How do you get this type of blue sunlight cinematography?

Brian Drysdale · November 10th, 2020, 01:34 AM

In order to have the sharp police procedurals you need to have sharp, well written dialogue, which, currently, you are weak at.

The live TV feed is basically the same as the two way mirror, which has been used in a number of police films.

Ryan Elder · November 10th, 2020, 01:51 AM

Oh okay, I just wasn't sure if they would realistically send a live signal from the interview room to the prosecutor's office through cyberspace in case anyone tried to intercept the signal, to see what the witness had to say.

I will work on the dialogue and perhaps someone else can help polish it.

Paul R Johnson · November 10th, 2020, 01:57 AM

You mean how courts have been doing it for years? As it’s a movie though, even if you can’t do something technically, you can in the movies. Like my own pet hate, magic radios that one moment have the goodies and baddies using them separately and privately, yet the next minute they all hear each other. Think Die Hard.

Ryan Elder · November 10th, 2020, 02:01 AM

When do courts do them, or why? Do they want people possibly listening in, who are not suppose to be? Plus I wasn't necessarily thinking of having the villains tap the signal, if I write it that way, but I could have them do it.. I just doubted it would be realistic that they wound send a police interview through cyberspace that could be intercepted.

Brian Drysdale · November 10th, 2020, 02:15 AM

UK courts have had the option of the defendant not being physically present for years, they have a live feed from the prison. The layout in their courts is different to US courts, they don't sit beside the attorney, they are in a dock when in a criminal case.It's commonly used for remand hearings.

Courts cases are open for anyone to attend, The press are also there. I would assume that Canada has basically similar rules, unless the case is "in camera". https://www.cps.gov.uk/legal-guidanc...private-camera

Ryan Elder · November 10th, 2020, 02:18 AM

Oh okay, but this is a interview with a witness in a police station, so it's not public of course. So would they be okay with sending out an interview to the prosecutor's office for him to view, if the interview is being sent to the prosecutor's office, and not a courtroom?

Brian Drysdale · November 10th, 2020, 02:29 AM

You would need to set it up that the villains have had access to this on an ongoing basis.

How easy it would be to hack would depend on the system they've got, if it internet or intranet etc. If you tell the story probably no one is going to care about the possibility of hacking. It only become of interest if it's part of the villain's MO.

Or, you could just use a two way mirror on the interview room, it's dramatically more interesting.

Ryan Elder · November 10th, 2020, 02:36 AM

Oh okay. And originally I was going to have the villains find out what she said another way, but I can use this way too, if it makes the scene more convenient.

The thing about the two way mirror, is I thought about that before and I saw 4 possible cons to it, but maybe I'm wrong:

1. It will be more expensive to find a location that has a mirror built into the wall, and should just shoot it in a room with a camera, cause it's easier and cheaper to shoot?

2. The mirror is outdated nowadays, since they just use a camera nowadays in real police stations.

3. Would the prosecutor bother to come all the way down to the police station for this? I mean prosecutors normally look at statements after they are taken, I am guessing, and I thought the prosecutor watching it on his office computer, was pushing it. So he would he come all the way down to see it it live, when he can just watch the statement on tape a littler later, even if it's just a few minutes later?

4. The witness they are interviewing is actually the victim of the crime. They interviewed her before, but this is some follow up questions after a new development. So would they interview her in a room that is a mirror room? I asked a police officer this in my research and he says they have a different room for some victims, to make them feel more comfortable. So would a victim feel comfortable in a room with a mirror, therefore?

But maybe I am wrong and the mirror room would stil work, and the prosecutor would bother to come down in person, rather than just watch a video of the statement after, from his office?

Brian Drysdale · November 10th, 2020, 02:48 AM

You should explain the scenario when asking questions, other users aren't mind readers.

All that's probably needed is an audio feed, so that the prosecutor can listen in.

Ryan Elder · November 10th, 2020, 02:52 AM

Oh sorry, I guess will try to exlain more next time. But isn't audio more risky to send over the cyberspace than video, since the audio is the more important part in a statement?

Brian Drysdale · November 10th, 2020, 03:03 AM

Look, since part of this scene is about the relationship of the cop with the prosecutor, get him to go to the police station if everything is that urgent.

In real life Queen Elizabeth I never meet Mary Queen of Scots, but they meet in quite a few films because it helps the drama and the story if they met. It works because the audience believes they meet as they're watching the film, even if a few know they didn't actually meet..

You're wildly over thinking this.

Paul R Johnson · November 10th, 2020, 08:00 AM

Ryan - encryption has been around for years. In the UK, the Police constantly talk about case details to the Criminal Prosecution Service and my son books offenders into a centralised custody suite in Norfolk, when he arrests them in Suffolk, and can view everything remotely. The only thing NOT done is the conversations between the acused and their legal representation because the people who COULD listen in, are the people who shouldn't! (but of course could).

It's now common for people to give evidence from their prison and not have to go to court, and in child or sexual abuse cases, distance evidence is less stressful - but private.

