Moving image production folder

Project One:

Mise-en-scene

By Stephen Feather 1116920

(This is also displayed on my blog: http://dv3400.blogspot.co.uk)

A

PRODUCTION FOLDER SUBMITTED IN FULFILLMENT OF THE

REQUIREMENTS FOR THE MODULE OF

DV3400 MOVING IMAGE

(LEVEL THREE)

AT THE

UNIVERSITY OF EAST LONDON

2013

COPYRIGHT © SF, STEPHEN FEATHER 2013. ALL RIGHTS ARE RESERVED, NO IMAGES MAY BE REPRODUCED WITHOUT WRITTEN PERMISSION

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Moving Image 3 - Project 1 - Mise-en-scène

Main Aims of the project:

· To analyse the work of photographers

· To apply this analysis to help develop your personal work.

For this project you will research a photographer to use as a reference point to define the atmosphere, composition, framing and lighting of a short moving image work. You will analyse in great detail the elements of a specific image produced by this photographer, which you feel are successful. You will reproduce these qualities in your own work to produce a one-minute film. You may also use the content of the image to suggest a narrative. Your film will only present one scene, or part of a scene, from a larger narrative.

The aim of this project is to raise the benchmark for level three. The emphasis is on quality, care and precision, not quantity.

This project will take five weeks. You will need to present your source images for discussion with the group, explaining which elements of the image led to your selection.

Mise-en-scène is a French term, which originates from the theatre. It means, literally, "put in the scene." For film, it has a broader meaning, and refers to almost everything that goes into the composition of the shot, including the composition itself: framing, movement of the camera and characters, lighting, set design and the general visual environment.

You will be required to demonstrate your design processes and development work in a document.

Upload your videos

either using Vimeo http://vimeo.com/

or YouTube http://www.youtube.com/

This will include:

1 - All your finished films including the Mise-en-Scene film. In high-resolution if possible.

2 - Other films and experiments that were produced as part of your development towards your final films. (Don't go over board with this,we don't want to see lots of irrelevant rushes, just other films that you have made which may be relevant to the final film.) Standard resolution is fine.

Upload your document


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with the following information to ISSUU http://issuu.com/

The document will contain :

1 - Information about the themes you are investigating, such as artists/filmmakers/writers who have influenced you, exhibitions/films you have seen and any other research.

2 - Drawings, text, cuttings, blogs, collages, photographs and film stills which have helped you develop your concepts.

3 - Treatments, scripts, casting calls, location images, storyboards, timetables, budgets etc.

4 - Other material

Recommended number of study hours on this project = 80

Project Tutor – Michael Pinsky [email protected]


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mailto:[email protected]

Mise-en Scene - What does it mean and how does it contribute?

In the field of film, Mise-en scene is a French term that means 'Putting in the scene'. Usually it is the director’s decision that oversees the arrangements of everything that appears in the framing: from the decor, lighting, props, scene composition, costume designs to actors themselves. All of these elements are substantial in order for the audience to understand the look and feel that is intended for the film.

There are many properties that are involved and are considered in construction of the mise-en scene;

DecorDecor refers the decorated styles the comprised mainly of the set. It could also emphasize someone’s hierarchic level.

PropsNot only it is dressing the set to emphasize its intent but the director must also fathom how the use of objects can be of use to the characters interacting with the given environment.

Character Props Characters can be given a prop that provides additional information about the character itself or the action-taking place. These additional props can be added to a person's clothing for more detail or simply be put in the person's hand. Furthermore, props could be placed, intending to bear significance in a deeper level.

Location Props Props are needed to add something to the scene as well as additional information about the character and who is that character is.

LightingLighting is arguably is one of elements that has power to evoke emotions. Such as the following;

Colour Composition is one of the most important things in your scene because it can make the scene have a completely different look. The colors differences can be used to inflict different types of emotions on the audience. Furthermore the colours can either be used to have symbolic or suggestive meaning.

