Process Book - Cinematography Summer 2021

m e a t n o i g raphy c Prof. Sladjan nedeljkovic summer semester 2021

Glória Nogueira Matrikel-Nr.: 57130179 University of europe for applied sciences berlin

what’s inside? st assignme r i F nt II. Fixed perspective videos

ond assignm c e S . ent I I I “Meadow”

al projec n i F . t IV “Voyeur” Brainstorming and drafts Inspiration Process Change of plans - again Final product

First assignment

We were tasked with taking a few one-minute clips without any camera movements. For this we had to use a tripod and camera.

We were tasked with taking a few one-minute clips without any camera movements. For this we had to use a tripod and camera.

I chose a park as my filming location because of the movement of the plants with the wind. I composed the shots like I would a photograph with the goal of creating a video with static objects that resembles a picture, but with movements that make it more lively and interesting. The windy day diminished the quality of the audio, so I believe each video works better silent.

Second assignment

“MEADOW”

For this project we had to create a one minute clip with three different audios, demonstrating how sound can influence one’s perception of a film.

I knew from the beginning I wanted to work with a projector, as the juxtaposition of two different environments interested me. I liked the idea of an open space superimposed onto a closed space, so the idea of the meadow projevted into my apartment came to mind. Considering the world had spent the last year locked inside, I thought this an interesting dialogue.

For the audio, I wanted to read the poem “Two-headed calf”, by Laura Gilpin, but thought a static shot of me reading a book wouldn’t do it justice. So I decided to incorporate zoom in post production and, right when the line “as he stares into the sky / there are twice as many stars as usual”, I look at the camera then glance up, panning to the projected sky. This decision narrowed down my choice of audios to ones that fit the dynamic of the video.

I ended up using ambient sounds of birdsong in a park, which would explain why I’m glancing up at the sky. Next, I read the poem out

loud. For the last audio, I chose a theatric, dramatic song, “Butch 4 Butch”, by Rio Romeo. The song matches the campy nature of the video and in post production I was able to match the line “but I can’t let her see me swoon / or else she will think I am weak” with the moment I look at the camera and then up at the sky.

For the visuals, I am sitting on my bed reading a book, wearing a yellow dress and white scarf on my head. There is a big plant on the right side of the frame. The meadow, which is projected on the wall behind me but superimposes onto my body, adds a campy feel to the film that is both playful and intriguing, which was my goal.

Each audio, however, adds another layer to the visuals. The birdsong makes it seem more natural and down-to-earth. The poem makes it broody and serious. The song matches the camp vibe and amplifies it, giving it a dramatic feel.

Final project

“VOYEUR” Brainstorming and drafts

I wanted to create a film that showed my daily life without creating a fictional story. I wanted to show details of my life as I encountered them instead of creating a script of what an idealized “day in my life” should be.

To achieve this, my first idea was to record my daily routine in the form of sounds. The alarm going off, filling up the kettle for tea, brushing my teeth, opening the curtains, etc. The focus of the film would be on the ambient sounds, so there would be no voiceover or background music.

After filming a few scenes, however, I didn’t like the presence of the objects in the shot. It felt sterile and boring without any person there, inexpressive almost. To fix this I thought about using fun colorful backgrounds, but thought that would take the spontaneity out of it. After some consideration, I decided to scrap that idea.

Inspiration

The film “No Quarto da Vanda” (2001), directed by Pedro Costa, sparked my interest when presented in class.

The use of ambient sounds and subtle music creates a laid-back atmosphere that feels spontaneous rather than directed. The spectator is like a fly on the wall, observing a normal day in the life of the protagonist, who lives it without pretense. Her life isn’t glamourized or romanticized.

The unmoving camera heightens the feeling of watching

a scene from real life unfold as opposed to watching a conventional movie. The spectator is, for all intents and purposes, a voyeur, catching hidden glimpses of Vanda’s laid-back conversations with her friends and smoke sessions.

