Scene Recreation – “I Have Cancer”
My group chose to recreate this scene in particular for its use of practical lamps and supposed “simplicity”.
This was a learning experience for a number of reasons. Firstly, it is incredibly difficult to find decent actors for an unpaid project. It was noticeably harder to find older actors in particular, which we needed to play the character Adam’s parents. Thankfully, someone on our course stepped in to play Adam, alongside our director’s parents and producer filling the remaining roles. It worked out in the end, but we now know to place more importance on finding actors and to allow ourselves more time to do so.
Another problem that arose is that the scene was not as simple as we originally thought. We thought the lighting would be our biggest issue, but in our viewing of the original scene we did not pick up on the many, many subtly camera angle changes. This meant we had to storyboard the scene and figure out how many slates we were going to need. The amount of camera changes, along with technical difficulties (camera dying), we ran really late and ultimately ended up rushing the latter half of the scene. Analysing the scene more closely and figuring out how many slates we need prior to filming will greatly benefit us in the future.
Overall, while we encountered problems, the scene recreation was a fun project to work on and we have learned a lot about the minute details that go into filming a seemingly simple scene. We managed to capture the tone of the original scene in our recreation and we were really happy with what we made.
Filming this exercise was a unique experience and a different process to the other exercises. I chose The Stand Comedy Club where I work as my location because I wanted to film a comedian in an environment important to them. Stu Murphy was hosting the show that evening and I chose him as my subject since he is an incredibly seasoned comedian who performs at The Stand regularly.
My main practical issues were involving camera and direction. My subject was having to perform for an audience as well as my camera and so maintaining a good frame was difficult. Along with audience members absentmindedly walking in front of the camera whilst filming, this made getting lots of usable shots difficult. However, I believe the shots I have used for the final product depict Stu in his element and I am happy with what I have made.
Since using my own lights during the show would’ve been too disruptive to both my subject and the audience, I did not book any out. This made filming backstage tricky since I only had the overhead bulb lights at my disposal. Despite this however, I feel that the low backstage lighting offers a good contrast to the staged lights during the show. Overall, filming this exercise was enjoyable and I am very pleased with the final result.
Water of Leith | Visual Exercise 1
Workflow and Creative Camera Techniques
By Kate McIntosh and Lauren Prince
Myself and Lauren chose the location next to the Water of Leith because we were both attracted to how much the spot contrasts with the city it’s hidden in. We opted not to use a tripod with the camera for two reasons: the location had unstable ground and was right beside a body of water, and we wanted to use a POV perspective to add a sense of intimacy to the shots. Our narrative flows along with the river, with the POV character moving away from man made paths, making their way further along the riverbed until they reach a place of tranquillity.
I really love this location for its variety; the river fluctuating from rapid to calm and back again, the sound of the wind in the leaves. It’s this along with how utterly quiet it is, despite the main road being five minutes away, that makes for interesting shots.