Toolkit 2: Lighting & Rendering - Physical Sky Light

Film Reviews: Three-Act Structure - Non-Linear Film Scripting

The film is shot in a way which responds to the emotional strength of Grayson's personal guilt for causing the death of his Wife and Daughter rather than chronologically to the occurrence of critical events in time. 

Above is a full list of the events which would be considered scenes in the film, they can be matched up with the Three-act structure denoting numbered ticks to see how they would be placed into the Non-Linear film. 

The two Three Act Structure diagrams in the embedded document denote a Linear Structure then a non-linear structure. 

Life Drawing: 28/11/18

I began with a series of 30-second poses to loosen up, I wanted to focus on proportion and pose. 

I then moved on a series of 2-minute poses in an attempt to gain better posing.

Then finally I moved on to two 10 minute poses. 

Perspectives: Post-modernism in Dancer in the Dark (2000)

 Figure 1: Dancer in the Dark (2000) - Film Poster

Dancer in the dark by Lars Von Trier is considered an example of a post-modern film for multiple reasons. It is the story of a struggling mother desperately doing all she can for her son to have a better life. 

Lars Von Trier has used multiple themes to confront the ideas of the traditional film, the first and foremost is the concepts of musicals. A beloved thing in Hollywood history is the 'musical', a production brimming with song and dance, common tropes of this show incredibly happy people. Positivity and optimism go hand in hand and the films always end in a good wholesome outcome. Dancer in the dark instantly challenges this notion. Bjork who plays the main character Selma is flitting between the musical fantasy of her mind and the cold harsh reality. The choreographed scenes are crafted out of the moment, and happen in depressing environments like courtrooms, factories and notoriously, on the long mile to the execution chamber. The film ends with the sound of Bjork slipping into one of her musical episodes and the sudden sound of her neck breaking as she is dropped through the gallows; a very un-hollywood, musical ending.      

 Figure 2: Dancer in the Dark (2000) - Musical in Factory

A handheld camera films the entire film as if we 'the audience' were following Stella around like a friend, or onlooker. It confronts the ideas of traditional filmmaking with a static camera, it also goes a long way to creating the division between the two worlds, the reality, and Stellas musical episodes. During these, a static camera is used in order to give the scenes a more theatrical feel, instead of watching from the point of view of a person in the situation you are instead the audience of a production.  

 Figure 3: Dancer in the Dark (2000) - Courtroom drama

Shots are filmed in a very mundane way, much of the theatrics are shot almost as if they are security cameras, even though we are watching a theatrical production it is almost as if we are sitting behind the security terminal in the control room watching it from a distance.    

There isn't much of a clear timeline during the film, it lends a warping perspective to the character of Stella, possibly a window into her mind. The scenes could be placed around and it wouldn't make much of a difference to the flow of the narrative. 

Illustration: 

Figure 1: Dancer in the Dark (2000) [film poster] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska

Figure 2: Dancer in the Dark (2000) [film still] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska

Figure 3: Dancer in the Dark (2000) [film still] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska

Life Drawing: 26/11/2018

I began with a series of 30-second poses to loosen up and improve my posing and focused on the weight of the character. I decided I would try drawing directly onto a graphics tablet and see how it came out.

I then moved on to a series of poses each 2 minutes long. I tried to keep it loose and focus more on faces.

Next, I went on to do two 10 minute poses, once again I wanted to keep it as loose as possible. 