Ryan Elder · November 10th, 2020, 11:32 AM

Quote:

Originally Posted by Brian Drysdale

Look, since part of this scene is about the relationship of the cop with the prosecutor, get him to go to the police station if everything is that urgent.

In real life Queen Elizabeth I never meet Mary Queen of Scots, but they meet in quite a few films because it helps the drama and the story if they met. It works because the audience believes they meet as they're watching the film, even if a few know they didn't actually meet..

You're wildly over thinking this.

Oh okay, thanks. But you said before that the audience wouldn't believe if they kept a witness waiting for about 30 minutes, if they wanted to call the prosecutor and go over things with him. So how is it that the audience won't believe asking a witness to wait, yet they will believe the prosecutor coming down in person?

Isn't it just substituting one character being inconvienced for another? What makes one more believable than the other to the audience, just so I know?

Brian Drysdale · November 10th, 2020, 11:52 AM

It appears not to be a mere witness, but the rape victim, which is entirely different. However, I suspect such a person wouldn't be left on their totally own for long periods. If you do that the audience will possibly lose sympathy with your policeman.

Can't you plot anything? The prosecutor could already be there, since.I assume that this is a planned interview if it's going over stuff for the court hearing the next day. Alternately, he could be in the police statioon for other business (they do work on more than one case) and gets informed about the victim possibly changing her statement.

Since this also about a relationship, the two men being in the same location, kills two birds with one stone and the response to her statement can be very quick

You want to keep things moving in a thriller.

Ryan Elder · November 10th, 2020, 12:29 PM

Well the way I wrote it was, is that she is trying to avoid getting involved in the case, so the main character cop found her, since she was dodging his efforts, and talked her into coming in. But since he didn't know when he was going to find her, and didn't know he could talk her into it, the interview is an unexpected interview, so the prosecutor would have to drop everything, spur the moment, just to go there, if that's believable.

Another thing is, is that after she reveals some new information in her statement, the main character and the prosecutor have to leave the room to talk about it, because they want to go over some things without her hearing about it.

I wanted the main character to leave the room and call the prosecutor, because then the prosecutor can just talk over the phone with his voice, and the actor does not have to be in two scenes. But if he is there during the interview, that is two scenes he has to be in then.

But also, would he drop everything and come over, if the interview was unexpected? Plus even though it's not polite to make her wait, I still need the main character and prosecutor to leave the room so they can talk about the new development without her wanting to hear about it. So wouldn't they have to keep her waiting anyway, therefore?

November 10th, 2020, 01:34 AM	#91
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,143	Re: How do you get this type of blue sunlight cinematography? In order to have the sharp police procedurals you need to have sharp, well written dialogue, which, currently, you are weak at. The live TV feed is basically the same as the two way mirror, which has been used in a number of police films.

November 10th, 2020, 01:51 AM	#92
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,880	Re: How do you get this type of blue sunlight cinematography? Oh okay, I just wasn't sure if they would realistically send a live signal from the interview room to the prosecutor's office through cyberspace in case anyone tried to intercept the signal, to see what the witness had to say. I will work on the dialogue and perhaps someone else can help polish it.

November 10th, 2020, 01:57 AM	#93
Paul R Johnson Inner Circle Join Date: Nov 2005 Location: Lowestoft - UK Posts: 4,016	Re: How do you get this type of blue sunlight cinematography? You mean how courts have been doing it for years? As it’s a movie though, even if you can’t do something technically, you can in the movies. Like my own pet hate, magic radios that one moment have the goodies and baddies using them separately and privately, yet the next minute they all hear each other. Think Die Hard.

November 10th, 2020, 02:01 AM	#94
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,880	Re: How do you get this type of blue sunlight cinematography? When do courts do them, or why? Do they want people possibly listening in, who are not suppose to be? Plus I wasn't necessarily thinking of having the villains tap the signal, if I write it that way, but I could have them do it.. I just doubted it would be realistic that they wound send a police interview through cyberspace that could be intercepted.

November 10th, 2020, 02:15 AM	#95
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,143	Re: How do you get this type of blue sunlight cinematography? UK courts have had the option of the defendant not being physically present for years, they have a live feed from the prison. The layout in their courts is different to US courts, they don't sit beside the attorney, they are in a dock when in a criminal case.It's commonly used for remand hearings. Courts cases are open for anyone to attend, The press are also there. I would assume that Canada has basically similar rules, unless the case is "in camera". https://www.cps.gov.uk/legal-guidanc...private-camera

November 10th, 2020, 02:18 AM	#96
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,880	Re: How do you get this type of blue sunlight cinematography? Oh okay, but this is a interview with a witness in a police station, so it's not public of course. So would they be okay with sending out an interview to the prosecutor's office for him to view, if the interview is being sent to the prosecutor's office, and not a courtroom?

