How do you get this type of blue sunlight cinematography?

Ryan Elder · November 8th, 2020, 11:10 AM

Oh okay. But the problem isn't the cut though, it's the time setting. Is it possible to go from pure after noon daylight, to pure black night, and the audience thinks that only 30 minutes have passed? It's not the type of cutting that's the problem it's the missing time gap in the story. How do you get around that though? No matter what type of cut you do, there will still be a missing time gap in the plot, wouldn't there? If I cut from pure day to pure night, the audience is going to think that at least 3-4 hours have passed, as oppose to 30 minutes.

Brian Drysdale · November 8th, 2020, 11:36 AM

If you don't know how to leap time like this don't do it,

Ryan Elder · November 8th, 2020, 11:48 AM

Oh okay. Well in that case I could just have the seen be set at dusk then, so the night scene will follow after. But if I need to shoot for the longer day, then what dusk will allow, and just make it look like dusk though, should I just turn up the orange in the color grading to try to make it look like dusk, or will the audience still think it's daytime, but just cranked up orange?

Brian Drysdale · November 8th, 2020, 12:29 PM

Shoot day for night, assuming it's not an urban environment. That can look like dusk or twilight, especially if it's overcast.,

This sounds more like a scheduling issue than a creative decision.

If you're making a low budget film, don't put scenes in that you don't have the time to shoot. You need to change them to match the available resources. Time is a resource.

Ryan Elder · November 8th, 2020, 12:43 PM

Oh okay. I have time to shoot. What I mean is, is that I need more time than dusk will allow to shoot, since dusk is only like an hour long around, before the sun changes.

Well the setting is an urban environment though as far as day for night goes. But when you say for night, you mean shooting underexposed in the daytime pretty much, right?

Paul R Johnson · November 8th, 2020, 02:01 PM

The audience seem to have much more understanding than you do Ryan? You really believe that they'll get confused when it suddenly gets dark? Of course they won't! Time has passed. You then set up how much by the next scene - a few hours a week, ten years, millions of years? Every one of these has been done and audiences were quite happy. Stop making problems that you can't cure.

Ryan Elder · November 8th, 2020, 02:02 PM

But not that much time would have passed though. Only about 30 minutes. So would the audience by that all of a sudden it's pitch black sky, in 30 minutes as oppose to middle of the day in the previous scene, when the next scene would only be 30 minutes after? The audience will think "only 30 minutes about has gone buy, so how did the sun go this dark in only in 30 minutes?".

Paul R Johnson · November 8th, 2020, 02:24 PM

How do they know only 30 minutes has passed? A caption saying "later that day" doesn't need to say "29 minutes 30 seconds later".

They see it's got darker, it's later, done!

Ryan Elder · November 8th, 2020, 02:28 PM

Well in the scene, the police bring in a witness to be interviewed. But then the police take what she says and talk about the evidence. During this the witness is waiting in in the interview room. But is she going to want to wait in the room for more than 30 minutes? I mean she is going to want to get on with her day, isn't she just going to want to leave? If it's pure daylight, why would she stick around till it's pure dark out?

And, why would the cops want to keep her waiting and take forever to discuss it, rather discuss it and move so they can send her on her way? It just seems kind of strange that they would keep her waiting for so long, or that she would be willing to wait for so long.

But if I cut from a pure daylight scene, to a pure night scene, the audience is going to think they kept her waiting for such a long time, and that why was she willing to stay for such a long time, wouldn't they?

Brian Drysdale · November 8th, 2020, 02:55 PM

Do you ever watch cop shows in TV?

Have a look at the Nordic ones like "The Bridge" or "The Killing" or the French one "Spiral", they might break you one of the boring trap you seem to have fallen into.

You waste so much time, if they're not required for dramatic reasons, send the witness home, get rid of them,

Ryan Elder · November 8th, 2020, 02:58 PM

Well I want the main character cop to drive the witness home himself, because a new plot development happes as he drops her off. But I need him to go over the evidence with the others first before driving her home.

So she cannot be sent home before then, in order for the plot development to happen with him there.