  

Character Design: Project - Character Backstory 02

Character Design: Chase Scene - Abandoned Mine

I created a short chase sequence in class; 

An adventurer rappels into a mine shaft looking for treasures and stumbles across bioluminescent crystals. Picking them inadvertently creates sparks due to their flammable properties and ignites a trail of gunpowder leading to a minecart; the adventurers' headlamp illuminates its contents upon which he discoverers it has begun to roll towards him, it is filled to the brim with dynamite. His only escape lays down the tunnel at a crossroads, he sprints for it and narrowly escapes around the corner before the cart hurtles along the track past him. A few moments pass on the adventurer before realization dawns on him and he sees the cart coming back towards him from another tunnel, the dynamite fuses are sizzling away inside. Behind him he can see the light of day through a grate in the far end of the tunnel, a desperate sprint towards it reveals the track has collapsed in his path, he leaps the gap with the cart trailing behind him at a distance. Its passage is slowed by layby tracks in the tunnel. He gets to the grate and realizes its locked by a heavy, rusty padlock. He realizes his escape is futile. He turns to look back at the minecart explodes next to him. End

     

Perspectives: Post-modernism in Funny Games U.S (2007)

Figure 1 - Funny Games (2007) - Film Poster

Funny games used diegetic sound to bring the notion of a blur between reality and fantasy to the forefront of the audience, the song 'bonehead' is played over the opening scenes during the period of time the main characters, (the wife - Naomi Watts, the husband - Tim Roth, and their son Devon Gearhart) are listening to classical music, they cannot hear it and are enjoying their own music, the audience, on the other hand, is barraged by an extremely violent tune, an ill omen for what is about to unfold, the same song is later played by the murderers to the family meaning something that happened in the interior of the film also happened in the post-production editing in the exterior of the film.    

Repetition is used as a recurrent theme during the film, during the opening we see the main family talking to a couple who are due to play golf with them later that day. The reply of the couple is unnerved and distant as if something is distracting them, we can see two figures standing with them, we later find out these two are the murderers; the murderers visit the main family and proceed to torture them eventually killing them, before moving on again to the next family on the next plot at the lake. Conversations repeat themselves and phrases are highly repetitive for example the constant back and forth between the two murderers, the dominant Paul (Michael Pitt) constantly remarking on the weight of the sidekick Peter (Bradly Corbet). 

The director (Michael Haneke) used a technique which completely breaks the barrier between reality and fantasy during the moment when the wife picks up the shotgun and kills Peter and Paul remarks that it wasn't supposed to happen like that so finds a remote under a pillow and rewinds a portion of the film, in the film to a point before the shooting, this time around he grabs the shotgun before she can kill Peter and proceeds to shoot the husband on the ground, its at this moment you really begin to realize there isn't a hope for the family to survive, especially since the murderers have supernatural abilities to change the film mid-flow. 

Figure 2 - Funny Games (2007) - Film Still - Peter looks into camera

 There are moments throughout the film where Peter talks directly to the camera, speaking directly to the audience, involving them in the film to again use the theme of blurring the walls between reality and fantasy. Finally, at the end of the film in the boat before the sequence repeats, Peter and Paul strike up a conversation about a character stuck between reality and fiction, the conversation reiterates the events and themes around breaking the forth-wall to the audience, it is a conversation which forces the audience to re-evaluate what they are watching. 

Figure 3 - Funny Games (2007) - Film Still - blood splattered television set

Finally, the directors' script appears much more geared to dealing with more mundane events in life, instead of murder, violence and chase scenes even though the film is entirely about the torture and murder of an innocent family. For example, Haneke chooses to focus on Peter making himself a sandwich instead of the obscenely brutal murder of Georgie in front of his parents, even when he returns Haneke is more geared towards showing a blood-splattered television set instead of a body.

Illustrations:

Figure 1: Funny Games (2007) [Film Poster] - Michael Haneke: Celluloid Dreams, Halycon Pictures, Tartan Films.

Figure 2: Funny Games (2007) [Film Still] - Michael Haneke: Celluloid Dreams, Halycon Pictures, Tartan Films.

Figure 3: Funny Games (2007) [Film Still] - Michael Haneke: Celluloid Dreams, Halycon Pictures, Tartan Films.

Character Design: Project - Character and facial expressions

Some designs for my zombie character:

Character Design: Side Kicks

Character Design: Project - Character Backstory 01

During my progression into the character design project I've been developing a narrative in which my character lives, through this I have decided on a style of which to present my character bible. Below is a series of documents entailing some of the lead up to how my character came to exist and the world they encompass. What is below is not all, only what is finished.

