Design workshop by XINRUI PENG

Design Workshop Xinrui Peng 825731

Content:

// Reflections in tutorials

4-7

// Photos exercise

8-19

// Film Analysis

20-71

// Test Filming

72-75

// Test Images

76-89

// First Time Filming

90-167

// Second Time Filming

168-263

Cinematic Architecture

What is a STORY? What is the connection between form and atmosphare?

How can we use film and cinema techniques and methods of thinking as a sourse of inspiration for architecture?

Defination of Story:

What is the connection between cinema and architecture?

A story is an account of imaginary or real people and events told for entertainment.

How architecture has been shown in the film?

A story is a report of an item of news in newspaper, magazine, or broadcast.

What language, or atmosphare that the architecture present in the film?

A story is a fundamental way that humans orgnize and store infirmation. We can do this whether or not such meaning actually existed on its own. Sometimes, we even shape it, through our selection of elements that link chosen events into a story.

Film and movies can be undersanting as a communication and articulation of space and time which has the similar job responsibility as an architect. They are both in a way focusing on the communication with space and time. The different shot towords

A story has: Introduction

archtecture reveal different feelings in the particular film. Sometimes, it is not necessary to shown the whole part of the building,

Problem

various atmosphare can be present by only viewing a part, or some part of the building.

CLimax Resultion

Ren Koolhaas, a Dutch architect, architectural theorist and Urbanist, Started his carreer

Key ideas about Cinematic Architecture:

of architect as a film maker. Film and filmmaking has had a large influence in his design

Hyprofocus on detail, closed-up filming

on the architectual works, both direct and indirect. An example of this can be seen in

movement x motion = emotion

his Dutch House, the elements in the film “The Cabinet of Dr Caligari” has been reveal in

Capturing preception of space through

his design. The angular, dramatic and dark ramp has been selected from the film to-

movement: Kinesthetic experience

wards his architecture. This is an example that how inspirations of architectural form can

Bending of humen - spaces: How, Who, Where,

be driven from film.

What, Why

A event from A to B: It is called ‘experiences’ - from first person viewpoint It is called a ‘story’ - from third person’s viewpoint

FORM (physical space)

ATMOSPHERE (how it feel)

Bascally, form is the actual physical shape of the element and the atmosphere is the feeling while experiencing the space. Certain atmosphere can be created by different forms. For example, the feelings are different when people are standing in a vast and light space, or a narrow and dark space. The feelings are completely different while experiencing different physical forms. By manipulation these forms, certain atmosphere can be revealed. In the film, atmosphere is creating by the spacial component. The Cabinet of Dr Caligari Robert Weine 4

Dutch House Ren Koolhaas 5

A Torinoi lo (The Turin Horse) Bela Tarr The film is about a monumental windstorm and an abused horseâ&#x20AC;&#x2122;s refusal to work or eat signals the begining of the end for a poor farmer and his daughter. The space where most of the film action take place is the house they lived. Scenes are moving back and forward within the house. A house plan has been drawn by looking each scenes.

Plan of the house 6

Design your photo An exercise of drwaing cinematic plans before taing photos. Trying to design each image before takingn the photo through openings. Here are the following examples of openings, taking photos where combining these openings. windows doors opening threshole stair case corridors space of movement lineways streets corners sitting areas - thinking about what you are trying to say - Why

This image is taking in the National Gallery of Victoria. I was using my GoPro with Wide lens, taking from a mirror through the gapes between these sewing lines. By using wide lens, there is a distortion at the edge of the picture frame which makes this image looks like the view from fishâ&#x20AC;&#x2122;s eye. I like the idea of taking images from the mirror, but the distortion is not good. 8

This is also taking from NGV, it is just a hole from the corner of a wall. I was taking from this hole and looking to the back through the hole. A person sitting in the sofa can be seen from the hole. By seeing this person in such a low angle, it looks like we are hiding from her. Also, there is a small distortion at the edge of the hole. 10

This image is taking in a dark room in NGV. Light from the exterior is shwoing from the background of this image. It creates a strong contrast between the dakness in the interior and the light from the exterior. It has a strong imaginations of the goomy feelings for this dark room. Once again, the distortion can be seen. 11

A glimpse from the gapes of the fence to the Japanese Dainichi Buddha. The Buddha in the middle has the This is one of a showroom in NGV. It is a completely dark room with only light line segments shining on the ground. The lines are moving while ppeople are walking arround the showroom. This image creates a sense of mystery and the sense of movement. The unfocus of the image creates the sense of movement within the people and the lights on the ground. 12

sense of sacred. Comparing to the person who looking to the sacred Buddha from the gap, it seems that this person may have some guilt in the heart because it looks like this person is afraid of the Buddha. Thatâ&#x20AC;&#x2122;s why this is just a glimpse from the gape. The lens is changing into a medium len, so there is no distortion shown. 13

A corridor in NGV. Natural light is shining from the openings in the seiling to the ground. The upper surrounding in this image is much brighter than the lower part of this image. The textures on the walls on both side has been well shown. The pattern on the walls is beautiful and outstanding. 14

This image is taking from level one to the ground floorâ&#x20AC;&#x2122;s corridor. The vanish point has been clearly shown in this image. The positions of people is interesting as well, people are walking in different levels but forming a diagnal lines. 15

This image is taking from the undergrand tunnal in Flinders Street. This image is taking on the gapes of a bridge on Yarra River. Looking to another bridge not far away from here. It is taken from a low angle in a kidâ&#x20AC;&#x2122;s view towards outside of the handrill of this bridge. The view in the background create different layers in this pictureframe. 16

People are walking back and forward in the tunnal. The lights are artificial lights even though it is daytime. No natural light is penetrating to this underground tunnal, only artificial light present. The position of the light in the ceiling is easy to identified, where the most brightest point will be the location of lighting. 17

This image is taking through the fence in the underground tunnal of Flinders Street. Lighting in this image is clearly distinguish by two different sourse. Natural light is shining from the outside, leading peopleâ&#x20AC;&#x2122;s attention to where the exit is. Movement has been shown in this image as well. 18

This is taking in the middle of the tram. The body of tram forms a tunnal with the single light in the middle, create a sense of leading the directions. The person looking towards his back viewing the person in the middle of the tram creates a focus point in this image. Also, the orange colour is quite bright in the pictureframe, the person in the orange vans will definitely be the focus point of this image. 19

Psycho Alfred Hitchcock

Psycho is a 1960 American psychological horro film. This is my first time trying to making the film analysis, I screem shot a lot of shots in the film. I took a screem shot at everytime where camera changes. I am lack of the knowlodge about analysing the film. Further analysis will be shown in the following pages. 20

DoF

The scene begins with Marion Crane preparing to take a shower. She pushes the door closed and makes sure it is fully shut before undressing and stepping into the shower, where she pulls the shower curtain and begins to shower. The camera transitions from a front shot of Marion to a close up of the shower head, then back to smiling Marion showering with delight. After a few more shots, we then see Marion showering in the foreground whilst a shadow in the background behind the shower curtain indicates the door being opened.

EYE LEVEL

The shadow then creeps up until he pulls back the shower curtain, revealing the silhouette of the murderer. This alerting a terrified Marion, who shrieks as she is gets stabbed repeatedly. It is from this scene that we get the famous and now cliche “psycho strings” audio cue done by the playing of short, sharp and high-pitched This is one of the chosen shot that Marion was shawering and the murderer is standing right behind her back. The outline of the murderer at this stage is not quite clear, he is hiding in the back. But he was definitly there.

violins in the background. Although the scene is quite graphic, the knife is never seen penetrating the flesh; most of the horror comes from the musical score. We see Marion grasping at the shower curtain, taking it with her as she collapses. We the see the close-up of the shower head again, this time transitioning to Marion’s feet, slowly panning following the blood in the water as it flows into the drain. The camera then zooms in on the drain, transitioning into a close up of Marion’s pupil and thus changing the focal point, where it the zooms out revealing Marion’s dead body and pans out, ending the scene. In this scene, the shot of the shower head is shown twice, however they depict very different conditions of Marion; one portrays a cheerful woman enjoying her shower, while the other displays a lifeless body. 23

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Lens

Zoom

Tele Wide

Deep

Normal

DoF

Depth of Field

Deep

Optic

Lens

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Focus Points

Backward

Fixed Chaging

Focus

Nr of Changes

Forward

Backward

Forward

VP Outside Frame

2VP

Camera/ Movement

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tripod-Camera Movement

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

North South West

VP Outside Frame

2VP

Diagonal

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

East

1VP

VP in Frame

Tripod-Camera Movement

Diagonal

Down

Perspective

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Camera is following Mr. Bates, he is checking if there is anyone outside through

Mr. Bates looks worried and he does not know what to do next, so he went out

the window. After he killed Marion Crane, he is thinking about taking care of her

of the room and thinking about is there anything that can use to get ride of the

body.

