Cinematographer:
This title is equivalent to director of photography DP. This role is designated to the chief of camera and lighting, and they are responsible for the artistic and technical decisions involving the overall image - in this case the image of the scene, however this is where it relates to photography, as my role will be deciding what makes the most excellent image, as though it was still.
Considerations:
Considerations:
Camera technique
Creativity
Composition
Lighting
Centre of interest
A cinematographer is an expert in both the technical and artistic capabilities of a movie camera. I will work closely with the director during shooting in order to properly frame each shot according to the script and the director's personal vision. As well as this I will also be working closely with the camera operator CO (ellen) to capture the best image through the angels and shots controlled by the CO. However there is a clear difference between our roles -the director will often consult the DP for factors such as lighting and filtration whereas they will consult the operator for framing and lens choices. Although in order to achieve the best framing the CO will most likely still consult me, as I would also consult her for particular issues eg. lighting.
The director will typically convey to the cinematographer what they want from a scene visually, and allow the cinematographer freedom in achieving that effect, however in some instances the director will allow the DP absolute independence, or even none - going as far as to specify aperture and shutter angle.
I believe I carry enough previous experience- 2 years media GCSE to fulfil these roles.
I think I have a keen eye of basically what looks good and what doesn't, which is an explanation of why I would be designated both of these roles. I will closely work with my group, and take on board everyones vision for the final result in particular the directors to create the highest quality OTS. I do think I'm capable of performing the two vital functions of a DP, the technical aspect as well as the artistic aesthetics to support the director's vision of the story being told.
Great Cinematographer; Charles Rosher
Charles Rosher was a two-time Academy Award-winning cinematographer who worked from the early days of silent films through the 1950s. Born in London, he was the first cinematographer to receive an Academy Award, along with 1929 co-winner Karl Struss. Rosher studied photography in his youth but earned a reputation early as a newsreel cameraman. He later moved to the United States in 1909 and found work for David Horsley working in his production company, this made Rosher the first full-time cameraman in Hollywood. In the 1920s he was one of the most sought-after cinematographers in Hollywood, and a personal favorite of stars such as Mary Pickford. His work with Karl Struss on F.W. Murnau’s 1927 film Sunrise is viewed as a milestone in cinematography, revolutionary;
Notable films: Sunrise (1927), The Affairs of Cellini (1934), Little Lord Fauntleroy (1936), The Yearling (1946), Annie Get Your Gun (1950), Show Boat (1951)
Stylist:
I don't think I'll find this role as challenging as the cinematographer as it's something that comes very natural to me, however I do think both roles are closely linked, and believe I'm the correct person to be chosen for them. As I said I have a keen eye of basically what looks good. My job is to collaborate an outfit for both characters which is suitable for the performance, era and character. A wardrobe stylist is distinct from an image consultant or a colour consultant, I will be making the decisions for both of these subjects which I find incredibly exciting!
Our Femme Fatale
As you can see the style is supposed to be highly seductive, the look often includes -especially from these modern photographs - lingerie in order to appear alluring. Her clothes are typically black or fiery red and when she sits her slinky ankle length gown parts seductively revealing fabulous black stockinged legs.Femme Fatales are seductive, mysterious and tough. But don’t mess with their affections or you might get a bullet through the heart.
On the mean streets of Chicago or New York you’ll find her clothed in a long trench or fur coat which revels floating, figure-hugging gowns with gloves above the elbow, stockings, high heels, dark lips and smoky eyes. This is conventional at its best. We obviously cannot, and don't particularly want to style our femme fatale this way, so we're going for a much more refined, concealed outfit. Conforming to many conventions still; fur coat, floating dress, dark eyes and lips ect. She is a siren and a seducer, however also has this hidden vulnerability that females can relate to.
Our anti-heroHe will be wearing rugged casual clothing such as; jeans, denim or black, a white vest smeared with oil (he's a working class mechanic). Accompanied with messy, dishevelled hair, and oil marks on his face. It's a simplistic look, showing his lack of money for any extravagant clothing. Men in the audience will not be threatened by him and they may even feel as though they have a bond with him - example of how our OTS appeals the male gender.
No comments:
Post a Comment