Weeping into the Fire of the Sun: Directing the VT and Studio Camera-work

As the Director of the VT, for me the process began with many meetings with the director, where we discussed in detail the meaning of the drama, and consequently what meaning the VT should then have. I researched colours in different films, looking particularly at the significance of colour at pivotal moments and significant events. I wanted the colours used in the VT to show meaning in the film, and help to carry the drama forward.

How Colour Affects Emotion:

I looked into how different colours in the VT could alter the viewers mood. It needed to reflect the description in the script, ensuring the film made sense to the viewer. However, it also needed to be unnerving enough to the audience to indicate something is seriously wrong, and accentuate the irony of the very relaxed characters.

BLUE:

-cold

-earth

-unknown

-natural

-night

-isolation

 

RED:

-Fiery

-passion

-anger

-hot

-destruction

-violence

This massively affected which colours appeared in the VT, especially the ones added in during the edit. Through this research we were able to create a ‘sky’ that was unnerving whilst fitting the rather comical descriptions by the two characters. The combination of using relevant colours at relevant times allowed us to create real meaning and depth within the simple VT; the sky changing at points during their conversation.

Furthermore, during the edit with the overall director and the editor, we decided that applying moving layers to the video would add yet even more dimension, making the sky appear even more foreboding and as though something is very wrong, disastrous even. We added ink and smoke effects, accentuating this further.

 

Planning for GOLDEN-HOUR:

As the overall director wanted the sunset capture to begin at golden-hour, it was important that the shoot took place at this time, and so we needed to know specifically what time golden-hour would occur. Of course, this takes place at different times throughout the year, and so I created a chart exhibiting when exactly golden hour and sunset would take place, so we could then plan a date and time to shoot.

Screen Shot 2017-05-25 at 14.15.10Screen Shot 2017-05-25 at 14.15.04

Camera

Furthermore, as one of my roles was studio camera operator, I had further meetings with the overall director (Dylan), to discuss how I could make my shot most effective. I suggested to Dylan that instead of actually moving the camera to track in on the characters (which would alter the focus and consequently be difficult to attain), that I zoomed in very slowly, creating the same feel as though the camera was actually moving. Not only did this look effective, but by using this technique, the vision mixer was able to cut to my camera at any given time, as my movement was so subtle and continuous. This was definitely a technique I will remember in future productions, specifically in dramas, at it created the feeling of being absorbed into the film, and created tension throughout.

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