Bates’ Hotal

1VP

VP in Frame

Comp. Notes

Perspective

EYE LEVEL

Camera/ Movement

Comp. Notes

EYE LEVEL

Bates’ Hotal

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

Forward

Comp. Notes

EYE LEVEL Perspective

VP Outside Frame

2VP

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tripod-Camera Movement

Camera/ Movement

1VP

VP in Frame

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Right Horizontal Left

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

These scenes are the actions of Mr. Bates take after he killed Marion Crane and he Deep

Forward Backward

Diagonal

Down

North South West

East

is struggled and scared. But he quickly decided to get rid of the body and evidence of killing. The background music is working really well at the back, even there is no one talking in the back, we could still possibely feel the sense of tension from Mr. Bates that his strong intension of getting rid of the dead body. The music of the film is very important, and sometimes they can help viewers to have a bettern interpretations of the story.

Mr. Bates heading back to the bathroom and looking towards the body. In the next following scenes, Lida Crane is secretly entering Mr. Batesâ&#x20AC;&#x2122;s House and trying to find out his secret. Batesâ&#x20AC;&#x2122; Hotal

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Lens

Zoom

Tele Wide

Deep

Normal

DoF

Depth of Field

Deep

Optic

Lens

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Focus Points

Backward

Fixed Chaging

Focus

Nr of Changes

Forward

Backward

Forward

EYE LEVEL

VP Outside Frame

2VP

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Pan

Right Left

Hand-Held Camera Movement Pan

Right Left

Tripod-Camera Movement

Camera/ Movement

1VP

VP in Frame

Comp. Notes

Perspective

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Tilt

Up Down Diagonal From Where to Where Up Down Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

North South West

ing to figuring out what is hiding in this house. She entering the house and starting to look around and then coming back to close the door where she enters the house. Even though she is facing the camera while sshe closing the door, her eyes are never look up to the camera. This is important while taking our shots. Remember to avoid eye contact to the camera. Ground Floor Plan 28

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

DoF's length

Pan

Right Left

Hand-Held Camera Movement Pan

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Drone/Heli Shot

East

This scene starts from Lida Crane break into the Bates House secretly, try-

VP Outside Frame

2VP

Space Layers 1 2 3 4 5 6

Crane-shot

Diagonal

Down

Perspective

Tripod-Camera Movement

Camera/ Movement

Comp. Notes

EYE LEVEL

Down Up

Horizontal

Tilt

Up Down Diagonal From Where to Where Up Down Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Lida Crane is entering the main bedroom and starting to look around. The camera at this moment is fixed, she is moving to the left. The whole positions of the funiture has been shown clearly by this shot. Almost all the elements in the room has been included by this shot. Between her journey of discovery, there are seveal close-ups of objects has been shown, It looks like we are floowing her eyes, we see what she sees at the same time. I like the way how close-ups are placed in the middle of a whole journey, maybe we can use this method in our film. First Floor Plan 29

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

Forward

Comp. Notes

EYE LEVEL Perspective

VP Outside Frame

2VP

1VP

VP in Frame

VP Outside Frame VP in Frame

Depth/ Layers 3dimention

Frame created inside the shoots frame. Simple vanishing points

Various layers of sounds. With background music and environment sound

framing shoots as well as different layers positions of characters

Balancing symmetry

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Space Layers 1 2 3 4 5 6 DoF's length

Camera Tripod-Camera Movement

Camera/ Movement

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Plain walls or plain furniture

Composition

Distorted

No sound/ Silent movie/shoots

Pan

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Tilt

Horizontal

Tilt

Up Down Diagonal From Where to Where Up Down Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Zoom

In Out

Diagonal

North South West

Diagonal

Down

Shooting focusing

East

This scene is where Lida Crane come closer to the dresser and noticed that seveal reflections of herself is in the mirror and she is scared about that. She thought there is someone standing behind her back, but in fact it is just her reflections in the mirror. Two mirrors are facing themselves which create two reflections in total. There are

Form

DoF

three Lida Crane in this frame which is very interesting. The mirror also creates the sense of layers for this scene.

Detail (organic factor)

First Floor Plan 30

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Lens

Zoom

Tele Wide

Deep

Normal

DoF

Depth of Field

Deep

Optic

Lens

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Focus Points

Backward

Fixed Chaging

Focus

Nr of Changes

Forward

Backward

Forward

EYE LEVEL

VP Outside Frame

2VP

Camera/ Movement

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tripod-Camera Movement

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

North South West

East

VP Outside Frame

2VP

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tripod-Camera Movement

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Diagonal

Down

Perspective

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

This scene is shoting from a very low angle towards Lida Crane. Watching her

In this scene, Lida Crane is entering in a small storage room with many toys in it.

walking upstairs.

Once again, seveal close-up of differnet objects is insert within her movement

By shoting her in a very angle, it has the feeling of hiding. It looks like she is hiding

which leads viewers’ eyes becoming Lida’s eyes. Making viewers becoming a

from others and secretly moving around.

part of the film.

First Floor Plan 32

1VP

VP in Frame

Comp. Notes

Perspective

Camera/ Movement

Comp. Notes

lOW ANGLE

First Floor Plan 33

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Sound/ Background music

Deep

No sound/ Silent movie/shoots

Sound recorded of the surrounding environment

Various layers of sounds. With background music and environment sound

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Nr of Focus Points Fixed Chaging

Focus

Comp. Notes

Depth/ Layers 3dimention

Forward

Plain shoot with only character and a back roll

EYE LEVEL Perspective

VP Outside Frame

2VP

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Balancing symmetry

Strong compositionally composition between different objects

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Composition

Plain walls or plain furniture

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Camera/ Movement

Nr of Changes Backward

Pan

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Crane-shot

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Horizontal

Right Left

Camera Rotate

Rotate

Right Left

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Zoom

In Out

North South West

Diagonal

East

Lida Crane is hiding from Mr. Bates. This shot placing the stairs in the middle and two characters in the both side that creates the sense of symmetry. This might be used in our filming as well, by putting openings, corridor in the middle of the frame.

Diagonal

Down

Shooting focusing

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Form

DoF

Detail (organic factor)

Ground Floor Plan 34

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Lens

Zoom

Tele Wide

Deep

Normal

DoF

Depth of Field

Deep

Optic

Lens

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Focus Points

Backward

Fixed Chaging

Focus

Nr of Changes

Forward

Backward

Forward

EYE LEVEL

VP Outside Frame

2VP

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tripod-Camera Movement

Camera/ Movement

1VP

VP in Frame

Comp. Notes

Perspective

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

North South West

VP Outside Frame

2VP

VP Outside Frame VP in Frame

Distorted

DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Drone/Heli Shot

East

1VP

VP in Frame

Space Layers 1 2 3 4 5 6

Crane-shot

Diagonal

Down

Perspective

Tripod-Camera Movement

Camera/ Movement

Comp. Notes

lOW ANGLE

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

In this scene, camera is fixing at a fix point and then paning towords right follows

Camera is following with Lida Crane while she is entering the room. With a little

the character. It is noticed that the speed of the movement of the camera is not

tile of the camera, her face is more clear.

necessery the same as the speed of character’s movement. In this case, Camera moves quicker than the character’s. It creates the sence of hurry in a way. It emphasize the tension of the character.

Basement 36

Basement 37

Memoirs of a Geisha A Geisha is a traditional Japanese female entertainer who act as a hostess, using her wide skills to entertain customers. Their skills including classical music and traditional dance, witty games and conversation. In this film, Chiyo has been sold to the mother of a Geisha house in Gion, one of the most prominent geisha districts in Kyoto, by her aging father. From the start of the scene, Chiyo is heading towards geishaâ&#x20AC;&#x2122;s school with her friend pumpkin.

Scene takes place through the small opening. We can see through the small openings that the girl is running downstairs for school.

Two girls are entering the scene from the left and the camera is following them. This gives the feeling that we are following them. The changing appearance of light appeals the complexity of architectures of this city. It contains walking path and also narrow tunnels. Camera moving up and comes to a close-up of a wooden decoration fish that hangs outside of the house that girls just wanted to reach. Girls coming out of the frame from the right of the scene.

Girls coming into the scene again from the right. They are facing the camera this time. Girls are heading to their destination and the Camera zoom out, showing a much larger view of the scene. More details of surrounding architecture have been showing. 38

Sound/ Background music

30 s

5s Camera

52 s

M.C.U

M.S

Shooting focusing

20s

Scale

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Strong compositionally composition between different objects

Plain walls or plain furniture

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Material (lighting) Lighting

Form

Fast cut(s)

Clean/Caressing Glossy/Neat Soft/Polished Natural light

Rectilinear

Normal Pace

Covered in dust/Rusty

High key

Curvy

Long Take

Rough/ Edgy

Low key

Sharp and angled

Normal

DoF

Depth of Field

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

Forward

Camera/ Movement

TIME

M.L.S

E.L.S

Plain shoot with only character and a back roll

Tele Wide

Perspective

VP Outside Frame

2VP

1VP

VP in Frame

EYE LEVEL

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

10s

L.S

Various layers of sounds. With background music and environment sound

Optic

Depth/ Layers 3dimention

Composition

10 s

Sound recorded of the surrounding environment

Lens

M.C.U

C.U

No sound/ Silent movie/shoots

Comp. Notes

Pan

Up Down Tilt Diagonal From Where to Where

Right Left

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Detail (organic factor)

DoF At first, I was using different gradient of black to represent multiple layers of this scene. And then I found out that it is not quite clear, so I add this isometric graph to represent each layers. The clearity of these two graphs can be compared by putting them together.

