BLOG QUESTION ADV: BEGINNING CINEMATOGRAPHERS

What are three key suggestions that this video made that you find useful that you didn't know before? Why are these so interesting?

One key suggestion he gives is to define your subject by utilizing the rule of thirds. You can use the rule of thirds by using the 4 intersecting points of the columns and rows to bring more attention to the main subject. For faces, it's good to have the top two points as the anchor. For a wider shot, you can also use the lower points. This also applies to vertical and horizontal subjects. If your subject is taller, it's better to line it up with the column lines, and if it's horizontal, it's better to line it up with the row lines. The second key suggestion he gives is to learn how to manipulate the aperture or ISO for exposure control. He suggests to use the in camera meter instead of the histogram. The exposure levels are determined by what your trying to shoot. If you're shooting someone with lighter skin, you can have it be overexposed by one stop. For darker skin, having it read at 0 should be okay. If you're shooting wider shots, you can use the metering mode and turn on the multi/matrix metering, which will calculate an exposure that fits the scene best. Lastly, he recommends you to find a position for your subject that will make them pop out of the background, or give them a "spotlight". You can do this by trying to find a contrast between them and the background, whether that be turning them directly to a light source or directly behind a light source, you should utilize your surroundings to find a way to make your subject stand out.

BLOG QUESTION ADV: THE ROLE OF THE CINEMATOGRAPHER

What are the key responsibilities of the cinematographer on a film set? What is the cinematographer's relationship with the director?

The cinematographer is the head of the camera department, and they work closely with the lighting department in order to create the look of the film. They are also responsible for assisting in the decision of locations; they must work in a certain allotted time very efficiently, and they must know what equipment is needed to achieve the shots they want to get. They should also be able to effectively communicate with the director and work with the actors, as they also have a part in how the film will look. They must be able to construct an image based on the director's vision.

BLOG QUESTION ADV: WHAT IS CINEMATOGRAPHY?

How is cinematography like a language? What are three techniques of visual language that you realized while watching this video?

Cinematography is an art form. It's similar to a language, because it's what you communicate with the viewer visually. It's also built on principles similar to a language; cinematography has rules and definitions. It's based on cinematic language: angles, color palettes. You determine these shot-types based on the perspective you want to show. You can do this by thinking about this main question: what emotion do you want the audience to feel? Power? Then use a high-angle. Weakness? A low-angle would work best. Cinematography tells the audience not just what to see, but what to think and feel.

BLOG QUESTION ADV: HOW TO SIMPLIFY YOUR SCRIPT

What does this video have to say about focusing your story? What are some key points it as to say about why scripts are too complex?

    He explains that having too many concepts in a film isn't realistic in the allotted timeframe you're given. At most, a good story focuses on 1 central idea. By focusing on one idea, it leaves the audience with one specific question at the end; otherwise, it'll leave them confused. Everything in the story should engage the audience and connect to the central idea. Having a complicated story based on an idea that isn't easy to understand doesn't make it an amazing story. Being able to take a complicated idea and make it into a simpler, more digestible story is more impactful to the audience. Instead of trying to make complicated, feature-length films in your script, you need to practice by creating simple scripts. This will help you build your skillset and allow you to write more complicated ideas later on. Essentially, understanding how to simplify your stories, what to focus on, and how to finish your stories will help you in the long run.

BLOG QUESTION ADV: SCRIPT-TO-SCREEN SCAVENGER HUNT

After watching your selected script-to-screen video, how did the screen adaptation transform elements of the original script? What did you notice about the adaptation that you think makes the final film less or more effective?

Note: Try to think about how the following were affected in the final cut: character, pacing, tone or visual storytelling

The scene I chose is from The Social Network, and it depicts a flashback that shows an exchange between Mark and Eduardo, while also intercutting to the deposition room. In my opinion, I think the interpretation of the script on screen looks much more interesting than how the scene was described in the script. In the deposition room, the camera cuts to the reactions of different people rather than just primarily focusing on Gretchen, Eduardo, and Mark speaking, even though they were the only ones talking. It adds an element of tension in the scene as you get to see the reactions of people as they learn the details about what happened to the shares. The actors interpretations of the script also added an extra dramatic element, as Andrew Garfield channeled more emotion and anger through the character's dialogue, even though the script didn't have include any parentheticals to direct his tone/emotion. I think allowing the actors to channel the character's feelings allows for more natural and genuine acting, which is why the delivery of lines during this scene is so iconic.

BLOG QUESTION ADV: HERO'S JOURNEY FILM PITCH REFLECTION

Write an in-depth reflection on the input you got from pitching your hero's journey film project. What was some of the constructive feedback that you got? What were some issues with your story and pitch? What are your next steps in the process with it?

Some feedback I got included details about our actual pitch formatting, such as having to much information for the character descriptions. However, most of the issues had to do with the scale of the project, such as the cast size, the locations, set-dressing, and the complicated relationships of the characters. In the time we are allotted, it would be hard to flesh out the character dynamics, motivations, and personality traits. Our hero's journey structure also needed to be tweaked a little as some events didn't make sense, and the archetypes for the group leader were conflicting (shadow and mentor). If we were to make it, it would have to be on a smaller scale, meaning we'd have to cut down on actors and locations, and maybe change the plot itself. For the next steps, we can either reconfigure the archetypes and narrow down some simple location ideas, or we can put this idea aside and work on a new hero's journey with the rest of the advanced kids.

