Achieving the film look

35
ACHIEVING THE FILM LOOK By Tabi Zama (TabiZee) Founder of TGIM CINE SCHOOL

description

By Tabi Zama ( TabiZee ) Founder of TGIM CINE SCHOOL. Achieving the film look. Introduction. What is the film look? It is the imagery we associate with cinema. The texture and the feel we get from a hollywood movie. - PowerPoint PPT Presentation

Transcript of Achieving the film look

Page 1: Achieving the film look

ACHIEVING THE FILM LOOK

By Tabi Zama (TabiZee)Founder of TGIM CINE SCHOOL

Page 2: Achieving the film look

IntroductionWhat is the film look? It is the imagery we associate with

cinema. The texture and the feel we get from a hollywood movie.

We independent filmmakers sometimes go for expensive gear and don’t get the look we want. This is because its not about the gear but how you use the gear

Page 3: Achieving the film look

IntroductionWe believe that the look of your shots is determined by the Production Design and Cinematography

Page 4: Achieving the film look

Table of Content Production Design

IntroductionPsychology of colorsMoodsCostumesMakeup and Hairdressing

Page 5: Achieving the film look

Production Design Introduction

Production design is the visual arts and crafts of cinematic storytelling

It creates a cohesive pictorial scheme that directly informs and supports the story and its point of view.

The process and application of production design renders the screenplay in visual metaphors, a colour palette, architectural and period specifics, locations, designs, sets, costume, make up and hairstyles.

Page 6: Achieving the film look

Psychology of colours RED

Bright red is like visual caffeine. It can activate your libido, or make you

aggressive, anxious, or compulsive. In fact, red can activate whatever latent passions you might bring to the table, or to the movie.

Red is power. But red doesn’t come with a moral imperative.

Depending on the story’s needs, red can give power to a good guy or a bad guy.

Page 7: Achieving the film look

Psychology of ColoursBecause we tend to see it first, red gives the

illusion of advancing toward us. Due to this, it can manipulate our sense of space.

Because bright red has this visually aggressive quality, the space does indeed appear to come forward, and it looks shallower than it actually is.

Red can also make something appear to move faster. Bright red can raise your heart rate and anxiety level. It is visually loud and can elicit anger.

Page 8: Achieving the film look

Psychology of Colours BLUE

Blue can be a tranquil pond or a soft blanket of sadness. It is quiet and aloof.

In blue, people become passive and introspective. It’s a colour to think to, but not to act. Blue is the quintessential colour for powerlessness. Even a very pale blue has an amazing ability to

influence our emotional reactions to what is happening on screen.

Steel blue and dark indigo are colours least associated with the sensual and most associated with the intellect. Governesses and maiden ladies wear dark blue.

Page 9: Achieving the film look

Psychology of Colours PURPLE

There have been times, particularly in romantic tales and poetry, when purple has been associated with sensuality.

There seems to be no real evidence of purple’s having an effect in the physical realm at all.

The colour did, however, hold a powerful sway in the realm of the non-corporal, the mystical, and even the paranormal.

Purple is a colon that inspires associations with the nonphysical. It sends a signal that someone or something is going to be transformed.

Page 10: Achieving the film look

Psychology of ColoursIn Gladiator, Marcus Aurelius, his silver hair

shrouded by a violet hood, watches his legions demolish the barbarians.

Visually, he is the regal grim reaper incarnate. Within the next half-hour of movie time, he, too, will die.

The death may not always be literal. It may not always be someone but something that will die or be lost when purple appears onscreen.

It might be love or youth or dream or illusion.

Page 11: Achieving the film look

Psychology of Colours YELLOW

Yellow is a contrary colour. One of the reasons yellow is the colour used for caution

signs is that it’s visually aggressive. It appears to come toward you.

We’ve built it into our consciousness as a cautionary colour.

Venomous reptiles and amphibians often are yellow— warnings to all who come near, a big beware built into our genetic code.

It is also the colour we identify with the sun. We associate yellow with powerful life energy—exuberance itself.

Page 12: Achieving the film look

Psychology of ColoursIn whatever situation you find it, or wherever it is,

bright yellow can be the scene-stealer, always clamouring for attention.

Intense yellow, however, has an underbelly. Actually, this quality makes yellow a perfect signal for obsession.

Yellow environment seem to be anxiety producing. Yellow was like a visual car alarm trying to horn in on us. Yellow creates anxiety and makes you more stressed out. . . . In yellow’s presence, you’ll be more apt to lose your temper.”

Page 13: Achieving the film look

Psychology of Colours ORANGE

Orange manifests its influence in a different way from the other colours.

While red says “I’m here!,” yellow is exuberant, and blue is laidback, orange is generically “nice”.

The colour simply supported a warm and welcoming congeniality.

How we feel at sunset is not just a romanticized cliché.

Page 14: Achieving the film look

Psychology of ColoursSomething actually happens to us physically when

we watch the intense brightness of the near-white sun transform itself into a glowing rich orange in the sky.

Glowing orange light (and its associations with the sun) can take us on a visceral ride that warms and expands our emotional field.

Orange light in an interior, on the other hand, can read as romantic.

Orange is also a colour that celebrates the working class.

Versatile orange can also read as exotic.

