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How i go into the good by mary oliver

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One of the biggest inspirations for me when choosing this fragment “how i go into the wood by Marry Oliver” is due to the phrase "I go into the good" suggests a peaceful surrender or return — not to death in a dark or fearful sense, but to something positive, eternal, and natural. It aligns with Oliver's themes of finding solace and identity within the natural world. It also opens up rich possibilities for visual storytelling—moments that capture not just beauty, but also a sense of closure, rebirth, and the blurred boundaries between worlds. Furthermore, I was reminded of the 2013 film Hansel and Gretel: Witch Hunters, a story that deeply inspired me when I first saw it. The film’s stark contrast between good and evil, and its exploration of morality within a dark, magical world, echoes the duality present in Oliver’s fragment. As a fan of The Witcher, I’m particularly drawn to this contrast and the concept of walking the line between light and shadow. This poem fragment gives me a foundation to explore these themes—good versus evil, nature versus humanity, death versus transformation—in a deeply poetic and visually rich way.

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An ecofeminist view of nature as maternal and sacred is embodied in Mary Oliver's poetry, which regularly combines the female voice with the natural environment. For instance, the first lines of Oliver's poetry "Sleeping in the Forest"—which actually depicts a lady being caressed by the soil—state, "I thought the earth remembered me, she took me back so tenderly…" (Irina Ishrat, 2018). The distinction between self and nature is blurred in Oliver's writing, according to critics; "the speaker of her poems continually loses subjecthood" as human and wild mix (Claire Ollivain, 2020). According to Claire Ollivain (2020), the turtle in her poem "knows she is a part of the pond… the tall trees are her children… [and] the birds… are tied to her by an unbreakable string," illustrating interdependence and concern. Oliver's perspective is specifically described as "post Romantic, eco-feminist, [and] mystical spirituality encompassing the natural world" in one analysis. All things considered, Oliver's nature poems challenge patriarchal ideas of dominance by celebrating a loving, life-affirming partnership between women (and all people) and the land. They reinforce ecofeminist concepts of kinship by portraying nature as caring and even gendering Mother Earth. As one commentator notes, her work “encourages us to think passionately about the kinship of humans with nature” (Irina Ishrat, 2018).

Oliver's straightforward, lyrical free verse writing strikes a balance between profundity and simplicity. According to commentators, her language is rich in metaphoric strength but also straightforward and approachable, making her a "poet characterized by its simplicity, clarity, and deep emotional resonance" (the poetry hour). She typically uses consistent wording and brief lines without following a set rhyme scheme or meter. For instance, the straightforward phrase "You do not have to be good" opens the loose free verse poem "Wild Geese." Her words flow like gentle hymns despite their straightforward language: we allow "the soft animal of your body love what it loves" (Cassey Morris, 2025) and the rhythms of nature ("sun and the clear pebbles of the rain") to persist (Cassey Morris, 2025).The narrative voice is welcoming and inclusive, yet personal and reflective (typically in the first person). Her tone is "conversational and reassuring," as one blog observes, and she addresses the reader directly (Gilliam Writers Group). "And have you, too, finally figured out what beauty is for?" is one of the many times she tackles basic human longings and puts them in a natural context (Gilliam Writers Group). All things considered, Oliver's writing style skillfully combines introspection with striking images of nature; each brief poem is a condensed form of meditation that beckons readers into a peaceful, reflective state.

