sound and Light

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