The first director of photography I decided to research was Polly Morgan.
Firstly, I decided to look at some of the works in which she was in charge of the cinematography.
Polly performed the cinematography for 11 episodes of American Horror Story's series Asylum. As a horror series with dark themes, it was important for the cinematography to reflect this through the lighting, exposure, framing, colours, mise en scene etc used.
In this scene, Polly creates a slight disorientating feeling as the nun drinks (presumably alcohol) by pulling the character in and out of focus - shifting the focus between the background and the character. Low light levels are used as a theme throughout the programme to embody the dark nature of the series, but in cases such as this scene, the low light really aids to the disillusion and confusion, making the cinematography more effective in conveying this mood to the audience. As this is also a close up shot, it draws the audience in - this combined with the shifting of focus and the low light helps the audience to experience the same disorientated, unbalanced feeling the character is experiencing.
Working with the set design team, Polly has framed this scene to look very stark, empty and harsh. This look is achieved by minimal objects within the space and framing the scene so that these objects are spaced out - leaving a considerable amount of empty space - adding to the harsh look. The light from the windows also hits the spaces left by the objects, highlighting the emptiness. The low light helps to enhance this light as it contrasts to the dark space surrounding it. The scene, like the scene before, has a very desaturated look - as if the colour has been drained out of it - this enhances the sinister atmosphere within the series. The long shot also helps to isolate the characters within the frame, again adding to the empty, stark nature of the scene.
This scene is filmed on a dutch angle, offsetting the balance. This gives the scene an unsettling feel as this is an unnatural way to view a piece of action for the audience. The unsettling angle of this helps to enhance the disturbing theme of the piece - showing how shot sizes and angles work to evoke certain emotions. The low level of overall light combined with the small bit of light coming from back of the scene creates a backlight, silhouetting the characters in the frame. This adds a sense of anonymity to the characters, furthering the unsettling feeling for the audience as they are unaware of exactly who these characters are. As with the other scenes, the colour grading of this scene is very desaturated, enhancing the silhouette nature of the characters. Although, instead of the black and shadows of the scene merely appearing black, they have been given a dark green tint adding to the eerie feel of the scene. This green tint also helps to suggest that this scene is supposed to be in colour (as opposed to black and white - which may appear to be the case if the shadows of the scene did appear pitch black). The dutch angle, combined with the long shot type helps to emphasise the height of the character on the right, adding to the eerie, unnatural feel of the scene.
Below shows some of the colours used within scenes of this production. The colours used within scenes varies depending what the scene is depicting, however, the scene below displays many of the colours generally used within the production. Typically, the scenes consist of neutral colours (i.e. the dark olive green, neutral sand colour and very dark green) which make up the setting and environment of the scenes. Other colours such as the light piercing blue and dark blue are introduced as features of the scene - they are made more defined and enhanced by the neutral colours making up the environment - therefore these colours stand out and draw the audience's eye to these pops of sharp colour. The colours used for the setting are all very neutral and muted - this helps drain the colour from the scene to make it appear desaturated - the desaturated nature of the scene both helps to make it look sinister and eerie as well as helping draw the audience's eye to the colours that are introduced in the scene. The colours used within this scene are cool in tone - so whilst they draw the audience's attention, they are in keeping with the desaturated, sinister look of the scene.
In the following scene, the character is first shown through a mesh screen - this adds intrigue to the scene as the audience is unaware of what they are seeing at first. The obscuring nature of the screen makes it difficult to work out the character behind it, keeping the audience in suspense. Once she opens the door, the character is revealed. A further unsettling detail of this scene is that the character appears to be walking towards the audience by walking towards the camera, looking into the lens. This puts the audience on edge as they feel as if they are the victim within the scene. As well as this, the shadows cast on the characters face (coming from the harsh light from the left of the frame) creates a harsh, sinister look on the characters face - conveying this mood to the audience. The medium close up nature of this shot also means that the audience are not receiving a lot of information about the scene - they can only see the character in the centre of the frame surrounded by an empty environment - this means they are focused on the character and what she appears to be doing (walking slowly towards the camera - before murdering another character) - due to this lack of information provided by the shot type, the audience are kept in suspense to what is about to happen. As with the other scenes, muted colours are used (with the same green tint which is apparent in a number of scenes). These colours, as well as the costume of the character, hint that this event took place in the past as these aspects give the footage an aged look and therefore depict a different era. (1940s / 50s?) The set design (the mesh screen) also helps to suggest the time period as this style door is only used in past scenes (there are no doors this style in the 'current' time period of the production).
Overall, the cinematography style of American Horror Story: Asylum is made out to look eerie and sinister to reflect the theme of the production. This is done by playing with the focus, dutch angles, desaturated green tinted colour grading and harsh lighting to throw the audience into a sense of disillusion. The production is given an overall low exposure to give a dark look (which again reflects the theme of the show). The cinematography is also dependent on other aspects of production in order to give the desired look - i.e. the cinematographer must work with set design and costume to make sure the shot types / colour scheme both compliment and are complimented by these aspects.
