Colour Grading


Even though I did not Grade my 5 – 7 minute film myself, it is something that I do not know much about and so I took the opportunity to learn about Colour Grading. The above website was particularly helpful and I studied it for a long time. I hope that from what I have learnt from the article, I can input more into the Major Project film, Contract. I spoke with both the Director and the Colour Gradist after the shoot, where it was decided between us – Use deep colors for the scene that the lead character (Ian) kills someone (Stranger). We would make use of yellow, green and red for a high visual impact and for emotional purposes. Also, we’d make use of colors which contrast, reflecting the tension of the whole scene and the inner struggle of Ian.


Wally Pfister’s Advice for Cinematographers

“Cinematography is one part Artistry and one part Craftsmanship”

“The outside world sees us as technicians… but the important thing is that we’re not treated like technicians, that we are not treated like anything else but visual storytellers of the film.”

“You got to respect the story first, you have to respect the actors, you have to respect whatever it is that the director needs to get that story onto film”

“You have to fight a few battles to make sure that you can give them exactly what [the director] wants”

Michael Melford: Qualities of Light and Composition

Michael Melford: Qualities of Light and Composition

I was scanning various Film Tutorial channels on YouTube and I found this particularly useful video by Michael Melford. I found this maxi – length tutorial both informative and well presented, thus enhancing my knowledge of Light and Composition. IT was a pleasure to watch and learn new skills at the same time.

Storyboard Research for 10 minute Film – Contract

NoCountry1No Country For Old Men

Sketching Out ‘Psycho’: Production Storyboards From 15 Beloved Films

I found this really interesting article online through a Google Search and got redirected to, where I stumbled across this article. It features “the blueprints of some visionary directors’ most iconic scenes”. It was really enjoyable and interesting to take a sneak peak at some of the Storyboarding techniques of the great masters of film. 

Mr. Coral



I found this image whilst browsing one day and was drawn to it. I have huge respect for Jack Nicholson as an actor – some of my favourite films star him as a central character, for example One Flew Over The Cuckoo’s Nest and The Shining. This image in particular struck me as being very close to portraying Mr. Coral’s inner character. Obviously Mr. Coral would not wear make up, however he is wearing a bowler hat. I feel that the facial expressions are representative of Mr. Coral’s inner self; an eccentric and complex character who appears to have a mission or a calling of some sort. He is a very important character within both Convictions and Contract, therefore it seems appropriate that we should develop him as a rounded character with a grand backstory. Our intentions with Mr. Coral is that he should represent some sort of ‘higher being’; the audience never fully get to know who he is or why he is controlling people’s lives with Contracts, however it is slyly hinted within Contract that he is not human.

Film Review: Oldboy (2003)

Oldboy (original title: Oldeuboi) is a Korean Drama/ Thriller film. The story follows Oh Dae-Su’s path of revenge after being imprisoned for over 15 years. The style of this film was inspiration for both my 7 minute film, Convictions and my 10 minute film, Contract. The visual style of my films is close to Oldboy. All 3 make good use/ will make good use of wide shots, vibrant colours and also how seasons can reflect the character’s mood, the situation they are in the the narrative of the story. 


We have shot Convictions in a very conventional manner in terms of shots, which is the style we are aiming for with Contract, too. The cinematic style we are hoping to achieve with both films is rich and vivid colours that reflect the intensity of certain situations and the ambiguity of complex characters. We have made use of a shoulder mount for all indoor scenes. This gives an effect halfway between the rigidness of a tripod set-up and the shakiness of a handheld set-up, really conveying that realism that we were aiming for. All outdoor scenes were filmed on a tripod so as to reflect the awkwardness of the meeting between Ian and Mr. Coral and how uncomfortable Ian is with his present situation.