Diegetic credits (Implementation)

Hello, reader. Welcome to my blog. In this post, I'll be planning the diegetic credits for our opening scene.

First,

What are diegetic credits?

Diegetic credits in films are credits that physically appear within the film's world, as if the characters could see them. Credits commonly appear as text on the screen, which is why diegetic credits are so creative.

Where did this idea come from?

My team and I discussed ways to make our opening film more creative in class. For example, small details that look well thought out. With diegetic credits, we save time that can be better used in post-production.

Our idea:

Opening sequence of our film opening.

Image of the script

One of the scenes specifically shows the bookshelves and some books. We want to include the credits on the spines of some of the books. So I started by making a simple design in Canva.

  

Example of credits

But then I realized I didn't remember ever seeing "cinematograph" in movie credits. So I watched some movie openings and copied the names from the credits to make it look cooler.

Final example of credits:

Then I printed them, cut them out, and taped them to the books at home. I used tape so as not to damage them (we'll do the same with the library books). These are the test credits.

Example of the final result

Example of the final result

Thoughts:

When we start recording, I'll make them more elaborate. For example, I'll follow the themes and colors of the books so it doesn't look forced or rushed. To get the exact color, I can search for the book online and use the color picker tool in IbisPaintX to copy the exact color, or take a photo in good lighting and do the same. I also plan to use double ink so the light reflection isn't visible on the film and different fonts to give it a more stylized look.

Takeaways: 

The small details, especially in the mise-en-scène, are also important since they add to the film's quality.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Shot list part 2 (Planning)

Hello, reader. Welcome to my blog. This is the second post about the process of creating a shot list. Let's begin.

Here is the first draft of the shot list.

Shot List Scene 1

Shot list scene 2

Thoughts:

 These are the first versions of the shot list. I plan to improve them and add more shots to make it smoother and allow the whole team to showcase their skills. I also plan to add alternative shots for some scenes, giving our editor more options and creative space. This way, if some shots aren't quite right, we'll have more to choose from.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Shot List part 1 (planning)

Hello, reader. Welcome to my blog. This post is about the process of creating a shot list. Let's begin.

First,

What is a shot list?

A shot list is a comprehensive, pre-production document detailing every camera shot needed for a film, video, or photo shoot.

Basically, it's like a checklist that organizes all the cinematic elements needed for each shot.

Why is it important?

With a shot list, my job as a cinematographer is easier for many reasons. But especially because it gives me a structure for what I'm going to do. And with a structure, we save time. Time is very valuable because editing takes a lot of time, and this makes things easier for the editor.

Since some time has passed since my first production, I refreshed my memory with this video (which I had already seen before) to have a clear guide of what to do.

                                                           How to Make a SHOT LIST

Takeaways:

In previous posts (Cinematography in Thrillers Part 1 and 2), I analyzed which cinematic elements to use. For the shot list, I plan to implement tracking shots, Dutch angles, and close-ups. I'm 99% sure I'll use them since, according to my research, they're very effective for thrillers. I also want to add that I'll be using a considerable number of close-ups in the second scene because the video I watched (How to Make a Shot List) mentioned that they elevate the cinematic quality of films.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Cinematography in thrillers part 2 (Planning)

Hello, reader. Welcome to my blog. In this post, I’ll continue researching shot types, angles, and camera movement commonly used in thriller films. As I mentioned before, this post also contributes to planning the shot list for our film opening.  

Close-up:

A shot that tightly frames a person or object, showing detail and minimizing background.

Close-ups are powerful in thrillers because they capture subtle emotions and reactions. In our film opening, this would be especially effective when showing the second character’s shocked reaction when opening the book. 

Ranking: ⭐⭐⭐

Effective for tension. Not too complicated technically, but it requires good framing. But since we're not going to show the first character's face, it won't be as effective for the first scene.

Example of close up:

Static wide shot:

A still shot showing the full environment.

This could be used after the time jump to reintroduce the library in a calm, neutral way (equilibrium). We can also create juxtaposition because the stillness would contrast with the instability in the first scene (dramatic irony)

Ranking: ⭐⭐

It's not that complicated to do. If we do it well we can use it to create contrast. We can also apply deep focus.

Example of Static wide shot

Takeaways:

Thrillers are defined by their use of intentional rather than visually appealing techniques. What matters most is how each shot contributes to the tension, perspective, and tone and mood. By carefully categorizing these techniques, I ensure that every cinematic decision in the opening of my film has a purpose, rather than being there for the sake of it or simply for aesthetic appeal.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Cinematography in thrillers part 1 (Planning)

Hello, reader. Welcome to my blog. In this post, I'll be researching the different types of shots, angles and camera movement that characterize thriller films. I'll also be selecting the ones I'll be using in our film opening. This post (along with its second part) serves as a plan for creating the shot list. 

First,

I want to try a different approach. I'm going to give a description of how each shot type, angle and camera movement works. Then I'll explain its purpose in short sentences. Finally, I'll rank each one, taking into account its difficulty (technique), how effective it would be for our film (purpose), and lastly, how much I want to do it.

How does this ranking work?

