DOCSLIB.ORG

Smartphone Filmmaking

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Smartphone Filmmaking SMARTPHONE FILMMAKING Dylan Shields, Assistant Professor, Cinema/TV Los Angeles City College [email protected] or [email protected] “Film will only become an art when its materials are as inexpensive as pencil and paper.” - Jean Cocteau The ARRI ALEXA SXT Studio Rental Rates: $2,800/daily $8,400/weekly Not including lenses, add- ons and accessories Source: Radiant Images • Super 35mm format; maximum recordable resolution is bigger than traditional 65mm film • Frame rates up to 120 fps; latitude of 14 stops • Cinematographers say the tonal range, color space and latitude exceed the capabilities of film Anamorphic film format – Lawrence of Arabia Anamorphic film format – Rebel Without a Cause Anamorphic film format – The Wild Bunch Anamorphic film format – Manhattan Anamorphic Format / Cinemascope Shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio The Robe (1953) was the first feature film released that was filmed with an anamorphic lens. How can a student achieve this? + Apple iPhone Moondog Labs Anamorphic Adapter $175 Tangerine (2015) – shot on iPhone 5s with the Moondog Lab Anamorphic Lens Adapter Sound was recorded separately and synced in post The Steadicam Smoothee Stabilizer Lightweight, compact & versatile $149 FILMic Pro – the ‘Gold Standard’ App for filmmaking • Full manual control over: • Focus • Exposure • ISO • Shutter • Speed • Tint • Color temperature • Audio meters • Stereo Mic Support • Supports all major aspect ratios $14.99 Beat the $5,000 Sony FS100 and tied the $13,000 Canon C300 in blind audience testing Zoom iQ Professional Stereo Microphone Compact yet full-featured mid- side stereo condenser mic $99.99 Sennheiser KA 600i XLR to Mini Connection Cable Achieve professional-quality audio for videos produced with smartphones $19.95 Use this to record with standard microphones (shotguns, booms, lavs, etc.) Have access to three iPhones? Perhaps record picture with two and sound with one Mophie Juice Pack Reserve Smart Battery Case Compact battery backup Thin, lightweight design that provides power, reliability and protection $59.95 DSLR, Telescope & Microscope Lenses Underrepresentation in the Film/TV Industry Source: DGA & UCLA Diversity studies The Proliferation of Smartphones • As of July, 2015, over two-thirds of American adults (68%) own a smartphone – Up from 35% from 2011 • 86% of 18-29 year-olds own a smartphone • 83% of 30-49 year-olds own a smartphone • 87% of those living in households earning $75,000 and up annually own a smartphone • Today on average, children are getting their first smartphones around age 10 • Down from age 12 in 2012 Source: Pew Research Center, 2015 & Influence Central, 2016 Increased capabilities of the iPhone 7 • 12-megapixel camera (dual wide-angle and telephoto lenses on the 7 Plus) • f/1.8 aperture • 4K video recording (3840 x 2160) at 30 fps • 1080p HD video recording at 30 fps or 60 fps • Optical image stabilization • Optical zoom at 2x; 6x digital zoom (iPhone 7 Plus only) • Slo-mo video support for 1080p at 120 fps and 720p at 240 fps • Time-lapse video with stabilization • Cinematic video stabilization (1080p and 720p) • Continuous autofocus video • Body and face detection • Panorama (up to 63 megapixels) • Improved noise reduction • Exposure control • Noise reduction • Burst mode • Hybrid IR filter • Continuous autofocus video • Photo geotagging Smartphone Add-Ons & Accessories • Cases • Lenses • Audio • Stabilizers • Steadicam • Sliders • Lights • Remote Controls • Memory Options Movies Shot on Smartphones • Tangerine (2015) • And Uneasy Lies the Mind (2014) • Searching for Sugar Man (2012) • Night Fishing (iPhone 4; 2011) • This is Not a Film (2011) • Framed (short; 2011) Apps for Filmmakers: Screenwriting • Celtx Script – Work anytime from anywhere; share scripts with your team • Final Draft Writer – Brings Final Draft to your smartphone • Fade In Mobile – For use with Fade In software; works well with Dropbox • Index Card – Organize thoughts using