O Brother Where Art Thou

The three main characters are Everett Ulysses McGill along with his allies Delmar and Pete. The setting of the movie is in Mississippi during the 1930s. The cinematography is bold. Every scene is clear and consist of the country settings of the “heart of the rural south”. The sound is good. There are no pitches of sound in any of the scenes. Everything flows sequentially and correctly. The color scheme is beautiful. It fleshes out the scenes by making it look real. In one scene, it shows a close-up of a couple of the characters' faces. The shades of their faces indicates the amount of lighting used in this scene. The lighting alters in every scene. Lastly the costume design is spectacular. It resembles the actual jail outfits they use in real life.

Pan's Labyrinth

Miserable in a new environment, young Ofelia cannot stand the imminent departure of the kindly housekeeper, Mercedes. This scene, set in Ofelia’s bedroom, illustrates the filmmakers’ blend of cool background tones and warm light, a mix that characterizes several settings. After chalking out a doorway on her bedroom wall, Ofelia steps through it and discovers a mysterious hallway. Small holes in the set’s ceiling facilitated the placement of Source Four Lekos, which were bounced into white or silver cards to send soft light into the corridor. Gaffer David Lee and key grip Rick Stribling then proceeded to hide small lamps throughout the hallway, taping them off until they created an interesting effect. In the pozo beneath the labyrinth, the faun explains the tasks for Ofelia's mission. The faun is played by Doug Jones. In this scene, he is seen here with greenscreen-clad legs that will facilitate digital leg removal. This character design is exceptional. Angered at her failure, the faun visits the girl in her room. The creature’s considerable height gave the filmmakers a practical reason to shoot in standard 1.85:1, and the format is appealing for its “human scale.” Navarro and his crew had to light the dark pozo set entirely from above, through a 10 ft.-12 ft. hole at the top, and the ceiling height on stage was limited. The solution was to surround the opening with lights shooting into a silver card overhead, sending a generous bounce down into the well. Key grip Rick Stribling lines up the puchi for a shot in Ofelia’s bedroom. Visible on the wall behind him is the chalked-in doorway that leads to the Pale Man’s room.