DOF refers to the amount of the image that is in focus. Traditionally, feature films have made use of a shallow depth of field to selectively focus the attention on a person or object. Take a look at the photo and note the areas in focus and those that are out of focus, drawing your eye in to the important part of the frame
2 – Frame Rate
Shoot at 24 frames per second. Or at 24p on your camera. Since the earliest days of film, movies were shot and projected at 24 frames per second, and viewers have grown accustomed to this frame rate. Make sure that your camera is always set to this mode, unless you need to shoot at a higher frame rate to achieve slow motion. You may want to shoot at 60 frames a second so you could later slow it down to 24 frames a second while editing, and your footage will then play at 40% of the speed. 3 – Shutter Speed
Make sure that you use the 180 degree rule when setting your shutter speed. This means when you set the shutter speed on your camera, set it to exactly double that of your frame rate. So if you are shooting 24p, make sure your frame rate is at 1/48 or as close as possible.
4 – Camera Movement
Camera movement is definitely one of the most important aspects of getting a film look. Camera movement can include everything from sticking your camera on a tripod and deciding to have no movement at all, to going handheld, to putting your camera on a jib and getting a crane shot. There isn’t a specific movement that will make your film look more cinematic, but the more importance you place on camera movement, the more cinematic your film will feel. Some indie films suffer from very poor camera movement and may contain scenes that are partially shot handheld and partially on a tripod. This will make your film very difficult for your viewers to watch. 5 – Don’t Blow Out The Highlights!
A big giveaway of digital footage are blown out highlights. Since most digital cameras have much less dynamic range than film, the are prone to clipping or blowing out the bright areas of the frame. On film, when this happens, it’s actually fairly pleasant to look at, and many directors, like Stephen Spielberg for example, actually intentionally will blow out some shots to get a stylized effect.
6 – Framing
If you have a well lit shot with a nice shallow DOF, but the subject isn’t framed right, than everything else you’ve done gets diminished. Great framing not only will make your video feel more filmic, but it will make your film better as a whole. The framing of an image can tell a story in itself. Just take a look at this frame from The Kings Speech, where a very unusual framing was utilized to create a sense of emptiness in the characters life.
7 – Lighting
Great lighting can make or break your shot, no matter what medium you’re shooting on. That said, certain formats – especially film, are much more forgiving with poor lighting than digital. Some low budget filmmakers are tempted to just pick up a digital camera and start shooting without thinking enough about the lighting of their scenes. Doing this can be another huge giveaway of a very low budget and amateur production. You by no means need to spend a huge amount of your budget on lighting if you don’t have the money for it, but you need to pay as much attention to proper lighting as possible. Whether you’re shooting with a large lighting setup or just using bounce boards and practical lights, it’s the attention to detail that counts. No amount of color grading will ever be able to save a shot that is just poorly lit, so make sure that your shots are not only exposed properly, but also lit in a way that sets the mood and tone of your scene. 8 – Color Correction
In post-production and specifically while color grading, you can do a lot to make your video look more filmic. Ideally you’ll want to decide on a look before hand and then bring your footage into some grading software and start to tweak your settings accordingly. A big mistake that I see often is amateur filmmakers will over-do the color on their film. A good starting point when coloring is to make your footage look as natural as possible. Once you’ve gotten your white balance and exposure to the right spot, you’re already most of the way there. Most films are actually not that stylized. They usually have very accurate colors and aren’t covered in a wash that makes them feel unnatural. With that said, feel free to add warmth or cool down your footage as needed to suit the mood of the film, just don’t go overboard.
9 – Film Emulation
This is not a necessary step, but one that I feel can really put the icing on the cake after you’ve followed everything else on this list. Film emulation is a technique that literally allows you to apply the look of a specific film stock to your footage, adjusting the colors and grain to match that of your chosen film stock. Like color correction, you don’t want to go overboard with this technique, but when used tastefully it can make a world of difference.
Although there is no exact formula to get the “film look”, by following all of the above steps you will be headed in the right direction. Watching a movie shot on film feels like you’re looking into a parallel universe. It almost looks the same as real life, but there are these subtle differences that allow it to feel more surreal, dreamier and pull you as the audience member into it. Doing this digitally is achieved by a combination of many factors, starting with how you set up your camera and finishing in the edit suite.
The video here explains a few simple steps you can use to make a video look more like a movie. Some of the steps in this video include Cropping (Letterbox Effect), Colour Correction and Frame Rate.
