Filming Assignment 3 mise-en-shot

Using my screenplay and story-board I had my blueprints for my short-film.

For mise-en-shot, I used my handheld light-meter to measure the incident lighting in my scenes.  I also re-set the color-balance on my camera for every new scene and change of lighting.  I used both natural ambient lighting and I used for the first time my 800W tungsten film lights that I purchased from Amazon for £90.

video lights

I was trying to get away without using lighting in my filming but for the modest cost I felt the benefits outweighed the expense and would help out with exposure issues and improve the quality of my work and I am supposed to be a photographer after all.

In the right hand image you can see my script blue-tacked to the wardrobe for reference, whilst out of shot.

I employed my new liquid-film-head which made positioning much easier and I used it to a small extent in panning.

video tilt and pan head

I was also tempted in to investing in a slider and used it for the scene when I notice the take-away Pizza brochures.

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My choices of lenses for this film were all prime-lenses. 24mm f/2.8, 50mm f/1.8, 105mm f/2.8.  My reasons are that these are faster lenses offering greater flexibility for lighting conditions and a wider choice for depth-of-field.  In the scene with the smoke I removed my UV filter that I use to protect the lens in order to get a good image of the smoke.  I had read somewhere that UV filters can cut through fog and may spoil an atmospheric image.

All focusing was controlled using a tape-measure.

I used the 24mm lens for the establishing-shots and I used it on myself in the close-up in the last scene to make me look more foolish when I realise my idea of using a take-away pizza has backfired.

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I used the 50mm lens for most of the close-ups and the smoke detector scene.

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I used the 105mm lens for a POV view of the take-away brochures.

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Most of the filming was made from a mounted camera to a tripod or slider except for the POV of the fridge door.

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Sound was recorded seperately and I employed a shotgun mic mounted to a boom and stand for the scenes with myself and my wife.  These scenes were synchronised using a clapper-board.  Additional ambient sounds were recorded for the kitchen, office, smoke alarm and cooking.

 

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