CREATIVE CRITICAL REFLECTION

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Here is my Creative Critical Reflection!

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CAMERA ANGLES IN THE GIVER

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Camera Angles The Giver (2014, dir. Phillip Noyce) For this week's assignment, I decided to watch and analyze the use of various camera angles in the 2014 movie "The Giver," based off of the novel by Lois Lowry. Since I'm a huge fan of the book, I thought that it would be interesting to see how the director would adapt certain scenes from the book into visual form, what kind of camera angles and framing he would use, and things like that. One of the first shots in the film is a tightly shot, dynamic REACTION SHOT of the main character, Jonas, as he experiences his first glimpse of color. In the movie and the book, everybody is colorblind, and maybe I should have expected it but for some reason I hadn't really considered that this would translate to the movie being in black-and-white. With the reaction shot, the audience is put in Jonas' shoes as he first sees color, and with some clever editing the audience experiences that too, as some light blue and ...
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FILM OPENING FINAL DRAFT: CARMEN

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Carmen  is complete! Before posting this final edit, we got some peer reviews from our fellow filmmakers, and for the most part they were exceedingly positive! On the whole, most of the viewers praised the atmosphere that we managed to create, citing the music choice and low-key lighting and editing as factors. The only real criticisms that we received were concerned with the plot, and focused on the lack of an overarching structure and the open-endedness of the last few shots in the opening. After reviewing these criticisms, we decided not to change the structure of the film, because we thought that, although these criticisms would definitely be valid in the context of a full-length film, since its a film opening this openness was more than acceptable as more complicated plot details would be addressed in full over the course of a longer movie. Additionally, we wanted to keep the air of mystery and intrigue that this wealth of interpretations provided, and so we decided to maint...
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FILMING: A HARD-BOILED SURPRISE

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We came back to the Ave. fresh-faced and ready to create a masterpiece. Kiley -who will NOT be shown here to maintain suspense -was dressed to the nines in a borrowed blazer, a loaned belt, and some slick shades. We modeled her after a hypothetical combination of the two biggest film noir archetypes: the grouchy, cynical private inspector meets femme fatale. Here, we were able to film the most important shots, demonstrating her actual character arc, showing her motivations and establishing the very beginnings of a storyline as the camera follows her from  her car along to a crowded, cosmopolitan boulevard. Of course, since the finally footage is going to be in black and white, we decided to film in a slightly lighter setting than the film will actually take place, since we can always lower the exposure and raise contrast in post. I was the primary cinematographer in this case, though we all contributed, and we brought two cameras and a dozen ideas to the scene this time around...
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