Location as Character Project

Location as Character Project

These past few weeks, we've been working on finding a specific location around and looking for neat shots to take of these locations. These ranged from Bart Stations to San Bruno Mountain.

My project was filmed on my iPhone, and I filmed neat shots around the San Bruno 4-H Club 

(sbcal.us/4h). I am a member of this club, and I have access to the newly-renovated farm at this location. This project was a good way to test certain places on this location, and build credibility around the farm's potential use in a future production.

So first, here is the finished location as character project:

And second, here is the commentary script for the "Director's Cut" Piece:

Script: Analyze the “Location as Character Project”

Begin playing “Location as Project”

SOT is slightly dubbed.

Script

So to start off, I filmed this entire project with my iPhone, focusing on it's ability to capture some really interesting perspectives and still maintain a nice-looking image quality. This is the San Bruno 4-H farm, a location that has just undergone extensive repair, and could be used easily in upcoming films. I chose not to include any animals or people so as to not disturb the calm and personal connection feel of the piece with potential humor, etc, but they will be available to maybe star in upcoming films.

As a sort of establishing shot, I used a sunflower in WE-V, contrary to my previous concept of the a similar shot from a higher perspective. Empowering the plant seems to make it more interesting, and the camera was able to fit snugly on the ground and get this perspective. There is a nice color contrast between the yellow and the green, and the camera's concentration on these colors cause the background white and grey building to be removed from the shot. The light from the sun clearly illuminates the shot, and is used for this separation.

These next two shots focus on the linear appeal of the perspective, as well as a sense of balance and unity between the signs and the fence. The locked at all times sign is clearly linked to the locks on the gate, and so by doing that promotes the unit of the image.

This next shot I attempted as a test, and I appreciated it's structure and feel. It sets more of a mood to the piece.

The tree and the barbed wire continue to expand on the mood, saw cell as envisions a strong contrast between the clear sky and the dark barbed wire/tree.

The short rack focus of the spider web on the gate is another interesting shot that establishes a sense of depth, and was also interesting to do in the phone. I was not aware of this particular feature, and I was happy to be able to incorporate it.

The following shot incorporates several examples of lines, the audience is able to select which they prefer to follow.

The cornstalk relates to similar concepts attempted with the sunflower, simply with a powerful sun flare that outlines the form of the sunflower.

This second rack focus displays two extremes of contrast, first establishing the lock, then following the flag in the background.

Short bursts of the flag on the side of the screen was meant to visual movement in an otherwise steady shot.

Another use of the old barbed wire here has both contrast or color and a couple linear tracts to attract attention.

This sequence that follows was neat to put together, as I focused on framing the shots to show the water flowing rather than the faucet. This turned out not as planned, and in a wide shot. The camera could not make a distinction between the water dripping and the faucet itself. I still like how it turned out, though.

Another wev to establish an interesting focal point.

And finally some linear settings on the gate and a sunset. c Every good movie has a sunset in it. I would have preferred to have a timelapse of this shot, but I did not want to risk the integrity of my phone's camera.

Last and probably not least, the final "Director's Cut Piece:"

http://www.youtube.com/watch?v=-TOxoSGd4TM&feature=youtu.be

Enjouy