The 7 Billionth Hero

As a Director of Photography (DOP) I had to work closely to the director to understand her vision and be able to get the best results. 

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We discussed how and what we were going to do with the shots, like, should we use the track or the fig rig and what kind of movement she wants and how fast or slow will the movement be. As all of it is essential to be able to capture the perfect shot. 

Made mood boards of what we wanted to achieve with this film and trusted each other to get it done as well as we could.

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Researching the camera I was using I learned that it has a lot of setbacks, that can be sorted by simply preparing for the shoot (Andersson, 2015). Like making sure that you have spare batteries and a charging station and overall be prepared for the worst.

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I also found that "wide framing could convey more action within the story; yet, close framing would create the dynamic sense of emotion that helped pace a story better in terms of its rhythm. High composition would assert weakness on characters, whereas, low composition would elevate power"(Shiflet, 2012:5). We had one shot from above of Catherine's defeat, however, it didn't make the cut. Another important thing to mention is the movement. In something like a montage movement can be crucial to keep the viewers' attention and act as eye candy (Andersson, 2015:138).

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When it came to coulour grading the film, I found it fairly easy as our original footage looked fine when it came to skin tones as they are the hardest to correct in post (Andersson, 2015:99). Having guidelines as to what kind of feel the director wanted really helped with the first colour grading. Eventually, working with the director, we found what we were looking, as colour grading can tell the story as well as words, probably even better when it comes to showing the character's emotions (Andersson, 2015:357).