All posts by Charlie Waters
Filters
Production Role 2: Editor
Description: the editor of a film is responsible for the speed and duration of camera shots in post-production. They also craft meaning in a film product through the order or montage of the camera shots. Editors work in close proximity with directors to ensure that the editing creates the intended meaning of the film; this could be achieved by using the correct type of montage or through the use of the kuleshov effect; an editing technique developed by soviet filmmaker Lev Kuleshov, in which the audience can derive meaning from the interaction of two usually reaction shots juxtaposed with a different shot between the two.
Inspirational Professional: I find lots of inspiration in the works of Australian film editor Lee Smith as of his heavy additions to many of Christopher Nolan’s most notable works, e.g. ‘Dunkirk’, ‘Interstellar’ and ‘Inception’. His usage of rhythmic montages in Nolan’s films adds another layer of the theme of ‘time’, reminding the audience of the importance of this theme on the overall narratives. Smith also utilises intellectual montages which adds a second layer of meaning to the finished film.
Jersey’s Cinema Era
How many Cinema screens were there in Jersey during the “Golden Age” of cinema (1930’s to 60’s)?
There was around 7 public cinema screens in Jersey during this era.
How many Cinema screens are there now?
There are 10 public cinema screens currently- all owned by Cineworld.
What independent cinema spaces currently exist in Jersey?
The Art House Jersey, Jersey Arts Centre, The Grand Hotel and Howard Davis park.
Explain why the number of cinema screens have declined over the years and what you think the implications are for the film industry in general?
Cinema screens have been in gradual decline since the 60’s as a result of TV’s being introduced into the home setting; this meant there was less demand for cinemas as people could receive a similar experience from the comfort of their homes. I also believe the decline of cinemas in general is down to the privatisation of the cinema business, as now we have one large corporation (Cineworld) controlling all public cinema screens.
Production Role 1: Cinematographer
Description: The cinematographer is responsible for working with the director to discover the most suitable lighting, angles, filters, and movements to achieve the required effect/ meaning. Also know as the Director of Photography, although technical lighting and camera abilities are vital for this role, a clear vision for the intended effect of the film is also as valuable. Cinematographers work very closely with Directors and Writers to find the correct techniques which would suit the overall aesthetic and desired meaning of a film project.
Inspirational Practitioner: I have picked Robert Yeoman for my inspiration as I admire his versatility in being able to seamlessly switch between genres and still produce effective pieces of cinematography. He works closely with Wes Anderson, being a part of every production from ‘Bottle Rocket’ to ‘The French dispatch’. His style in Anderson’s films consists of using varied colour palettes to capture the colours of the set/ costumes and usually soft lighting techniques. Anderson and Yeoman shoot the movies with film stock and anamorphic lenses which give the distinctive visuals Anderson’s films are known for. He has also collaborated with directors such as Wes Craven (‘Red Eye’) and recently Paul Frieg (‘Spy’ ‘Ghostbusters’) in which he produced stunning pieces of cinematography which work effectively with the specific genres and directors. I am personally inspired by Yeoman’s individualistic style and use of colour to increase the aesthetic appeal of a movie, in addition to his versatility working under differing genres and directors.
Portfolio: Production Roles
Role 1 – Cinematographer: I’d like to do this role as I find it very interesting to craft different meanings in film through the use of cinematography.
Role 2 – Editor: I’d like to do this role as I enjoy using editing to control the pacing and to further the meaning of a film piece.
Role 3 – Writer: I would like to do this role of script writing as it would challenge my creativity around making a narrative and scripts.
‘Joker’ Editing Task
‘Dunkirk’ First Response
Critical Score: 8.8/10
The most memorable scene for me is the torpedo scene. Christopher Nolan accurately adds tension for the audience before the torpedo hits in this scene through a multitude of eye level shots; these shot types make the audience feel as if they are a soldier on the boat, at risk of the torpedo. A singular 2 second shot of the boat’s door locking closed behind the soldiers is also used to add suspense as the soldiers are now trapped into the vessel.