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How your research has informed your ideas 

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How your research has informed your ideas 

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Drawing on the previous, Our script can be applied by these concepts in a variety of ways. The Lady in Green, a nature-spirit figure, can be framed and costumed to reflect Oliver's ecofeminism: she could be dressed in lush green and photographed among vegetation, symbolizing regeneration and life (Jon Fusco, Hellerman 2023). In one scenario, for example, the camera could follow her while she lay in a green meadow, reflecting Oliver's vision of soil embracing a woman (Irina Ishrat, 2018). Her movements and gestures may resemble maternal acts (planting seeds, cleaning water, holding animals) to represent Mother Earth.In contrast, the Pilgrim (possibly a seeker of enlightenment) would dress in earth-toned, neutral colors and walk through desolate or uncarpeted areas, emphasizing the contrast between a hostile world and Green's shelter. Visually, pictures may vary between the pilgrim's expansive, lonely vistas and Lady's intimate, verdant close-ups. Symbolic objects can connect scenes to Oliver's vision, such as a carved tree totem or a cup of spring water used as ritual tokens. Importantly, their contact can represent Oliver's theme of merging: the pilgrim may "become one" with nature under Green's leadership, matching Oliver's idea that immersion in the non-human is life-giving rather than annihilating (Corey Dressel, 2018). The adaptation should use visual metaphor to "announce your place in the family of things" (Casey Morris, 2025), such as concluding with a shot of geese overhead or wild roses at the pilgrim's feet to signify membership. In this way, the script physically embodies Oliver's lyrical vision: a feminine figure (the Lady in Green) as Earth incarnate, encouraging a human (the pilgrim) to respect nature's wisdom. The image of the land compassionately returning the woman (from "Sleeping in the Forest") can be shown in film, confirming the idea that woman and wilderness are synonymous (Irina Ishrat, 2018). The cinematography (fog, light, camera angles) and symbolic costuming (green versus gray) should highlight the poem's unity of self and land.By combining these aspects and mirroring Oliver's images of trees, mothers, and geese (Emma Baldin), the video can become a moving poem: a visual metaphor in which Lady in Green and the pilgrim symbolize the ecofeminist story of connectedness and regard for the natural world.

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Filming a poem like Mary Oliver's "I go into the good" in a forest or woods is ideal since it has profound symbolic, emotional, and cinematic significance. Forests have traditionally been linked to spiritual development, isolation, and the purity of nature—all of which are major themes in Oliver's poetry. In her art, going into the forest is frequently interpreted as entering a sacred area where the lines separating the natural world from the individual are blurred, facilitating introspection, healing, and a sense of belonging. The statement, "I don't really want to be witnessed," is immediately supported by the forest, which turns into a place where the speaker can just be herself without having to justify herself.

Forests are perfect for cinema because they provide rich visual language: the soft forest floor adds texture, the play of light through trees provides a naturally dreamlike environment, and the surrounding life—birds, insects, and moving leaves—gives silent moments depth and immersion. Additionally, they enable emotional seclusion: people are situated in a timeless setting ideal for poetic storytelling when they stroll among trees, removing them from the distractions of the city. From a symbolic perspective, forests frequently stand for development, change, and the unknown—appropriate for a poem about letting go of control and embracing something bigger, calmer, and more naturalistic.

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the location/s bring to your script Location's recce notes 

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the location/s bring to your script Location's recce notes 

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Wood's Corner is reasonably accessible for crew and equipment because it is a tiny public parking lot off Lyndhurst Road. One can enter South Oakley Inclosure via clearly marked grassland and gravel paths from the parking lot. Sturdy boots are necessary because some bracken walks can reach waist height, especially throughout the summer (Amanda Scott, 2021). Notably, the forest is incredibly quiet before dawn, with the exception of distant traffic on the A31 (approximately two miles north); at that time, the only sounds heard are birdsong and "the morning hush of the Forest's rustles and creaking branches." Sound recordings of nature and conversation are improved by this seclusion. Although they contribute to the genuine pastoral ambiance, crews must respect New Forest ponies and cattle, which are widespread on forests and heathlands (Amanda Scott, 2021).

