https://www.dropbox.com/s/h8k6udjzf0s58en/Assignment%203_BUS%20STOP_K00213239_REVISED%202.docx?dl=0

Project 2 Video.docx

PORTRAIT OF A LOCATION:

St.Munchin’s Church and graveyard, King’s Island, Limerick.

Eilis Mc Donnell, Director of photography


https://www.youtube.com/watch?v=RZ7tWVGq6nY

Pre-production

After receiving the assignment, our group; Caroline, Barry, Ciara and myself got together to discuss the project and possible locations to shoot. The crew agreed that for this exercise, we should pick a location close-by in case we needed to re-visit the site. As there were a few ideas we decided to think about it overnight with the intention to make a choice the following day and then go and scout it out.

The next morning we decided that we would walk by the river heading towards the Villier’s Alms Houses area in King’s Island keeping an open mind to what might inspire us on route. ie; the river itself, King John’s Castle, St. Munchin’s Church and the Villier’s Alms Houses. After walking round the area a couple of times, we decided to focus on St. Munchin’s church and graveyard. While exploring the grounds we discussed several themes; contrasts, life and death, life after death, cold grey headstones and beauty of nature, peace and calm, etc. The lighting was perfect that day as the sun was casting shadows and highlighting colour amidst the grey stone. We came up with ideas of where we might film our shots to convey our theme. We discussed how the weather on the day of filming might also sway our theme.

When we returned to the studio, we checked our schedules and forecast for the following week and we made a plan to go filming Tuesday, October 6^th, with the possibility of more shooting on Wednesday 7^th as the weather was promising. It was decided that Caroline would be director, Barry would be sound manager, Ciara would be production manager and I would be director of photography. Later, I wrote some notes and brainstormed some titles to go with our earlier thoughts.

Production

October 6^th: When we arrived on location, I shared my ideas with the crew. We decided, rather than be morbid and dark we would try to show the beauty and sense of calm within the graveyard and came up with words like Tranquility, Serenity and Peacefulness. We had decided to film from the entrance of the graveyard and make our way inwards to show the graveyard in context with the church. I set up the equipment but had difficulty attaching the camera securely to the tripod, which caused the camera to wobble. I realized that I should have practiced using the camera in advance to become familiar with the functions and technicalities of shooting beforehand. Ciara tried to hold the camera steady while I filmed. It was very difficult as there were so many things to consider at one time.

We worked as a group looking at camera angles and subject matter and making decisions where to pan, tilt, whether to zoom in or out and take stills.

We planned to take plenty of footage that could be edited later. When we returned to the studio and downloaded the material we decided that we needed to redo some of the shots. The footage was shaky, the lighting was dull and we had more time to re-assess what we wanted to capture, i.e.: more close-up shots, slower takes, better angles etc. The first clips helped us re-focus.

We gathered again the next day, October 7^th. This time the camera was steady.

I worked closely with Barry who also contributed footage as he had previous experience with filming. I also asked the crew to give their input into the angle and shot selections etc., while looking into the lens so that the crew was happy with my choices. It was interesting to get different peoples takes on the same subject matter.

Post-production

Back at the studio, the new shots were downloaded and the crew discussed which clips we liked. The final clips chosen were combined from both days filming and using both footage from myself and Barry. We decided that Serenity was the final title, initially having leaned towards Tranquility but both having similar meaning.

The crew edited the shots in Premier Pro and chose music to accompany it.

We all briefly discussed and experimented with type treatment for title and credits to accompany the video, which we wanted to keep simple but not too sterile.

I feel I contributed a lot to this project in terms of suggestions of locations, themes music and opinions but I mostly learned a lot from working within a crew and seeing how each person contributed their own thoughts and skills to the group.

Hinterland Trailer — YouTube, Acorn Media US.

(Full Trailer Duration 1:36), Duration analysed 1:00

Hinterland is a dark suspenseful Welsh crime drama series set in the rural coastal town of Aberystwyth with it’s sparse, remote and beautiful landscapes.

The main character is DCI Tom Mathias, a loner and outsider with a troubled past. He works alongside local DI, Mared Rhys who is familiar with the land and it’s people.

It is compared to successful crime dramas such as Sweden’s Wallander and Denmark’s The Killing.