  

Character Design: Props

Using the inspiration of Ancient Persian architecture and artifacts I've spent some time designing the prop used by the futuristic religious leader which is a stave or scepter. 

Film Review: B-Movies - When Worlds Collide (1951)

Figure 1 - When Worlds Collide (1951) - Movie Poster

When Worlds Collide is a B-Movie category film produced in 1951 by Rudolph Mate. It is a story about the anticipation of the destruction of the earth and a desperate struggle to prepare for lift-off and colonization of another planet much like a space-age version of Noah's ark, instead of a great flood coming it is a planet hurtling across the solar system.     

The film makes use of small areas in which to hold large scenes, the film only has one large environment which consists of when the first planet rushes past earth causing huge amounts of destruction to the apparatus and rocket, I-beams, scaffolding, fires and vehicles all occupy the scene as well as a large number of extras. The film is heavy on scenes containing dialog, this helps the narrative greatly and from a budget point of view it's cheaper to do because there isn't a need to incur costs in special effects or props other than that of the set.

The film uses miniatures for fantastical set designs like when New York floods and to show the construction of the interplanetary rocket, this helps to keep costs low because it's cheaper to build the environment on a tabletop with a backdrop instead of going to an actual location with real sized props. When Worlds Collide does well to keep some of its budgets down by investing in the use of stock footage, the film used shots from the Vatican during a period of time when crowds were gathered, it used footage from New York Time square and stills from the Brooklyn Bridge, these are only some of the examples.

Figure 2 - When Worlds Collide (1951) - Miniature Set

Although the film is categorized as a B-Movie it has a lot of redeeming qualities firstly 1) the narrative is simple to grasp and goes through the motions of a three-act structure like other disaster movies meaning it conforms well to other films in its genre. 2) The scripting is good and the audience can completely suspend their disbelief even for a modern audience the dialog has become timeless, suspense and tension work well to balance the characters. 3) Sydney Stanton the Capitalist Billionaire money pot works well to provide a sinister character to balance David Randall who embodies the selfless essence of the American peoples' hero. 4) Although Miniatures were used to create large scenes they have been done well, whereas scenes where more time is spent on them by the characters requires more investment, shots have been set up carefully to economize on what it requires to be a prop and what can simply be a matte painting. 5) The quality of acting was high, there weren't any moments when watching the actors act made them feel out of place in the film. All of the cast looked very much like they were all meant to be in the film as their characters. 

Figure 3 - When Worlds Collide (1951) - Film Still

Illustrations:

Figure 1: When Worlds Collide (1951) [Movie poster] - Rudolph Mate: Paramount Pictures 

Figure 2: When Worlds Collide (1951) [Movie Set] - Rudolph Mate: Paramount Pictures

Figure 3: When Worlds Collide (1951) [Film Still] - Rudolph Mate: Paramount Pictures

        

Character Design: Zombie Pre-facial Expression

Below are two pages of designs for my zombie character, as an agglomeration of flesh the skull isnt specifically fused to the mass and has a gaping mass around where the mouth would be.  

I was given some guidance which helped me to think about transitioning from a more cartoon style too a more horrific and menacing look, below are a series of  drawings to help me come up with the final idea of how the monster could look, it was suggested instead of having a gaping hole there doesn't even need to be a mouth at all and instead a twisted rib cage could sit in a position to which it looks like a mouth and has another purpose. 

 Below are two ideas of my own to help try and define how my character looks, i will begin to work more into 'fleshing' it out.

Character Design: Facial Expressions

Below are some facial expressions mixing two random emotions which are anxiety and grief.  

I was given an inanimate object in which to create facial structure and expression with, this a kettle. I had much trouble working out the facial features but eventually I managed to find a design which allowed for a little extra exaggeration which gave me the edge on it. I began by making a kettle with aspects which made it feel better than most, I chose that approach because I wanted a kettle which represented a sophisticated owner who looks down her nose at others.    

