Making Better Movies with Moviestorm Vol 3: Sound and Light

More documents

Recommendations

Info

DAY VS NIGHT Film the scene in daytime. Film it again at night. Change the lighting, and also adjust the choreography, camerawork or anything else as you need to create the right mood. Review In what ways does the scene feel different? Can the audience see what’s going on at night, or do they have to work to make out details? What did you have to change? Did you need to use multiple lighting setups? What, apart from the general lighting, did you change to make it look like night? (e.g. costumes, traffic density, number of extras, what people were doing?) Did you use different sound or music to change the atmosphere? Look at some selected stills – how did your visual composition change? Followup exercises Film it at twilight or dawn. Film it in different climatic conditions: bright sunshine, or a grey, cloudy day. 34
MOVING LIGHTS Technique Light a scene, but have the lights moving so that the lighting changes during the scene. Most of the time, your lighting setups will be static. At times, though, you will want the lighting to change, either to create atmosphere, as part of the story or as a way of creating a reveal. For example, you might have a light bulb swinging from side to side, or a flashing neon sign to create a disorienting feel, you could light a stage show, or you may have car headlights swing past, light up the scene, and then disappear again as the car pulls away. This involves a lot of prior planning, particularly on a live shoot where you have to ensure that your camera is set up to cope with the change in light levels and color. Initially, it's hard to see the figure standing by the tree. The car headlights illuminate him briefly, giving the viewer a glimpse of the concealed character. You can then cut to a better lit shot on the character, having established that they are there. Alternatively, you can cut to another part of the scene: when this character comes in later, the viewer may or may remember seeing them previously. Take a scene in a single location – either interior or exterior. Ideally, it should be 1-2 minutes long, including 2 or more people. You can use either an action or a dialog scene. 35
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 32 and 33: MOSTLY DARK SHOTS Shoot the scene a
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

Create successful ePaper yourself

Delete template?

Save as template?