The trailer gives the viewer a condensed visual perpspective of how the drama series will play out. It paints a bleak, cold, picture of Abererystwyth, and the crimes associated with it through the visual landscapes, images of sets and props. We get a glimpse into the lives and personalities of the various characters through the lens of the camera following their actions, body language, and facial expressions.

I have analyzed the full trailer, but have edited it to the first 60 seconds as it was too long. I believe it is successful in portraying the series. Below is a YouTube clip of trailer followed brief descriptions of each shot in terms of content, technique and intent to validate my opinion. 

If you like crime dramas, I would definitely recommend the series!

Shot 1: In the opening scene, the shallow frame focuses on an e.c.u. of Tom’s troubled face in motion — drawing the viewer in as he moves up and down and side to side almost out of the frame. We hear him breathing heavily. The intent is to give the audience an insight into his character.

Shot 2: Shows an e.l.s. of Tom jogging alone along the cliff of a bleak rugged coastline to a haunting soundtrack. A female voice asks…“What happened to you?”…reinforcing that all is not well with him. Scene fades to black.

Shot 3: Switches to a deep frame, m.s. (Camera angle C) with Tom being questioned by DS; Mared Rhys. 1/3 rule. She is almost insignificant in the shot as the focus is on Tom who does not engage eye contact with her but sighs and replies… “Nothing”. A further insight into is personality. The light is coming from the window far right and is reflected in the mirror. The mirror propped against the wall casts a deep shadow as a result of the light angle.

Shot 4: Deep frame. Begins as m.l.s. and turns to l.s. with Tom entering from left of frame and going up steps to the front door of an austere stone house. It is also a l.a.s., the purpose of which  is to draw attention to his blue overshoes shoe covers—a hint that this is a crime scene, reinforced by the yellow marker at the doorway and Mared’s voice bluntly stating the facts; ”No children… No close family”. Natural light from above.

Shot 5: Deep frame interior shot showing bloody crime scene in foreground, with DS Rhys’s legs and feet visible in the background. She is also wearing blue shoe covers and there are more yellow markers visible on the ground. The light from an open doorway behind her shines in on crime scene while drawing attention to a policeman with his back to the camera. Tom enters the scene from the left. The focus is on their feet and subsequently their latex gloves. Camera switches to long shot as the two detectives look at red blood on the floor. The walls are stark and colourless. As the camera angle moves up we see a vivid yellow wall in the background. Deliberate use of 3 primary colors for aesthetics.

Shot 6: Exterior balanced, two shot c.u. Open frame. Both characters are disengaged from viewer and each other while Mared brings Tom up to date on the events. “Found the door wide open and the carnage inside”. Tom’s face is intense, eyes look around contemplating information he has just heard.

Shot 7: Darkness. The ratio of the frame changes as a sliver of light appears and widens revealing a door being opened with Tom outside looking in. M.s., deep open frame. The viewer can determine that it is in a neighbourhood as another door is visible on the other side of the street behind him. Door opens fully to show Mared to Tom’s right. Both hold up their badges to whoever is inside. Mared tilts her head as if to look further in around the door. Lighting from above right.

Shot 8:  External c.u., three shot. Deep frame, shallow focus. Natural light. Tom and Mared are seen with an elderly male character. Tom is facing him, Mared’s focus demands direct address while the third person is disengaged from the others. Tom asks, “where were you last night?”

Shot 9: O.t.s., c.u. shot. Shallow focus switches to priest who looks forlorn. He turns to Tom, his face revealing the shock at being asked the question. 1/3 rule. Natural lighting. Fades to Black.

Shot 10: Stark e.c.u. shallow focus of barnacles, a visual reminder of coastal environment with a review; “gripping” from UK Daily Post as text superimposed over image. Use of single word reviews capture the viewers attention, while reinforcing quality of drama in a short space of time. Open frame.

Shot 11: Background image switches to shallow focus, e.c.u. of cold stone slab with carved letters suggesting headstone. Reinforced by the letters; die bottom right. Another austere picture theme. Lighting from right side of frame. Open frame.

Shot 12: Cuts to a deep frame, c.s. interrogation room scene. Visually dark with light focusing on centre of frame on stark back wall and from above on central characters either side of table. Tom is assertive leaning forward interrogating suspect who is slumped, disengaged and looking downwards. Another female officer, next to Tom is sitting back passively, allowing him to lead while focused on him speaking. Suspect’s lawyer is also drawn to Tom. Camera angle d.