How to make a video look more like a film There isn't a single way to make video look more like a film as there are a number of key elements that can contribute to achieving this look. Firstly, during the editing process you can use colour correction order to make the footage look more like a film.However it is important that the colour isn't over done as this will make the film look amateur. If these is a heavy stylised look to each individual shot then this will make the video look more like a music video than a film. This means that after editing the film must still look natural and few lighting techniques that can be used to do achieve this are white balance and exposure. If these are altered correctly it will contribute to the footage looking professional. However with that said, feel free to add warmth or cool down your footage as needed to suit the mood of the film. You’ll also want to consider your black levels and contrast. Film can be noticeably lower contrast than video, and you can do a lot in post to achieve this look. First off you could try to simply reduce your contrast setting and then lift your black levels just a touch. Make sure that your blacks aren’t too dark in the wrong areas, and you will be well on your way to finishing your film look. Secondly, film emulation is a technique that allows you to apply the look of a specific film stock to your footage, adjusting the colours and grain to match that of your chosen film stock. Like colour correction this technique can help make video look like a film if it isn't over done and is still kept natural. An example of the difference this editing can make: Before:
After:
A video to show how these techniques can be used within final cut is below:
I wanted to experiment and use a different programme to Photoshop as I didn't feel that comfortable using it, so therefore I used the online editing site, http://ipiccy.com/ which I have used for years. I already knew how to edit the photograph and I knew how to merge layers to therefore I was happy with my rough film poster as I used a programme I felt I could operate easily.
I edited the original picture and edited the contrast and exposure to make it slightly softer instead of being really harsh, then I merged layers such as the text and the company details at the bottom from a different film poster, then I merged the critics rating by adding layers.
Overall I am happy with my film poster and would like to include some of the main elements into our group film poster.
When researching film posters i thought it would be easier to identify the key features of film posters and what the entail and why most blockbuster films have a film poster to promote it.
Heres 7 elements that most film posters consider when aiming it to the public audience:
Attention: The one most important features for designers, is attention – grabbing the attention of passers-by and encouraging them to look. This doesn't necessarily have to be by graphology however most mainstream films use a dominant image to grab the attention of the audience.
Iconography: The most effective movie posters are iconic, presenting the themes in the film without resorting to flat out saying what it’s about. They use imagery, whether a close-up of a character or item that’s a major plot point, or a simple graphic, to establish the film’s plot. Combined with an eye-grabbing design, this can be an incredibly effective way to gain attention and create interest at once.
Interest: Many of the best modern film posters use pictures that put the viewer in the middle of a scene from the film, creating tension and a major incentive. The incentive is that in order to resolve the situation, the person looking at the poster needs to see the film and find out what happens.
Appeal: With film studios cranking out comic book adaptations at a rapid pace, it’s the ‘true fans’that end up last in the marketing line. Studios can rely on them to see their new releases regardless of its review coverage or promotional materials, since chances are fairly strong they’re already aware of it. Great film posters, particularly those for adaptations, use this dual appeal to enhance their advertising.
Style:Whether you’re marketing an art film or a blockbuster, style matters. Some of the most memorable film posters out there have used bold, unique artistic styles to their advantage.
Lasting Appeal: Here’s the danger in getting too ‘arty’and delicate with your film poster: it’s eventually, after release and theatre shows, going to be shrunk to a fraction of its original size for the DVD release. While a growing number of films now use different designs for their DVD cover than their in-theatre promo posters, most of the classics and high-budget blockbusters still use the same poster for both.
Recognizability:From films that dominated both the commercial world and the awards scene to purely commercial releases, few films can guarantee studios income like a good sequel. That’s why sequel posters tend to be highly related to the first release, generally with a giant title in the top third of the canvas and instantly recognisable imagery throughout it.
When looking into a variety of film posters there are elements that are often included such as; the title of the film, actors name, tagline, director, production company, billing card and possibly release date. Here's 'Saving Private Ryan' which shows the distinct elements of most film posters.
When analysing film posters such as the mainstream film "Inception" it distinctly shows The main actors name, Leonardo Dicaprio located on the top of the poster, with the tagline in the centre just underneath it. By locating the actors names at the top of the screen will attract a specific audience which may be fans of the genre or the actor's individual work.
The image itself could suggest what genre the film belongs to as the darkening tones to the image and the prop of the gun in Leonardo Dicaprio's hand suggest that their could be something cynical about the film. The image itself shows connotations about the genre. It then includes the title INCEPTION in a dark red tone to stand out with the release date, production company and billing card underneath the title. Linking it to other films with advertising it with "from the director of The Dark Knight'" which could interest a wider audience by mentioning another mainstream film.
Music
In our film, we are wanting to use diegetic sounds as the music will change from gentle to tense. In the title sequence, it will start gentle and then gradually cause tension by speeding up. When it starts off gentle, it will have the shots of the two sister together, getting ready and arriving at the graveyard. The music will start to cause tension when the shots of a passing car speeding, dripping water etc. We will also interpret a scream into the title sequence to imply a mad sound.
In the beginning, we are going to use sad and soft tones of music to convey the feelings of sadness as their Mother has just been killed in a car accident and they have found a letter addressed to them. However by the end, after meeting Katherine and seeing how she reacts and her attitude in the hospital, the music will cause more tension and increase the speed of it as they are realising the truth.
During the first part of the film, we are using a voiceover from the moment the sisters open the letter and when it finishes. We are continuing to show the actions of the characters and convey an even more sad tone as they will be going to the graveyard.
We are going to use a diegetic sound of a girl screaming in the title sequence. It will only be short but it will be effective. Horrors and psychological thrillers often use a girl screaming to show intensity and it scares the audience. Screaming is often related to violence, being scared/frightened.