November 10th, 2020, 02:29 AM	#97
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,143	Re: How do you get this type of blue sunlight cinematography? You would need to set it up that the villains have had access to this on an ongoing basis. How easy it would be to hack would depend on the system they've got, if it internet or intranet etc. If you tell the story probably no one is going to care about the possibility of hacking. It only become of interest if it's part of the villain's MO. Or, you could just use a two way mirror on the interview room, it's dramatically more interesting.

November 10th, 2020, 02:36 AM	#98
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,880	Re: How do you get this type of blue sunlight cinematography? Oh okay. And originally I was going to have the villains find out what she said another way, but I can use this way too, if it makes the scene more convenient. The thing about the two way mirror, is I thought about that before and I saw 4 possible cons to it, but maybe I'm wrong: 1. It will be more expensive to find a location that has a mirror built into the wall, and should just shoot it in a room with a camera, cause it's easier and cheaper to shoot? 2. The mirror is outdated nowadays, since they just use a camera nowadays in real police stations. 3. Would the prosecutor bother to come all the way down to the police station for this? I mean prosecutors normally look at statements after they are taken, I am guessing, and I thought the prosecutor watching it on his office computer, was pushing it. So he would he come all the way down to see it it live, when he can just watch the statement on tape a littler later, even if it's just a few minutes later? 4. The witness they are interviewing is actually the victim of the crime. They interviewed her before, but this is some follow up questions after a new development. So would they interview her in a room that is a mirror room? I asked a police officer this in my research and he says they have a different room for some victims, to make them feel more comfortable. So would a victim feel comfortable in a room with a mirror, therefore? But maybe I am wrong and the mirror room would stil work, and the prosecutor would bother to come down in person, rather than just watch a video of the statement after, from his office?

November 10th, 2020, 02:48 AM	#99
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,143	Re: How do you get this type of blue sunlight cinematography? You should explain the scenario when asking questions, other users aren't mind readers. All that's probably needed is an audio feed, so that the prosecutor can listen in.

November 10th, 2020, 02:52 AM	#100
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,880	Re: How do you get this type of blue sunlight cinematography? Oh sorry, I guess will try to exlain more next time. But isn't audio more risky to send over the cyberspace than video, since the audio is the more important part in a statement?

November 10th, 2020, 03:03 AM	#101
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,143	Re: How do you get this type of blue sunlight cinematography? Look, since part of this scene is about the relationship of the cop with the prosecutor, get him to go to the police station if everything is that urgent. In real life Queen Elizabeth I never meet Mary Queen of Scots, but they meet in quite a few films because it helps the drama and the story if they met. It works because the audience believes they meet as they're watching the film, even if a few know they didn't actually meet.. You're wildly over thinking this. Last edited by Brian Drysdale; November 10th, 2020 at 06:06 AM.

November 10th, 2020, 08:00 AM	#102
Paul R Johnson Inner Circle Join Date: Nov 2005 Location: Lowestoft - UK Posts: 4,016	Re: How do you get this type of blue sunlight cinematography? Ryan - encryption has been around for years. In the UK, the Police constantly talk about case details to the Criminal Prosecution Service and my son books offenders into a centralised custody suite in Norfolk, when he arrests them in Suffolk, and can view everything remotely. The only thing NOT done is the conversations between the acused and their legal representation because the people who COULD listen in, are the people who shouldn't! (but of course could). It's now common for people to give evidence from their prison and not have to go to court, and in child or sexual abuse cases, distance evidence is less stressful - but private.

November 10th, 2020, 11:52 AM	#104
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,143	Re: How do you get this type of blue sunlight cinematography? It appears not to be a mere witness, but the rape victim, which is entirely different. However, I suspect such a person wouldn't be left on their totally own for long periods. If you do that the audience will possibly lose sympathy with your policeman. Can't you plot anything? The prosecutor could already be there, since.I assume that this is a planned interview if it's going over stuff for the court hearing the next day. Alternately, he could be in the police statioon for other business (they do work on more than one case) and gets informed about the victim possibly changing her statement. Since this also about a relationship, the two men being in the same location, kills two birds with one stone and the response to her statement can be very quick You want to keep things moving in a thriller.

November 10th, 2020, 12:29 PM	#105
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,880	Re: How do you get this type of blue sunlight cinematography? Well the way I wrote it was, is that she is trying to avoid getting involved in the case, so the main character cop found her, since she was dodging his efforts, and talked her into coming in. But since he didn't know when he was going to find her, and didn't know he could talk her into it, the interview is an unexpected interview, so the prosecutor would have to drop everything, spur the moment, just to go there, if that's believable. Another thing is, is that after she reveals some new information in her statement, the main character and the prosecutor have to leave the room to talk about it, because they want to go over some things without her hearing about it. I wanted the main character to leave the room and call the prosecutor, because then the prosecutor can just talk over the phone with his voice, and the actor does not have to be in two scenes. But if he is there during the interview, that is two scenes he has to be in then. But also, would he drop everything and come over, if the interview was unexpected? Plus even though it's not polite to make her wait, I still need the main character and prosecutor to leave the room so they can talk about the new development without her wanting to hear about it. So wouldn't they have to keep her waiting anyway, therefore?