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 ...
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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