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the location/s bring to your script Location's recce notes 

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the location/s bring to your script Location's recce notes 

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The ancient forest at Wood’s Corner strongly amplifies an eco-spiritual, feminine theme. The dominant oaks, beeches and mixed broadleaf woodland carry connotations of wisdom, endurance and primal life cycles. In literature and film, forests often symbolize a “primal space” where rigid social orders fall away. For instance, critics note in The Witch (2015) that the woodland represents freedom from patriarchal constraint – a “primal” space or “the witch’s space” for the heroine (Reagan, 2024). Similarly, Mary Oliver’s poem celebrates entering the “good” of nature. Filming a nature-connected female in these woods visually ties her to long-lived trees and wild ecology, suggesting a goddess or druidic presence. This contrasts strongly with any patriarchal “pilgrim” character: the pilgrim (perhaps in religious garb) will appear as an outsider in the cathedral of trees. The village of Burley itself is famous for its female-centered pagan folklore – Burley “has become well-known for its connections to witchcraft” and a local Coven of Witches shop (named by 1950s “white witch” Sybil Leek) (Thenewforest). In such a context, Wood’s Corner evokes ecofeminist symbolism (women and nature allied) versus encroaching male tradition (the pilgrim), echoing local lore and Mary Oliver’s eco-spiritual tone. Trees in the New Forest could be framed as living witnesses or allies of the female character. (Analogously, films like Sherni (2021) use a woman forest officer to defend animals. The combination of vibrant nature and a folklore-friendly atmosphere at Wood's Corner is consistent with many films that use woodlands for legendary or ecofeminist drama. The New England woods are practically a character in The Witch (2015), representing both danger and freedom for a young woman defying her patriarchal family (Reagan, 2024). Similar to this, The Ritual (2017) creates a spooky, otherworldly atmosphere with Scandinavian pine trees and pagan runes; critics laud the film's "stunning" forest cinematography and observe that the woods "convey claustrophobia and disorientation" (Alvaro Zinos).

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Your Vision - George Russell

Pinterest mood board link: https://pin.it/3T9gpVsK4

Your camera motivation

1. Opening Scene (Lady in Green with Totem – EXT. FOREST – DAY)

Camera Style: The camera will be set up on a tripod with slow push-ins and dolly shots.

This approach emphasizes serenity and a connection with nature. The smooth, deliberate movements create a mystical and sacred atmosphere.

Directors like Terrence Malick and Andrei Tarkovsky are examples of this style. Days of Heaven (1978) by Terrence Malick, whose films are known for their "insane amount of gorgeous nature shots (Ben q, 2020)"—slow push-ins on sunlit trees, fields of grass, and glowing horizons—provides an example of the kind of luminous, "poetic" nature imagery to imitate.

2. Lady in Green Dancing / Interacting with Nature

Camera Style:  Handheld EasyRig

Settings: 60fps

This style creates a flowing, graceful sense of movement that reflects her light and spiritual connection to the forest. The camera should feel as if it is dancing alongside her.

3. Pilgrim in Church / Eating in House

Camera Style:  Tripod or static shots with symmetrical framing.

This style creates a rigid and almost oppressive feel, emphasising themes of control, or gluttony. As the subject prays or eats, the stillness highlights their detachment or hypocrisy.

A single farmhouse from Days of Heaven, framed dead center on the horizon, truly inspired me. This type of absolutely symmetrical, immobile composition might convey the oppressive rigidity of a ritual assembly. Directors such as Robert Eggers and Yorgos Lanthimos employ similar framing for tense communal scenes (Dave, 2016). Furthermore, both Robert Eggers' The Witch and Ari Aster's Hereditary depict dinner-table and prayer moments in carefully focused, artistic settings. The Nosetouch Press review adds that "The Witch" shows family prayer during supper as "one of many painterly compositions" (Dave, 2016).

4. Hunting Preparation Scene

Camera Style: Handheld

This technique introduces instability and tension. Filming handheld creates an uneasy, anticipatory tone, suggesting that something is about to shift.

You were never really here (dir. Lynne Ramsay, 2017) was a great example of that scene technique. he film uses handheld cameras and fragmented visuals to reflect the protagonist’s psychological disintegration. The hunting preparation scene can borrow this claustrophobic energy — close-ups on hands gripping tools, slow but shaky walk-throughs of a dark room, lingering on ambiguous details

5. The Encounter – EXT. FOREST - EVENING

·         Three Perspectives:

Lady’s POV: Soft focus, tripod shot to show the witches tranquility and a warm white balance to help create a romanticised and warm tone.