Page 15: Achieving the film look

Psychology of Colours GREEN

Green is really a dichotomous colour. It’s the colour of fresh vegetables and spoiled meat. Perhaps its duplicity comes from our earliest times

on this planet when green signalled both food and danger.

Green can signal health and vitality or danger and decay.

Precisely because of its positive associations in the plant kingdom, green can be used as a powerful tool for irony.

Page 16: Achieving the film look

Psychology of ColoursOur association with green in slime-covered

swamps filled with snakes and alligators, however, has given birth to the look of dragons, demons, and monsters.

It may also play a role in our aversion to green in liquid form. Try drinking a clear green liquid and see for yourself that there is something about green drinks that you’d rather stay away from.

When associated with the human body, green’s clue is often illness or evil.

Page 17: Achieving the film look

Production Design Costume:

Consider clothing as a coded projection of its owner’s self-image and intentions. Consider what personality and mood each character manifests at different times, and how their clothing contrasts with that of other characters.

Think not only of color and design, but of overall tone in relation to surroundings. Very light-toned costumes may be too reflective, whereas dark tones, especially in night exteriors, may disappear altogether.

The size and fit of clothes, the way they are worn, the accessories that go with them, can express volumes about the wearer.

Page 18: Achieving the film look

Production Design Make up and hair dressing

Always make camera tests to prove that even the most naturalistic makeup will work. Especially when departing from established norms or special effects such as wounds, scars, or an appearance of illness.

Research the world of your film, in books, galleries, or in real life. If your central character is a doctor, go to a hospital and make notes and take photographs of the doctors you see there. The real world is far richer than imagination can ever be.

Page 19: Achieving the film look

Production Design Moods:

If you can, alternate interiors and exteriors, day and night, to give a sense of breathing in and out.

Page 20: Achieving the film look

Summary Colour can greatly affect the perception

of a scene or shot. Choosing colours wisely would put your audience right where you want them

Production design as a whole could say everything about a scene without any acting or dialogue

Page 21: Achieving the film look

CINEMATOGRAPHYBy Tabi Zama

Page 22: Achieving the film look

CinematographyCOMPOSITION For the sake of this tutorial, we won’t go

through all the establish conventions of composition. First of all there are no rules when it comes to cinema; there are just some things that are more appealing to the eyes.

Page 23: Achieving the film look

CompositionRULE OF THIRDS Imagine that your image is divided into 9

equal segments by 2 vertical and 2 horizontal lines. The rule of thirds says that you should position the most important elements in your scene along these lines, or at the points where they intersect.

Page 24: Achieving the film look

Rule of thirds

Page 25: Achieving the film look

CompositionUNUSED SPACE The entire screen should be filled with

important subject matter. Empty space is wasted space.

Page 26: Achieving the film look

Unused space

Page 27: Achieving the film look

CompositionBALANCE ELEMENTS Placing your main subject off-center, as

with the rule of thirds, creates a more interesting photo, but it can leave a void in the scene which can make it feel empty. You should balance the "weight" of your subject by including another object of lesser importance to fill the space.

Page 28: Achieving the film look

Balancing elements

Page 29: Achieving the film look

CompositionDEPTH Because photography is a two-

dimensional medium, we have to choose our composition carefully to convey the sense of depth that was present in the actual scene. You can create depth in a photo by including objects in the foreground, middle ground and background.

Page 30: Achieving the film look

Depth

Page 31: Achieving the film look

Lenses What lenses do we need to achieve a more cinematic

image? A standard kit could have about 10 different lenses

but for us indie filmmakers, 3 basic lenses would give us most of what we want.

My recommendations will be: 24mm wide angle lens, 50mm standard lens and a 70-200mm telephoto lens.

Prime lenses are the best for the job since they produce sharper images.

Also lenses with a wide aperture(low f-stop) will produce images with higher quality.

Page 32: Achieving the film look

Lighting Unless you are going for a stylized look, basic

lighting tends to reflect lighting found in our day to day lives

Take the three point lighting as a starting point. The error most filmmakers make is put all their focus

on making the image bright and position the lights such that it produces a bright but very flat image.

Lighting is an art and has to do with a lot more than getting the correct exposure.

Lighting usually gives depth to the image, models it and sets a mood

Page 33: Achieving the film look

Camera Settings To achieve a more cinematic image there

are camera settings to consider. These settings are best applicable when using the DSLR cameras.

Shutter speed: 1/50 or 1/48 Framerate:24fps Picture profile: Saturation-2 Sharpness-0

contrast: -3 ISO: the max for reduced digital noise in low

light would be 1600.

Page 34: Achieving the film look

Camera Options Camera options: The Canon DSLRs come a great way to

help us indie filmmakers achieve a cinematic look. The canon 5D Mark III could produce a decently looking

cinematic image with certain considerations. Other similar cameras that could enrich your film look.

550D/Rebel T2i, 600D/Rebel T3i, 60D, 5D Mark II The list is quite long. The cameras mentioned above are the

ones we could easily find among our filmmaker colleagues. It’s a good thing to go DSLR but camera is not everything.

Good cinema skills used with a regular “wedding camera” could create very stunning images.

My favorite example of this would be “Ninah’s Dowry by Victor Viyouh”

Page 35: Achieving the film look

Thanks for your participation

The End