Angle, Level, Height, and Distance in Cinematography

1) Stills from existing media using angle, level, height, and distance to convey meaning

a. Still image from The Maze Runner, 2014, showing how angle is used to convey conflict, character, or development.

The angle used in this frame was a low angle shot. Usually, it can be inferred that the characters in the low-angle are intended to convey authority, but with the story's context, it does quite the opposite. The group of boy's memory has been wiped and placed in an experiment unknowingly, never having received much change in several years until recently. In the scene, a woman makes her way up to the boys from a pit that is used to send in new people on these rare occasions. A low angle shot is used here to develop the movie, capturing the group's obvious shared trait; all members of the male sex and also the bewilderment they share as they look down and process seeing a woman for the first time they can remember.

b. Still image from Twilight, 2008 showing how level is used to convey conflict, character, or development.

In this Dutch level shot, the camera is tilted dramatically to convey the intense, chaotic attack happening to the movie's protagonist Bella Swan. She is on the floor at the lower left half of this tilt, conveying a sense of vulnerability to the antagonist, James, who appears to be advancing threateningly at the highest right part of the tilt toward Bella. The combination of a Dutch level and the low angle of Bella, makes her look helpless, while the high tilt in James's direction conveys his power over her.

c. Still image from The Money Pit, 1986, showing how height is used to convey conflict, character, or development.

In this shot, the camera is positioned at ground level to draw attention to the white shoes stepping over the fingers of the man in the shot, Walter. At this height, Walter can be seen looking up at his wife in distress as he holds onto the wood floor. The way the shot is composed furthers the storyline's development by giving context as to what causes Walter to scream and let go of the ledge where the stairs once were.

d. Still image from The Watcher, 2022, showing how distance is used to convey conflict, character, or development.

The distance of the camera to the focus of the house creates suspense. To the right of the image, the back of a figure can be seen in the dark, facing the house very far from it. The house is lit with warm colors versus the dark and eerie unknown figure which adds uneasiness to the scene, as the people in the house cannot see they are being watched from such a far distance.

2) Stills I created using angle, level, height, or distance to convey meaning

a. A still showing how angle is used to convey conflict, character, or development.

A high angle shot is used in the image to show the boy's inferiority to the person, who we only see a hand of, holding a weapon above him. He can be seen in a crouched position on the floor at this angle, making him appear weak and in danger to the threat who is looking down at him, providing them leverage and a suspense of conflict to the image.

b. A still showing how level is used to convey conflict, character, or development. 

Dutch shots are often used to dramatize the chaos and confusion of a moment. Here, this level is used to align with the emotions that can be inferred from the image. The boy appears to be in distress along the lower tilt of the frame, placing both of his hands on either side of his head. The dramatic tilt in which he is on the low end of, communicates that he is feeling down and under pressure by the figure appearing on the high end of the tilt. The boy looks to the other boy upset, with a crossed facial expression. It can be inferred that there is an argument taking place and the boy is overwhelmed by the expression of chaos portrayed alongside the leveling being distorted in this image.

c. A still showing how height is used to convey conflict, character, or development. 

In this image, a ground level shot is taken, with the camera positioned below the knee level to draw attention and curiosity to the bag being held by the person walking in front of it. A piece of paper is attached to the bag labeled with various insults. The height of the camera allows viewers to see what is written on the figure's bag, further developing the inferences that can be made about the figure and situation. It is likely the person has no idea this is on their bag and will feel poorly about themselves when discovering it. Using a ground level shot from behind the figure gives information to viewers that the figure is not aware of and also ties into the anticipated reaction of the figure, hence, 'feeling low.'

d. A still showing how distance is used to convey conflict, character, or development.

The camera is positioned in extremely close proximity to the figure, portraying a sense of invaded personal space and threat. The figure appears to be expressing reluctance and uncomfortableness based on her facial expressions in relation to the camera's closeness near the face.