We are going to use a diegetic sound of water dripping out of a tap in the title sequence to cause a little bit of tension and mystery as this is often used in psychological thrillers/horrors
Often in a Psychological Thriller, the music used is tense and speeds up to make the audience hang at the end of their seats in anxiety about whats going to happen. The non-diegetic music used is usually a song just featuring in the film, most films would use a normal song conveying everything is alright. Usually by the end of a film, most things have been revolved so they can use a normal and happier song. The use of diegetic sounds in this genre of film can vary from the previous, dripping of water to screaming to heartbeats.
Lily and Elizabeth's house
Our first location in the film takes place in Lily and Elizabeth's house, this is the outside of it. The beginning of the film is where Lily and Elizabeth are getting ready to go to the graveyard and find a letter from their Mother. We have chosen a standard terrace house to show the normality of their lives before they read the letter from their mother and meet their long lost sister.
Inside Lily and Elizabeths house The second location photo takes place in Lily and Elizabeths house, again when they are getting ready to go to the graveyard. In our film, we are trying to portray the normality in their lives because they are not expecting anything unusual to happen. We chose a modern house, which isn't stereotypical to a thriller film, so that the audience are more surprised and on edge when strange things happen in a setting they are used to.
At the Graveyard
Our third location photo is at the graveyard where Lily and Elizabeth have gone to visit their Mothers grave after they read her letter, the voiceover of their Mothers letter is over heard over the shooting during the graveyard scene. Due to having scenes filmed within a graveyard it reinforces our genre of the film and embraces the connotations of death and misery.
Arriving at the Mental Institute Our fourth location photo takes place at a mental institute where the long lost sister of Elizabeth and lily has been potentially stayed for many years. The exterior of the building portrays the emotions and the mental state of the sister as it looks run down and gloomy. we purposely used the juxtaposition of the interior as it reflects the sisters optimism to meeting their sister and this wouldn't be expected from the outside of the building. This reflects our storyline as the sisters don't know Katherine's dark side until further in the plot. The main scenes in the film are featured in this setting which reinforces our themes of good VS evil.
Storyline -
In this short film, it starts with a dream and there is a car crash in which the main character's mother and father lay within it and he is watching it from afar but then it flips to him waking up showing it was a dream. He carries on like normal to a normal life where nothing has gone wrong. After freshening himself up and making sure it's not real, he goes downstairs into the kitchen where he encounters his mother and they have a normal conversation but then the mother mentions a car crash in which he replies telling her about his. He continues to talk to his mother and she asks him to call his father in as he outside and he's just seen him through the window fixing the car however when he goes to the door to call him in, his father isn't there. He goes back in the kitchen to tell his mother but she has also disappeared, his father then calls him into the living room where he sits and they have a conversation about general studies that the main character is interested in, he then goes on to say he loves his son. He goes to walk into the kitchen after finishing the conversation and finds is father stood in the kitchen and becomes really confused and his mother then appears like she was before in the kitchen and they are together. He then gets a knock on the door from a police officer who is delivering the news about his parents in a car accident and the main character refuses to believe it as they were just in the kitchen and wants to tell the police officer it is a mistake, he continues walking into the house in a search to find his parents and the police officer followers wearily. His mother then reappears afterwards asking him to be strong and then leaves the house.
Sound/Music -
There has been a clever usage of sounds and music from the beginning to the end as when they are in the accident during the dream. There is a diegetic sound of a heartbeat, and at every beat the camera switches from each character to the other. As he comes closer to the car, a sharp sound starts like an alarm clock and he wakes up. It causes tension and makes the audience come to the end of their seats in worry. Then no music is used until the end which is very effective as the audience believe it was just a dream and his life is normal until the police officer arrives, the tension is built as he walks through the house there is piercing music where the mother reappears behind the police officer and the same sharpening noise is used unexpectedly which frightens the audience.
Mise-en-scene -
Police Officer Uniform
Everyday Outfit
Grey-scale
During the beginning of the film, they portray they are in a dream using a different lighting which is more grey-scale compared to the real life shots which is normal lighting portraying it is everyday life. The costumes that the characters are wearing are ones that anyone would wear in everyday life however they have used a police officer costume to portray the character is an authoritive figure and is here to tell some important news. The use of make up is minimal however in the car crash, they have emphasised on the use of blood to portray an accident has happened that could be fatal. The use of props is also minimal the only use is the car to portray a car crash.
Shot Reverse Shot
Editing - The film is non-linear as it has a flashback in the beginning and then afterwards it all makes sense as it becomes linear. As one scene is completely different at the beginning to the following ones it is not continuous however afterwards it does become it. They often use shot-reverse shots when displaying conversation between one another.
Close Up
Cinematography -
Many close up shots are used during the car crash to show what has happened and the disaster that has occurred whilst zooming into the main character who is alive to emphasis his emotion and shock about the situation. When the family is conversing, all shots are similar there isn't a variety of them, they either use close ups or mid shots, there is no angles used to show who is inferior/superior. However they use a mid shot of the car outside to confuse the audience about the car crash and make them think that it was just a dream when it actually wasn't. They use still shots therefore no hand held camera work has been done and they have used a tripod to contract a steady image.