From the last long shot of the scene, there are four layers of the scene. This creates the depth of the scene and make the environment more interesting. It shows Gion to the viewer.

One of the best thing I like about this scene is the way they filming it. They are using peripheral viewing to let us following the two characters. This create the feeling that the viewer is following the characters. Letting the viewer becoming the part of the film. The focus point however, is not the characters we followed, but the surroundings.

Stranger things An American science fiction-horror web television seriescreated, written, and directed by the Duffer Brothers.

The scene begins with a flashback of Jim Hopper, a father with his only daughter that has encountered cancer in the hospital. The camera moving from the close-up of Jim’s daughter’s favourite toy to a medium shot of Jim and his daughter. Jim is smiling and reading book to her. The weather is nice outside shown by the bright rays of sunlight penetrating through the window. Even though his daughter looks very pale, we could still feel Jim’s faith in Sarah to make a recovery someday. However, from the scene of Jim reading to his daughter, we suddenly flash to a shot of Jim hiding in the corner of a dark staircase, weeping. a high-angle shot is taken of him, giving the appearance of Jim being squeezed into the corner even more. The next zoom out of the camera makes Jim looks much smaller, raising his hopelessness. The big changes of lighting effect enhance Jim’s desperation in the atmosphere. We could feel the desperation and pain from Jim as a father, and also see his love towards his daughter.

2 Sound/ Background music

60 s

Depth/ Layers 3dimention

Plain shoot with only character and a back roll

Frame created inside the shoots frame. Simple vanishing points

Plain walls or plain furniture

Balancing symmetry

Tele Wide

Strong compositionally composition between different objects

Normal

DoF

Depth of Field

Composition

Lens

framing shoots as well as different layers positions of characters

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

M.S

Shooting focusing

10 s

Scale

TIME

11s

M.L.S

Material (lighting)

L.S

Focusing on the character itself

Fast cut(s)

Clean/Caressing Glossy/Neat Soft/Polished

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Normal Pace

Lighting

Natural light

High key

Rough/ Edgy

Low key

of the fire staircase. The atmosphere of the scene

Form

ronment and his current position. It could possibly

Curvy

Detail (organic factor)

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Sharp and angled Crane-shot

has completely changed in this sudden. His desperate as a father is repealing through the dark envi-

Rectilinear

VP Outside Frame

2VP

Tripod-Camera Movement

Long Take

As the camera changed into a high angle shot towards Hopper squeezing and hiding into the corner

Perspective

Camera Angle: High Angle

E.L.S

2 Covered in dust/Rusty

Forward

Comp. Notes

Camera

52 s 23s

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Camera/ Movement

M.C.U

Sound recorded of the surrounding environment

M.C.U

C.U

No sound/ Silent movie/shoots

Various layers of sounds. With background music and environment sound

Optic

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

feel his pain through the image.

Telling Story

Crying

DoF

A close-up from the low angle towards Hopper’s daughter while Hopper is reading Anne of Green Gable. The layer has been divided into three parts: the lose-up of Hopper’s hand holding the book with his ring shows that he has a good relationship with his wife at this time. He might still have some hope for his daughter and it clearly shows that Hopper and his wife are fighting together with their daughter. His daughter’s death might be the cause of their separation afterwards. Sarah looks pale while she is looking towards the book. She is laying in Hopper’s arm that seems comfort and sweet. However, the medical equipment and her head clearly shows how sick she is at this moment. 48

No country for old men Ethan Coen, Joel Coen

This is a very intensive scene. The background is super quiet, with no sound. It feels like we could hear the breathing of the character. The character is hiding in a room picking up his gun and waiting for the killer. Even there is no musiic or sound in the background, the scene doesnâ&#x20AC;&#x2122;t seems board. By doing this, the veiwer is starting to breath quietly. The last minute of the gun shot is very loud, compare to the previous quiet moment, which make it extremly scary. There is a huge contrust on the sound, which helps intense the scene. The sudden changes of the sound adding the frightening of this scene.

Depth/ Layers 3dimention

30 s

Composition

Plain shoot with only character and a back roll

Frame created inside the shoots frame. Simple vanishing points

Plain walls or plain furniture

Balancing symmetry

2 framing shoots as well as different layers positions of characters •

Strong compositionally composition between different objects

C.U

17s

27s

52 s

60s

Camera

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

M.C.U

Shooting focusing

M.S

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

10 s

27s

Focusing on the character itself

Peripheral vision

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

10s Scale

M.L.S

TIME

L.S

Material (lighting)

Fast cut(s)

Clean/Caressing Glossy/Neat Soft/Polished

Normal Pace

Long Take

2 Covered in dust/Rusty

Rough/ Edgy

Tele Wide

Change of the moving shoots. Sometime, experiencing the characters’ eyesight and feel his nervous feeling really well. Sometimes we can observe the movement of characters. Usually focus on what the character have seen or what he is doing. Changing the scale between Cu to MS: CU could draw the attention to character’s emotion. When comes to MS, explain the action that character has taken at that time. At the beginning , using Fast cuts to show what character has seen and his emotion. And then comes to normal pace to show movement. the material of the furniture is rough because focus more on the character itself.

Normal

DoF

Depth of Field

11s

M.C.U

Lens

Optic

Sound recorded of the surrounding environment

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

Comp. Notes

No sound/ Silent movie/shoots

No background music. Only the recording of the surrounding environment(focus): quiet and detail sound which create tension. Mainly focus on the character’s movement.

Perspective

VP Outside Frame

2VP

1VP

VP in Frame

Forward

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Camera/ Movement

Sound/ Background music

Various layers of sounds. With background music and environment sound

Pan

Right Left

Tilt

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Up Down Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

E.L.S

Hiding in the room

Prepare for the shot

Close-up to the door

4 3 2 1

DoF

Fantastic Mr. Fox Wes Anderson

Faantastic Mr. Fox is a 2009 American stop-motion animated comedy film based on Roaldâ&#x20AC;&#x2122;s childrenâ&#x20AC;&#x2122;s novel which directed by Wes Anderson. Wes Anderson is a American film director, film producer, screenwriter and actor. His films are known for their distinctive visual and narrative styles. In this film, its colour, shots, music and details are very rich and interesting. The colours in the film are very rich and satuated. Yellow in this scene is very stand out. Almost every shot is symmetry, Wes Anderson is extremly favour in symmetry. From the shots on the left, we can strongly distinguish her taste on symmetry. Symmetry has becoming one of his symbol. While taking a symmetry shot, I think the horizontal line of the shot is very important. We can try to take some symmetry shot as well. Colours are important as well, if we have a character in our film, the clothes of the wearing is important. Warm, rich and satuated colour is going to stnad out more.

20 s 4s

M.C.U 3s

M.L.S 0.5s

10 s

Camera

Shooting focusing

Plain walls or plain furniture Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame Focusing on the character itself

Balancing symmetry

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished Natural light

High key

Curvy

Deep

Optic Depth

Flat

Normal

Deep

Fixed Chaging

Nr of Changes Backward

Forward

Perspective

VP Outside Frame

2VP

1VP

VP in Frame

VP Outside Frame VP in Frame

Low key

Distorted

DoF's length

Tripod-Camera Movement

Rough/ Edgy

Camera Angle: Eye Level

Space Layers 1 2 3 4 5 6

2 Pan

Right Left

Tilt

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Drone/Heli Shot

Down Up

Horizontal

Up Down Diagonal From Where to Where

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Crane-shot

1 Rectilinear

DoF

Zoom

Nr of Focus Points

Lighting

Normal

Shallow Normal

Focus

2 Covered in dust/Rusty

Tele Wide

Depth of Field

Strong compositionally composition between different objects

Scale

Form

Lens

Composition

52 s

framing shoots as well as different layers positions of characters

Optic

Plain shoot with only character and a back roll

Frame created inside the shoots frame. Simple vanishing points

Comp. Notes

Depth/ Layers 3dimention

M.S

E.L.S

Sound recorded of the surrounding environment

M.C.U

L.S

No sound/ Silent movie/shoots

Various layers of sounds. With background music and environment sound

Camera/ Movement

C.U

Sound/ Background music

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Sharp and angled

Detail (organic factor)

DoF

The weeping Meadow Theadoros Angelopoulos To Livadi Pou Dakryzei Director

The scene shows the development of emotions between Eleni and Alexis. The starting shot shows there is a bit of conflict between this couple. The medium shot of them clearly shows the physical separation and their anxiety on the face. However, as the music started, the Journey of discovering the sources of the music began. The camera is moving backwards as the characters are stepping forward entering the field of sheets. The shot then changes into their perspective view, continues the journey of revealing the music. The sound of music is growing louder as the camera moving deeper to the layers of sheets. Different music sources are hiding behind at different layers of sheets increase the entertainment of the whole journey. After the fully discovery, the camera is set in a fixing point where all the musicians walking towards the beach and forming a line waiting for Eleni and Alexis. They then enter the scream with holding hands. The journey of this layers of sheet and music embraces them together.

