Horror Film

Charles Papert · November 24th, 2003, 10:15 AM

Martin, what did you mean by "boom pan" exactly?

As far rideable vs remote heads...it depends, for me. Shooting film I know I will have a more dependable image in the viewfinder than from the tap (check this out; the second item was entirely due to not seeing the reflections during a Technocrane shot, and not having time to walk the route to avoid this--bums me out to this day!), but this is not the case with video, where I'd much rather look at a monitor than the viewfinder. Also I like that a remote head/arm setup can maneuver quicker and allow for more extreme moves if required, can be built out longer (LOVE the Strada crane) and in the case of the Techno, is faster to reconfigure a given shot.

That said, I do like being at the same vantage point ofthe camera, and some of the remote head consoles don't have the best operating feel (slushy or with too much resistance to the wheels). And it can be very pleasant to escape the chatter at ground level.

I guess I'm mixed on the subject--lots of factors!

p.s. Martin, I don't know if you caught this thread and the accompanying article, but I think you might enjoy it.

Christian Hede Madsen · January 23rd, 2004, 02:51 PM

Hi Ewerybody...

I just thought I would tell you about my "horrorfilm-situation", right now.

Actually it is very bad. I havent`finished the script and it is very hard finding time to shoot it, BUT I am working on some other projects...

First of all I am working on a war/horror-short. I am making it with a lot of other poeple and it is to be finished in april.
Second I will start shooting another short with one of my friends, next weekend.

and finally, and also the project I am looking most forward to... My first real atempt at making a personal(non-journalistic) documentary... It is going to be shot on mini-dv and super 8mm. and I am looking forward to it.

Well I just wanted to tell you all what I have been doing and that your advice and help is precious to me..

Thank you all very very much...

Joe Gioielli · January 25th, 2004, 09:46 AM

There is a book you must read "Screenplay" by Syd Field. It's a "quick and dirty" guide to screen writing.

Befor I got into film/video, back when I was a gentle soul, I wanted to be a writer. I read a ton of poetry, ton of novels, ton of plays. I was a method actor, and lived for Shakespeare (The greatest writer in the Englis language.) I stuidied this stuff.

I knew nothing.

Read Syd's book.

Next to adult (dirty) films, horror is the most demanding, because it is so easy to get it wrong.

Writing the screenplay will take several months. Don't get discouraged.

John Hudson · January 25th, 2004, 03:20 PM

Speaking of books (Love how these topics go all over the place) I read

Myth and the Movies by Stuart Voytilla

A very cool read. Enlightnening.

Martin Munthe · January 26th, 2004, 05:59 PM

Glen Gipson: We where out shooting mostly in a forrest with a big bad diesel generator. Not good for audio. That's why the 100% ADR. I'd rather record audio on location but we couldn't afford the super quiet generators on this shoot.

Charles: "Boom pan" is (at leat to me) is when your camera is locked to the crane/jib and can't pan (only tilt). The "arm" will do the panning for you wich is not that sexy really. It kind of breathes "low budget". Hope I make sense.

I'm probably reluctant to remote operation because there aren't any good operators around my part of the world. I'm sure I'd have a completely different opinion if I was working in LA.

Great article. Can't stop drooling...

Dirk Vanfleet · April 30th, 2004, 04:19 PM

I'm curious if there are any lighting books geared specifically to lighting for suspense and/or horror.

Or any books on lighting setups that have a chapter on the subject of horror lighting.

-D.

Martin Munthe · May 4th, 2004, 03:19 AM

I wouldn't really trust such a book. I don't think you can attach a type of lighting to a specific genre. Cinematography shouldn't be too gimmicky. If it is - it's not scary. Look at The Excorcist. It uses a lot of broad soft light. Nothing like Jason X. And nothing like The Blair Witch Project. They have nothing in common and yet they are all horror movies. If there are to many gimmicks in cinematography you loose the element of surprise. Imagine that in a horror movie - absolutely fatal to the storytelling.

It's better to study dramatic lighting and use your own head to create the visual look of the film. I'd suggest John Altons Painting With Light.

