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《VGen August Prompt Draft》
Theme: Paradise
Title: Astral Dream Before the Fall
Demon x Seraphim
Perspective of the demon ✧◝(⁰▿⁰)◜✧
Feeding myself my own food ( ≧Д≦)!
Devouring it all (´﹃｀)
#VGen #VGenArt #Seraphim #Demon #DigitalArt #OriginalArt #WIP
#Demon (2012): Low-Budget Framing of a Period Piece
What if you're shooting a low-budget period piece? Your story is set in the late 1800s. But the city streets are full of cars and people in modern clothing!
The Big Studios will simply obtain (and pay for) a shooting permit, and off-duty police (more money) will kindly block off all streets so they can shoot their period film.
But a low-budget filmmaker can't afford that, How then to shoot a period piece on modern city streets?
One solution is a judicious use of framing.
Demon is a low-budget horror film (written and directed by #MarkDuffield) set in #VictorianLondon. Fortunately, London is full of old buildings that were around in #Victorian times. But it's also full of modern cars and people. How to shoot the architecture, and not the modern population, without closing off the streets?
Duffield solved the problem by framing many street scenes at low angles, so we only see the upper parts of buildings.
At one point, Amy (#ClareLangford) takes newcomer Lorcan (#AndrewMullan) on a tour of London. She shows him #LondonBridge. Today's bridge is normally full of cars, but a low-budget filmmaker can't afford shut down a major bridge. Erasing the cars through CGI effects might be cheaper, but still costly. Duffield simply frames the cars out of view.
Amy shows Lorcan other sights of London. Again, the shots are in low angle. Perhaps to avoid showing modern tourists or cars parked on the streets?
But this framing is not only pragmatic, in that it hides modern life. Demon's framing also serves an aesthetic function. Amy is showing Lorcan (and us, the viewer) the splendor of Imperial Britain's capital city, and he is duly impressed. The low angles effectively convey their emotional awe at the city's sights.
I use the term #pragmaticaesthetics to describe whenever a filmmaker applies budgetary and technical compromises to aesthetic effect. This applies to Duffield's framing. He couldn't afford to close off London's streets, nor delete its modern life with CGI, so he framed to hide modern life -- even as his framing simultaneously supports the story, characters, and theme.
But it's not just low angles. A tight shot of Lorcan from a high angle hems him in, so we don't see much beyond him (including modern life). The high angle likewise hides what's beyond him. Were the camera raised, we'd see more of the street, and perhaps some cars.
Then there's the below tight, straight-on angle shot of Lorcan. Again, we see little beyond him.
The staging also serves Demon's low budget. In both of these shots, Lorcan is static. People walk past him. Pragmatically, this creates the impression of a bustling London street, filled with people -- but on the cheap. Had Lorcan walked along the street, the camera would have followed him, and more of the street would need to have been closed for filming.
The above frames and staging also serve an aesthetic purpose. Lorcan is paralyzed with fear over the notion that he might be a hideous monster. The above images are from his nightmare. His static staging supports his emotional paralysis. And the tight framing conveys his feeling of being trapped in a very bad situation.
-- written by Thomas M. Sipos, author of #HorrorFilmAesthetics: https://t.co/V2nk9oE2TU
Poor Moxxie. Why does he always end up with the wrong people?
#moxxie #Helluvaboss #GID #beach #demon
Gutierrez assist 3 minutes in his debut #demon
officially read 6 books this year #demon
Palmer straight washed but JP under Alonso brev #demon
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