As we can see from the cinematic plan from the left, camera is moving along in the multiple layers of sheets. 62

No sound/ Silent movie/shoots

Sound recorded of the surrounding environment

60 s

Depth/ Layers 3dimention

Plain shoot with only character and a back roll

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

M.C.U

C.U

2•

17 s

15 s

16 s

Composition

52 s

M.C.U

Camera

10 s

M.S

31 s

11 s

36 s

25 s Shooting focusing

Plain walls or plain furniture

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame Focusing on the character itself

Balancing symmetry

Strong compositionally composition between different objects

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

M.L.S 44 s

L.S

Scale

TIME

E.L.S

Fast cut(s)

Normal Pace

Long Take

Tele

Obstacles

Wide

Normal

DoF Normal

Depth of Field

Shallow

Optic Depth

Flat Normal

Focus

Fixed

Zoom

Deep

Camera Angle: Eye Level

Nr of Focus Points Nr of Changes

Chaging

Backward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

Forward

VP Outside Frame

Distorted

VP in Frame

N 1 2 3 4 5 6

Space Layers DoF’s length

Usually focus on what the character have seen. Changing the scale from MS to LS. MS: not need to focus much on the emotion of those characters but more on their action. When change to LS, it will draw more attention on the relationship between characters and the whole environment (sea).

90 Pan

Tripod-Camera Movement

Right

Tilt Down

Left

Rotate

Diagonal

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Hand-Held Camera Movement

Right Left

Up Tilt Down

Rotate

Diagonal

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where Horizontal

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Up Down

Drone/Heli Shot

Viewer 64

Experiencing the characters’ eyesight and feel their feeling really well.

Lens

Optic

Sound/ Background music

Comp. Notes

With various background music(music of the players) and the environmental wind sound or finally gun shot. Always having different layers (sometimes different layers of characters or layers between characters and sea/fabric. Strong composition. Change of composition, sometime with balancing symmetry (end), sometime harmonious unbalancing (camera move.

Camera/Movement

Various layers of sounds. With background music and environment sound

Horizontal

Right Left

Deep

Right Left

Forward Backward

Deep

Forward Backward

Diagonal

Up Down

North

South

West

East

Background (Sea) 65

DoF

From the last scene of the fixing point, the gathering of musicians walking and play their music towards the sea creates a interesting layers. The musicians are not only walking towards the beach, but also towards the concertmaster (principle violin player).

In the mood of love

The Pessanger - penultimate shot

Wong Kar-wai

Long shot

3. The scene shows the development of emotions between Eleni and Alexis. The starting shot shows there is a bit of conflict between this couple. The medium shot of them clearly shows the physical separation and their anxiety on the face. However, as the music started, the Journey of discovering the sources of the music began. The camera is moving backwards as the characters are stepping forward entering the field of sheets. The shot then changes into their perspective view, continues the journey of revealing the music. The sound of music is growing louder as the camera moving deeper to the layers of sheets. Different music sources are hiding behind at different layers of sheets increase the entertainment of the whole journey.

5. 4.

After the fully discovery, the camera is set in a fixing point where all the musicians walking towards the beach and forming a line waiting for Eleni and Alexis. They then enter the scream with holding hands. The journey of this layers of sheet and music embraces them together.

As we can see from the cinematic plan from the left, camera is moving along in the multiple layers of sheets.

2. 68

Depth/ Layers 3dimention

M.C.U

C.U

Composition

52 s

M.C.U

M.S

Camera

20s

Shooting focusing

24s

10s

Scale

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Various layers of sounds. With background music and environment sound

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

L.S E.L.S

Woman heading back to her home Woman thinking by herself Man thinking by himself 70

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Covered in dust/Rusty

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Detail (organic factor)

Rough/ Edgy

Normal

DoF

Depth of Field

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Camera Angle: Eye Level

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

Forward

Perspective

VP Outside Frame

2VP

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Right Pan Left

Clean/Caressing Glossy/Neat Soft/Polished

Form

Tele Wide

Tripod-Camera Movement

M.L.S TIME

Lens

Optic

30 s

No sound/ Silent movie/shoots

Comp. Notes

Sound/ Background music

Camera/ Movement

Tilt

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Up Down Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Test filming 1 without Tripod

Lens

This is the first time we start to trying to film somethings. The scene is about looking through the gaps towards me while the camera moving backwards.

Tele Wide

Normal

DoF

Depth of Field

Optic

Sitting area

Corridor

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

EYE LEVEL

Nr of Focus Points Fixed Chaging

Focus

As we can see, the focus point of the camera is not quite fixed, it

Nr of Changes Backward

Forward

is hard to tell which part is the focusing point during the film. The focus point should be me instead of the fence itself. We leart hwo progress. One of the other problem in this scene is that we dont have a tripod to fix our camera. The camera movement is very rough. As

Comp. Notes

to set up the focus point before filming in the later film making Perspective

VP Outside Frame

2VP

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

we can see, the distortion in the second screemshot is very obvious. The camera is shaking during the film. It is important to have

Tripod-Camera Movement

moving shot later, otherwise we are using tripod to do the fix shot. The method we used to film this is to grab the camera closer to the photographer and tried to keep it steady. The photographer is sliding himself down to the other end of the sitting area. This turns out a rough and shaking shot in the end. So we are not goingn to film this way.

Camera/ Movement

a propor tripod. But this is a moving shot, we may try to film some

Tracking Shot(Dolly/steadycam/Gimbal)

Crane-shot

Drone/Heli Shot

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Hand-held)

Down Up

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Horizontal

Tilt

Up Down Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Test filming 2 without Tripod

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

EYE LEVEL

Nr of Focus Points Fixed Chaging

Focus

In this scene, we are trying to make the camera follows the char-

Nr of Changes Backward

Forward

acter for a while. We are still trying to shot a moving shot.

is no distortion and the vanish point is quite clear in the pictureframe. This time, our photographer is sitting in a moceable chair and

Comp. Notes

Basically, I think the composition is better than the last time. These Perspective

VP Outside Frame

2VP

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

holding the camera as steady as he could. One of the other group member is pushing the chair forward as the character

Tripod-Camera Movement

Sitting area

is hard to maintain in a straight line movement. So the camera movement is still very rough. We decide not to use this method in the following filming progress.

Camera/ Movement

moves slong the corridor. But the chair is very hard to control, it

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Corridor

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Test Images

By taking saveal photos within the MSD and trying to deside the selected scene

This is the entrance from the ground floor to the basement. We like the pure concrete form in this space and not all the people knows about this staircase. Not many people using this staircase to the basement, they

normally use the one in the atriam. So there are not many people here, we think it is a quiet place to film. We

This is a close-up to the artificial light on the handrill of the staircases. However, the focus point is at the back.

also like the lighing on the handrill of the staircase. Although in this photo it is very bright outside, we think the

I donâ&#x20AC;&#x2122;t like the dark edging in the bottom of this image.

artificial lighting will look good in the night. We may choose this as one of the scene.