How Editing is Used to Build Tension in Whiplash’s final scene
The final scene of Whiplash offers the audience a concluding glimpse into the relationship between Fletcher and Neiman, leaving much to the mind’s inferences through abstract camera movements, juxtaposing editing styles and a lack of dialogue. Tom Cross, Whiplash’s editor, merges a plethora of editing styles together in this concluding scene to create a visceral experience for viewers, visualising the tension that have been built up between the teacher and student pair.
To begin with, I believe this tension through editing can first be seen as Neiman concludes the first song of the final scene; Cross utilises a shot-reverse-shot of Neiman close up juxtaposed beside a lingering shot of an expressionless audience. The use of this editing technique highlights Neiman’s extreme desperation to become great, therefore impressing Fletcher (the key theme of the whole movie). The placement of these three scenes together also shows the judgement that Neiman is now facing at the hands of Fletcher; this sets-off the feeling of tension in this last scene, as Neiman aggressively attempts to retaliate to Fletcher’s mockery with a performance solidifying him as great…
Next, as Neiman abruptly cuts Fletcher off mid-sentence, a rhythmic montage demonstrates the exceptional musical ability Neiman is showcasing; the feature of this fast-paced and breakneck editing style reflects a change of demeanour and musical ability in Neiman, as this editing is juxtaposed with the prolonged and sluggish (but intentional) editing style of the musical piece played beforehand. This change in demeanour highlights Neiman’s newly found desire to fight back against the mockery of the preceding scene and therefore play extremely well. This elicits tension as it is unknown to the audience whether Neiman will keep this intensely impressive drumming ability up or if he will succumb once again to the humiliating harassment at the hands of Fletcher.
Furthering on this point, the tense skirmish between the pair is developed through the use of an L-cut as Neiman attempts to cue-in the cello player. This L-cut highlights Neiman’s spontaneous greatness in this scene and how he is slowly encaptivating other band members to continue this greatness. In a band performance, one of the conductor’s (Fletcher’s) main duties is to cue the multiple band members in on time. Therefore, Neiman’s attempt to almost take this role from Fletcher furthers the combat and thus tension of the scene, as the audience would expect hot-headed Fletcher to retaliate to such actions.
Continuing on my point that Neiman is attempting to target Fletcher through his control over the band, this is clearly highlighted through Cross’ placement of a 15-second shot of Fletcher appearing slightly annoyed and failing to conduct his band, next to an intellectual montage of Neiman passionately drumming with shots of multiple other band members; the juxtaposition of this shot and the montage portrays Fletcher as now almost incapable of controlling his band as a result of Neiman’s recently founded dominance and authority. The aforementioned intellectual montage may have been used by Cross as a visual depiction of Neiman’s dominance and also his perfect harmony in relation to the band. Tension is still being built in this scene as we are in anticipation of Fletcher’s retaliation towards a now dominating Neiman.
Another use of an intellectual editing can be seen as Fletcher attempts to threaten Neiman for the final time; during the first music piece as Neiman is actively enduring Fletcher’s threats, a camera angle is established and utilised multiple times: low shot of Neiman from the perspective of Fletcher as if he is below him and vulnerable. This trope of Andrew’s vulnerability in this scene is shattered as this intellectual editing shifts the dominance away from Fletcher, as in addition to the camera cutting as the symbol is hit the camera angle also shifts to a less vulnerable viewpoint. This perfect blend of editing and cinematography creates an intellectual montage which furthers the combat between the student and teacher, increasing the build-up of tension.
Match Cuts
A match cut is an edit in cinematography that uses elements of one scene in the transition to the next scene.
Types of match cuts: eye-line match, graphic match, match on action, intellectual match.
Example of a match cut: Schindler’s List (1993)
Depth of Field
Depth of field is the distance within which all objects will be in acceptable sharp focus. It is an area in front of and behind the principle point of focus that will also be in acceptable focus.
Shallow focus: the technique that keeps one part of an image in focus while the rest is out of focus.
Deep focus: a technique where all elements of an image—foreground, middleground, and background—are all in sharp focus.