 I then moved on to making a kettle with a different outlook on life, I wanted it to be tired and down trodden.

Film Review: Labyrinth (1986) - Character Opposites

Labyrinth is a heroes journey style of film where the hero undergoes an adventure and comes out the other end as the master of their world and transcending characteristically also. Sarah played by Jennifer Connelly is the main character for the film and it is her who must undergo the journey. The Goblin King played by David Bowie is her nemesis, it is important to know how characters reflect each other in film, this can be put into relative categories.

Firstly their physical worlds, Sarah occupies a space in a small American town, she lives in her fathers' house with her father and stepmother who has recently had a baby. The Goblin King occupies an illusory world of a castle surrounded by a fantastical labyrinth. these are opposites because one is utterly mundane and the other is utterly whimsical, one is small, one is huge. The town will always remain the small rural town whereas the labyrinth is forever changing in state.

the Characters often have opposing personal views on the world also, Sarah is under the opinion that she is bored with her small town and feels trapped, she is frustrated that she can't seem to escape this mundane world which is blatantly obvious in the opening scene. The goblin King holds the opposite opinion even if it is not specifically mentioned, it is implied, his opinion of the world is that he has ultimate power and control over his world, the ability to shape it in whatever his whim fancies, he has the ability to move freely with the state of the labyrinth, in essence, it is an extension of himself.

Sarah inherits the world of the labyrinth when questing to save her brother from the Goblin Kings spell, her exterior personality is brave but internally she is scared of the unknown, it is like traversing the mind of The Goblin King and she knows it is his to change at will.

Sarahs' character wants adventure away from her boring world space, freedom from her demanding baby stepbrother and her bossy stepmother and excitement other than mundane daily life. The Goblin King wants power, which is exhibited over the labyrinth and through the ability to manipulate Sarah, and inevitably to play games as a form of amusement.

Wants differ from actual needs however, Sarah needs to have a sense of courage to advance in her quest, she needs friendship to stop feeling lonely, and she needs self-worth in order to give her purpose in life. The Goblin King needs power ultimately, this is saught in the form of manipulating and harassing Sarah throughout her quest.

Sarah exhibits a particular persona, which is what we see as an exterior character, it is often that there is an internal persona which balances the character, proving there is generally an opposite within the same character. Sarah appears externally as uncaring, harsh and hot-tempered, we find out through dialogue and acting that the implied persona internally is insecurity, loneliness, sadness and a longing for her fathers love and inclusion. Sarah has flaws which give rise to conflict and tension in the audience, her flaws create metaphorical obstacles which the character must overcome to succeed, Sarah has the flaw of being completely hot-tempered, this is something which she spends the entire rest of the film trying to correct this is known as a major flaw due to its severity of detriment to the character and how much danger it put her in as a consequence. The Goblin King has what is known as a fatal flaw, this is a flaw which ultimately is the entire downfall of the character. This is exhibited as the incessant need to be the trickster, to make bets and do deals, its all a huge game, this means he practically allows Sarah to go unheeded through the Labyrinth instead of simply smiting her and being done with it.

Through the journey Sarah traverses her inner feelings create conflict leading to external change, her character arc goes from beginning the film as Angry and lonely > ending the film joyous and surrounded by friends. There is a major change in Sarah in an early scene, it is the moment her major flaw happens when she says the correct incantation and her brother is taken by the Goblin King, moments later a huge realisation of truth occurs in the character and she wants to undo the wrong instantly, she begins the scene angry and reckless, when the scene is finished she has transcended to regretful and guilty.

The two characters reflect each other almost completely oppositely, is it a constant battle of good and evil, it is important to remember that ultimately the difference between a maze and a labyrinth is that a maze is designed in a way of which there are multiple incorrect paths in order to halt progress, a labyrinth is actually a single path designed to completely disorientate but ultimately they will reach the end if they just keep going, a lesson in perciverance which is a theme through the film and the overriding quality which brings about the success of Sarah.