The reason why we took this is that we are thinking about the close-ups. We may include some in our film. 77

This image is taken from the bottom to the top of this staircase, as we can see, the lighing on this is looks pretty. However, it is quite bright at this moment. We can see from the right of the image that natrual light is peneMore image about this staircase. 78

trating through the openings to the staircase. We may choose a night time when we filming this scene. 79

In this image, we are trying to take a symmetry shot of this staircase, like Wes Andersonâ&#x20AC;&#x2122;s symmetry shot. We

Once again, a symmetry shot of this staircase. I like the contrust of the colour this image has shown. The light-

like the sence of the symmetry present in this image. However, the lighting and colour is not quite strong in

ing create a strong layer in this image. We could frrl the distance between the handrill in the middle and the

this shot.

pathway down to basement. 81

A shot about the whole view of this staircase with lots of people. 82

A hero shot of the staircase. 83

This scene is in teh fire escape staircase. We like the opening with the light penetrating into this dark stairA corridor in the basement with only artificial lighting. We like the plain texture of concrete. The blue glass of the texture room look sinteresting with the trflections of the light in the ceiling. However, the whole colour seems quite boring. Always dark and grey. We will think about if we want this scene or not. 84

case. The plain concrete texture looks good in this combinations of natural light and artificial light. We like the lighting and opening in this shot. The reflections of the outside on the wall looks interesting as well. Basically, we like this shot. 85

One of the mainstaircase in the first floor atriam. Lots of people will use this staircase to go the next floor. If we want to film this , we better film this in the early morning. This shot looks pretty symmetry and with the timber texture of the first floor, the colour and objectsâ&#x20AC;&#x2122; composition looks interesting in this shot. We are going to

include this shot because this staircase is one of the most important staircase in MSD because it has been use

This is the view from the first floor towards the upper floor. The natural light penetrating from the gient glass

very often.

wall combine with the artificial lights makes this shot more interesting. 87

The openings of the ceiling looks good with repetitions of pattern. We are definetly going to This is the flooting timber room in the middle of MSD, we like the timber texture of its facade. The natural light

include this shot.

is penetrating from the openings in the ceiling looks good as well. However, the day of taking this photoâ&#x20AC;&#x2122;s weather is not that perfect. I think it would be better if we take the ceiling opening shots on a day with good weather. We can see through the sky from the openings. This would be really nice. 88

Scenes: 1. MSD Whole View (7:30 am)

We started to plan each scene and drawing each cinematric plan. Trying to film our shots.

2. Atrium Staircase to 2nd Floor (7:45 am)

We have choose 11 scenes in total and some scene has multiple shots.

4. Escape Stair to 4th Floor (12:00 pm)

In the following filming, we havenâ&#x20AC;&#x2122;t film all of the shots. Some we did film, others we havenâ&#x20AC;&#x2122;t got enough time to film it or we need to discuss about the shot more before we start to film. Even some of the shot we had film, we refilm it again and trying to make some further improvements.

3. 2nd Floor Bridge to Side Corridor (11:00 am)

5. Full View (Camera Panning) From 4th Floor (12:30 pm) 6. Mains stair of 4th floor to the Window of 4th Floor (1:00 pm) 7. Timelapse 8. Elevator to G/F (3:00 pm)

Scene 1: Shot 1: Shot 2: Scene 2: Shot 1:

Shot 2:

Scene 3: Shot 1: Scene 4: Shot 1: Scene 5: Shot 1: Scene 6: Shot 1:

9. Library (4:00 pm)

Scene 7: Shot 1:

10. Basement (6:00 pm)

Scene 8: Shot 1:

11. Leaving MSD (7:00 pm)

Shot 2:

Scene 9: Scene 10: Scene 11: Shot 1: 90

Shot 2: 91

FIRST TIME filming Scene 1

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Camera/ Movement

VP Outside Frame VP in Frame

Space Layers

framing shoots as well as different layers positions of characters

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

1VP

VP in Frame

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Camera

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

FIRST TIME filming Scene 2

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Camera/ Movement

VP Outside Frame VP in Frame

Space Layers

framing shoots as well as different layers positions of characters

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

1VP

VP in Frame

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Camera

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

EYE LEVEL

Scene 2 Shot 1

Learning from the shots: The pan of the camera movement is not quite steady. Ending this shot with the wide lens of the interior of MSD is hard to link the next shot together. The movement of the camera with both pan and tile need to with a much slow speed. Decrease the speed of turning the tripod will help steady the pictureframe of the camera.

HIGH ANGLE

Scene 2 Shot 2

Learning from the shots: As a actor, remember not to look at to the camera. Remember to avoid eye contact. The way putting character in the middle of the frame looks quite good. When the character moves out from the right side of the pictureframe, she is going to enter the frame from the left of the frame. Also, the top part of the pictureframe should be clearfully considered more. The black edge is not good enough. 98

FIRST TIME filming Scene 3

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Camera/ Movement

VP Outside Frame VP in Frame

Space Layers

framing shoots as well as different layers positions of characters

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

100

1VP

VP in Frame

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Camera

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

101

Scene 3 Shot 1

Learning from the shots: We have tried to film this twice from ground floor (a low angle), the scene we trying to present is that the character disappear from the edge of the frame. But as the character moving upstairs. She is fully covered by those TVs, it is hard to eye tracing the character, she is not obvious in the shot. We may not use this shot.

102

103

EYE LEVEL

Scene 3 Shot 1

Learning from the shots: This is the same shot as the shot above, but the position of the camera is very different. The whole shot looks quite boring and the whole shot is in a back light, so the character looks pretty dark. It takes a very long time until the character walks pass the camera. I think it is quite dull and the surrounding is not interesting. So we decided to delete this shot.

104

105

EYE LEVEL

Scene 3 Shot 2 option1

Scene 3 Shot 2 option 2

Learning from the shots: Thinking about this shot, there are two options coming out of this. The composition of the shot is different. Compare to the last shot, they share the same point of walking along the corridor. This one has a stronger impact on the colour, the blue floor is quite stand out. One of the most interesting element in this shot is the reflection on the left side of the openings ---the reflections of the character and the lights. It makes this shot more interesting. It looks like there are two people walking together which interesting the shot. I think we are going to choose the first composition, although option 2 shows more about the reflections, option 1 seems more uniform and neat. However, the light in the left room is a little bit too bright, we are curious about what does it look like if the right goes off. Because we cannot excess the room and adjest the light, we may try another time. 106

107

FIRST TIME filming Scene 4

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Camera/ Movement

VP Outside Frame VP in Frame

Space Layers

framing shoots as well as different layers positions of characters

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

108

1VP

VP in Frame

Frame created inside the shoots frame. Simple vanishing points

Balancing symmetry

Camera

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

109

EYE LEVEL

Scene 4 Shot 1

Learning from the shots: This is a close-up to the fire escape staircaseâ&#x20AC;&#x2122;s door. The actions of opening and closing this door creates a very loud sound. This sound can be recorded clearly and we like about the sound. However, the composition of this shot is not quite good, there is an angle facing the door. It would be better if the camera itself is parallel with the door. We are going to shot it again.

110

111

EYE LEVEL

Scene 4 Shot 2 - 1

Scene 4 Shot 2 - 2

Learning from the shots: The difference between these two shots are the position of the character. In the first one, she is not walking in a straight line, so we did it again. The character is walking in a straight line in the second time filming. We think it is important that the character need to walk in a straight line if we are trying to maintain a symmetry shot.

112

113

FIRST TIME filming Scene 5

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Scene 5

Camera/ Movement

VP Outside Frame VP in Frame

Space Layers

framing shoots as well as different layers positions of characters

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

114

1VP

VP in Frame

Frame created inside the shoots frame. Simple vanishing points

Balancing symmetry

Camera

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

115

Scene 5 - 1

Scene 5 - 2

Scene 5 - 3

Scene 5 - 4

Learning from the shots:

This is a moving shot by placing tripod on the chair and tilting the camera at the same time. It is hard to capture the

In the third attempt, the camera movement has been improved, but it should be tilted more in order to reveal the detail

timing, so we tried a lot of times. Our aim is to record the heroview of the interior of MSD, especially the timber floot-

of ceiling.

Scene 5 - 5

ing section and the strong patterning openings in the ceiling. In the fourth attemplt,it was quite good in the begining. However, a sudden changes of the tilted angle is in the shot. So In the first attempt, the camera isnâ&#x20AC;&#x2122;t tilt that much and we think the floor has been included too much and the cam-

we have to try more.

era movement is horrible. In the fifth attempt, I think the speed of the tilting is too quick resulting a uneven movement speed of the camera. HowevIn the second attempt, the speed of the movement is not steady and the camera movement is horrible as well.

116

er, the ceiling has been shown clearly. I really like its ceiling.

117

EYE LEVEL

Scene 5 Shot 1

Learning from the shots: This is the most successful shot we have taken. The speed of the camera movement is quite steady and the tilting angle is perfect. Because we have shown all the things we want to show about the interior of MSD. However, the backgroud sound of the moving chair is not good. We are going to delete the background surrounding sound and adding some other sound while we editing the film.

118

119

FIRST TIME filming Scene 6

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Camera/ Movement

VP Outside Frame VP in Frame

Space Layers

framing shoots as well as different layers positions of characters

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

120

1VP

VP in Frame

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Camera

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

121

EYE LEVEL

Scene 6 Shot 1

Learning from the shots: As a linkage with the previous shot, this shot starts from the ceiling and then tilting down towards the characters. The speed of the tilting is important. If we want a steady camera movement we have to move a bit slower. Because this will make it easier to control. The order of the character movement should be reconsidered. Because we think the first character is a bit too small to be noticed.

122

123

EYE LEVEL

Scene 6 Shot 2

Learning from the shots: Basically, I think this shot has been vell planned. I like the composition of the shot. The characters movement are quite interesting as well. This scene is a turning point of two characters. One appeared first has been replaced by the other.

