Post-Filming Review - 'Leaving'

The screen grabs below are stills taken directly off the Canon 5D MKll, upon first glance I am happy with the results. What really draws my attention is the richness of the lighting I managed to achieve, and that each still is taken from a different lighting setup but the continuity of light levels is there.

The post-production stage of the film will now begin, so I will begin to label the footage and create a rough assembly using the shot-list Jordan and I created as a guide. 

'127 Hours' - Character Driven

After researching further examples that have an emphasis around people and character driven storylines/relationships, I came across '127 Hours'. I broke down and began to analyse the opening scene of the film as it features interesting/effective editing techniques

'127 Hours' directed by Danny Boyle, is a film based on a true story about a mountain climber who becomes trapped under a boulder whilst canyoneering in Utah.

The opening scene in '127 Hours' features split-screen, and most obvious of all, people. Lots of people, different cultures, the images connote globalisation, mass congregations, a kinetic world, all in which parallel/relate to Aron Ralston's (James Franco) character who is an active, fit and out-going person.

The split-screen and imagery work so well because later in the film, when Aron is alone and trapped in the canyon, we sub-conciously acknowledge that the world is still moving and progressing forward, whilst Aron is trapped and unable to move/progress anywhere.

The non-diegetic soundtrack is a modern piece that boasts instrumental sounds and almost 'erotic' singing. "Take it, take it" repeated multiple times possibly relates to Aron's temptation of embarking on this journey without telling anyone about his plans. The instrumental effects, which are obscure, sharp, different in tempo, pace and volume I feel are there to make the audience un-settled, to perhaps prepare them for the events that will take place later in the film.

The quick, snappy editing symbolises Aron's fast-paced lifestyle and the repeated imagery of mass-congregations, that appear to be worshiping God symbolise hope and a sense of belonging in the world, two themes that I feel are important throughout the film.

The dripping of the tap, juxtaposed with a busy highway could connote the idea that time is ticking away until he meets his fate in the canyon.

The repeated imagery of global brands emphasise that he lives in this globalised, modern, consumeristic state/country but he is potentially about to leave this all behind... as he drives down the highways and roads, Aron appears to be the only one driving in that direction, as if he is approaching the end, his doom.


The editor Jon Harris, who was nominated for an oscar for his work on '127 Hours', describes his difficulty in keeping the viewer engaged with a story that focuses on one man's survival. He goes on to talk about not falling into the trap of repetition, between flashbacks, him stuck in the canyon/reality, back to the flashbacks and back to reality again.

The flashbacks and imaginings that broaden the scope of '127 Hours' are a large part of the story and proved to be a particular challenge when it came to editing. I can understand where Jon is coming from, as when I watched the film for the first time, the flashbacks were indeed key to the progression of the story. They kept the viewer engaged and created a strong emotional bond, connection and sympathy towards to the main character. My knowledge in editing has expanded in the last few months, and I keep hearing more and more that creating an emotional connection to the characters in the film is key. Without that, you have lost your audience's attention... why should they bother watching something if they feel no connection whatsoever to the characters in the piece, why would they care?

Aron is half in the cave, half in the memory. They tried to make that blend as much as possible, so that it's as if we as the audience/Aron are drifting in and out of his head.

James Franco's performance is key to the success of this film due to amount of screen-time he has. Whilst shooting the film, they tried to make it as real as possible. Franco would be stood in the same position, under the boulder for a long period of time. If it took him an hour to rig his harness together, it took him an hour.

In conclusion, I highly respect and admire '127 Hours', from the emotional connection it creates between Franco and the audience, to the tempo of the film, the editing, the sound, cinematography and more.

I will continue to conduct further research into my specialisms (cinematography & editing).

John Harris, editor of '127 Hours'

'Breaking Bad' - A Focus on Characters

As the 'Working with Actors' workshops are driven by the characters on-screen, I researched existing texts that have utilised their character driven stories to full effect.

'Breaking Bad', one of the most acclaimed TV series' to date is a masterpiece when it comes to creating a successful drama. From it's characters, the twists and turns, the storyline, the beautiful 35mm film they shoot on, the editing and more.

"It's all about the characters"

When it comes to editing, Lynne Willingham the editor (seasons 1 & 2), discovered finding the time for leaving characters in open spaces would help define the rhythm of the show. Breaking Bad is a character study and the people in it are the most important, therefore the performances are one of the key elements to the success of this critically acclaimed drama. 

Lynne says it's about blending the best performances from everybody and the fabulous look of the show. They attempt to make the show appear like a small movie by taking the finest actors they could find and putting it all together. Each episode (in my opinion) feels like a movie itself. The wonderfully lit and framed shots on 35mm film with the superb acting all help this drama come together. 