Low-Key is often seen in horror movies and thrillers. Usually the lighting is comprised to discover a pattern in which the chiaroscuro (Italian: bright-dark) technique, long used by painters, is characterized by strong contrast, often employed to unnerve the audience.


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High-key deals with encompassing an even lighting pattern whilst avoiding dark areas in the frame. Everything appears brighter with little to no shadow to show. High-key lighting proves to have little dramatic effect, and it is often used in a scene with no tension. High- Lighting is often seen in romantic comedies and musicals.

Costume The obvious purpose of costuming is to dress an actor according to his character e.g. lawyers = suits and briefcase. But, more than that, costuming can also be used to establish someone’s hierarchic level as well.

Philip-Lorca diCorciaAn American photographer whose work poised between documentary and theatrical staged photography. His oeuvre consists in creating obscure yet beautiful worlds with crisp clenliness. Each one with their vibrant colours and the lighting playing crucially; tells separate stories that give the feel of a scene from a movie rather than coming off as a mere set up image. Although viewers are belonged to question the assumed truths that these photographs have to offer.

DiCorcia particularly caught my attention because of the great deal of thought and effort that went into predetermining all aspects of his photographs and staging them to create a precise situation and imagery he had envisioned. What I appreciate, most of all, is the way the artist has put a great deal of strategic intent and creativity into the planning process as it then allows me as the viewer to read and interpret every aspect of the final piece. The more I analyze them, the more I see his work providing that dichotomy between fact and fiction.

‘Mario’ 1976


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• A single man figure • Kitchen setting• Night Time • The man stares into what seems to be a packed refrigerator.• An artificial light source both within the refrigerator and the background - makes it

more cinematic. Furthermore, the backlight provides an eerie lemon green colour that illuminates the kitchen.

• This gives the photograph it's slightly surreal look and the feeling of mystery that makes the viewer wonder just what is so compelling inside the fridge.

• Is he just choosing a late night snack or is it structured to suggest a state of mediation that says more about his idea of his own destiny.

Idea

Title: A Meaningful Moment

Summary: A solitary man makes up a special dinner for himself. As sits and eats his prepared meal, he begins to reflect on himself. Could there be alternative to his life of solidity. He has a meaningful moment that suggests enough is enough.

Suggestions:• So does he make his ultimate decision to find love on a dating website?• Does he choose to commit suicide: The last supper?• Could he be in solitary for the loss of a love one? Is he hallucinating?• Is he a psychopath and has a disfigured head in the fridge?• Or merely a normal evening in the house of everyday man?


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Daido MoriyamaDaido Moriyama is an acclaimed Japanese photographer, whose practice hinges solely on his naive land (Shinjuku neighborhood of Tokyo) as an exclusive subject matter. He takes on a casual approach with his simple compact camera, and roams the street like a stray dog sniffing out moments that he finds interesting. As much as his subject is limited by geographic restrictions - bound to veer towards to repetition and uniformity, the fact that, by virtue of searching, something will be found. Moriyama voraciously immerses himself in his time and place, seeking out images of his culture in conflict with its heritage.

He consistently shoots the vast majority of his street photography in black and white. He chose on this matter is for the meaning, not the aesthetic. “The reason why I think black and white photography is erotic is completely due to my body’s instinctive response. Monochrome has stronger elements of abstraction or symbolism. This is perhaps an element of taking you to another place. Black and white has that physical effect on me. That’s just the way I respond to things.”.

He is very non-pretentious when it comes to his photography, virtually against the grain of tradition; often blurred, grainy and taken from tilted, discomfiting angles. Thus, evoking a fragmented and stifling atmosphere in his visual idiom.

Finding a photograph and a location

Mise en Scene

Based on this picture (below) I’ve decided to construct this into a slice of a film, due its content; an elongated tunnel, as well as its idiom of blurriness, graininess and gritty urban spectacle. The notion of a continuous path towards the horizon with no way but forward gives the how image that suspense of what will occur at the end. So, I found this particularly more appealing to this more than Philip Lorca diCorcia 'Mario'.


