Workshop 3 - Film Production
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- Speaker: Mr. Tom Brooks
What Makes a Great Horror Film?
Storytelling through Film
Horror Sub-genres
- Supernatural
- Psychological
- Slasher
- Found Footage
- Folk Horror
- Comedy Horror
Key Horror Elements
- Tone
- Character
- A Twist
Key Moments in a Story
- Introduce your character
- Something unexpected happens
- There's a problem
- And it only gets worse
- Until the story's climax
- And the resolution
Sound and Cinematography
Sound Design and Storytelling
Diegetic:
- Door Slam
- Floorboards Creak
- Wind Howls
- Music from a Radio
Non-Diegetic:
- Film Score
- Voiceover/Narration
- Sound Design Effects (e.g., a violin strike for a jump-scare)
Listen to the track:
- Consider the types of sound present, for example, organic vs. inorganic
- What kind of atmosphere does the sound create?
Shot Sizes
- Wide Shot
- Close-up
- Medium Shot
- Wide Shot - High Angle
- Close-up - Low Angle
- Medium Shot - Low Angle
- Two-shot
- POV
- Over the Shoulder
- Cutaway
- Through Foreground
- Following
Rule of Thirds
The man's head is positioned at an intersection between two lines, known as a hotspot.
The treetops in the background align roughly with the lower horizontal third line.
The sun is positioned at the top right hotspot. Its reflection is located at the bottom right hotspot.
The sky occupies roughly one third, the sea one third, and the beach one third.
The sun and the butterfly are positioned near the hotspot.
The sea occupies two thirds, while the sky occupies one third.
Consider the amount of space occupied and the angle of the shot.
Linear Camera Movement
- Dolly Across
- Dolly In
- Track Backward
- Pedesral Up
- Dolly Out
- Track Forward
Single Light Positions
- Rembrandt
- Monster
- Silhouette
Lighting Examples
- Sunrise & Sunset
- Night, Using street lights
- Night, Using lamplight
- Even Lighting
- Lighting from Below
- Dramatic Lighting
Shooting a Scene
Colour and Emotion
Coverage
- Wide Shot
- Mid Shots of Each Character
- Close-ups of Each Character
- Cutaways
Start far away and gradually move closer.
The 180 Degree Rule
The camera should remain on one side of an imaginary axis between two characters, ensuring that the first character is always frame right of the second character. Moving the camera over the axis is referred to as jumping the line or crossing the line; breaking the 180-degree rule by shooting on all sides is known as shooting in the round.
The 180-degree rule allows the viewer to visually connect with unseen movement occurring around and behind the immediate subject and is particularly crucial in the narration of battle scenes.