Man’s POV: Handheld camera, tilted angles, and red lighting or post-filter to convey his chaotic, accusatory, and paranoid perspective.

Reality: A neutral tripod shot to illustrate the stark, horrifying contrast. We will transition between styles mid-shot for dramatic effect.

6. Final Moment / Fade to Black

Camera Style: Start with a locked-off wide shot, then follow up with a quick handheld movement, immediately cutting to black as the sound design amplifies the impact.

The static wide shot establishes a sense of unease and suspense, which is disrupted by the sudden handheld movement and the abrupt cut to black. This combination suggests that the hunter ultimately achieved his goal.

This shot will begin composedly, then abruptly change to handheld to generate a startling effect for the audience. The usage of a 24-mm lens heightens the seriousness of the scenario. Deep focus within the wide frame creates the scene, and as the camera moves to handheld, the shallow depth of field adds a burst of emotional intensity, highlighting the movement and disorientation before cutting to black. Hereditary is a classic reference: after a constructed long take of cultists chanting around an art work, the camera pulls back and cuts to (Eric Eisenberg, 2020). Likewise, here one might begin on a static two-shot of the Lady and Pilgrim (calm and centered), then break into rapid, erratic handheld as violence erupts, perhaps using a jolting jump cut or smash zoom before an abrupt cutout

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SHOT LIST · The Beldams Accuser - Sheet1

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Hyperlinks to Pinterest Mood boards suggesting the Look, LUT or Grade 

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Hyperlinks to Pinterest Mood boards suggesting the Look, LUT or Grade 

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MoodBoard and Storyboard

Pinterest mood board link: https://pin.it/3T9gpVsK4

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1. Opening Scene – EXT. FOREST – DAY (Lady in Green with Totem)

Lens: Xeen 35mm F1.5

Depth of field: Moderate (F2.8–F4)

I chose this lens because it is ideal for mid-shots, offering a cinematic field of view that effectively separates the subject from the background. The smooth roll-off characteristic of the Xeen line adds a softness that enhances the serene atmosphere. Additionally, a moderate depth of field helps keep her connected to her surroundings while subtly directing the viewer's attention. Think Terrence Malick's style: Lubezki frequently used direct sunlight as a backlight, allowing it to bounce softly through (Rubidium Wu, 2020). For example, The Thin Red Line (DP John Toll) famously shot actors in broken sunlight filtered by leaves and smoke, with minimum fill to allow the highlights to slowly glide off into the shade (Stephen Pizzello, 2021). Similarly, Malick's The Tree of Life depicts children running in a glinting woodland haze, with gentle light passing through canopies and warm tones on the edges of figures. These pictures demonstrate how mild backlighting (the sun behind the subject) and warm bounce off leaves can result in a tranquil, grounded forest look.

2. Lady in Green Dancing / Interacting with Nature

Lens: Samyang 24mm F1.5 VDSLR

Depth of field: Shallow to Moderate (F1.5–F2.8)

A 24mm lens provides a wide and immersive feel without distortion. I opted for the Samyang 24mm T1.5 VDSLR instead of the Xeen 24mm T1.5 because it is significantly lighter, which makes it easier to use the camera handheld. The shallow depth of field adds a dreamy, ethereal quality to the fairy, enhancing her motion. Consider Days of Heaven (DP Néstor Almendros), which was shot almost exclusively during magic hour, allowing the sky to burn out to gold and bathing subjects in warm light (Nesto Almendors, 2021). Threads on Days of Heaven refer to it as a legendary "golden-hour" (Marty Mc Cool, 2019). Similarly, Malick's later works (e.g., To the Wonder, DP Lubezki) employ romantic diffusion, with the sun shining through foliage and rim light on hair and limbs. Edge lighting with flares (achieved by aiming the sun just out of frame) creates a halo appearance around moving figures, which improves immersion. Shooting wide open in such backlight results in blooming highlights and a soft haze.