Breaking Bad's style utilises wide open spaces, to emphasise some of the character's solitude. The shots also set the tone for the show, they establish the locations and feel of the piece. The director said it unsettles the audience and throws you off your expectations.

Lynne says editing is "the invisible art", and indeed it is. A successful editor is someone who can edit a piece together and no one notices or picks up on it. If it feels natural and smooth, then the editor has done their job. Throughout my three+ years at university whilst editing my projects, I have tried to sit back and put myself in the shoes of the audience. If the piece feels right, then I've done a good job. If there are certain cuts that unsettle me then the edit needs altering. I certainly have a passion for editing as well as cinematography and I believe that I will be able to create a visually striking piece that fits the director's vision.

Aaron Paul (left) & Bryan Cranston (right)

"What I’ve been able to, in my history of editing, is marry what the director wants and what the writer wants, and help them achieve their vision without compromising either one." A quote that I stand by during the production of each project I undertake. 

Michael Caine - Working with Actors

During one of our scheduled sessions, we watched Michael Caine's video on 'Acting in Film'. After watching the video numerous times and taking notes, I thought back to the advice given whilst we were shooting our piece 'Leaving'.

Michael focuses on many issues:

• Continuity
• Positioning of the camera to the character's eye-line
• Movement within the shot
• Setting markers for close-ups
• The importance of the actor picking an eye to focus on
• Blinking

All of these factors can affect the overall immersion of a piece.

Whilst shooting Jordan's film 'Leaving', I was sure to capture the characters emotions and body language language on-screen. There were instances in which I had to think on my feet to capture Claire's emotions, as certain angles we tried didn't capture her actions or emotions because her eye-line was off at an angle. Therefore I brought the camera around more towards her eye-line to create the affect that the person she was talking to was just off-camera. This off-camera effect helps create a connection between the two characters on-screen and the audience.

There were no severe continuity issues that arose during/after the shoot, and any issues that occurred were documented by script supervisor/overseer Dan Walsh. The documents he provided are displayed in the previous post.

Markers were used in some instances, for example when Claire stepped off the bed and approached the male protagonist. The distance between the bed and the door was significant therefore markers helped myself, the crew and the actors know how far to walk and stop.

Michael Caine's workshop has taught me the importance of working closely with actors, and I will take his advise onboard for future projects.



https://www.youtube.com/watch?v=Njs6ZNSoFC0 (Last accessed 03/12/14)

Continuity/Edit Notes

Dan Walsh has provided me with a set of continuity/edit notes from the 'Leaving' shoot (directed by Jordan Deakin). I will have these notes by my side whilst editing the film incase any problems in terms of continuity arise.

Creation of the Set

Throughout the production stage I felt it was important to record certain stages of the production, therefore I created three short time-lapse videos that best represented the process the crew and I went through to produce a workable set. 

Floor & Lighting Plan

Displayed above is the general floor/lighting plan I have created after visiting the set before the shoot. Due to the restrictions on not being able to view the set until the day before the shoot, this has meant I haven't been able to create a storyboard. However, a storyboard itself is not required as we have created a shot-list and the producer is in the process of creating a schedule for it. I firmly believe we will stay ahead of our time schedule as the crew and I have planned the way in which the set will be made (shown above), and Jordan and I have a thoroughly thought out shot-list that features no complications or restrictions.

The lighting setup shown above is the most general setup I will strive towards, as most of the action takes place in the middle of the area markings between the lights shown on the plan. The colours displayed above are not finalised, I may decide to go for a harsher, shallower colour such as pink instead of purple. As a cinematographer, it is my job to create the look and 'feel' of the film. I sat down with the director and we discussed the visuals we were looking for. We both decided that an atmospheric, coloured, almost-neon look would create an 'arthouse' piece. We took inspiration from director Nicolas Winding Refn and his work on 'Drive' and 'Only God Forgives'. These films feature ambitious lighting and distinctive visual approaches.

'Only God Forgives', 2013, Directed by Winding Refn

'Only God Forgives', 2013, Directed by Winding Refn

'Drive', 2011, Directed by Winding Refn

This will be the first time I have had the opportunity to be in control of the lighting and camera on-set, therefore I aim to take full advantage of the time I have available. 

I believe that lighting is just as important and significant as camera, therefore I plan on spending an adequate amount of time prepping the lighting for each individual shot. I am aware that with the numerous amount of different camera setups we plan on using, I will have to think carefully about the lighting continuity.

The use of chiaroscuro lighting will be utilised when filming the male character Billy, as I believe it is an effective way of conveying two-sides to a character on-screen. In this case, it will convey Billy's decision to choose between his wife and son, or the woman in his bed. 

Jordan chose the red (Dedo) spotlight to be situated outside the outside the window shining in, as to display the pair are in a sleazy hotel room with a red, neon light outside. The blue filters combined with the purple and pink will connote a colder side to Billy's character, whilst the pinks aim to heighten the lust and romance in the scene. 