index cards; no more misplacing • Scripts Pro – Imports, exports and preserves formatting from any software • Storyist – Sketch out a story using index cards • Weekend Read – A screenplay reading app with choices of fonts and sizes Source: Indiewire Apps for Filmmakers: Preproduction & Production • FilmTouch – Keep track of call sheets and search names, jobs, etc. • MapAPic – Location scouting, organization and management app; sunrise & sunset times • Shot Designer – Create camera diagrams, animate characters, design lighting • Shotlister – Update/change shots in real time, storyboard images, tells you if you’re ahead, behind or on schedule, export projects • ShotPro – Pre-visualize scenes with 3D sets, animatable characters, adjust facial features, add props, multiple cameras, weather effects • Safety App by ICG – Report unsafe working conditions on sets anonymously • Storyboard Composer – Storyboard shots and add movements (dolly, track, zoom, pan) Source: Indiewire Apps for Filmmakers: Cinematography • FiLMiC Pro – Control exposure, focus, zoom, shutter, frame rates, audio • DSLR Slate – Allows you to input detailed information (shutter speed, ISO, aperture, etc.) • Switcher Studio – A video ‘switching’ tool; sync up to four devices, record final mixed video and stream a live video feed • Sun Surveyor – Know the position of the sun and moon for any given time and place; with 3D compass, maps and street view • Cine Meter II – Acts as a light meter; can set shutter angle & filters • Cinescope – Compose and shoot in any aspect ratio • Artemis – A director’s viewfinder app Source: Indiewire Apps for Filmmakers: Editing • iMovie • PowerDirector • Pinnacle Studio Pro • Kinemaster • Movie Edit Touch • Replay • Clips • Splice • Adobe’s Premiere Clip • Magistro Source: Indiewire Distribution In Addition to: • Social Media Will traditional studios get involved? • Live Streaming How will financing sources and models change? • Film Festivals Legal Issues The same legal issues that affect conventional films also apply to movies shot on smart phones: – Photo / Appearance Releases – Location Releases – Soundtrack – Stills and Images – Artwork – Product / Name / Logo – Film / Video – Name & Likeness Release – Services Agreements for Key Personnel • Public Domain – Generally 70 years after the death of the creator • Fair Use – News reporting, criticism, comment, research, teaching, parody • Know Your State’s Hidden Camera & Wiretapping Laws Thank You!.
Load more

Recommended publications
  • Apichatpong Weerasethakul
    UNKNOWN FORCES: APICHATPONG WEERASETHAKUL April 18 – June 17, 2007 hold of and ask what I should do. I am consulting a fortune teller now for what the next film should be. She told me the main character (light skin, wide forehead), the locations (university, sports stadium, empty temple, mountain), and the elements (the moon and the water). RI: The backdrops of much of your work accentuate feelings of aloneness and isolation from others. Films like Tropical Malady (2004) and Worldly Desires (2005) traverse remote recesses of distant, even enchanted jungles. In FAITH (2006), you leave earth entirely in search of greater solitude in outer space. You seem interested in or at least drawn to obscure or enigmatic sites that have been left relatively unexplored, untouched, unimagined… AW: That’s what I got from the movies. When you are in a dark theater, your mind drifts and travels. In my hometown when I was growing up, there was nothing. The movie theater was a sanctuary where I was mostly addicted to spectacular and disaster films. Now, as a filmmaker, I am trying to search for similar feelings of wonder, of dreams. It’s quite a personal and isolated experience. Tropical Malady is more about a journey into one’s mind rather than Apichatpong Weerasethakul a real jungle. Or sometimes it is a feeling of “watching” movies. RI: Can you speak about your use of old tales and mythologies in your work? What significance do they hold for you? AW: It’s in the air. Thailand’s atmosphere is unique. It might be hard to understand for foreigners.
