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This topic contains 81 replies, has 1 voice, and was last updated by Profile photo of Aerandir Aerandir 11 years, 11 months ago.

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    Profile photo of jay

    Compositionally, it’s got a nice strong diagonal and a good mix of light and dark areas that push toward the characters. Marlow gets a bit lost in the side of the car, but it’s a short shot. I’m not sure why the high angle here, though – at first I thought it might be a camera height but Nick’s got lots of eye level stuff around it. Perhaps he felt a wide shot was needed to reinforce the space, or maybe to suggest that they are being watched.

    I like the day-for-night technique used here. It’s very foreboding and spooky – I always find highway driving at night is very isolating, like being on an island in the middle of nowhere. My only complaint would be the relatively light background/horizon. I think almost a pitch black would be no less convincing and add to the already substantial atmosphere.

    I thought this set felt a bit ‘forced’ – the bushes and rocks are quite close to the road and then nothing but flat plain beyond. It’s oddly claustrophobic and immediately gives a ‘set’ feeling. The seam in the road is unfortunate.

    The vechicle design is good. Basic, but straight away you’ve got the sense of a utilitarian desert vehicle. I would have put the centre of the wheels on different angles, though. It looks like it was placed rather than driven to a stop.

    A nice little bit but not one of the more powerful images from GC (or GCR).


    Profile photo of Yolegoman

    “Cometgreen” wrote:

    Shot for April 30, 2003:

    Submitted by Yolegoman. Not what I was looking for from GC, but I guess a good shot nonetheless. You better have a good excuse for suggesting this pic, Yolego, or else…


    Uh yeah, I did…
    (what was it? *thinks*) Lol.

    The reason I like this shot is the lighting, for one, and, if you look really closely, its not even apperent at first glance, you see the set goes past the lego’s… that is, theres the nightime blue and sandy dirt in the background. Makes the two guys in the foreground, the manager and Marlo, feel, well, isolated I guess, and that adds to the scariness.

    I agree with Zirk, though, the rest of the set is too close to the road…

    I disagree with his idea of Black backdrop,I feel like this shot is supposed to be near dawn, once you think about it, and the blue makes it like that, but maybe a darker blue would help. (Gosh, this is so unfair, nitpicking these guys work to pieces) :)

    Another, last thing I notice is Marlow looks really excited about finding the car, yet The Manager is hanging back in the background, much more cautious, it seems. Contrarywise, it’s the Cautious Mananger that gets shot. :roll

    Lol, sorry if nobody else likes this pic. The idea of filming in normal light to darken it later in post prod is just facinating to me.

    Yolegoman, awaiting the death blow from Cometgreen.

    Profile photo of minifigstudios

    I like the blue colour of the picture. It makes a nice effect. I also like the way the two persons are placed in the picture. The space between them is just perfect. Making no deadspace. What I dont like is the angel of the picture. I think that it should have been taken completely from the side.

    Another thing is that you see reflections from the lighting at the man with the blue shirt. That is pretty sad since it ruins the whole nightfeeling kind of thing.

    Profile photo of Buxton

    It’s not a great shot for critiquing, really. If I remember rightly, this is an establishing shot to show that the boys have found the car/truck. As such, it does its job. There are definitely better shots in the film. (cg – if you want to pm me with your choice, I’ll see if I can get a screen grab)

    The framing is a little awkward. The guys are in the centre of the frame, but there’s some dead space to the right. I’m not sure what you’d do to improve it though.

    The high angle might suggest surveillance, but I think it may just have been a way of closing off the set so it doesn’t look too much like a road with a line of rocks and bushes by it with nothing beyond.

    Profile photo of The Janitor
    The Janitor

    First of all, I’d like to say that I very much enjoy reading this thread. It was a very good idea. But, if it is going to continue on for a while, it might be wise to create a seperate “cinematography” forum, where a new thread is created every day or week or whatever. Then people wouldn’t have to sort through pages and pages of posts on one thread.

    Profile photo of Yolegoman

    I agree with Janitor, and it wouldn’t be that hard, really. One click of the mouse for Jason. :wink

    Profile photo of Cometgreen

    Though that would be cool, I think the thread will start to slow after a while. A picture a day is quite a lot, and soon we’ll be saying the same things about similar pictures. I’m all for organization, but still, it may or may not use up more bandwith. It’s Jason’s call, however.

    And thanks. I was hoping people would enjoy this thread. It can very informative on a sometimes overlooked aspect of filming.


    Profile photo of IndyA

    The landscape is very drawn out far back and you can still tell that even know it is night. How the figs are standing refers…without sound that it looks like they just found the vehicle…

    Profile photo of

    The day for night techinique always looks fake (imho). I guess I’ve just seen too many bad horror and godzilla movies where they use this (the worst offender was this one scene which was at a beach with birds flying around but still tinted to look like night

    It would have been better to make the models out of light colored lego (white, grey, yellow) and then light the scene with blue filtered lamps, enough light so that the webcam could pick up the scene, but not ‘overly bright’ like in a daytime shot. Also, the gamma curve and contrast could be played with a bit in post production to give it a proper nighttime look.

    As it stands, the night scenes in Good Company look too washed out.


    You can also convey ‘nighttime’ by adding crickets to the soundtrack. Let’s not forget that sound is 60% of a film: Watch the first scene in Saving Private Ryan, or the Pod Race in starwars 1 to see two examples of really amazing sound work.

    Profile photo of LowweeK

    You can also convey ‘nighttime’ by adding crickets to the soundtrack. Let’s not forget that sound is 60% of a film: Watch the first scene in Saving Private Ryan, or the Pod Race in starwars 1 to see two examples of really amazing sound work.

    Aaaamen to that !
    BTW, I did not congratulate you for the foley work on R.vs R. EP2. It’s really good ! Your mix is really good too : it sounds clear. Again, congratulations.

    I really think it’s worth having a deep thinking about the sound ambiences in a movie. There are a lot of common sounds from everyday life that could incredibly enhance the soundtrack of a movie !

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