November 24th, 2003, 10:15 AM	#31
Charles Papert Wrangler Join Date: Jan 2002 Location: Los Angeles, CA Posts: 6,810	Martin, what did you mean by "boom pan" exactly? As far rideable vs remote heads...it depends, for me. Shooting film I know I will have a more dependable image in the viewfinder than from the tap (check this out; the second item was entirely due to not seeing the reflections during a Technocrane shot, and not having time to walk the route to avoid this--bums me out to this day!), but this is not the case with video, where I'd much rather look at a monitor than the viewfinder. Also I like that a remote head/arm setup can maneuver quicker and allow for more extreme moves if required, can be built out longer (LOVE the Strada crane) and in the case of the Techno, is faster to reconfigure a given shot. That said, I do like being at the same vantage point ofthe camera, and some of the remote head consoles don't have the best operating feel (slushy or with too much resistance to the wheels). And it can be very pleasant to escape the chatter at ground level. I guess I'm mixed on the subject--lots of factors! p.s. Martin, I don't know if you caught this thread and the accompanying article, but I think you might enjoy it. __________________ Charles Papert www.charlespapert.com

January 25th, 2004, 09:46 AM	#33
Joe Gioielli Regular Crew Join Date: Mar 2003 Location: New Port Richey, Fl Posts: 142	Hope I'm not too late with this... There is a book you must read "Screenplay" by Syd Field. It's a "quick and dirty" guide to screen writing. Befor I got into film/video, back when I was a gentle soul, I wanted to be a writer. I read a ton of poetry, ton of novels, ton of plays. I was a method actor, and lived for Shakespeare (The greatest writer in the Englis language.) I stuidied this stuff. I knew nothing. Read Syd's book. Next to adult (dirty) films, horror is the most demanding, because it is so easy to get it wrong. Writing the screenplay will take several months. Don't get discouraged. __________________ Why ask me? I thought you were in charge!

January 26th, 2004, 05:59 PM	#35
Martin Munthe Major Player Join Date: Apr 2002 Location: Stockholm, Sweden Posts: 331	Glen Gipson: We where out shooting mostly in a forrest with a big bad diesel generator. Not good for audio. That's why the 100% ADR. I'd rather record audio on location but we couldn't afford the super quiet generators on this shoot. Charles: "Boom pan" is (at leat to me) is when your camera is locked to the crane/jib and can't pan (only tilt). The "arm" will do the panning for you wich is not that sexy really. It kind of breathes "low budget". Hope I make sense. I'm probably reluctant to remote operation because there aren't any good operators around my part of the world. I'm sure I'd have a completely different opinion if I was working in LA. Great article. Can't stop drooling... __________________ Martin Munthe VFX Supervisor/DP/Director

May 4th, 2004, 03:19 AM	#37
Martin Munthe Major Player Join Date: Apr 2002 Location: Stockholm, Sweden Posts: 331	I wouldn't really trust such a book. I don't think you can attach a type of lighting to a specific genre. Cinematography shouldn't be too gimmicky. If it is - it's not scary. Look at The Excorcist. It uses a lot of broad soft light. Nothing like Jason X. And nothing like The Blair Witch Project. They have nothing in common and yet they are all horror movies. If there are to many gimmicks in cinematography you loose the element of surprise. Imagine that in a horror movie - absolutely fatal to the storytelling. It's better to study dramatic lighting and use your own head to create the visual look of the film. I'd suggest John Altons Painting With Light. __________________ Martin Munthe VFX Supervisor/DP/Director

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January 23rd, 2004, 02:51 PM	#32
Christian Hede Madsen Regular Crew Join Date: Oct 2003 Location: Gudhjem Denmark Posts: 93	Hi Ewerybody... I just thought I would tell you about my "horrorfilm-situation", right now. Actually it is very bad. I havent`finished the script and it is very hard finding time to shoot it, BUT I am working on some other projects... First of all I am working on a war/horror-short. I am making it with a lot of other poeple and it is to be finished in april. Second I will start shooting another short with one of my friends, next weekend. and finally, and also the project I am looking most forward to... My first real atempt at making a personal(non-journalistic) documentary... It is going to be shot on mini-dv and super 8mm. and I am looking forward to it. Well I just wanted to tell you all what I have been doing and that your advice and help is precious to me.. Thank you all very very much...

January 25th, 2004, 03:20 PM	#34
John Hudson Major Player Join Date: Sep 2003 Location: 32° 44' N 117° 10' W Posts: 820	Speaking of books (Love how these topics go all over the place) I read Myth and the Movies by Stuart Voytilla A very cool read. Enlightnening.

April 30th, 2004, 04:19 PM	#36
Dirk Vanfleet New Boot Join Date: Jan 2004 Location: Santa Monica, CA Posts: 6	I'm curious if there are any lighting books geared specifically to lighting for suspense and/or horror. Or any books on lighting setups that have a chapter on the subject of horror lighting. -D.