Brian Drysdale · November 8th, 2020, 04:11 PM

They wouldn't have witnesses waiting around, Cut the discussion to a couple of minutes and have him drive her home if it's important, The discussion scene doesn't sound that interesting and if it's just exposition definitely get rid of it and find a dramatic way to convey the information..

Ryan Elder · November 8th, 2020, 07:18 PM

Well it's just a new plot development happens after he drives her home, but in order for this to happen, I need the prosecutor in the case, to know what she said in the interview. So after the interview, they call the prosecutor and send him her statement and talk about it. But I need this to happen first before the next plot point at her house. I want the main character to talk to the prosecutor before driving her home too, because then he has that discussion with him that drives the plot. If that's possible. It's not exposition though, the prosecutor has to make a decision before she arrives home that drives the plot point at her house.

So I thought therefore, they should discuss what to do with the prosecutor before deciding if they are done with her in the interview, but they wouldn't want to keep her waiting around too long of course.

Pete Cofrancesco · November 8th, 2020, 08:32 PM

Smoke is coming out of my ears again from reading this. Time for a beer.

Paul R Johnson · November 9th, 2020, 01:19 AM

Ryan, you mimic the camera technique, the music, the editing, the sound and everything to minute detail, irrespective of appropriateness and now you demonstrate a total misunderstanding of how script writing works. You obsessed recently about how to cope with a few words being chopped. You've lost your grip totally now. What people say, how they say it or sometimes how they don't say it are important. Plot points vary from overt and critical or covert and critical through to padding to prevent silence. Does it matter if somebody spent 30 minutes or three hours in the police station. You are making mountains out of molehills. You are even thinking about creating an entire scene to explain something that doesn't matter. You really need to consider what happened here.

November 8th, 2020, 11:10 AM	#46
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How do you get this type of blue sunlight cinematography? Oh okay. But the problem isn't the cut though, it's the time setting. Is it possible to go from pure after noon daylight, to pure black night, and the audience thinks that only 30 minutes have passed? It's not the type of cutting that's the problem it's the missing time gap in the story. How do you get around that though? No matter what type of cut you do, there will still be a missing time gap in the plot, wouldn't there? If I cut from pure day to pure night, the audience is going to think that at least 3-4 hours have passed, as oppose to 30 minutes.

November 8th, 2020, 11:36 AM	#47
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How do you get this type of blue sunlight cinematography? If you don't know how to leap time like this don't do it,

November 8th, 2020, 11:48 AM	#48
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How do you get this type of blue sunlight cinematography? Oh okay. Well in that case I could just have the seen be set at dusk then, so the night scene will follow after. But if I need to shoot for the longer day, then what dusk will allow, and just make it look like dusk though, should I just turn up the orange in the color grading to try to make it look like dusk, or will the audience still think it's daytime, but just cranked up orange?

November 8th, 2020, 12:29 PM	#49
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How do you get this type of blue sunlight cinematography? Shoot day for night, assuming it's not an urban environment. That can look like dusk or twilight, especially if it's overcast., This sounds more like a scheduling issue than a creative decision. If you're making a low budget film, don't put scenes in that you don't have the time to shoot. You need to change them to match the available resources. Time is a resource.

November 8th, 2020, 12:43 PM	#50
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How do you get this type of blue sunlight cinematography? Oh okay. I have time to shoot. What I mean is, is that I need more time than dusk will allow to shoot, since dusk is only like an hour long around, before the sun changes. Well the setting is an urban environment though as far as day for night goes. But when you say for night, you mean shooting underexposed in the daytime pretty much, right? Last edited by Ryan Elder; November 8th, 2020 at 01:59 PM.

November 8th, 2020, 02:01 PM	#51
Paul R Johnson Inner Circle Join Date: Nov 2005 Location: Lowestoft - UK Posts: 4,045	Re: How do you get this type of blue sunlight cinematography? The audience seem to have much more understanding than you do Ryan? You really believe that they'll get confused when it suddenly gets dark? Of course they won't! Time has passed. You then set up how much by the next scene - a few hours a week, ten years, millions of years? Every one of these has been done and audiences were quite happy. Stop making problems that you can't cure.

