Walking/Tracking Shot: Stanley Kubrick

Director Stanley Kubrick was the first director to use the ‘Steadicam’, a brand of camera stabilizing mount which isolates the shot from the operator’s movements, preventing the camera from shaking. This allows for a smooth shot, even when the camera operator is moving on an uneven surface. 

Before the ‘Steadicam’, the only form of tracking shots was to use a camera dolly, a wheeled mount that rolls on tracks or leveled boards. This was unpractical and a time consuming set up. The other option was for the camera operator to hold the camera manually. 

  

Having tried the manual way of filming, we came to the conclusion that the shake from the operator’s hands was too much for our film, making it look rather amateur, not the smooth shot we feel our video needs considering it is a music video which is supposed to work as a technique to sell something, in this case a song.  The ‘Steadicam’ combines stability, which means steady footage, with the fluid and flexibility of a hand held camera. 

This was used in Kubrick’s film, “The Shining”; most notably the scene where the young boy, Danny, is being tracked as he pedals at high speed through corridor after corridor on his blue plastic big wheel tricycle.

Kubrick used a wheelchair, to film the tracking shots, pushing this around to gain a smooth shot. The wheelchair also worked well as shot was then shown to be at about 18 inches- which was roughly the height of the small child meaning the shot would look like a child’s perspective as intended. The wheelchair had rubber wheels which absorbed the shock which also ensured there was no sound of the wheelchair which could impact the filming.

To achieve this shot a wheelchair can be used and we shall have to partake in some testing shots to try out this technique, seeing if it is viable for our film.

(Research by Hannah) 

Golden Hour Photography Research

The Golden Hour, also known as the Magic Hour, is the first and last hour of sunlight in the day which allows a specific photography technique to be achieved due to the low level quality of light. The light is typically softer and in warmer hues. 

The shadows are normally reduced as the sun is below the horizon. When the sun is near or below the horizon, the sunlight travels through more of an atmosphere which reduces the intensity of the direct light so the illumination comes from the indirect light from the sky which reduces the lighting ratio.

 The blue light is scattered so when the sun is present the light appears redder; additionally the sun’s small angle with the horizon produces longer shadows, creating a moody, darker look. This is especially effective when shooting a ‘romantic’ looking shot. The sun is low and no harsh shadows are created. This prevents any details to be lost because of extreme shadows or blown-out highlights. This technique is particularly useful when shooting landscape or nature related shots although works well when used with a model.

The only limitation with this form of shooting is the lack of time space to shoot in. There is a relatively small window of available to take advantage of in order to achieve the perfect glow. Planning is essential with an idea of the sunset/rise times to ensure the light is used to the maximum effect.

A wide aperture must be used to allow more light to be used in the shot. The lighting, however, changes rapidly meaning the lighting during the first 5 minutes will be distinctively different in another 20 minutes. Shooting for the whole hour is the best way to overcome this so many different variations can be captured. An adjustable white balance is also needed as auto white balance will try to change the light to neutral.

The 1978 film ‘Days of Heaven’ directed by Terrence Malick clearly shows the effects of shooting in the Golden Hour. The film is shot primarily in the early morning, just as the sun rises, and then in the evening, as the sun sets. This creates a warm, romantic glow. 

We plan to use this technique during our own music video. Although out video is mostly in black and white, we plan on using this when shooting in colour to create the romantic look which the light creates. We plan to use this during our pier scenes when shooting the dancers, providing a glow behind them which will be effective with the contemporary dance. We are also looking into using this when shooting on the field as the lead is walking as this will ensure the sun is behind her, giving her a sort of angelic glow after she has ‘helped the people’.  

(Research by Hannah)