This week I really wanted to focus on cinematography in film and how nailing it effectively can add to the production value of a film without necessarily adding to the budget. Although having a top of the line HD camera and a large budget certainly will increase the look of a film, I’m always impressed by filmmakers that do a lot with fairly little by taking the time to study shot selections and how they translate to an audience visually. I was lucky to find a short last night called “Factory 293” that’s a fantastic example of this.
“Factory 293” is a period piece written and directed by Roderick MacKay. Set in WWII during the Nazi invasion of the Soviet Union, it follows a factory in the middle of the Russian tundra that produces artillery shells for tanks, really big guns or Soviet era Jaegers specifically designed to take on Nazi Kaiju (how the hell am I supposed to know, I’m not an artillery expert). Grigori runs the factory and is having an affair with Yelena, a factory worker. From the outset we know that something is clearly bothering Grigori. He rejects Yelena’s advances and glares menacingly at the picture of Stalin hanging on his wall.
When the power goes out, Yelena is charged with turning it back on. In the attempt to restore power, she finds a lone soviet soldier out in the tundra on the brink of freezing to death. From there we learn more about Grigori, the mysterious soldier and the extent of Yelena and Grigori’s relationship.
I think the most surprising thing about this film is that it’s shot far, far away from the frostbitten lands of Russia in sunny Perth, Australia. Even more impressive, is that despite clearly looking like it took place on the planet Hoth, it was shot in the middle of summer. Through the use of fans, fake snow and some incredibly impressive green screening and digital artistry, they managed to turn Perth into something out of Kris Kringle’s nightmares. All this was done within a relatively small budget estimated at $100,000 dollars.
For those of you interested in the process of how MacKay managed to pull this off, it’s chronicled in a Behind the Scenes video below:<p><a href=”http://vimeo.com/88841934″>FACTORY293 Behind The Scenes</a> from <a href=”http://vimeo.com/meaningmakerfilms”>Meaning Maker</a> on <a href=”https://vimeo.com”>Vimeo</a>.</p>
Despite the impressive digital work in the movie, what really struck me was the choice of shots MacKay went with to tell his story. One specific shot is an overhead angle capturing the portrait of Stalin ominously overhead of Grigori. The shot hints to the ever-looming presence of Stalinist Russia, mimicking the paranoia the dictator was so well-known for, his eyes constantly on the lookout for dissenters to the Soviet cause.
MacKay also does some impressive work with camera focus, specifically while shooting down the barrel of a gun, many of the shots seemingly coming from the point of view of the targets.
All of this excellent cinematography enhances the film further, giving it a very polished look for, relatively, pennies on the dollar. This demonstrates what good shot selection can do for a film, drawing the audience further into the film by making the framing and movement of the camera just as much a part of the storytelling process as the dialogue spoken by the characters. This is a lesson I feel a lot of beginning filmmakers can learn greatly from, that camera position is more than a matter of just getting the actors in frame. Let’s not forget that films are moving pictures and not just a collection of static shots.
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