Course Reflection - Not to Be Confused with My Film Short "Reflection"

                This course has taught me more about my field than the majority of my academic career at the University of Alabama. Though some consider the name of the course to be “Advanced Cinematography”, the class taught me about the technical aspects of camera movement and camera specifics as well as the efficiency of pre-production materials and production etiquette. Prior to the class, I would never have realized the importance of shooting scripts or storyboards. I usually envision how I want shots to look in my mind and struggle through the communication process with my cinematographer. Understanding these elements helped my filmmaking process tremendously.

                The ability to use certain equipment and learn about others was probably my favorite and most influential aspect about the class. Previously, I had worked with some of the more basic equipment like the JVC HM100 cameras and the Manfrotto tripods but this was the first time I was introduced to prime lenses or the Spyder dolly. As the semester continued and I worked more with this equipment, my shots became more complex and articulate.

Unfortunately, I discovered the world of lighting a bit too late into the semester. Within the past few weeks I realized how much I loved to play with the lighting and shadows of my subjects. The lighting helps me to enhance or completely alter the mood of my subjects simply with the placement of the light and its reflection. I found the magic of gels and now have a difficult time staying away from them. I just wish I had more time to play with the lighting kits and accessories during class. My time on-set helped to raise my confidence with lighting but I feel as if other students should also get the opportunity. Maybe if the course taught students lighting earlier in the semester, it would benefit their confidence and projects as well.

Overall, I thoroughly enjoyed the class. I learned more about the filmmaking process as a whole rather than what is in frame. The class is invaluable and would suggest for any student looking to improve their filmmaking to register for it. Though I wish we learned more about lighting earlier in the semester and had more projects to work on throughout the course, this has helped me to realize I could do more than just edit. It opened many doors that I never would have thought to look through and has been a pleasure every step of the way. Thank you.

Reel and Artist Statement

Director/Cinematographer Reel Fall 2014 from Kristina Cruz on Vimeo.

Artist Statement

            As a filmmaker, I aim to create unique images that further enhance the story. Rather than simply depicting a visual to accompany the storyline or message, I craft visualizations to reflect the emotions of the subjects. The frame becomes a window into the lives or sentiment projected upon these people and objects.

            Through my role as a director, every detail helps to comprise the larger meaning of a shot. A shot not only communicates the action or dialogue, but also builds the message of a film. Each one possesses some sort of meaning. I choose to tell stories through visualizations or lack thereof. I believe dialogue should possess just as much meaning to the story as the lighting or frame; excessive amounts of these filming elements results in what I like to call “mush” onscreen.

            Mush relates to the overabundance of a particular filming element without any sort of motive or incentive. I feel that excessive amounts of dialogue lose their meaning and just become noise in the background. Excessive amounts of characters make it difficult to form a connection or bond between the audience and the universe envisioned onscreen. Though there may be a time and place for each, I attempt to focus as much of my frame on the key elements as I can. In order to do so, my position as a cinematographer takes control.

            Cinematography allows me to paint portraits of people, places, and objects, but above all emotion. Emotion is something cannot be seen yet we all know exists. The images I create allow emotion to take a visual form through my framing and lighting. Frames allow characters to relish in their freedom through wide shots or reveal their most intimate moments through close-ups. Shadows are equally as important to a shot as the lighting is. Lights are able to reveal while the shadows allow me to obscure. I enjoy painting sets with color to emphasize the mood of a scene. Most of my sets contain at least one or two gels just to give my shots a splash of fantasy or delusion. This technique helps to draw in my audience’s attention just enough for them to focus on the story.

Reflection Scene Assignment

Working on pre-production materials will not only help keep you organized but also to help your crew run faster and more efficiently. For my pre-production materials, I used:


Script
Shot List
Storyboard
Marked Shooting Script
Floor plan
Visual References

Script

Shot List

Storyboard

Marked Shooting Script

Floor Plan

Visual References

Final result of all this planning and some hard work on set:

Reflection from Kristina Cruz on Vimeo.

Portrait of Dillon Montgomery

Shot by Shot Analysis

Though incredibly simplistic, the opening scene of Quentin Tarantino's Kill Bill Vol. 1 has become one of the most recognized sequences of all the auteur's works.

 

As one of the most recognized American directors, Tarantino utilizes Japanese characters in his opening credits as well as retro 70's-stylized brass background music to imitate his inspiration of traditional Kung Fu film. Overlaying the characters over the frosted glass also attempts to disorient any preconceived notions the audience may possess prior to watching the film.

 Tarantino continues to toy with the audience's expectations by including a psychedelic title card where multiple copies of the text come together in the center of frame.