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Tomei Expressway, 1968

Pre-Production Photos of Woolwich Foot Tunnel

The Woolwich Foot Tunnel is located under the river Thames in East London, connected from Woolwich in the Royal Borough of Greenwich to North Woolwich in London Borough of Newham.

I have walked the Woolwich foot tunnel prior to this, in the past, so when I accounted a photo of an underpass (above) in Daido Moriyama work, I immediately was reminded of the tunnel with its resemblance.


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http://1.bp.blogspot.com/-N-ZyEMBbCNw/UlNFVkDm4lI/AAAAAAAAAN0/JdRxX8Poz3c/s1600/Local_Map_of_Woolwich.png

This location will benefit the production and be beneficial in terms of budget and cast & crew requirements. For one thing, it is close to the university so it is easier to walk without necessity of cost for transportation. Its fortunate enough for this facility stays open twenty-four hours so this gives undemanding accessibility at any given time. Also it avoids the disadvantage of unpredictable weather conditions.

The ambiance of the place is so creepy it’s alluring.

Shooting ListList of potential equipment required for shoot;

• Flat bed hand cart/trolley (alternative tracking device)• Wheelchair (alternative tracking device)• Tripod• Should-mount• Steadicam (if available) Shots

• Close up - eyes, arms, legs• 'Back to camera shot' of jogger whilst tracking • Long angle shot• Tracking shots • Panning shots

To consider

• Overlay shots?• Split screens?

(Initial) Story Board Ideally these are shots I want to shoot and the rearrangement (roughly) in terms of editing into the film i intend to produce.


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References This scenes help to establish the type of shots I could use in my cinematography, to evoke my mise en scene.

• Forrest Gump (1994) - Tom Hanks Link: http://www.youtube.com/watch?v=x2-MCPa_3rU

• Sliver Linings Playbook (2012) - Bradley Copper & Jennifer Lawrence Link: http://www.youtube.com/watch?v=iQzcFbthSbI

Summary of plotBased on my picture, I’ve decided to make this slice of film where a disabled male gets his thrill by racing down the Woolwich foot tunnel in a wheelchair. In relation to my image, I’m decided to shoot this in monochrome whilst portraying the essence of speed.


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http://3.bp.blogspot.com/-VhSdkUrD6sc/Ul3RdIKCnzI/AAAAAAAAASI/rvJ81waODI8/s1600/mise+en+scene+2.jpg

Storyboard


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ProductionIn the making of this short movie, it consisted myself as the director and my father as an actor/assistant. I knew production would be relatively straightforward and easy to complete and therefore it only took a few hours. I scheduled to arrive midday as I knew it was a convenient time to shoot so that we would have the leverage of completing my shots without too many people interrupting or disrupting the shooting, as I wanted the tunnel to be completely isolated.

When I associate myself with the Mise-en-scene in terms of my project I directed my focus on the mood such as the colour composition and atmosphere to ensure that the viewer understands the type of film they are viewing and the essence of speed, that is clearly evident in the chosen image. The choice to shoot in Monochrome (black & white) - with absence of colour - made it more efficient in terms of the photographer’s visual idiom and the location’s ambiance with its elongation and its architecture. Above all else black & white cleanses the gloomy and dismal quality of the place, giving it a different tone that ensembles well for the film’s mood.

Only standard filming equipment was required in the making of this short slice of a film. With regard to camera equipment, all filming was carried out using a Nikon d3200 with an 18-55m primary lens; however, a smooth operated stabiliser was required for the whole scene. Thus I hired out a film rig (wheel) to attach my camera to ensure maximum stabilization for my shots and borrowed a wheelchair to successfully and efficiently (of course) make tracking shots. This was entertaining and informative for me to do whilst tracking along the elongated tunnel as well as it


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did for my father.

