Role 3 – Cinematographer. I’d like to do this as I enjoy the process of creating and modifying shots.

Cinematographers operate and direct camera-work in a film, often expanding on a director’s ideas.

An example of a Cinematographer I would like to study and take from is Bruno Delbonnel, who worked on films like Amelie and Darkest Hour. He has a tendency to create moving shots with creative mixes of movement.

Role 2 – Director. I’d like to do this as I believe the role of combining elements of film together will be quite interesting.

A director leads creativity and ‘directs’ the film-making team on creating the film.

An example of a director I would like to study and take from is Wes Anderson, especially his work on Moonrise Kingdom, as it is a very obvious display of creativity and direction.

Role 1 – Sound. I’d like to do this as I enjoy the process of layering sound complex tunes together an immersive experience for the audience.

A sound editor records and chooses which sounds to record, whilst a mixer decides what sounds, where and when they should be used in the production.

An example of a sound Mixer and Editor is the lead of composition of the film ‘Moonlight’ Nicholas Britell. The film uses the music to create powerful scenes and I’d like to see how I can replicate this effect.

Low Shot

In cinematography, a low-angle shot, is a shot from a camera angle positioned low on the vertical axis, anywhere below the eye line, looking up. Sometimes, it is even directly below the subject’s feet. Psychologically, the effect of the low-angle shot is that it makes the subject look strong and powerful.

High-angle shot

A high-angle shot is a cinematic technique where the camera looks down on the subject from a high angle and the point of focus often gets “swallowed up”. High-angle shots can make the subject seem vulnerable or powerless when applied with the correct mood, setting, and effects

Eye-Level Shot

The eye level shot is exactly what it sounds like: the cinematographer positions the camera angle directly at the eye level of the character. The subject is usually captured from the knees to the head, with very little surrounding context.

During our project there was many times that reshooting was needed due to either me or Noah laughing or one of us being in the back of a shot which we shouldn’t be in or just not being ready or not being told that we were filming.

For next time I believe it would be better if we got counted in as we knew when the shot was being recorded

Extreme Closeup

The extreme close-up shot is traditionally used in film to allow the viewer to enter the character’s intimate space, revealing certain characteristics and emotions that would otherwise go unnoticed from afar.

Extreme Long Shot

 In film, a view of a scene that is shot from a considerable distance, so that people appear as indistinct shapes. An extreme long shot, on the other hand, is a shot that frames the character or subject from a distance and focuses primarily on their surroundings. This shot is often used as an establishing shot for location or setting, before focusing on the character or scene

Medium Shot

The medium shot, sometimes also called a mid-shot or waist shot, is a film shot that stretches from around the waist (or sometimes the knees) of a subject up to their head. (Sometimes people also use it to refer to full-length views.) The director of photography uses a medium shot to clearly show the actor’s face and emotions while still informing the audience of what’s going on in the world around them.

I think our filming in our Joker project could’ve been better planned out, as we found ourselves making up shots we needed and wanting to refilm lots of shots in order to help our editing come together.

My editing too could’ve been better planned alongside the filming, as this would’ve created a more thought-out production.

A film that I think demonstrates excellent use of Mise-En-Scene is Star Wars Episode IV: A new Hope.

This is because of the atmosphere that started a successful franchise, and the creative and innovative ways the film was produced.

Dunkirk (Christopher Nolan 2017)

Critical score: 7/10

memorable scene: The torpedo scene

The tension in this scene is built up using a range of eye

https://jerseyedu-my.sharepoint.com/:v:/r/personal/m_mbrowning13_hautlieu_sch_je/Documents/Shore%20WITH%20SOUND%20.m4v?csf=1&web=1&e=usDDjh

https://web.microsoftstream.com/video/3723dbef-3865-4fc7-a390-a9795092797e

DIEGETIC GAZE

Diegetic perspective or “gaze” is expressed in terms of how the audience is being asked to look at the content or subjects on screen by the director e.g. what is being emphasised through the use of close up?

INTRA-DIEGETIC

The intra-diegetic gaze is when the audience are put in the place of a character and being asked to see things from their viewpoint e.g. through the use of subjective camerawork in films like Cloverfield ().

The use of Intra-diegetic in ‘The Blair Witch Project’ helps the audience feel in the world of the movie as the audience views and watches everything that the characters see from their point of view, this helps the film feel grounded and not overly unrealistic, the use of a found footage film and intra-diegetic also works well with the genre of the film of it being a horror film.

EXTRA-DIEGETIC

The extra-diegetic gaze is when someone on screen addresses the audience directly by looking directly down the lens of the camera– sometimes known as “breaking the 4^th wall”. Not to be confused with the above when the audience are being asked to the “perspective” of another character.

Extra-diegetic gaze is used throughout Ferris Buellers Day off Ferris breaks the fourth wall multiple times in his explanation of what he is about to do. He is skipping school for the ninth day in the same semester—and shamelessly showing us his entire secret game plan. This automatically makes him a likable character.