124

125

EYE LEVEL

Scene 6 Shot 3

Learning from the shots: The new character is coming up from the stairs ---- link with the previous shot. The lighting in this scene is quite good, but it is in the back of the light resulting a dark face character. The camera movement of the panning and tilting is quite steady.

126

127

FIRST TIME filming Scene 7

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Scene 7

Camera/ Movement

1VP

VP in Frame

VP Outside Frame VP in Frame

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Balancing symmetry

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Pan

Hand-Held Camera Movement

Tracking Shot(Hand-held)

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Crane-shot

128

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

Camera 2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Horizontal Left

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Form Deep

Forward Backward

Diagonal

Detail (organic factor)

Diagonal

Down

North South West

East

129

FIRST TIME filming Scene 8

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Scene 8 Shot 4

Scene 8 Shot 3

Camera/ Movement

VP Outside Frame VP in Frame

Space Layers

framing shoots as well as different layers positions of characters

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

130

1VP

VP in Frame

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Camera

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

131

EYE LEVEL

Scene 8 Shot 1 testing

Learning from the shots: The aim of this shot is to experience the changing of focus point. We are changing the focus point while we filming. However, our plan is to become more clear in the end, we turn the lens in the opposite direction. This is a test shot of turning the lens, thatâ&#x20AC;&#x2122;s why the main character is different in this shot.

132

133

EYE LEVEL

Scene 8 Shot 1 testing

134

135

EYE LEVEL

Scene 8 Shot 1

Learning from the shots: This is one of our favourite shot during this first period of filming. The sunset lighting looks beautiful. The changing focus point is very successful as well.

136

137

EYE LEVEL

Scene 8 Shot 2 testing 1

Learning from the shots: The reason why this shot cannot be use is that the character has walk out of the pictureframe. She is suppose to walk into the first elevator, however, this elevator was in use. The other is open which lead her path out of the frame.

138

139

EYE LEVEL

Scene 8 Shot 2 testing 2

Learning from the shots: In this shot, the character movement is not steady, she is not walking in a steady speed. She stopped for a scound before she walk towards the elevator. This will make the shot seems unnatural. So we need to try another shot.

140

141

EYE LEVEL

Scene 8 Shot 3 testing 1

Learning from the shots: The aim of this shot is that after the tilting of the camera, our character come out from the elevator. However, she suppose to come out in the first one and the second elevator opens in this shot. The control of the selected elevator is important as well.

142

143

EYE LEVEL

Scene 8 Shot 3 testing 2

Learning from the shots: This time our charracter is walking out from the right elevator, however, the process of tilting is not good. The camera is shaking while tilting. After all those scenes we have filmed, the method of keep the camera steady is still not quite learnt.

144

145

EYE LEVEL

Scene 8 Shot 3 testing 2

Learning from the shots: This time the tilting was good, but we think it is not good to put her both hands into the pocket. One of the good thing we like about this scene is that we wait until the elevator closed. This maybe useful in the future cuts.

146

147

EYE LEVEL

Scene 8 Shot 3

Learning from the shots: We are fullfilled with this shot. But the new problem is that how to connect this shot with the previous shots? We havenâ&#x20AC;&#x2122;t take any scene 7 shots yet, but our plan for scene 7 is multiple close-ups. It would be weried that lens changed from zoom - in to a wide lens. We may decide this later.

148

149

FIRST TIME filming Scene 10

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

Scene 10 Shot 2

Scene Scene 10 10 Shot Shot 11

VP Outside Frame

1VP

VP in Frame

VP Outside Frame VP in Frame

framing shoots as well as different layers positions of characters

Scene 10 Shot 4

Scene 10 Shot 3 Scene 10 Shot 3

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Camera/ Movement

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Camera

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

150

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Horizontal Left

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Form Deep

Forward Backward

Diagonal

Detail (organic factor)

Diagonal

Down

North South West

East

151

EYE LEVEL

Scene 10 Shot 1

Learning from the shots: The blue colour stands out in this shot, and I like the textures on the back wall. The composition of this shot is not quite good, sometimes that it is not necessary to include the whole opening in the pictureframe. It is ok if we cut the top of the frame more. The existance of the rubbish bin can be avoid.

152

153

EYE LEVEL

Scene 10 Sound Test Shot

Learning from the shots: The aim of this shot is to record the background footsteps’ sound. This scene is the empty space in MSD’s basement. The space is quite plain and bold. But we don’t think the background sound works good in this shot. We may not decide to use this shot. The composition of the objects in this scene is not quite good. The left blue door can be avoid.

154

155

EYE LEVEL

Scene 10 Test Shot 1

Scene 10 Test Shot 2

Scene 10 Test Shot 3

Learning from the shots: This is just a test of a copy of the work from previous students.

The Corten Effect

156

157

EYE LEVEL

Scene 10 Shot 2 - 1

Learning from the shots: The main difference between these two shots are her hand. In the second filming, she is holding the handrill while walking upwards. The reason why we made her grab the handrill is trying to create the linkage between the next shot. We can start the next medium shot from the point where she holds the handrill. Also, the focus point becomes more distorted in the second filming.

Scene 10 Shot 2 - 2

158

159

EYE LEVEL

Scene 10 Shot 3

Learning from the shots: Just like I have mentioned before, the character is starting with the scene by grabing the handrill. This shot is a bit too long, because we wait untill she walk out of the frame. It doesnâ&#x20AC;&#x2122;t have to wait that long. In this long period of time, nothing interesting happened and the character herself has become to small to noticed. So we donâ&#x20AC;&#x2122;t have to wait until she walked out of the frame while we editing later.

160

161

EYE LEVEL

Scene 10 Shot 4 - 1

Learning from the shots: The second shot is the close-up of the first shot. We are going to put them together while we editing later. We like the lighting at this moment. It is the late night in the MSD basement. Comparing the lighting with the previous testing photos, it looks more outstanding and colourful. There is only artificial lights present in this shot.

Scene 10 Shot 4 - 2

162

163

FIRST TIME filming Scene 11

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

1VP

VP in Frame

framing shoots as well as different layers positions of characters

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

VP Outside Frame VP in Frame

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

Space Layers 1 2 3 4 5 6 DoF's length

Scene 11 Shot 1

Tripod-Camera Movement

Camera/ Movement

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Composition

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot 164

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Camera

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Clockwise Rotate Anti-Clockwise

Zoom

In Out

Form

Deep

Forward Backward

Diagonal

Detail (organic factor)

Diagonal

Down

North South West

East

165

EYE LEVEL

Scene 10 Shot 3

Learning from the shots: As the finishing shot of our film, we think it is a dull shot. The last shot doesnâ&#x20AC;&#x2122;t have to be the character walking out of the frame. Because we shot it in the late night, the iso is pretty high and we can not adjest it. We are not going to use this shot.

166

167

Learning from the pros and cons in the first filming progress, we have a second round of filming. Most of the shots have been refilmed again. After the further discussions about the detail of the cinematic plan, there are seveal things can be improved. The problems in the previous cinematic plan: - The size of the people and camera is too big - The dash line can not clearly shows the movement of the character, it odesnâ&#x20AC;&#x2122;t have to be black line. A lighter colour may be easier to see. - It is good to show that if the camera pans. We have improved all the cinematric plans in order to solve the mistakes above. Some of the shots has been changed as well. As the result of that, the rubrics and optics has been changed. Scene 1, 7, 9 and 11 all changed. I will include these new changes in the following pages, the old ones will stays the same.

168

169

The theme of our film is OPENINGS, PATHWAYS AND LIGHTING. We are going to combine openings, pathways and lightings in our film. Before improving our plan, we are more concern about how to film a good lighting with openings and pathways present. MSD is Melbourne School of Design. All of the Design and Environment Bachelor students are studying in this building. There are lots of staicases within this building, we have decided the important ones we want to include in our film. Lots of classrooms with huge glass windows are present in this building and we are trying to show the beauty of them. However, the textures in MSD is not very many, timber pattern and concrete texture are very common. We are thinking about showing some interesting texture as well.

170

171

Filming Scene 1

30 s M.C.U

C.U

28s

52 s

M.C.U 10 s

Scene 1 Shot 2

Scene 1 Shot 1

M.S M.L.S

L.S

E.L.S

172

173

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Sound/ Background music

Zoom

Deep

Depth/ Layers 3dimention

Deep

Nr of Focus Points Fixed Chaging

Focus

Comp. Notes

VP Outside Frame

2VP

Space Layers

Plain shoot with only character and a background

Frame created inside the shoots frame. Simple vanishing points

Forward

VP Outside Frame VP in Frame

Distorted

Composition

Plain walls or plain furniture

Camera

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Balancing symmetry

Shooting focusing

DoF's length

Pan

Right Left

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Dolly/steadycam/Gimbal)

Right Horizontal Left

Scale Rotate

Rotate

Deep

framing shoots as well as different layers positions of characters

Clockwise Anti-Clockwise

Forward Backward

Zoom

Focusing on the character itself

Strong compositionally composition between different objects

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Up Down Tilt Diagonal From Where to Where

Tripod-Camera Movement

Camera/ Movement

1VP

VP in Frame

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Various layers of sounds. With background music and environment sound

2 Fast cut(s)

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Normal Pace

Long Take

In Out

Diagonal

1 Covered in dust/Rusty

EYE LEVEL

In Out

TIME

For this scene, it aims to give an overall view of MSD. The composition is clean and strong.