As well as performing the cinematography for American Horror Story: Asylum, Polly Morgan was director of photography for 2 episodes of Call The Midwife.
Call The Midwife is set in the 1950s / 60s and therefore it is important for the cinematography to reflect this (as well as evoking the emotions portrayed within the episodes). As a family drama, Call The Midwife has a much brighter tone than American Horror Story, this is evident through Polly's cinematography techniques.
The composure of this medium closeup shot puts the nun at the centre of attention for the audience. This is done by using a great depth of field to blur the background and shift the focus entirely onto the nun. Like with many scenes of Call The Midwife, the shot is given a warm tone - this helps to give the scene a vintage feel (through the uses of browns for the shadows and oranges in the highlights / midtones) and display the time period of 1950s / 60s in which the drama is set.
Like with American Horror Story, Polly would have needed to work with the set and costume design team to ensure all aspects of production coordinated to produce the best / most accurate result. Through this collaboration, the mise en scene of this scene helps to depict the time period of the drama. The colour of the walls help to depict that of a hospital / nursery whilst the blinds and cribs help to suggest the 1950s/60s time period. The warm light coming through the windows (and just the warm lighting of the set) aid the vintage feel of the programme, once again helping to set this drama in the past. This long shot positions the couple at a lower place than the doctor - connoting the vulnerable circumstance they are in - this shows how camera framing is much more than just how the image looks, it is also used to convey the mood and emotion of the piece.
The blocking and framing of this medium shot places the couple an awkward distance from each other - showing the uncomfortable / awkward / sad nature of the scene. The low level of light in this scene casts shadows over the characters faces, helping convey the atmosphere of sadness. The colour grading of this scene is much less saturated and warm toned than the majority of the scenes within the programme. Instead of the warm orange and brown tones, the picture has a cool green tone (with dark greens making up the shadows of the picture and light grey / blue tones making up the highlights of the picture). This, like the lighting and blocking, helps to create a sombre atmosphere.
Generally, the colours used within the scenes are very warm toned in colour which adds to the vintage feel of the programme. As shown by the colour grading in this scene; the highlights used are a pale cream / yellow tone, the midtones a mid peach / orange tone and the shadows a darker orange / brown tone - all together, this creates warmth within the scenes. The lighting within the scene is also very bright, illuminating all the characters well and ridding them of any harsh shadows on their faces - this creates a natural look whilst also connoting an essence of joy and happiness. The backlight in this scene works especially well as it works to illuminate the droplets of water coming from the watering can - this gives the scene a very idyllic look which when combined with the activities shown within the scene (children playing), portrays a very stereotypically 'perfect' image. This is very appropriate to the genre of the programme as a family drama as these are usually light hearted in tone and feature generally happy stories.
Overall, the cinematography within Call The Midwife is constructed to portray an idyllic representation of the 1950s / 60s time period in which it is set. The warm colour tones within the colour grading help to give the programme a vintage feel which helps to set it in the past. The warmth also bring an underlying positive tone to the programme - no matter what hardships the characters face, the message in the end always ends up being positive. This is all very appropriate to the family drama genre as, generally speaking, these focus on positive storylines where everything ends up 'happily ever after'. That being said, there are scenes which do depict emotions other than joy and happiness and this is reflected in the shot types and colour choices. When characters are troubled with difficult situations or sadness, the colour grading takes on a much cooler tone and instead of brightly exposed scenes, harsh shadows are used to create darkness within the frame.
Analysing both American Horror Story and Call The Midwife has shown me that all the elements which make up the cinematography of a scene are used in conjunction to portray different time periods, status of characters, times of day, moods, emotions, etc. The choice of cinematography entirely depends on the story and what you are trying to make the audience feel through the various techniques being used. I will use this in my decisions for the cinematography of VET-MAN - I will consider what is unfolding in the plot of the piece and which emotions should be evoked in the audience to correspond with the action occurring - this will inform what shot types should be used, how the characters will be framed, what lighting / exposure is needed for this shot and which settings should be used to create this, and which colours should be used and enhanced. All of these aspects combined will help to slot VET-MAN into its dark comedy genre and help to enhance the story being told so that it elicits the desired response from the audience.
Finally, to see what further information Polly could provide and what advice she could offer, I decided to get in contact with a set list of questions:
1. How would you describe your personal cinematography style?
Cinematic Naturalism
2. How did this style evolve?
I studied Art History and I always responded to the work that I could relate to. Works that felt real to me. I feel that authentic imagery is more powerful than a heavily stylised approach.
3. Do you have a favourite piece of kit to use that helps you achieve this style? How did you discover this piece of kit?
No. Tools are just paintbrushes to help create the work. It doesn't really matter to me what equipment I have - its what you do with it!
4. What do you get ready during the pre production of a project? In your opinion, what's the most important part of pre production?
