I'm a big fan of Korean cinema for the way in which it's cinematography isn't restricted by the 'Hollywood' mould.
I recently watched I saw the Devil and on several occasions was inspired by a number of shots/sequences.
The first screen grab is more of a technique than a shot type, however it got me thinking as to how to catch an audience unaware and make them jump. The sequence starts with a peaceful shot of an illuminated car, the fact that the headlights are on, illuminating the car in front, lulls audiences into believing the character, whose POV this is, is safe.
From the very beginning its been suggested to me that the best way to introduce a new scene is though the use of an establishing shot, often a wide angle, letting the audience know what/where they are looking at. What I like most about this next sequence is the fact that this rule is reversed, opening with an extreme close up then cutting to a revealing shot. I'd like to copy this style when changing scene's in my own film.
It works in the context of I saw the Devil due to the fact that this character is almost always smoking, by this point in the film, the cigarette becomes something of a signifier for the character. Essentially, this means that it becomes more than just an interesting shot and justifies the transition into the scene. While I could through this kind of shot in anywhere in the film by way of changing scenes, it would ave less intent and therefore have less of an impact. Perhaps if there was something of significance to the plot that appeared as art direction in a scene I could use that as something to focus on before pulling back to reveal the location surrounding it.
The screengrabs below depict a shot that tracks the to left, following the character as he crossed the road before breaking into an apartment. What I like about the shot is that unusually it doesn't follow the actor but waits until they've left frame before quickly tracking sideways as if to catch up.
I like the idea of using a similar shot to introduce our protagonist as he starts his rounds once the market is empty. The shot would start as a static, looking down a low lit hallway, the character would then briskly walk through shot, the camera then tracking sideways, panning at the same time to reveal another hall way toward which the character is heading.
The way in which the camera seems to react to the presence of a character suggests you could be watching some kind of warped POV, appropriate given our script and subject.
I recently watched I saw the Devil and on several occasions was inspired by a number of shots/sequences.
The first screen grab is more of a technique than a shot type, however it got me thinking as to how to catch an audience unaware and make them jump. The sequence starts with a peaceful shot of an illuminated car, the fact that the headlights are on, illuminating the car in front, lulls audiences into believing the character, whose POV this is, is safe.
Then, very quickly, the shot whip pans to the right, revealing a man with a raised knife. In conjunction to this dramatic camera movement, sound is used to heighten the surprise factor. A simple technique such as this would easily be mimicked in my film, it's also taught me that sound is everything, in this sense my communication with the groups sound recordist/editor must be upheld as I starboard the project.
From the very beginning its been suggested to me that the best way to introduce a new scene is though the use of an establishing shot, often a wide angle, letting the audience know what/where they are looking at. What I like most about this next sequence is the fact that this rule is reversed, opening with an extreme close up then cutting to a revealing shot. I'd like to copy this style when changing scene's in my own film.
It works in the context of I saw the Devil due to the fact that this character is almost always smoking, by this point in the film, the cigarette becomes something of a signifier for the character. Essentially, this means that it becomes more than just an interesting shot and justifies the transition into the scene. While I could through this kind of shot in anywhere in the film by way of changing scenes, it would ave less intent and therefore have less of an impact. Perhaps if there was something of significance to the plot that appeared as art direction in a scene I could use that as something to focus on before pulling back to reveal the location surrounding it.
The screengrabs below depict a shot that tracks the to left, following the character as he crossed the road before breaking into an apartment. What I like about the shot is that unusually it doesn't follow the actor but waits until they've left frame before quickly tracking sideways as if to catch up.
I like the idea of using a similar shot to introduce our protagonist as he starts his rounds once the market is empty. The shot would start as a static, looking down a low lit hallway, the character would then briskly walk through shot, the camera then tracking sideways, panning at the same time to reveal another hall way toward which the character is heading.
The way in which the camera seems to react to the presence of a character suggests you could be watching some kind of warped POV, appropriate given our script and subject.
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