CONVENTIONS AND TECHNIQUES RESEARCH In order to achieve a video with appropriate conventions and professional techniques it is important that I understand how these conventions and techniques are achieved within real products. I have conducted some research via online blogs and articles into how filmic techniques that I am interested in implementing within my video, for example a dream like feel, a homemade, yet professional look, and an old, almost worn look to the footage. These were some of the methods I found to achieve these.
SOFT FOCUS The first technique I learnt from many online articles and video tutorials is using a soft focus to really put that dreamy surreal feeling across. Some common methods towards achieving this look were: covering the lens with black or nude coloured tights, giving the footage a flattering haze, and generally softening and romanticising the images. A similar technique is achieved using fishnet tights, this will really heighten the previous effects mentioned, and can sometimes darken the look of the images exposure. A further method is to smudge a layer of Vaseline over the camera lens, when placed carefully this can blur the image you are capturing in certain areas, and when applied generally and then smeared away it gives the whole image an almost disorienting feel, as well as adding that almost ‘rose-tinted’ gaze people experience when falling in love. Some websites suggested that cling film could give a similar effect and add a kind of shadowy feel.
KALEIDOSCOPE A technique I specifically researched as I have a keen intention to utilise is a kaleidoscope effect to the footage, in which the subject appears mirrored and replicated across the image. The options were slightly narrower for achieving this. The most effective method appeared to be the use of a kaleidoscope lens from a children’s toy over the camera lens to produce a kaleidoscope effect in production rather than in post effects. Other suggestions were a faceted crystal, or a glass prism, although the consensus indicated that these were more difficult to control, and generally less effective.
DEPTH OF FIELD Not only does a shallow depth of field strengthen the dreamlike mise en scene I am producing, it also fuels the feeling that the person filming is falling deeply in love with the subject of the video, which is very much desired. To achieve this I will use autofocus throughout the video so that I have full control over the foreground remaining in clear focus and the background maintaining a looser focus in each frame. I also particularly value the idea of using the pull focus technique to really distinguish the subject of the video from perhaps a light in the background, or some scenery behind her, as she is the focus of the cameraperson’s attentions, and as such, the frame. According to many of the sites I used for research, a shallow depth of field can even give footage an older feel, much like what would have been produced using traditional film. This is an effect that intrigues me, and is in-keeping with the older song choice.
COLOUR A more unconventional effect that I discovered was the use of colour to create the surreal dream sequence aesthetic. This can be achieved in a variety of ways. Firstly, the use of coloured ‘gels’ (sheets of coloured translucent acetate) over either the lens of the camera, or the light source you are using to film. Gels will give an extreme colour payoff to the visuals, and placing them over the lighting will allow for a controlled and very intentional placement of colour across the frame, much like partially covering the lens with a gel. In a similar sense, the colour of the image can also be manipulated as a whole or in very definite areas is through applying colour to the lens with coloured pens or highlighters. This plays on the images highlights and is subtler than gels, giving a gentler hint of colour.