This scene has been cut into two shoots in order to show the movement of the character from different angles which is more clear.

Rough/ Edgy 2

Tracking Shot(Hand-held)

Horizontal

Right Left

Deep

Forward Backward

Diagonal

Lighting

Natural light

High key

Low key 2

Crane-shot

Drone/Heli Shot 174

Down Up

Diagonal

Down

North South West

Form

Rectilinear

Curvy

Sharp and angled

East

175

Reflection DoF

This is the selected heroshot of MSD. The reason why there is not many people is that we film this in the early morning. In this scene, the background sound is a bit noisy with the sound of wind. In order to solve that, we record some outside sound with birds to replace its original sound. The composition of the trees on the right hand top side create a layer in this shot. The viewer can distinguish the distance from this payer ---- the tree top to the building itself. This create the sense of density in this shot.

176

177

Reflection DoF

178

The Strong composition of the stairs are really stands out. The concrete texture of it makes this shot seems heavy and solid. The partterning of the steel facade at the back interested this frame as well. As we follow the character walks into the building, our discovery of MSD has began.

179

Filming Scene 2

30 s M.C.U

C.U

52 s

Scene 2 Shot 3

Scene 2 Shot 2

Scene 2 Shot 1

M.C.U 10 s

M.S M.L.S

10s

13s

L.S E.L.S

180

181

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Sound/ Background music

Zoom

Deep

Depth/ Layers 3dimention

Deep

No sound/ Silent movie/shoots

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Various layers of sounds. With background music and environment sound

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes

Comp. Notes

Backward

Camera/ Movement

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Composition

Camera Perspective

VP Outside Frame

2VP

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Shooting focusing

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

182

Forward

Horizontal

Right Horizontal Left

Right Left

Deep

Diagonal

Down

North South West

East

Rotate

Clockwise Anti-Clockwise

Clockwise Rotate Anti-Clockwise

Deep

Forward Backward

Diagonal

Zoom

In Out

EYE LEVEL

Diagonal

Form

Detail (organic factor) 183

DoF

Reflection The same sethod has been used as well in this shot as the first shot. We have kept something in the front intentionally, this time we keep the sign in the front of the shot in order to create the sense of layer. Just like we left the top of a tree in our scene 1 shot 1. Both of them are been kept intentionally to create multiple layers in the shot.

184

185

DoF

186

187

Filming Scene 3

1 20 s E.C.U

C.U

52 s

M.C.U 10 s

Scene 3 Shot 2

Scene 3 Shot 1

M.S M.L.S

20s

L.S E.L.S

188

189

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes

VP Outside Frame

Camera/ Movement

VP Outside Frame VP in Frame

Space Layers

framing shoots as well as different layers positions of characters

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Distorted

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot 190

1VP

VP in Frame

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Camera

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

EYE LEVEL

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

191

DoF

Reflection

Previous option 1

In our original plan, this scene should have two shots. After we refilm the shot 1, we still think it is not good enough, so we deleted it. We only keep the shot 2. We have reconsidered about those previous two options -- putting the corridor in the middle or not. We think that if we put it in the middle, the right hand side will have a big wall. We think the point in this shot is the refelctions on the glass, so it is better to have a large eange of glass.

Previous option 2

As we can see, this time the room on the left is pretty dark. The reflections it shows is more interesting than the first time filming. 192

193

Filming Scene 4

20 s E.C.U

C.U

52 s

16s

M.C.U Scene 4 Shot 3

Scene 4 Shot 2

Scene 4 Shot 1

M.S

10s

10 s

M.L.S

L.S E.L.S

194

195

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Fixed Chaging

Depth/ Layers 3dimention

Comp. Notes Camera/ Movement

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Camera VP Outside Frame

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Shooting focusing

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot 196

Plain shoot with only character and a back roll

Forward

Composition

2VP

Various layers of sounds. With background music and environment sound

EYE LEVEL

Nr of Changes Backward

Perspective

Sound recorded of the surrounding environment

Deep

Nr of Focus Points

Focus

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

197

Reflection DoF

Previous option

Comepare to the previous shot, we have change the position of the camera. This time, camera is parallel to the door which make this shot has a better composition. Comparing the composition of the door with the images above. The background sound of this shot is as good as usual.

198

199

Reflection DoF

200

Previous option

Comparing to the shot with the previous shot, the handrillâ&#x20AC;&#x2122;s position is different, which means the position of the camera has a littl ebit changes. This time the camera is more closer to the character and the lens becoming a bit wider than before. The concrete texture of the wall in this fireescape staircases looks interesting. The lighting coming from the back opening is adding more points in this shot. Because both strong natural light and weak artificial light is coming from the back, the whole appearance of the character looks pretty dark. But I like the way who light is surrounding her outline.

201

Reflection DoF

202

The sound in this filming area can be record really well, so we add another shot to record the sound of opening and closing the door. Even the door is not present in this shot, we can still hear the sound of the door clearly and we all know the present of this door even we havenâ&#x20AC;&#x2122;t seen it in the shot. The sound in the film is very interesting at this point. Even if we havenâ&#x20AC;&#x2122;t seen the door, but we all aware the present of the door as we hear it.

203

Filming Scene 5

10 s E.C.U

C.U

52 s

M.C.U 10 s

M.S M.L.S

Scene 5

204

L.S

10s

E.L.S

205

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Nr of Changes Backward

Comp. Notes

VP Outside Frame VP in Frame

Camera/ Movement

VP Outside Frame VP in Frame

DoF's length

Crane-shot

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Horizontal

framing shoots as well as different layers positions of characters

Balancing symmetry

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Shooting focusing

Space Layers 1 2 3 4 5 6

Pan

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Distorted

Tripod-Camera Movement

206

1VP

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Plain shoot with only character and a back roll

Plain walls or plain furniture

Camera 2VP

Various layers of sounds. With background music and environment sound

Forward

Composition

Perspective

Sound recorded of the surrounding environment

EYE LEVEL

Deep

Fixed Chaging

Focus

No sound/ Silent movie/shoots

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

207

Reflection DoF

The background sound recorded in this scene is not good, in order to solve this we record some interior sound and then replaced its original sound. I like the way we compositioning the frame. The chair in the front once again create the sense of layer in this shot. This shot is working as an important shot because it introduce the who interior of MSD. This shot originally starts on the floor and then camera tilting to the ceiling. In order to link with the previous shot, we decide to make this shot starts with eye level when we editing our film. Because the previous shot is finishing with the eye level shot.

208

209

Filming Scene 6

1 30 s E.C.U

C.U M.C.U

M.S

52 s 30s

10s

10 s 20s

M.L.S

L.S E.L.S

210

211

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Forward

Comp. Notes Camera/ Movement

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Balancing symmetry

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Camera VP Outside Frame

1VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Shooting focusing

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot 212

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

213

Reflection DoF

Previous option

EYE LEVEL

The starting frame of this shot is from the ceiling, in order to link with the previous shot. The reason why we filmed this again is the tilting of camera is not perfect in the first time of filming. The other reason is the clothes of the character has changed, so in order to link with all the previous shot, we have to shot this again. Comparing to the previous filming, the lighting of the environment has been better controlled.

214

215

Reflection DoF

Previous option

EYE LEVEL

The lighitng condition has been improved in this shot, comparing with the previous shot. The composition of the object and the character is quite different, by moving the camera a bit lower, more of the actions can be seen clearly. The difference of the floor can be determined as well.

216

217

Reflection DoF

218

EYE LEVEL

This shot is the same, we use what we filmed in the first time. We like the composition and the lighting, so we decided to use it.

219

Filming Scene 7

Scene 7 Shot 4

Scene 7 Shot 3

Scene 7 Shot 2

Scene 7 Shot 1

221 220

Scene 7 Shot 8

Scene 7 Shot 7

Scene 7 Shot 6

Scene 7 Shot 5

223 222

10 s

EYE LEVEL

E.C.U

C.U

52 s

M.C.U

M.S

M.L.S

L.S

E.L.S

224

225

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Sound recorded of the surrounding environment

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

No sound/ Silent movie/shoots

Nr of Changes Backward

Plain shoot with only character and a background

Forward

Frame created inside the shoots frame. Simple vanishing points

Various layers of sounds. With background music and environment sound

framing shoots as well as different layers positions of characters

Comp. Notes

Perspective

VP Outside Frame

2VP

Distorted

Camera

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Space Layers 1 2 3 4 5 6 DoF's length

Shooting focusing

Tripod-Camera Movement

Camera/ Movement

1VP

VP in Frame

VP Outside Frame VP in Frame

Composition

Plain walls or plain furniture

Pan

Right Left

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Scale

226

Drone/Heli Shot

Down Up

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

LS 2

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Zoom

TIME

Fast cut(s)

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Normal Pace

Use different scale to show the overview and the detail of the lighting quality.