This inspired me to cast myself as a protagonist; if I wanted to show my life, then what better way then starring in it? I drafted ideas for typical scenarios of my day and started shooting, but something was still missing. Remembering how much I enjoyed working with a projector on my first assignment, I decided to do it again. This time, I filmed a blinking eye and looped the clip so as to make a video long enough to project over my scenes. With this idea, the first drafts for “Voyeur” were born.

Process

After making a list of possible scenes, I started filming.

To do so I placed my projector to a tripod and attached to that was a supporting arm that held my IPhone XR. I would then place my IPad Pro somewhere hidden to record the audio. I was satisfied with the quality of my equipment as the IPhone could film in 4K and Garage Band allowed me to record clean audios.

I made decisions as filming progressed, selecting the more interesting scenes. I had a long list and if I had executed all of my ideas there would have been too little time to focus on each individual one, making the film seem rushed and superficial. By choosing only five scenes I allowed some room to take the scene in.

Drawing the viewer’s attention to a scene for longer periods of time and lingering also emphasized how monotonous they were, which was the point. I wanted to make a movie that lingered on the overlooked parts of everyday life, portraying the often forgotten, boring, but vital parts of daily life. Routine was my focus, not action.

After editing the final scenes together I added my monologue. Its first version tackled the relationship between spectator and artist, emphasizing the spectator’s voyeuristic role in the artist’s life. However, after listening to the monologue over my chosen scenes, it felt off. I liked the text and it made some good points, but it didn’t fit with this project; I had to look for something else.

Script for the first monologue. Maybe if my film was named “Cannibal” instead of “Voyeur”, it could have worked.

Script for the second monologue. Writing it by hand and in my first language felt more natural and personal.

Change of plans - again

In an impulse, I decided to scrap my first monologue and start again. I drafted another one, this time on paper, and my only requirement was that it would have to tackle the concept of being watched. I let my mind wander and be creative around this prompt, which resulted in a much more natural, even conversational text that was as spontaneous as my scenes. It approached the topic of self-voyeurism I experience as an artist, scouring my everyday life for pieces of intellectual gold. This was more vulnerable and showed my anxiety produced by my seemingly boring life, which was perfectly visualized in the film: monotonous, unpretentions scenes, under the pressure of the ever-looming, surveiling expectations of producing something great. I felt like I accidently put the puzzle of my film together, which made me even more excited to bring it to life.

Choosing to record in portuguese, my native language, also made the film feel more personal and vulnerable. I was able to be more spontaneous and carefree, even going off-script in a few instances. It was more fun and noticeably less rigid than my first attempt.

The choice of not using ambient sounds in the final film is a conscious one. I wanted the monologue to be all-consuming, showing how dominant it is in my life. These thoughts are dominating and drown out all other sounds around me. However, after showing my film in class, it was suggested that I add sound to the final shower scene after the end of the monologue. I tested it out and liked it, thinking it appropriate for the end of the film. The shower sounds symbolizes coming back to reality and drawing away from the thought process described in the monologue, creating a natural end to the film’s progression.

Final product

“Voyeur” is a film about my routine. It tackles the monotonous - but necessary - parts of my life: taking vitamins, getting dressed, showering, reading, spending time with loved ones. As an artist, however, being ordinary isn’t enough for me. I struggle with the pressure I put on myself to create something great and valuable that will establish a legacy. The film visualizes the struggle of being an ordinary person with extraordinary expectations through a looming, ever-present eye that watches my every move.

I am very happy with the result I got. The composition of the shots, casual confession of the monologue, they please me. I believe I was successful in getting my ideas across, being vulnerable without being overbearing. I was able to put myself on the spot and get something good out of it. In the end, the voyeur got their wish; I created the extraordinary from the ordinary.

For my next project I want to improve the quality of my equipment, especially audio, and work with other actors.

Directing the shots while being in them was quite difficult in terms of framing the camera. Because of this I will consider working with other actors in the future. I want to keep working with projectors because of the surreal effect they give. They are also surprisingly easy to work with, considering all the cables and power outlets involved.

glória nogueira july 2021 berlin