Shot 13: M.c.u. of suspect breaking down hysterically and denying accusations.

“I didn’t touch her. I didn’t, I didn’t”. The background is dark, only the suspect is visible, lit from above. Camera angle d. Head drops down. Image evokes despair.

Shot 14: L.s of  country scene with Tom driving dark vehicle on winding road towards camera. 1/3 rule in motion. Modern black vehicle contrasts visually with rural landscape. Natural light.

Shot 15: Interior two shot c.u. Balanced shot. Both characters almost in darkness. Main natural light from behind centre through window (a style director seems to favour). Soft lighting also from above.

Shot 16: Exterior l.s. with changing frame ratio showing derelict house in remote landscape. Lacking colour.1/3 rule. Open, deep frame.

Shot 17: Cuts to darkness. Centre screen is focus as viewer is drawn to sliver of light moving. Light comes from door being opened and increases to reveal Tom looking into dark room almost in silhouette apart from light hitting him from back right. Only strong colour is blue shoe covers. Deep frame. (repeate of similar style as in shot 7).

Shot 18: Another stark e.c.u. shallow focus image with a review from The Times superimposed over image; “brilliant”. This time, the image is an old abandoned fish hook (another reminder of bleak coastal environment). The c.u. image flickers momentarily drawing further attention.

Shot 19: Deep frame, c.u., o.t.s. shot. Tom is facing suspect who is silhouetted at right of frame. Camera angle d. Light is natural from behind and top right. His face is intense and his brow furrowed as he asks him, “Did you kill her?”

Shot 20: Switches to another deep frame, c.u. shallow focus shot, this time over Tom’s shoulder facing suspect. Suspect looks angry but coldly and calmly answers with a rhetorical question; “How could I harm a hair on her head?” Camera angle c. Natural lighting.

Shot 21: O.t.s. shot. E.c.u. of Tom looking to right of screen. Camera angle a. The side of Tom’s face is in focus while remainder of frame is shallow focus. He turns his head slowly to left and camera switches focus to right of frame to reveal the body of a female in a red dress propped upright in a kneeling position as if praying. Her head is tilted forward with her long hair gently blowing in the wind while covering her face. The visual created is haunting and eerie, echoed by the music accompanied.

Shot 22: Another review; “The Welsh Killing” – The Telegraph appears on a black background. A l.s. of rural scene emerges gradually in background with a vehicle driving on road bottom right into frame. Breaks 1/3 rule. Fades to black.

Shot 23: Interior m.s. Low angle, 2 shot. Open frame o.t.s. Shallow frame. Tom is the focus, while Mared is in silhouette to left of frame. Camera angle d. Lighting from top left and right side of frame. Tom asks Mared, “do you think I came here by choice?” His words again, lead us to think that he has a secret dark past. Mared’s reply; “The official line is that you did”, verifying that he ran away from it.

Shot 24: Exterior c.u. deep frame, balanced, shallow frame shot of Tom with victim’s mother, both looking at ground. Mother facing camera but not engaged, Tom also not engaged. He moves closer, empathizing with her, relating to her grief. Their temples touch, eyes closed, evokes two lost souls needing comfort. Lighting from top left. Camera angle d.

Shot 25: Deep frame, l.s. showing both characters alone at stark crime scene. Mother kneeling in same position her daughter was found in. They face each other, locked in each others eyes and kiss. 1/3 rule. Lighting from left. Camera angle c?

Shot 26: Cuts to interior c.u., open frame, two shot at police station. Shallow focus. Mared’s face is the focal point, while Tom is barely in view. Tom is now being interrogated by his co-worker who is obviously concerned about his involvement with the victim’s mother.“Did you sleep with her?” Lit from top left.

Shot 27: Camera switches back to Tom’s sombre face looking at her. He doesn’t answer the question. C.u., o.t.s shot. Camera angle c? Lighting from above with natural light again through window in background.

Shot 28: Camera switches to Mared’s face again. 1/3 rule. Open shot. She continues to probe;“Did you?” she asks again, while subconsciously nodding as if convinced of his guilt. Soft lighting from above left. Cuts to black.