3) Reflection

When creating my still photo experiment, I found it challenging to have my intentions for the shot easily conveyed. I can utilize techniques with height by positioning the camera at eye, knee, or ground level to focus on something, but I wanted it to convey more meaning than a simple visual. At first when composing my height still, I captured a photo with the same figure holding a bag in one hand below the knee at ground level to draw attention and curiosity to the bag being held. But, the height did not add significance to my image. It was a shot of a plain bag and with just this alone, not much can be taken from it. I realized I had to connect camera placements in relation to the story desired to be told by adding more context clues in my photos. I added a piece of paper onto the bag labeled with insults to portray the cluelessness of the figure, as they are walking around with a bag pasted with mean comments toward them. The purpose was to make the height more purposeful to this individual image. By using a ground level shot from behind the figure, it creates anticipation — as viewers know something now that the figure does not because it is not in their sight yet. It also parallels how the figure may feel after seeing the image; a feeling of sadness, bringing their mood ‘down’ metaphorically to the shot’s proximity to the ground. I also pondered whether the message of uneasiness and conflict associated with extreme closeness in someone’s personal space still applies when it is the camera invading that space. To ensure this connection, I had my actress imitate uncomfortable facial expressions and appear in distress facing the camera to convey its ‘threatening presence.’

Balancing Mise en scène

1) Stills from existing media that demonstrate aspects of Mise en scène

a. Still image from Beef, 2023, showing how contrast is used to guide the viewer’s attention.

The woman sitting in her white vehicle with light hair contrasts with the man with dark hair in his dark-colored vehicle. The red headlight from the car between them creates a red reflection on his car, adding more distinction between this light and dark contrast.

b. Still image from Superman, 1978, showing how color is used to guide the viewer’s attention.

The bright colors associated with Superman; blue, red, and yellow draw the viewer's eyes immediately because of their intensity by one another. The background has neutral, warm tones of beige and grey, while Superman wears a bright red cape and blue bodysuit with hints of yellow across his big "S" symbol on his chest and waistline.

c. Still image from Jurassic World, 2015, showing how size is used to guide the viewer’s attention.

The man being off to the side while the dinosaur is in focus shows the drastic difference in size between them. The dinosaur's mouth appears to be reaching to eat the man as prey, which stretches over the man and the entire frame overall. The claws of the dinosaur are also right by the man's head, making him look small and vulnerable to the dinosaur's very large size.

d. Still image from You, 2018, showing how frontality is used to guide the viewer’s attention.

The character in the image, Joe, is centered and leveled facing the camera with the background blurred so the viewers look at nothing but him as he speaks directly to the audience.

2) Stills I created that demonstrate aspects of Mise en scène

a. A still showing how contrast is used to guide the viewer’s attention.

The green lime contrasts heavily by being surrounded by bright oranges. Green and orange are very distinct and bright colors, so when put next to one another and because there is one lime in the center, this comparison can be seen clearly.

b. A still showing how color is used to guide the viewer’s attention.

The red and orange ombre in the candle positioned in the center guides the viewer's eyes the most. Although there are three other candles present in the image on pedestals, the red and orange candle is a bright pop of warm color in the photo and draws the most attention against the grey, almost dull schemed background details.

c. A still showing how size is used to guide the viewer’s attention.

The girl standing next to the cat appears to be very tall. This low angle is intended to be near the cat's line of sight, to show the vast difference in size between the small cat and the girl, who have to look at each other at entirely different levels in order to make eye contact.

d. A still showing how frontality is used to guide the viewer’s attention.

The girl in the image is up close to the camera making eye contact with it. Although there is a painting in the background, the girl is in focus and because she is smiling at the camera directly, the viewer's attention will stay on her.

3) Reflection

The challenge I experienced in creating my photo experiment was differentiating contrast and color. When taking my contrast photo, it was apparent to me how strong the colors clashed with one another. However, it was the green lime in the center of the white bowl that my eyes were drawn to because it was the only fruit that was not orange. This caused me to question if the guide of the viewer’s attention was directed by color rather than the contrast of the two. A similar doubt formed when taking my color photo. The grey, almost dull background contrasted with the bright, warm tones of the ombre red and orange candle. Ultimately, I concluded that contrast and color often go hand in hand and the images can be seen from either principle as the driving factor of catching the viewer’s attention. But in this instance, color can be more about cold versus warm tones having meaning toward the image, similar to the bright warm-toned candle being the focus of the frame even when other candles/figures are present. While contrast is the immediate difference in overall tone and brightness between things in an image, which can be broader and applied to more things, such as oranges surrounding a lime — primary colors that stand out from one another. Another struggle I experienced at first was conveying frontality in an image. Although the girl in the image I took was facing the camera up close, I questioned if her position to the side caused viewers to focus on the painting behind her. After using portrait mode, which focused on her and blurred the background, I felt that the frontality of the image was expressed better and even incorporated the rule of thirds!