Music score- ‘Chariots Of Fire’The music that Greek composer, Vangelis, comes up with, is mostly electronic for a film set in 1930s Britain. This initiated a new and modern style in film scoring that had a significant departure of early film period with its symphonic and orchestral scores. The title theme of the film has become iconic, and has been used in subsequent films and television shows during slow-motion segments. Vangelis is one of the most important exponents of electronic music. Just hearing the opening 30 seconds conjures up the feeling like nothing is impossible.

Link: http://www.youtube.com/watch?v=RY3XiM7oGj0&noredirect=1

Mise-en-scene (Version One)

Video Feedback:Link: http://vimeo.com/77528026

• Every aspect of tunnel shown. • Good choice of music however advised to get rid of it as its too cliché/ done

before / traditionally used for in cases when a subject encapsulates the slow grind towards victory.

• Quarter of the footage has credits, not necessary need much as it takes away the attention from the subject.

• Verdict- 'entertaining'

My response to these comments were expected as I was concerned with the music as well, although i shouldn't have made the easy option to fill in the scene. But needless to say, I'm confident now to instead gather collective sounds to create a naturalistic sound montage to add to my film and hopefully it will still bring the level of ambience; contributing to my mise en scene.

Intending sounds (so far):

• Wind • Speed sound• Buzzing noise from the lights• Click of the wheelchair brakes• Wheels noise


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http://www.youtube.com/watch?v=RY3XiM7oGj0&noredirect=1

Sound DesignRecording Sound

• You don't notice sound unless it's bad!• A good landing is one that you can way away from, 'A controlled crash'.• Think about the sound > sound travels in waves > huge different between

sound and light > light can be spoken in miles, however the critical difference is speed between the two.

• Sound is a distraction > a lot of information comes from sound, which does not require visual.

• The nature of sound is premixed > you can't it ignore it• Sound must compliment if visuals are added.• Important note: When using a microphone in a interview or for dialogue, it

must be around nine inches away from the mouth. • The closer the shot, the quicker the sound will be. You need ambience when

you wide the shot.• Set a level of dialogue at a comfortable environment. • Does your ambience fit the scene you are trying to portray > lighting effect

etc. • The boom mic you use, you must hold at a distance, but it must be able to

touch the palm of the speaker’s hand.

Sound Collecting and Editing Taking the criticism into consideration from my first version of my film - mostly involved copyright music (Chariots of Fire) and its integration to my film, made it too cliché. I knew, afterwards, it best to take away the music and mix alternative sound effects, in favor of originality and creativity. I decided to return to my location after production was finished and record a collection of sounds within dichotomy of this confined and stretched space. As always, close listening and thus experimentation was my best guide in achieving a more organic feel my score.

As a result from proceeding to the location and thus capturing, editing and incorporating into my visuals, I applied the mixing of echoes that imitate with the environmental surroundings with artificial reverb that was done by contact with objects (metal fencing) and the environment (moving the recorder at speed). Together, this gives the sensation of both distance and close reverberation reflections caused by the unique properties of the space.


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Mise- en Scene (Final Version)Link: https://vimeo.com/78556405

Mise-en-Scene EvaluationFor a seven-week production from start to completion, it had its challenges. Firstly, a photograph of chose, needed (for me) to creative, practical but didn’t rebound to something that was conveniently easy and most likely would have been done before by another. Furthermore, it had to be feasible in the time that given.

The reason for my chose in a Daido Moriyama photograph was due my fascination in its content of the elongated tunnel and the notion of a continuous path towards the horizon with no way but forward, made it look eccentric and appealing.

The selected location benefitted the production in terms budget and had a similar resemblance to the ambiance of the image. It was fortunate enough as it was a public facility and opened twenty-four hours so it gave undemanding accessibility at any given time. Also it avoids the disadvantage of unpredictable weather conditions. So in fairness, it was the ambiance of the place is so quirky and it’s alluring, it had the same feel as the photograph.

