Making Better Movies with Moviestorm Vol 3: Sound and Light

More documents

Recommendations

Info

MOSTLY DARK SHOTS Shoot the scene again using a conventional lighting setup. Shoot the scene again, focusing all the light on no more than 20% of the screen area. The rest of the screen can be completely dark, or the audience may be able to make out faint details if you prefer. Review Does it work? Does the lighting look artificial and feel forced? How does this affect visual composition? Does having faint background details add or detract from the shot? How do you have to stage the scene to take advantage of the lighting? Followup exercises How long can you sustain this technique before it gets boring or stressful to watch? Shoot a scene with two characters. Try keeping one character in darkness throughout (not necessarily offscreen). Try it again with each character lit separately on the face so you’re simply seeing two almost disembodied heads – use either one-shot or two-shots as you prefer. Shoot a scene where the audience is focused on the light area, but you then have something emerge from the darkness. Create a tracking shot where you start with a mostly dark screen, and dolly or zoom in towards the lit section of the screen. Do the same in reverse as a closing shot. 32
DAY VS NIGHT Technique Make a music video. Night shoots often require different staging as well as different lighting. It’s not always as simple as just making it dark. You need to create an artificial lighting setup that allows the viewer to see what you want them to see, but making it feel like darkness. Left: a scene shot in daylight. Center: dropping the light level gives an image that's dull and hard to make out. Right: adding in a couple of front lights and adding depth of field allows the characters to stand out from the background, creating a clearer image. Left: an even darker version of the previous shot focuses the viewer completely on the characters by effectively taking away the background. Center: a reverse with this lighting setup means you can't see the man's face, as the lights are set up to light the woman. Right: reset the lights so you can see his face in this shot. The viewer probably won't notice the lack on lighting continuity if they're focused on the story. (See the earlier exercise on lighting continuity) Use a scene in a single location – preferably exterior. Ideally, it should be 1-2 minutes long, including 2 or more people. You can use either an action or a dialog scene, as they will give you different challenges. 33
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 30 and 31: FAKING LIGHTING CONTINUITY Shoot th
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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?