I just want to establish a strong relationship with my director. We need to get to know each other and I need to talk their language before we can go into production. A smooth production is all about communication.
5. How would you describe your use of colour grading? Would you say colours are used to enhance the visual quality of the piece of to enhance mood/emotion or to establish your personal style? (or a mixture of all three?)
Everything always comes from the STORY you are telling. In pre production, you collaborate with the director, designer and costume designer to create the palette for the production. Colour grading only ever balances the imagery. Colour choices are made very early on in production and yes, they help to tell the story in a specific way.
6. What do you like to play around with most: lighting, colours, framing or depth of field? (or other?) And why?
As I mentioned before, all choices come in response to the STORY. What are you trying to say? How are you trying to make the viewer feel? How can you use the tools available to you to achieve that?
It might be all of the above depending on the project? Or it might be a black and white project so it will only be three?
(That being said, varying depth of field constantly can be distracting. DPs usually choose a stop for a given production and keep it consistent through the photography.)
7. What would your top advice be for an aspiring director of photography?
Volunteer on productions as a PA or whatever role you can get. Don't be too picky. Get out on as many sets as you can and ask questions so you can learn as much as you can. It is not an easy path so be prepared for a lot of ups and downs. You might have to work a 2nd job to support yourself in the beginning as people want to hire people with experience and you need to figure out a way to get that!
8. Would you say being a young female has hindered you at all in your career or do you feel this hasn't had an impact?
Yes. At the beginning of my career I think it was harder for women. However, that is changing and now, it isn't a negative factor. Regardless of how hard it was however, it is all about getting out there and doing it. If someone says no, then go ask someone else. Its hard for everyone at the end of the day and you need to be tenacious and hard working.
You have to be 100% sure this is the career path you want to pursue and then give it everything you have got!
From my research into the pieces Polly has worked on and the information / advice she has given me, I have learnt:
- The style in which the production is shot largely relies on the story you are trying to tell. I will concentrate on the message behind the production and what we are trying to convey to the audience. As our production is a dark comedy, we are attempting to convey a sense of satirical humour - nothing too on-the-nose. As this is the case, I will not be shooting the production as a typical comedy (with bright saturated colours), I will be shooting the production as if it were a cinematic drama but with handheld, natural camerawork. The pictures will be of good quality with enhanced natural looking colours (not too over saturated and vibrant like typical comedies) and a fair depth of field in which the background is slightly blurred. This will ensure that the audience's focus is on the deadpan delivery and the humour within the dialogue - fitting with the cinematic yet dark comedy genre.
- The two examples of Polly's work I chose were very different from each other and the cinematography reflects this. For AHS, Polly created a very dark atmosphere through her cinematography, whereas, in Call The Midwife, a much brighter, idyllic atmosphere was created. This shows that whilst personal style is important, it is much more important to adapt the cinematography to the theme of the production for the most effective result and to depict themes intended. This shows that I need to focus on the themes within the story of our production and base my cinematography decisions on this.
- Keep the depth of field the same / relatively similar throughout shooting to prevent this distracting the audience from the action within the frame. Test to find the best aperture and keep the camera on the same stop throughout production - this will keep a sense of continuity in the film. I will use this information when analysing the 1st test shoot and will keep it in mind for the second test shoot where I will choose one set aperture and stick with it (and test it on different length shots to ensure it works for all of them). Choosing a wider aperture will add a greater depth of field, therefore the subject within the frame will be in focus whilst the background will be blurred, whereas, a longer aperture will give a deeper depth of field, making more of the shot in focus (from the subject to the background). I will need to consider this in future test shoots and decided whether I want a wide or long aperture (or somewhere in between which allows the subject(s) to be the focus of the frame whilst the background / setting is slightly blurred).
- Polly highlighted how 'tools are just paintbrushes' and that 'it's what you do with it' that matters. This supports my plan to conduct in depth test shoots to decide on my equipment - no equipment is necessarily the 'best' but it needs to be appropriate for what I plan to do with it. This means I will test all the cameras to first of all discover their settings and which settings create the desired look. I will then test to see if the cameras can perform the functions I plan to use in VET-MAN (e.g. everything being handheld and crash zooms). Whichever camera produces the best picture and has the ease of use to perform the necessary functions will be the best choice for our production.
- The production is a collaborative process - I will need to work with my director to work out how he wishes to block the scene and what this means for my camera positions. I will then storyboard and shot list this and run it by the director to ensure our visions correlate. I will also need to work with the producer (and director) to decide on the set design, costume and props as these aspects will both affect the story and the look of the production. I will need to ensure that the mise en scene compliments the colour palette of the production - this is something I will need to come up with soon to ensure this informs all decisions regarding the mise en scene - this will also mean that I can perform my upcoming test shoots with this colour scheme in mind so that this can be tested to make sure it gives the look I am intending (a cinematic, dark yet natural look).
again, wow. well done!
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