When it came to reproducing the photo's qualities into making the one-minute piece, I knew that it had to have it essential detail(s), speed and possibly shoot in monochrome. The notion of speed was easy to intrigue in a short narrative, as I knew it had to at least consist of a subject in the essence of speed such as a jogger. Taking the jogger as my primitive and main idea, I reference to scenes from films that help to consider the shots that were essential as well as identifying what was possible within the properties of the space. Although, there aren’t any fortunes without some setbacks.

When finishing preparations to begin production, I was faced with a problem of my actor, who was suitable to play the jogger, turning me down at last minute so I had alter my idea and storyboard that was still feasible when shooting began. However, with quick thinking I decided to alternatively use the wheelchair I was initially used as equipment for tracking into a character prop as well. Instead of a jogger, I alternatively change the character position for running to be immobilized and place in a wheelchair, with a witty attitude towards disability whilst still pulling off my key component for speed.

When it came production it was relatively straightforward and easy to complete and therefore it only took a few hours. As a whole, it was entertaining and informative experience by the seer fact of preparation and alternative options.

Amongst an easy-going task on editing the visuals by a constructive storyboard, together, with alternate and original sound effects now in replacement of the copyright music (that I initially incorporated), the overall film demonstrates my on-going skill in selecting the correct equipment to achieve the desired effect and learning to make alternated options and


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decisions in order reach the desirable goal in the scheduled time frame for the film and the project.

I would say this though; if it weren’t for this project it would have been harder to start thinking of ideas and setting in motion for my Final Major project. After all, this will prove my set of skills that I’ve gain over this past couple of years to help flourish and expand my future ambitions as a filmmaker.

Events

Whirligig Cinema 'Making Track' event 11/10/13


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Review:I was very interested in this event particularly the sheer fact of live, new and diverse scored music played over new anticipated films, written by the ' The Cabinet of Cinema'. All of the collaborators that designed the music together towards each of the films, not only use instruments but also props for audio effects. Its was really fascinating to see music bring that new dimension to the visuals, without the necessity or depending on dialogue.

I really liked how these musicians, all from different backgrounds, research, construct and then playing it for the first time and often only time, new innovated ways to making a film be completely feel refreshed and reborn particularly for the eyes of filmmaker. It was a real insight towards how you could expand your work as emerging filmmaker by creating an invigorating live experience. This is definitely something I should take into consideration when it comes to my final major project and future works. Making Tracks was arguably a groundbreaking event that fuses live music with moving image and provides an interactive platform for new film talent. But sadly its over for a while as this was the last of the 'Making Track venues but needless to say Whirligig Cinema still continues to do there 'Shortlisted' event which occurs every first Wednesday of every month to allow emerging filmmakers to have the opportunity to show their work for 30mins and have a Q & A.

Note: It is a perfect way for filmmakers who have had problems with music copyright to get their work screened in public.

Link: http://whirlygigcinema.com


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Barbican- Live Live Cinema 20/10/13

Live Live Cinema was a repertoire of New Zealand's leading musical madman Leon Radojkovic and his crew of musicians, four excellent actors and a lone courageous Foley artist- bringing Francis Ford Copploa’s stylishly helmed, shoestring budget, gothic horror Dementia 13 to life with a new live soundtrack using a combination of mechanical and digital sound design. Together, they recreate every musical note, line of dialogue, horrified scream, and mysterious footstep live on stage, while the film looms large behind them. This was an unique and vibrant ‘live live’ cinematic experience, unlike anything I've experienced before- making this so-COPYRIGHT © SF, STEPHEN FEATHER 2013. ALL RIGHTS ARE RESERVED, NO IMAGES MAY BE REPRODUCED WITHOUT WRITTEN PERMISSION

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called canny, shoestring budget movie into a theatrical entertainment hence enhancing its original performance.

Link: http://www.barbican.org.uk/music/event-detail.asp?ID=15135


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Documents

Moving image production folder