    [Show full text]
  • Dance Design & Production Drama Filmmaking Music
    Dance Design & Production Drama Filmmaking Music Powering Creativity Filmmaking CONCENTRATIONS Bachelor of Master of Fine Arts Fine Arts The School of Filmmaking is top ranked in the nation. Animation Cinematography Creative Producing Directing Film Music Composition Picture Editing & Sound Design No.6 of Top 50 Film Schools by TheWrap Producing BECOME A SKILLED STORYTELLER Production Design & Visual Effects Undergraduates take courses in every aspect of the moving image arts, from movies, series and documentaries to augmented and virtual reality. Screenwriting You’ll immediately work on sets and experience firsthand the full arc of film production, including marketing and distribution. You’ll understand the many different creative leadership roles that contribute to the process and discover your strengths and interests. After learning the fundamentals, you’ll work with faculty and focus on a concentration — animation, cinematography, directing, picture editing No.10 of Top 25 American and sound design, producing, production design and visual effects, or Film Schools by The screenwriting. Then you’ll pursue an advanced curriculum focused on your Hollywood Reporter craft’s intricacies as you hone your leadership skills and collaborate with artists in the other concentrations to earn your degree. No.16 of Top 25 Schools for Composing for Film and TV by The Hollywood Reporter Filmmaking Ranked among the best film schools in the country, the School of Filmmaking produces GRADUATE PROGRAM experienced storytellers skilled in all aspects of the cinematic arts and new media. Students Top 50 Best Film Schools direct and shoot numerous projects alongside hands-on courses in every aspect of modern film Graduate students earn their M.F.A.
    [Show full text]
  • Filmmaking High School 1AB High School
    Filmmaking High School 1AB High School Course Title Filmmaking High School 1A/B Course Abbreviation FILMMAKING 1 A/B Course Code Number 200511/200512 Special Notes Course Description The purpose of this course is to provide a balanced visual arts program, which guides students to achieve the standards in the visual arts. In Filmmaking, students experience both the creative and technical aspects of filmmaking in conjunction with learning about historical and contemporary traditions. Story writing, story-based display, basic visual composition, and general reproduction skills will be included with camera techniques, animation, and line action planning. Traditional filmmaking traditions may be extended with video and multimedia technologies. Interdisciplinary experiences and arts activities lead to refining a personal aesthetic, and a heightened understanding of career opportunities in art and arts-related fields. Instructional Topics Historical Foundations of Cinema Aesthetic Decisions and Personal Judgment Introduction to Filmmaking and Multimedia Preproduction Planning Establishing a Theme Storyboarding and Scriptwriting Set, Prop and Costume Design Camera Techniques Design Elements in Cinema Sound, Lighting, Editing Live Action Filming Animation Techniques Documentation and Portfolio Preparation Careers in Cinema and Multimedia *Topics should be presented in an integrated manner where possible; time spent on each topic is to be based upon the needs of the student, the instructional program, and the scheduling needs of the school. California Visual Arts Content knowledge and skills gained during this course will support student achievement of Content Standards grade level Student Learning Standards in the Visual Arts. High School Proficient Upon graduation from the LAUSD, students will be able to: 1. Process, analyze, and respond to sensory information through the language and skills unique to the visual arts.
    [Show full text]
  • Evening Filmmaking Workshop
    FILMM NG A I K N I E N V G E P R K O O DU BO CTION HAND April 2010 NEW YORK FILM ACADEMY 100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES Direcotr’s Craft Hands-on Camera and Lighting Director’s Craft serves as the spine of the workshop, Beginning on day one, this is a no-nonsense introducing students to the language and practice camera class in which students learn fundamental of filmmaking. Through a combination of hands- skills in the art of cinematography with the 16mm on exercises, screenings, and demonstrations, Arriflex-S, the Lowel VIP Lighting Kit and its students learn the fundamental directing skills accessories. Students shoot and screen tests for needed to create a succinct and moving film. focus, exposure, lens perspective, film latitude, This class prepares students for each of their slow/fast motion, contrast, and lighting during their film projects and is the venue for screening and first week of class. critiquing their work throughout the course. Production Workshop Writing Production Workshop gives students the The writing portion of the filmmaking course opportunity to learn which techniques will help adheres to the philosophy that good directing them express their ideas most effectively. cannot occur without a well-written script. The This class is designed to demystify the craft of course is designed to build a fundamental filmmaking through in-class exercises shot on understanding of dramatic structure, which is film under the supervision of the instructor.