BLOG QUESTION ADV: SCREENPLAY FORMATTING P. 2

 explain what each of the following parts of a script is and why they are essential:

DUAL DIALOG: When two characters are speaking at the same time, you should put their dialogue next to each other on the script. Most script-writing software will do this for you. There are some special cases, such as characters with a dual identity or characters that have names that aren't revealed until later, but they follow the same rules as any character and would just be introduced with their regular names above their dialogues. This is essential because it keeps the dialogue organized and easier to digest for the readers.

DAY OR NIGHT/DAWN & DUSK: You don't have to specify what specific time of day it is in the headings, unless it specifically takes place during sunrise/sunset, and if it does, you would put dawn/dusk. If you're writing about a place that exists with no time (such as space), you just put the location down. This is essential because it tells important details about the time of day a scene takes place and it can be used to plan production times.

CAMERA NOTATIONS: Unless this is critical to the story, you don't have to figure out or include camera notations, as it's the cinematographer's job. If you have a specific shot in mind, carefully craft your language in the action description so that the choice of shot is more unavoidable (ex. describing someone's hands reaching down would most likely result in a CU). This can be useful for directors who have a specific vision in mind for the story, even if they don't have too much control over the shotlist.

MUSIC CUES: Unless it's crucial for the story, you don't have to include this. If you need to, you would write it at the top of the scene (ex. Ave Maria plays as xyz). This could be useful for films such as musicals, or anything that relies heavily on music being played.

I found the Dual Dialogue rules the most interesting because it also goes into details about unique character types, such as characters that have two identities or characters that are "unknown" until later in the story.

BLOG QUESTION ADV: SCREENPLAY FORMATTING P. 1

Explain what each of the following parts of a script is and why they are important:

Slug Line: AKA headers. These give you details about the locations of the scenes, such as whether it's filmed in the interior or exterior, the actual physical location, and the time of day. This is important because it gives context to where a scene takes place in the character's universe.
Action: A description under the header that describes the scene in more detail. It's all the action of a character, the visual information of what you see on screen. This is important because it gives the character directions on what their actions will be on screen.
Character: This goes below an action line, and it lets you know who is speaking during a scene. This is important because it differentiates which character is speaking during a scene.
Dialog: This is placed below the character's name, and it lets you know what they are saying. Dialog helps drive the story forward.

Parentheticals: This is placed next to the character's name that tells the reader if the character is doing something besides regular speaking (ex. voiceover, speaking into a phone, whispering, shouting). This is important because it gives context to how the character is speaking.

BLOG QUESTION ADV: FIXING COMMON SHORT FILM MISTAKES

What are the key mistakes short films make in their stories? How can these be fixed?

The first key mistake is forgetting to have a philosophical conflict. This gives your story purpose and is the backbone of your film. If there's no beliefs or conflicts, the audience won't understand the point of the film. You can fix this by going back to the basics and focusing on the viewpoint vs viewpoint conflict. The second is having no narrative structure. Characters need wants and goals to give the story momentum. They also need a cost, which will create stakes. Having these will get your audience invested in your characters. You can fix this by clearly defining your character wants and the obstacles they face to get them. The third mistake is having too much exposition. The audience won't feel attached to the characters because they won't be able to fully understand the characters or know what their wants are. You can fix this by using dramatic storytelling structure and the Harmon circle. The fourth mistake you can make is having the story happen off screen. This is usually done through exposition told through dialogue. This doesn't drive the story or give it momentum. You can fix this by showing the events that the characters are talking about and making sure it follows the dramatic structure. Lastly, you don't want to rely on montages. This can be unnecessary, and a lazy way to show the passage of time and to convey your exposition. 

BLOG QUESTION ADV: HOW TO WRITE A SHORT FILM

What are the key points to keep in mind when writing a short film? What is philosophical conflict? What is attaching beliefs and action structure?

To write a short film, start by organizing your ideas. Whether that be a concept, a scene, or characters. If you need ideas, pull inspiration from existing media, such as movies or books. The first thing you need to establish is your philosophical conflict. It's the backbone of your story. You can build this by creating a viewpoint vs viewpoint conflict. A philosophical conflict is a moral dilemma that challenges the beliefs of a character. The second thing to do is attach these beliefs to your characters. Each character has a different point of view. You can attach their philosophical beliefs to define who they are. After you establish this, this will also help you determine what their actions will be. The next thing you need to do is build out your story by creating a structure. You can use the story circle to structure your story, as it can apply to a huge script or a short scene.

BLOG QUESTION ADV: THE MID POINT

What is supposed to happen in the middle of your story? What are some ways to construct the middle of it?

In the middle of your story, things should progress, and characters should face numerous obstacles. A major event should happen at the midpoint. Everything beforehand should be building up, and everything after should be the effects of this event. This should be the turning point of your story, and it should send it into a new path. This gives momentum and purpose to your story. You can think of the structure by using Freytag's structure, which happens to be exposition, rising action, climax, falling action, and denouement. You can also Dan Harmons story circle. The midpoint usually takes place between 5-6 (The find and cost). The biggest climax of a story doesn't always have to be in the middle, but having a turning point will keep your story dramatic and help you with determining what events should happen in the middle.