1-2 stars: bad ⭐

3 stars: average ⭐⭐⭐

4-5 stars: good ⭐⭐⭐⭐⭐

🌟: Galactically stratospheric good

Let's begin,

Frame within a frame: This is a technique that involves using elements to create a second frame within the screen frame. Examples: doors, windows, photographs or paintings, people, or objects. It's virtually limitless.

I think it would be effective for our film because, as I said before, it's a thriller, and this technique works to isolate characters or draw attention to a specific object.

Ranking: ⭐⭐⭐ Because it's part of cinematography and set design, the only problem I see is that I think it would be complicated to execute and instruct the actors (and not that I'm particularly excited about doing it).

Frame within a frame example: Punch Drunk Love

Dutch angle: where the camera is deliberately tilted to one side, making the horizon line oblique or slanted.

I think it would be useful for creating anxiety and tension. Also, if used well, it can create suspense.

Ranking: 🌟 It looks cool, easy, and quick to do. It's not a very advanced technique; I just need to analyze where I'm going to use it and for what purpose.

(Honorable mention: In The Dark Knight, they used it a lot and it looked fantastic.)

Dutch angle example: The Dark Knight

Tracking shot: where the camera physically moves alongside, behind, or ahead of a subject.

Used to create immersion, follow action, or reveal information. Our film's opening will include a tracking shot.

Ranking: ⭐⭐⭐⭐⭐ I know I'm going to have to use it a lot, so I'd better get used to it. It's also key for creating suspense, and since I plan to use some long takes, it will make the job easier.

Example of a tracking shot:

Takeaway: It doesn't matter if a genre is characterized by specific types of cinematic elements; each film and cinematographer is unique and doesn't necessarily have to follow those rules. External factors such as difficulty, time, and budget must be taken into account.

*There's a part two, go check it out*

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Lighting 'chiaroscuro' (Research)

Hello, reader. Welcome to my blog. In this post, we'll explore the secrets of light in cinematography, specifically chiaroscuro. Let's begin.

First,

What is chiaroscuro?

Simply put, chiaroscuro is the juxtaposition of light and darkness.

Examples of chiaroscuro:

Gerrit Dou

Christ before the High Priest, by Gerrit van Honthorst

(It doesn't necessarily have to be a lit candle in a dark room)

The Holy Family by Rafael

What is chiaroscuro in cinematography?

In cinematography, it's low- and high-contrast lighting that creates areas of light and dark in films. But what makes it special? I believe that because the contrast is so dramatic, it has a stronger visual impact on the viewer. Perhaps if you're from the Renaissance era, it will impress you more -I don't blame you. I also noticed that it can be used to draw the eye to specific areas, similar to the rule of three. 

Why do we want it in our film?

Because this type of lighting is often used to create suspense (and our film's opening is a mystery thriller). In our film opening, chiaroscuro will be used to visually reflect the psychological tension of the scene. Since the story takes place in a library (a space that is normally calm, silent and neutral) I can manipulate lighting to transform it into something unsettling and create suspense. And, when the boy appears, I plan to use strong contrasts between light and shadow. Since we don't want to show his face, I'll reinforce this with shadows and foreshadowing. Although it will be difficult, I think I can manage it.

When the second character appears, the light will become soft and normal (equilibrium). Then, when the second character interacts with the book, I will use chiaroscuro again, which indicates disequilibrium.

Takeaway: 

By using chiaroscuro, I can visually separate safety from danger (equilibrium vs dysequilibrium) without having to use dialogue. This is how we facilitate post-production.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite

Lighting in films (Research)

Hello, reader. Welcome to my blog. In this post, I'll be investigating lighting in film, specifically three-point lighting. This post will serve as a foundation for my subsequent posts on lighting research. Let's begin.

First,

What is Three-point lighting?

Three-point lighting is a foundational, standard technique in video, film, and photography that uses three distinct light sources Key Light, Fill Light, and Backlight.

What is the purpose of three-point lighting?

Three-point lighting focuses on creating a three-dimensional appearance. This makes the scene look more professional, realistic, and stylized. It also creates depth.

How does it work? 

By placing three light sources at strategic points around the subject, each one illuminates a different dimension of it and creates an image with greater representation of height, width, and depth. This refers to the relationship each light has with the others. The main light should be twice as bright as the fill light. In other words, by having the light come from three different points, a more stylized appearance is created.

Film lighting relies on the intensity and angles of the light source:

Light source: refers to the physical origin
Angle of light: refers to the path of approach
Light intensity: refers to the amount/brightness

Adjusting the intensity:

Diffusing the light will decrease the intensity.
Dimming the light will decrease the intensity.
Moving a light further away will decrease the intensity.

Examples:

How it works:

How to apply it:

Takeaway:

Three-point lighting allows me to control depth and focus at the beginning of my film. It will be particularly useful in the second scene to create a calm atmosphere (equilibrium) that contrasts with the disequilibrium of the first scene. By adjusting the intensity and angles of the light, I can direct attention to the character's reaction, which simultaneously creates a sense of tension in the audience.

That's all for now, reader. Thank you for reading this collection of thoughts.

-Dragorite