    [Show full text]
  • 22 4-110 WORK in EXCESS of 18 HOURS on Any Day Where a Director Works in Excess of Eighteen (18) Hours, the Producer, at Its Ex
    4-110 WORK IN EXCESS OF 18 HOURS On any day where a Director works in excess of eighteen (18) hours, the Producer, at its expense, shall offer the Director either: i. first class nearby hotel accommodations, or ii. transportation provided by a reputable third party car service to the Director’s home or hotel if on distant location. Under either (i) or (ii) the Producer shall not be responsible or liable for any loss, damage, casualty or theft in connection with any property of the Director. 4-111 PRODUCTION CENTERS Notwithstanding anything to the contrary in this Agreement, the following shall apply to Directors for the purposes of establishing where Directors may be employed as a “local hire.” The Director shall designate the Production Center in which he/she wishes to be employed as a “local hire” in accordance with the rules and procedures currently followed by the Guild. ARTICLE 5 STAFFING, MINIMUM SALARIES AND WORKING CONDITIONS OF UNIT PRODUCTION MANAGERS, FIRST AND SECOND ASSISTANT DIRECTORS 5-100 STAFFING 5-101 UPM STAFFING A UPM shall be employed when the duties of a UPM, as commonly understood in the motion picture industry, are to be performed. A UPM may not perform the functions of a 1st AD unless such UPM is a 1st AD. A 1st AD may perform, with the consent of the Guild, the functions of a UPM interchangeably or in conjunction with the performance of his/her 1st AD duties. An AD is the only person who may assist the UPM in the performance of his/her duties.
    [Show full text]
  • Protocol for Filming During the Covid-19 Health Crisis Spanish Association of Advertising Producers (APCP)
    APCP Protocol for filming during the Covid-19 Health Crisis Spanish Association of Advertising Producers (APCP) FECHA PROTOCOLO APCP: #20 ABRIL 2020# Protocolo APCP_200420_V01 PROTOCOL FOR FILMING DURING THE COVID-19 HEALTH CRISIS SPANISH ASSOCIATION OF ADVERTISING PRODUCERS (APCP) The aim of this Protocol is to foster the economic recovery of the advertising film industry, whilst protecting the workers and supporting public health in order to contribute and adapt to the current situation. This action plan abides to all regulations included in the editions of the Spanish Official Gazette published since the 14th March 2020 to date and the guidelines issued by the Competent Authority and the delegated Competent Authorities. Due to the special nature and characteristics of the current situation created by the Covid-19 pandemic, which is having an impact on all aspects of life and society both in Spain and abroad, information is constantly changing. Therefore, the APCP Protocol will be updated and adapted to any new regulation that comes into force. Any commercial shoot carried out by the APCP producers from now on and whilst the special measures issued by the government are in force, must abide to the framework of actions and recommendations included in this APCP Protocol, thus guaranteeing that all workers operate under a responsible action plan. Therefore, the budget of the projects carried out by APCP producers will be calculated according to the provisions in the version of the Protocol in force on the same date, in order to guarantee that all actions and timelines are duly updated and applicable. This protocol complements, but does not replace, the ORP guidelines and the coronavirus prevention regulations that each producer may apply in its own company, workplace and with its own staff.
    [Show full text]
  • Bfi-Teaching-Film-Language-Sound
    Starter “How and why different spectators interpret the same use of sound differently” (educas) • What is the mood/atmosphere created by the sound? • Is it largely diegetic or non-diegetic? • Are there any characters present? Who are they? • How would the narrative develop from this point? A Duchy Parade Films Production made with the support of the UK Film Councils new cinema fund.© (2010) All rights reserved Film Language: Sound The Orchestra A Duchy Parade Films Production made with the support of the UK Film Councils new cinema fund.© (2010) All rights reserved Film Language: Sound Film Language: Sound ‘A whistle stop tour of sound in film through theory and practical production’ Welcome Film Language: Sound Who are Into Film and what do we do? 11,423 Film Clubs* 17,432 teachers trained* 195,556 teaching resources Into film Awards (March) downloaded* & Festival (November) *2016-2017 Aims of the session • To develop the ability to use and understand film language associated with sound. • To demonstrate a variety of activities to help students gain deeper understanding of key sound terminology. • To review and critique a range of film titles to illustrate how and why sound techniques are used. • To facilitate understanding of theoretical concepts through practical filmmaking activities. Film Language: Sound Learning outcomes • To explore the historical context of sound. • To identify and apply key sound terminology in film. • To practically apply theoretical understanding of sound techniques. Film Language: Sound Film Language prompt cards • Key terms used in this session are featured in the Sound section of the prompt card pack.
