WHERE MONSTERS LIE VISUAL TREATMENT CINEMATOGRAPHER
MARIO CONTINI
DIRECTOR
NOEL BRAHAM
“Film are not pictures of reality, rather the humanization of nature, since the very landscapes we choose as backgrounds for our dramas are the products of the cultural patterns within us.” J. Dudley Andrew on Balazs
ASPECT RATIO NARRATIVE X 2.2:1
X MIXED FORMAT CINEMATOGRAPHY
Digital anamorphic widescreen. ISOLATION. UNCERTAINTY. TENSION.
NEWS CAST X 1.33:1 1080p Digital HDV upresed to 4k. WINDOWED. NOSTALGIC. FACT.
FLASHBACKS X 1.78:1 Full frame digital spherical. SUBJECTIVE. DREAMLIKE. MYSTERY.
“Life is unpredictable, and cinematography should be a reflection of that.” Rachel Morrison, ASC
FRAMING / NEGATIVE SPACE IMBALANCE. UNCERTAINTY. MISTRUST
FRAMING / CENTER
CONTROL. EMPOWER. - VULNERABILITY. HELPLESSNESS.
Truth.
Energy.
INSERTS
Commitment.
Sentiment.
“Style is superior to truth, for it contains the proof of existence itself” Gottfried Benn, German Writer
LIGHTING / SILHOUETTE CONFLICT. DECEIT. ISOLATION. DOUBT.
LIGHTING / INT. ATMOSPHERE HOPE. CALL TO ACTION. - JUDGEMENT. FOREWARNING.
Sodium vapor practicals and torch light are the main sources of illumination
LIGHTING / NIGHT EXT
THE BATTLE
ASPECT: 2.2:1 SENSOR: LF (23.98/60fps) LENSES: FF SPHERICAL
FINAL TRANSFORMATION
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For the irst time, we see the e ect the haze has on it’s victims in a traumatic montage of ECU shots through the use of MACRO photography and uncomfortably close framing.
The camera moves freely, as if the audience is a player in this delusional game.
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HAZE and irelight SILHOUETTE and obscure the town like a battle ield.
MARKEL’S MEMORIES
MARKEL’S MEMORIES LIVE IN SHADOW. Dark, larger than life POV in a SURREAL dream world. The CAMERA FLOATS e ortlessly through in inite space. Extremely SHALLOW DOF focuses the eye of his mind. Objects come into form as ABSTRACTIONS. TIME STUTTERS between normal and slow-motion. LENS FLARES signify a discovery.
ASPECT: 1.78:1 SENSOR: LF (23.98/60fps) LENSES: FF SPHERICAL (VA35-37 RAPTOR T2 DIRTY).
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FF 100MM MACRO. PROBE LENS. SPLIT DIOPTERS
“Light and shadow, to symbolize not only that Political period but also the life to he made protagonist with his inner separation between the conscious and the unconscious” Vittorio Storarro, ASC
MARKELL Do or Die Lieutenant of the group who follows orders and the sisters command at the drop of a dime. Begins to struggle internally with his faith and history of trauma which places him at odds with the overall ideology of FTS. VISUAL THEMES Subjective lens tells the narrative through his POV. Clean singles. Sidelight let’s us know he is con licted. Shadows challenge his faith in SILLHOUETTE. REFLECTIONS expose his real self, who he has a hard time facing. Constant EYELIGHT. Markell is always thinking about something.
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Markell travels through shadow and into light at the moment of self-realization.
AVIS A guardian angel. A guiding light in darkness. She represent truth and optimism and serves as the connection between Markell and unlock the good that resides in the past that taunts him. VISUAL THEMES She is often CENTER FRAMED as she comes to us through Markell’s story POV. Large EYELIGHT signi ies hope and connection. Angelic BACKLIGHT signifying trust with Markell and soft bounce key light. We don’t know everything about her past.
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AVIS’ APARTMENT
LORANE We frame Lorane within frames to further separate her from her sister, at the same time she feels trapped. Lorane is uncertain of her path. We rarely center her in frame. However, Lorane and Markell see to eye. VISUAL THEMES Frame within a frame and/or foreground when she feels trapped. Loneliness through SHAPED LIGHT. SIDE-LIGHT as a way to express her inner struggle.
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Re lections.
YVONNE Represents the collective rage of Black America. She takes extreme actions to achieve the groups goal to eradicate Willy. We are loose with her except in moments of manipulation. We slowly start pulling away from her and frame her with longer lenses as she loses her connection with the world. Her hatred embraces the shadows. VISUAL THEMES LOW ANGLES give her power and control. Often we CENTER FRAME her as she is the leader of her group and the center of Lorane and Markell. UPLIGHT puts the ire in her eyes.
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Photographed from a DISTANCE.
BERTRAND Insecure with his own failures, he goes to the extreme to preserve White America. We hold extra headspace for his environment as he carries the weight of everything he is ighting for. Subjective framing opens up objectively to reveal how absurd he really is. Bertrand trust no one. VISUAL THEMES Subjective paranoid framing. LOW-ANGLES when he feels “all-mighty” powerful. HEADROOM for thoughts and his tie to GOD. HARSH UP LIGHT shows sinister motives.
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HARD EDGE LIGHT as if everything he says, is a revelation.
Paranoid subjective framing.
Objective framing.
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