N.4 | "Se7en" (controlled vs chaotic camera movement), milking your equipment plus more

JOURNAL ENTRY

Sep 7, 2024: The film I’m doing is in 2 weeks. I’m keeping busy until then. There’s always stuff to do when making a film, however small (or micro) might that be. I worked on the script a little more. Did some research. Worked on the shot list and shot order.

I wanted to shoot this a bit quicker, but I had to respect peoples’ other commitments of course. Not everyone was available to shoot earlier.

I was about to post some pics on Instagram of test day but I had no time to do that. Busy period this one.

FILM STORYTELLING

Se7en (controlled vs chaotic camera movement)

I watched Se7en again this week. I’m pretty sure this was the 100 millionth time.

The climatic final scene of Se7en is a great lesson in film storytelling. There are two camera movements at play. One is controlled and the other is chaotic.

Each shot reflects the state of mind of each character. Mill's is panicking and Jon Doe's is calm. By mixing these styles in the same scene, the effect of both is intensified, making the scene much more memorable.

TIDBIT I’M PONDERING

Milk your equipment as much as possible

I’m reading Rebel Without a Crew again. I read books over and over, even years later. Reading a book after a while helps me see things from a new perspective and refreshes my memory on important topics.

On page 68-69, Rodriguez makes a good point about equipment. I don’t always agree with him, like when he talks about “experience in movies” vs. “movie experience”, but what he says here is spot on.

Source: From Rebel Without a Crew by Robert Rodriguez.

PODCAST HIGHLIGHTS

Team Deakins → Episode 5 - COMPOSITION

Still photography vs composition

Still photography captures a moment. Film does not. They’re different. Still photography is something you can only capture and not change. In street photography, for example, you can change your position but not many other things.

Camera movement, lenses and lighting

You cannot divorce composition from camera movement and lighting. Also, the lenses have a crucial role in composition. All of the conversations about camera, lenses and lighting usually come before composition.

Storyboarding and composition

The Cohen brothers storyboard everything. Roger Deakins sometimes is involved in the process. He mentions that storyboarding does not necessarily nail down composition of every frame. It points to it but does not lock it for good.

On the day of, you’ll find out more by playing with the blocking in the scene.

Work with the director

When on the set, you’ll want to talk to the director about the blocking of the scene and you’ll have your say about it, and about the “such and such” you could achieve with the camera.

Aspect ratios

Deakins mentions that aspect ratio plays a role for sure, but he also adds:

Allow the cut to work smoothly

It’s very important that the cut works smoothly rather than the individual frame being perfect, interesting or dynamic. The cut must flow well. The feel of the film must flow, not jump.

So, if you cut on two different compositions that don’t really go together, you’re taking the audience out of the story.

Source: From Episode 5 - COMPOSITION of The Team Deakins podcast (paraphrased).

FILM STORYTELLING

The full shot

When the subject’s full body reaches from the top to the bottom of the frame, the shot is defined as full — the full shot. It's not necessary to put the subject(s) at the center of the frame, although that happens very often.

The full shot is tight enough to tell the story with the character's face, but wide enough to further the story with the character's entire body and body language, posture, wardrobe.