November 8th, 2020, 02:02 PM	#52
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How do you get this type of blue sunlight cinematography? But not that much time would have passed though. Only about 30 minutes. So would the audience by that all of a sudden it's pitch black sky, in 30 minutes as oppose to middle of the day in the previous scene, when the next scene would only be 30 minutes after? The audience will think "only 30 minutes about has gone buy, so how did the sun go this dark in only in 30 minutes?".

November 8th, 2020, 02:24 PM	#53
Paul R Johnson Inner Circle Join Date: Nov 2005 Location: Lowestoft - UK Posts: 4,045	Re: How do you get this type of blue sunlight cinematography? How do they know only 30 minutes has passed? A caption saying "later that day" doesn't need to say "29 minutes 30 seconds later". They see it's got darker, it's later, done!

November 8th, 2020, 02:28 PM	#54
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How do you get this type of blue sunlight cinematography? Well in the scene, the police bring in a witness to be interviewed. But then the police take what she says and talk about the evidence. During this the witness is waiting in in the interview room. But is she going to want to wait in the room for more than 30 minutes? I mean she is going to want to get on with her day, isn't she just going to want to leave? If it's pure daylight, why would she stick around till it's pure dark out? And, why would the cops want to keep her waiting and take forever to discuss it, rather discuss it and move so they can send her on her way? It just seems kind of strange that they would keep her waiting for so long, or that she would be willing to wait for so long. But if I cut from a pure daylight scene, to a pure night scene, the audience is going to think they kept her waiting for such a long time, and that why was she willing to stay for such a long time, wouldn't they?

November 8th, 2020, 02:55 PM	#55
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How do you get this type of blue sunlight cinematography? Do you ever watch cop shows in TV? Have a look at the Nordic ones like "The Bridge" or "The Killing" or the French one "Spiral", they might break you one of the boring trap you seem to have fallen into. You waste so much time, if they're not required for dramatic reasons, send the witness home, get rid of them,

November 8th, 2020, 02:58 PM	#56
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How do you get this type of blue sunlight cinematography? Well I want the main character cop to drive the witness home himself, because a new plot development happes as he drops her off. But I need him to go over the evidence with the others first before driving her home. So she cannot be sent home before then, in order for the plot development to happen with him there.

November 8th, 2020, 04:11 PM	#57
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How do you get this type of blue sunlight cinematography? They wouldn't have witnesses waiting around, Cut the discussion to a couple of minutes and have him drive her home if it's important, The discussion scene doesn't sound that interesting and if it's just exposition definitely get rid of it and find a dramatic way to convey the information..

November 8th, 2020, 07:18 PM	#58
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How do you get this type of blue sunlight cinematography? Well it's just a new plot development happens after he drives her home, but in order for this to happen, I need the prosecutor in the case, to know what she said in the interview. So after the interview, they call the prosecutor and send him her statement and talk about it. But I need this to happen first before the next plot point at her house. I want the main character to talk to the prosecutor before driving her home too, because then he has that discussion with him that drives the plot. If that's possible. It's not exposition though, the prosecutor has to make a decision before she arrives home that drives the plot point at her house. So I thought therefore, they should discuss what to do with the prosecutor before deciding if they are done with her in the interview, but they wouldn't want to keep her waiting around too long of course.

November 8th, 2020, 08:32 PM	#59
Pete Cofrancesco Inner Circle Join Date: May 2004 Location: USA Posts: 3,005	Re: How do you get this type of blue sunlight cinematography? Smoke is coming out of my ears again from reading this. Time for a beer.

November 9th, 2020, 01:19 AM	#60
Paul R Johnson Inner Circle Join Date: Nov 2005 Location: Lowestoft - UK Posts: 4,045	Re: How do you get this type of blue sunlight cinematography? Ryan, you mimic the camera technique, the music, the editing, the sound and everything to minute detail, irrespective of appropriateness and now you demonstrate a total misunderstanding of how script writing works. You obsessed recently about how to cope with a few words being chopped. You've lost your grip totally now. What people say, how they say it or sometimes how they don't say it are important. Plot points vary from overt and critical or covert and critical through to padding to prevent silence. Does it matter if somebody spent 30 minutes or three hours in the police station. You are making mountains out of molehills. You are even thinking about creating an entire scene to explain something that doesn't matter. You really need to consider what happened here.