Following the presentation cards, a black frame fills the screen which is eventually filled with a quote about revenge and heavy breathing from the character out of frame. By including the quote, Tarantino purposefully sets the theme for the film and foreshadows the main plot points to follow.

 The frame cuts to a woman covered in blood as she lays nervously and continues to breathe heavily. The director creates a heavy shadow across the character's face to emphasize her facial expressions and her feeling of uncertainty. The blood-splattered veil sprawled across the floor reflects the turmoil of her current situation. Tightness of the frame prevents the audience from gathering any other information than what is directly on screen and builds tension.

To signify the importance of the antagonist without revealing his true identity, the frame follows his boots as he walks across the floorboards to his victim. By doing so, the film focuses the audience's attention away from the bleeding bride towards this menacing entity. The dark color of his pants and boots visually represents the character's dark nature. Though the camera tracks the footsteps of this character, the frame remains tight focusing solely on his boots without revealing any other information.

 The frame cuts back to bride's face as she trembles from the man's entrance. To establish the identity of what character was introduced, a hand holding a handkerchief with the name "Bill" embroidered on it wipes some of the blood off the heroine's face. Such an action not only introduces the character without revealing his face, but displays the confusing nature of the film's antagonist. The monologue overlaying this frame, in which Bill attempts to comfort the woman, produces further evidence of Bill's bipolar tendencies.

 The bride attempts to defend herself by speaking directly to the area where the hand originated from. More of the character's face is illuminated by the light as she gains confidence to speak her first line of the film.

This scene ends with the sound of a gunshot and blood exploding onto the floorboards behind the bride's head. Prior to the last frame, the floorboards were clean but covered by the bride's blood-matted hair and veil. As the veil is blown away from the gunshot, blood splatters across the previously clean "background" of the frame. Allowing such gory actions literally illustrates the "spilled blood" or cause for revenge.

5 Randomly Selected Scenes I Find Interesting

The Final Dance number of The Artist

Though the entire film is a tribute to silent films and the stars who helped create them, The Artist manages to bring that same cinematic magic to the screen as its predecessors before "talkies" took over. The final dance number not only showcases the single shot method and elaborate stage settings as the old silent films once did but also the talent and work needed in order to successfully create such a cinematic vision. The two protagonists effortlessly glide around the stage in proper ballroom fashion as well as a beautifully complex and entertaining tap routine.

 

Dressing Room Scene during Nina's performance in Swan Lake

Black Swan repeatedly paints pictures of Nina's paranoia and fear as the film progresses with digitally-altered images and unnatural dream sequences. Instead of utilizing these same tools to convey Nina's breakdown during her performance, they use Mila Kunis' physical presence to represent Nina overcoming her old ways and embracing her darker side.

Lake Scene in Princess Mononoke

Animated films tend to gravitate towards universes that would seem magical or supernatural to normal people. Most possess characters with special powers or creatures that we would never find in our world. Princess Mononoke is no exception as it is filled with gods and spirits which possess a direct physical connection with the land. However, the scene in which San (the "princess" of the mountains) tends to the protagonist's wounds and even feeds him is one of the most organic and natural sequences in any film.

Kitchen Scene in The Strangers

Compared to the other horror films which utilize "jump tactics" or gore in order to scare their audiences, The Strangers does the complete opposite. This particular thriller draws out shots to uncomfortable lengths and very little if any sound effects, increasing the tension as the hunters search around the house for their victims.

Elephant Love Medley in Moulin Rouge

Moulin Rouge tells one of the greatest love stories for modern generations and provides catchy references to popular songs as well as beautifully intricate visuals to draw the audience's attention. The film best exudes this talent during the infamous "Elephant Love Medley" in which the protagonist admits his feelings for the beautiful courtisan. Set amongst the Bohemian rooftops, the setting provides Ewan McGregor's character a sense of freedom to prance and sing around. Perfect for emotional (and in the case of the audience, visual) fireworks to ignite.

10 Things About Me

Though I was born and raised in Tuscaloosa, my parents originated from the Philippines.

As a result, their "Pinoy Pride" has rubbed off on me. Patriotism to any country helps to showcase an individual's passion.

Which means I frequently participate in the Filipino's favorite pastime of eating.

I also enjoy live music and going to music festivals. The props and lights of every performance help to highlight the artists and their music.

My friends and I are also known for our flow art (spinning poi, hula hoops, etc.). The fluidity of the flow arts varies with each artist and style, ranging from tranquil to chaotic and energetic.

Sometimes we spin with fire.

I also like to longboard whenever I have the time.

Though I enjoy film and working with cameras, I much prefer cartoons over live-action film or television.

I especially love the Avatar series. I loved the "shot dynamics" if the season finale and the way they showed all the action of each fight scene.