The Rule of Thirds

1) Still image from The Walking Dead, 2010, demonstrating "The Rule of Thirds."

This still image from The Walking Dead shows Negan, the show’s antagonist, in alignment with the Rule of Third’s left vertical hotspot holding a spiked bat near the central area of the picture. Some characters in the show appear to be on their knees facing him with his bat, suggesting submission, while others standing behind this group are also facing Negan. His character being the only one on the left vertical line, with the other figures falling in the center and right part of the frame, signals that he is the enemy and that he has authority over the group. The man with ginger-colored hair, Abraham, who can be seen close up in the image along the horizontal hotspot has Negan’s weapon facing his direction. The focus on this character and his placement compared to Negan, who in the frame is standing over his general area in the vertical hotspot, indicates that he may be in danger from this man. He is vulnerable to what is to come and after this scene, Abraham is indeed killed by Negan with the same bat he is holding here.

2) Places/Settings/Landscapes

a. A photo taken without regard for the rule.

b. A photo taken with a) the horizon correctly aligned with a horizontal rule line, and b) focal objects lined up with hot spots (intersections between horizontal and vertical lines on the tic-tac-toe grid).

3) One figure (human, animal, or stand-in)

a. A photo taken without regard for the rule.

b. A photo taken with the object figure aligned with hot spots on either vertical line.

4) Two Figures

a. A photo taken without regard for the rule.

b. A photo taken with eyes and landscape aligned according to the rule and figures with neutral spacing.

c. A photo taken with eye and landscape alignment and vertical placement to suggest agreement or attraction.

The photo above conveys agreement or attraction because the figures are within very close proximity to one another. The figures touching each other create the narrative that the two have established some form of a positive and cordial relationship. Both are positioned at an angle toward one another, adding to the development of agreement or attraction between the figures. My subjects are aligned on the right vertical line hotspot, drawing focus to them and their closeness. A low-angle shot was used to create an intimate focus that is on the same level as them. A closer shot of the figures is used to intensify the relationship I want to capture they have. Mis en Scène is used here with the beige color-schemed background contrasting heavily with my subject’s strong colors of blue as a way to exude a sense of isolation they feel from everything else; An “us against the world” cliche of intimacy and attraction.

d. A photo taken with eye and landscape alignment and vertical placement to indicate disagreement, conflict, or threat/menace.

Hello World

Welcome to Lantern Shark Productions. The start of my journey to understand what it takes to produce a good film. I truly believe in the power of media to convey powerful messages because many movies and even social media posts have made an everlasting imprint on my mind. As someone known for being empathetic and driven, I credit these traits to films and books I immersed myself in growing up. They allowed me to put aside my own experiences and join another’s perspective, grow compassion, and appreciate a good story. To be truthful, I am still discovering who I am every day. The exactness of what I want to set out to do is unknown, but what I can say for certain is that I work hard to accomplish what I envision. To introduce myself is to tell you that I crave a life that fulfills me. One that exudes kindness, passion, and depth. I consider myself a thinker as I ponder deeply about things, applying this curiosity to my writing and to all that sparks my creativity. Life should be joyous in adventures and love and what we create, as well as consume in media, should reflect this. My goal when it comes to studying and producing films is to explore the make-up behind films and for my creations to reflect my ambitions. To concoct something worth mulling over in discussion. To devise something that spurs change in one’s perception of the world. But above all, to make something someone gives credit to for molding their mind for the better.

Below is a clip from 'Shutter Island' — an unforgettable movie for its amazing, plot-twisting storyline and some images I feel I resonate with on how I view accomplishing goals.