The empty space to the right of the bed is where the blocking of the two characters will take place. The amount of room we will leave ourselves available will give me enough space to adjust the lighting and camera angles to suit my taste. 

Equipment List

The following is the equipment list I have created for the shoot(s) that take place from Wednesday 12th November 2014 - Thursday 13th November 2014. I have arranged the timings of the bookings to allow drop off and set-up prior to the shoot, and to allow any other groups to borrow equipment during the time we're not shooting.

Equipment List:

• 1x Canon 5D Mk II SLR Camera + Lens.

• 1x Canon USM EF 50mm 1.4 Lens.

• 1x Standard Film/Video Tripods.

Tripod to be attached to the track and dolly shots.

• 1x Dedo DLH4 Kit.

It has come to my attention that cinematographer Tom Newsham has already booked out the Kino lighting system for the shoots, therefore the only extra lighting equipment necessary is the Dedo DLH4 Kit.

• 1x Dedo Filter Kit.

Planned filters to be used - Blues, purples, reds.

• 1x Portable track and Dolly.

For both the opening master shot and the tracking shot of Billy waking up.

• 1x Card Reader.

Once collected, the equipment will be immediately taken down to the Studio Workstation in preparation for the shoot the day after.

'LEAVING' Shot-List

Directed by Jordan Deakin

After sitting down with Jordan to go over the cinematography of his film 'Leaving', we produced a shot-list (displayed below).

As the cinematographer, I strived towards the concept of relying on hand-held shots. After thinking about and looking back on numerous amounts of film and TV examples that capitalise on the hand-held technique,  I believed it was the most effective way of capturing the action unfolding on-screen and the best way to enable the audience to connect with the characters on-screen. Hand-held cinematography allows the audience to not only be a spectator, but to be a part of a film. The gentle shift in camera movement in an intimate dialogue scene is a subtle but effective way to help create the illusion that you, as an audience member are part of that scene.

Unfortunately I haven't undertaken the role of a cinematographer since Level 5, two years ago. However because of my passion and past experience in shooting, I am confident in my ability as a cinematographer to produce a cinematic piece.

One of my personal techniques and beliefs as a cinematographer is to open (most) films with a striking image. I have done this in the past with other films and it has worked to great affect. In this case, I visioned opening the film 'Leaving' with a long, fixed, forward track of the hotel room with the two characters in bed with one another. The shots primary aim is to raise multiple questions, who'm is in the bed (as the angle of the shot is on level with their feet as to not allow clarity to who the pair are), where they are, and why. I also believe that by opening the film with a long, static shot it sets the mise-en-scene for the piece and allows the audience to become familiar with the surroundings within the film. Labelled the 'Master Shot', this will allow me to cut back to the shot later in the film (if necessary) when I begin editing the piece.

The dialogue scenes will implement the universal over the shoulder (OTS) shot-reverse shot technique. They will be framed as medium close-ups (MCU) to best convey the characters' facial expressions and body language, and to allow breathing room for their actions and surroundings.

One of the requirements for the shoot is to feature and utilise a mirror within the film, therefore Jordan thought of a clever technique in which we could kill two birds with one stone, all through the use of the mirror. The technique involves an OTS focus pull of the male character (Billy) holding a picture of his wife and infant son, to the reveal of another woman lying in bed (in the mirror). This effective technique if pulled off correctly will raise more questions and create emotions for both the audience and characters on-screen.

Shot 5, our most ambitious shot in the film involves the technique of tracking Billy as he sits up on the edge of the bed from a horizontal to vertical position. Jordan and I believe this is a fresh and interesting technique that will separate our film from most other texts.  

The next stage in production for myself is to create an equipment list for the shoots that will take place on the week beginning Monday 10th November 2014.

Project Assignment

The purpose of this research blog is to document the work I have undertook for this module 'Working with Actors'. I shall research relevant materials and resources that apply to my specialism(s) and include any relevant documentation I have produced for this semester. This may include lighting plans, floor plans, storyboards, shot-lists and more. 

I have been designated specific roles for the 'Working with Actors' films we are to produce, these are the following:

'LEAVING' directed by Jordan Deakin

• Cinematographer

• Editor

'LEAVING' directed by Lucy Smith-Jones

• Assistant Cinematographer 

'BITTER LITTLE TWIST' directed by Paul Manning

• Editor 

In total, I will be working on three films.

As I am undertaking multiple roles in the production and post-production process, I will devise a schedule for myself and a list of equipment required for the upcoming weeks.

Each director adapted their screenplay to best suit their own vision. After doing so, Jordan then brought forward his adapted screenplay and I sat down with him to discuss the way in which he visioned the short-film to be shot.