    [Show full text]
  • In ACTING for FILM
    Two-Year Degree Program ASSOCIATE OF FINE ARTS in ACTING FOR FILM AFA Acting students prepare to perform a scene in collaboration with Filmmaking students. 222 LOCATION LOS ANGELES, CALIFORNIA Location is subject to change. For start dates and tuition, please visit nyfa.edu 223 AFA Acting for Film OVERVIEW here are numerous elements and skills that go into making a critically acclaimed flm that viewers will appreciate. Yet an audience’s connection to an actor’s performance is often the most immediate and intimate relationship one makes with a movie. A good performance must appear efortless, yet still convey a rich tapestry of emotion and depth to create a T convincing character. Unlike acting in the theater, when performing on a flm or television set, an actor must contend with a far more chaotic environment where numerous crew members are running about, high wattage lights are aimed directly at the actor, and one is expected to give a believable and engaging performance take after take. Regardless of an actor’s inherent talent, he or she must learn how to efectively handle the countless variables at work on a flm or television production. The Associate of Fine Arts (AFA) Degree Program in Acting for Film provides students with the opportunity to exclusively focus on their professional and artistic development as actors. Over the course of the four- semester, two-year program, students gain a strong foundation in acting principles through such classes as Scene Study, Acting for Film, Voice and Movement, Improvisation, and Audition Technique. Please Note: curriculum and projects are subject to change and may vary depending on location.
    [Show full text]
  • Program Overview Screenwriting Research Network
    Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M.
    [Show full text]
  • Guide to Filming in Your Community S E P T E M B E R 2 0 1 0 Guide to Filming in Your Community
    Guide to Filming in Your Community s e p t e m b e r 2 0 1 0 Guide to Filming in Your Community Table of Contents Introduction .................................................................................. page 3 A brief background ........................................................................ page 3 The Michigan Film Incentives ....................................................... page 3 Michigan Film Office .................................................................... page 3 Role of the municipality ................................................................ page 3 Streamlining the process—your primary film contact .................... page 4 Role of the PFC ............................................................................ page 4 First contact .................................................................................. page 4 Supplementary opportunities ........................................................ page 4 Locations ....................................................................................... page 5 Location scouting .......................................................................... page 5 Location fees ................................................................................. page 5 Location photography ................................................................... page 5 Street closures ................................................................................ page 6 Permitting ....................................................................................
    [Show full text]
  • Seattle Location Management and Scouting
    Mark A. Freid – Seattle Location Management and Scouting. Field Producing. (310) 770-3930 [email protected] www.northernlocs.com QUALIFICATIONS Teamster Local 399 Location Manager. CSATF Safety Passport. LOCATION SCOUTING AND MANAGEMENT 2001-2017 FEATURE FILM/TELEVISION: War for Planet of the Apes. 20th Century Fox. VFX Plate Unit Location Manager Ryan Stafford, VFX Producer. 50 Shades Freed, 50 Shades Darker. Focus Features. 2nd Unit Location Manager Scott Ateah, 2nd Unit Dir. Barbra Kelly UPM. Marcus Viscidi Producer. Grey’s Anatomy. ABC/Disney. Location Scout Thomas Barg, Production Supervisor. Vacation. Warner Brothers/New Line. 2nd Unit Location Manager Peter Novak, 2nd Unit Production Supervisor. The Librarians . Electric Entertainment. Location Scout Bobby Warberg, Location Manager. David Drummond, Location Scout. 50 Shades of Grey. Focus Features. 2nd Unit Location Manager David Wasco Production Designer, Barbra Kelly, UPM, Marcus Viscidi Producer. Transformers 4. Paramount Pictures. Location Manager JJ Hook, Location Manager. Daren Hicks, Production Supervisor. They Die By Dawn. Location Manager Jaymes Seymor, Director. Peter Novak, Producer. America’s Most Wanted. STF Productions. Location Manager Miles Perman, Producer. Paranormal Activity The Marked One. Paramount Pictures Location Scout Christopher Landon, Director. Stephenson Crossley, Location Manager. Hayden Lake. Location Manager Ryan Page, Christopher Pomerenke Directors. Linette Shorr, Production Designer. Lacey Leavitt, Producer. Rampart. Lightstream Pictures. Location Manager Oren Moverman, Director. David Wasco Production Designer. Karen Getchell, Production Supervisor. Ben Foster, Lawrence Inglee, Clark Peterson, Ken Kao, Producers. Michael DiFranco and Lila Yacoub Executive Producers. Late Autumn. Location Manager Kim Tae-Yong, Director. Dave Drummond, Co-Location Manager Mischa Jakupcak, Producer. The Details. Key Assistant Location Manager Doug duMas, Location Manager.
    [Show full text]
  • Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
    Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners.
    [Show full text]