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A shot list reflects the way you wish to impart information to an audience. For a drama, that might suggest leaving information out in such a way as to build expectation etc. Perhaps a documentary is a little different. You are trying to explain a subject as clearly as you can so it might be subtly different. But is it a scripted doc.? If you are following a subject as it evolves, a storyboard would suggest you have already made up your mind and your perspective is fixed.
Perhaps your source needs to be further from the window. Further away and larger. The problem as I see it is the brightness of the window frame, but the highlights also seem a little bright for a true dawn light.
Some of the best films of the 1960s were shot on 16mm black and white. Even the “spaghetti” westerns were shot on two perf pull down, rather than standard 35mm or 65mm. IMAX may be a large negative but to view the resulting image you look at a silvered screen that is bright in the center while dark and slightly soft to the corners of the screen. I guess every format has its advantages and disadvantages. Story, story, story.
Perhaps, split the difference around 4,400K. You do want the evening light to appear cool if not blue.
Oh my! That is so depressing to hear. The color version was never more than a way to secure finance for the film.
That’s a broad question. I was recently in the North East and enjoyed being there. There are many unspoiled areas on the border that would interest me if I was looking. I was there in summer though.
The Coen’s and I generally were on the same page regarding camera movement. Sometimes I would suggest something that was not storyboarded and they may or may not have agreed with the idea. That is callaboration after all.
I am not sure why you need to see anything outside or bring light through the windows. If its night and there are interior lights on it makes sense that the outside is black.
Never an option. There is hardly a shot missing from the final cut of NCFOM. Actually can’t think of one right now. The Coen’s only shoot what they script.
That’s interesting as I have always thought of NCFOM as being quite classic and having less camera movement than many of the Coen’s other films. I remember we did fewer slow tracking shots than usual as it felt the script called for a minimal approach.
It really shouldn’t work that way, that you shoot for TV and get drawn into closer shots because it is a smaller screen. You, the viewer, are closer to that smaller screen (though these days TVs are larger than some multiplex movie screens) so the size relationship should not be all that different. I think the close up and singles are used because it is easier to make changes in the edit and continuity is less of a problem.
I do like to shoot on certain lens lengths depending on the size of the shot but its mostly about feel. I never measure a distance or a camera height, unless there is a specific match involved. I – and most importantly the directors I have worked with – generally subscribe to the view that when you shoot a close up you should really mean it.
Watch the film Hud, directed by Martin Ritt, to get a good idea of what I am saying. James Wong Howe only shot about six close shots of his actors (though there was often a close up of an actor in the foreground of a two shot I am talking about singles here), and each really meant something when he did.