Long Take

In Out

1 Covered in dust/Rusty

Rough/ Edgy 2

Diagonal

Lighting

Natural light

High key

Low key 2

Diagonal

Form Crane-shot

Focusing on the character itself

Balancing symmetry

Strong compositionally composition between different objects

For this scene, it aims to focus on the different light quality in MSD. We usually change the focus point to create the depth.

Rectilinear

Curvy

Sharp and angled

Diagonal

Down

North South West

East

227

Scene 7 shot 1

Scene 7 shot 2

Scene 7 shot 3

Scene 7 shot 4

Scene 7 shot 7 (deleted)

Reflection We decide to delete shot 7, because it doesnâ&#x20AC;&#x2122;t look nice. The web looks messy and the composition is not good.

Scene 7 shot 5

228

Scene 7 shot 6

Scene 7 shot 8

These close-ups about MSD are the introduction of the details of MSD. We are trying to present something more detail about MSD to the viewer. The lighting and the shadowing gives a warm feeling towards the environment. The zoom in and zoom out of these details are working really well by doing that, a rhythm about MSD has been created.

229

Filming Scene 8

Scene 8 Shot 3

Scene 8 Shot 2

Scene 8 Shot 1

231 230

30 s

EYE LEVEL

M.C.U

C.U

EYE LEVEL

52 s

M.C.U

M.S

13s

10 s

20s

M.L.S

L.S E.L.S

232

233

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Comp. Notes

VP Outside Frame

Camera/ Movement

VP Outside Frame VP in Frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Shooting focusing

Space Layers 1 2 3 4 5 6 DoF's length

Hand-Held Camera Movement

Up Down Tilt Diagonal From Where to Where

Right Left

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Horizontal

Right Left

Rotate

Clockwise Anti-Clockwise

Clockwise Rotate Anti-Clockwise

Deep

Forward Backward

Zoom

In Out

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

North South West

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Diagonal

Detail (organic factor)

Diagonal

Down

Forward Backward

Plain walls or plain furniture

Diagonal

Form Tracking Shot(Hand-held)

framing shoots as well as different layers positions of characters

Balancing symmetry

Distorted

Crane-shot 234

1VP

VP in Frame

Pan

Frame created inside the shoots frame. Simple vanishing points

Strong compositionally composition between different objects

Camera

Tripod-Camera Movement

Various layers of sounds. With background music and environment sound

Forward

Composition

2VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Nr of Changes Backward

Perspective

No sound/ Silent movie/shoots

East

235

Reflection DoF

236

EYE LEVEL

This is one of our favourite shot, we particular love the lighting and the warm environment it created.

237

Reflection DoF

238

EYE LEVEL

We have made some changes about scene 7 and 8, we are mixing them together. After the character enters the elevator, the details of MSD has been shown. The time that we waiting her coming out is the time where we show the details of MSD. By mixing them together to create the sense of timing. It could say that while she is in the elevator, she is thinking about those details herself.

239

Filming Scene 9

10 s E.C.U

C.U

52 s

M.C.U Scene 9 Shot 2

Scene 9 Shot 1

M.S

M.L.S

L.S

10s

E.L.S

240

241

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Sound/ Background music

Zoom

Deep

Depth/ Layers 3dimention

Deep

No sound/ Silent movie/shoots

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Various layers of sounds. With background music and environment sound

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

Forward

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Composition

Comp. Notes

Camera Perspective

VP Outside Frame

2VP

Camera/ Movement

VP Outside Frame VP in Frame

Distorted

Shooting focusing

Space Layers

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot

242

1VP

VP in Frame

Horizontal

Right Left

Deep

Diagonal

Down

North South West

East

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Zoom

In Out

EYE2 LEVEL

EYE LEVEL

Diagonal

Form Diagonal

Detail (organic factor) 243

Reflection DoF

244

EYE LEVEL

This is one of the shot in the scene 9 with bultiple layers. When designing the shots, placing objects in the front can help creating the numbers of layers. The ceiling of the library is a large opening. We are going to tilt the camera to the ceilingâ&#x20AC;&#x2122;s opening in order to finishing this shot. The present of natrual light is very rich. In this particular image, we can tell the difference between natural light and artificial light. The lighting on the top of the bookshelf is very different with the surrounding lighting.

245

Filming Scene 10

Scene 10 Shot 4

Scene Scene 10 10 Shot Shot 3 3

Scene 10 Shot 2

Scene Scene 10 10 Shot Shot 1 1

247 246

10 s

EYE LEVEL

E.C.U

C.U

EYE LEVEL

52 s

M.C.U

M.S

M.L.S

L.S

12s

E.L.S

248

249

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

Forward

Comp. Notes

Perspective

VP Outside Frame VP in Frame

Camera/ Movement

VP Outside Frame VP in Frame

Frame created inside the shoots frame. Simple vanishing points

framing shoots as well as different layers positions of characters

Balancing symmetry

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Camera

Distorted

Various layers of sounds. With background music and environment sound

Space Layers 1 2 3 4 5 6

Shooting focusing

DoF's length

Tripod-Camera Movement

Pan

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Crane-shot 250

1VP

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

Plain walls or plain furniture

Composition

2VP

No sound/ Silent movie/shoots

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

251

DoF

Reflection

EYE LEVEL

252

253

DoF

Reflection

EYE LEVEL

Scene 9 are all in the basement of MSD. Scene 9 are a combinations of differetn staircasesâ&#x20AC;&#x2122; shots. A lot of character movement on the staircases, which gives the feeling of transformation. The colour of the clothes of the character creates a strong contrust with the colour with the surroundings. The surrounding colour is creates by the artificial lighting on the handrill. Both of the colour are warm colour. The red clothes is very stand out in this shot.

254

255

Filming Scene 11

10 s E.C.U

C.U

52 s

M.C.U

M.S

10s

M.L.S

Scene 11

256

L.S E.L.S 257

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Sound/ Background music

Deep

Depth/ Layers 3dimention

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes Backward

Comp. Notes

Perspective

2VP

Camera/ Movement

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Deep

Forward Backward

framing shoots as well as different layers positions of characters

Strong compositionally composition between different objects

Still shoots set the camera at a single points with characters travel surrounding the camera in & out the shoots frame

Moving shoots in firstperspective. Imaging the feeling of character inside the environment

Moving long shoots following the character observing their motions& emotions as well as surrounding environment

Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Scale

TIME

Fast cut(s)

Normal Pace

Long Take

Material (lighting)

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Lighting

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Shooting focusing

DoF's length

Pan

Frame created inside the shoots frame. Simple vanishing points

Balancing symmetry

Distorted

Space Layers 1 2 3 4 5 6

Up Down Tilt Diagonal From Where to Where

Various layers of sounds. With background music and environment sound

Plain walls or plain furniture

Camera

VP Outside Frame VP in Frame

Tripod-Camera Movement

258

1VP

VP in Frame

Plain shoot with only character and a back roll

Sound recorded of the surrounding environment

EYE LEVEL

Forward

Composition

VP Outside Frame

No sound/ Silent movie/shoots

Clockwise Anti-Clockwise

Forward Backward

Diagonal

Zoom

In Out

Diagonal

Form

Detail (organic factor)

Diagonal

Down

North South West

East

259

Previous Scene 11

Reflection This scene has changed completely from the character walking away to these three fix shot. It is taken wight after the sun went off, the colour of the sky is beautiful. It is interesting that the object of the finishing shot is exactly the same, but comparing this shot with the previous shot. There is a huge difference between them. The control of lighting is very important. In this last shot, it create the sense of mysterious and the letter of msd is very stand out. Compare to the previous shot, because all the lights surrounded letter msd is too bright, it seems like we cannot distinguish the focus point of the shot. 260

261

Reflections about the semester work. The progress of making a film and the intensive group work. From the start of the semester, I am confused about the connections between cinematic and architecture. I have no idea how come cinema and film has a connection to the architecture. Learning how to make a film is also very interesting. It is far more complex than I have ever image. Select the scene we want, planning each scene and planning each shot before filming is really helpful. I canâ&#x20AC;&#x2122;t imaginate how to film without all these preparations. After filming, seveal decisions comes out from each group members. And then, base on the feedback with the tutor and group members, we make changes. The progress of together making something is good. We also learnt how to design a rubric to evaluate both otherâ&#x20AC;&#x2122;s work and the work we have created. First decide whatâ&#x20AC;&#x2122;s in our rubric and what is important. And then filling the detail of each important point in the rubric. It is important to updating the work we have got and trying to improve it.

262

263

264