Was always drawn by this session but scared, dam scared that I would want the detail, want what the real options offered me but they're not options are they?! I can't afford to get lost in detail... I can. I can and I can chose that too.
We had SONY XDCAM PMW-EX3 - shoots 60fps and has a lot of extras and lenses which give me film quality at 1/3 of the price. We tested out lenses to see and feel the differences in small groups. Much more fineky... and filters which could shift lift, adapt light and move light. One filter which would be good to use would be the polarising one, which is shooting from the outside in, from outside a car or bus and to take off the reflections. Got to touch a camera and lense or two.. was good, the quality, the control....
With the class who I did FCP with which is funny, they seem nice and I remember one or two.
Tutor is gentle and was interested in the project I was doing, her partner was the son of a miner and from Derbyshire and what that meant.. so much to say and do. The layers. She is open to share and interested, good to share the ideas and see how and what people think about them and what they might want to contribute. The energy the possibilities. Saw GK too, the man who runs all the technical things here and more. He had encouraged me to take more of the undergraduate modules which he could see from the footage I would have a better understanding of the work I was creating and how and why. To develop an ability to understand and articulate the astethic which is a key part of this piece, the form and content are important. Not just one. One without the other would not make sense and would deny the context and contexts within which we operate.
She showed us Ak - Seven Samouri -(just changed this link, wiki talk about it better than imbd which is commercial titles not why or who. it tells me/ us more not selling us the product but the process, context and how it made a difference to his career and where it is in relation to others). who used mainly long lenses, this gave the background and foreground equal balance, like in Japanese art. Makes the context more or more equal. Its not just this character, this but this is also part of that and that is moving too, together. A dialectical relationship, movement is important to me.
Suggested two key books:
Grammor of the shot - Thompson
Cinematography: Theory and practice - Brown 2002
No comments:
Post a Comment