3. Pilgrim in Church / Eating in House

Lens: Xeen 50mm F1.5 and 85mm F1.5

Depth of field: Deep (F4–F8)

I will use a 50mm lens to capture the atmosphere of the church and an 85mm lens for detailed close-ups. Both prime lenses provide the stability and distance that enhance the sense of emotional detachment. Additionally, I will employ deep focus to ensure that all objects, both sacred and mundane, are clearly visible, which will intensify the symmetry and oppressive feeling of the scene. For example, Andrei Rublev (Tarkovsky/Yusov) frequently lights candlelit scenes to make faces gleam amber (Andreas Babiolakis, 2019). According to Andreas Babiolakis (2019), Rublev's use of "burnt ambers of candlelit subjects" is noteworthy. Similarly, The Silence (Scorsese, DP Prieto) lights interiors with actual candles and torches; Prieto shot night scenes digitally to capture true candlelight (Daron Jame, 2016). In such arrangements, candles and a few shafts of sunlight create intense chiaroscuro: the pilgrim's face may be illuminated by a single candle or slanted daylight, while the rest of the cathedral is in shade. This high contrast with deep blacks suits a sad tone.

4. Hunting Preparation Scene

Lens: Xeen 35mm F1.5 and Xeen 85mm F1.5

Depth of Field: Shallow (F2.8)

The Xeen 35mm F1.5 will be used for medium shots, close-medium shots, and handheld tracking. In contrast, the Xeen 85mm F1.5 will be employed for tight facial shots, hands preparing gear, and detail inserts, such as stringing a bow, and tightening boots. The Xeen 35mm F1.5 is excellent for building tension, as its field of view provides breathing room, while its shallow depth of field at F2.8 still isolates characters effectively. The Xeen 85mm F1.5 pairs perfectly with the 35mm, creating a visual contrast with wide shots for action and long shots for intensity. Emmanuel Lubezki's The Revenant is a great example: he filmed totally with available light and harsh daylight, scouting each site at various times to obtain the best shot. According to Jazz (Tangcay, 2015), they employed natural light and scouted extensively to determine the optimal time to shoot in specific areas. Follow that lead: shoot midday or under a broken sky, with the sun occasionally piercing the woodland cover.

5. The Encounter – EXT. FOREST – EVENING

Three Styles:

Lady’s POV:

Lens: Samyang 50mm VDSLR

Depth of field: Very Shallow (F1.5 – F2)

Slight softness, shallow DOF, and glowing highlights create a warm, romantic look.

Man’s POV:

Lens: Samyang 8mm T3.8 Fisheye

Depth of field: Moderate (F2.8 – F4)

The 8mm fisheye lens introduces a surreal psychological aspect that visualises the Hunter's state of mind. Using the camera hand-held with a moderate depth of field, along with whip pans and Dutch angles, effectively conveys his paranoia.

Neutral Reality:

Lens: Xeen 35mm T1.5

Depth of field: Moderate to Deep (F4 – F5.6)

This shot will be grounded, maintaining a psychological distance from the chaos. Utilising a moderate to deep depth of field creates a visually clear shot, contrasting with warped perceptions.

The secret is that each point of view has a different lighting style: the lady's sight is warm and hazy, the man's is surreal and tinted, and objective reality is flat and chilly. Wings of Desire displays this idea: the hue shift as the angel selects (Alexandra Riba, 2021) demonstrates how subjective feeling may be represented through light color and tone.

6. Final Moment / Fade to Black

Lens: Xeen 24mm for consistency with the forest scenes

Depth of field: Start (wide shot): Deep (F5.6 – F8) End (Handheld): Shallow (F2 – F2.8)

Emmanuel Lubezki's natural-light methods (Tree of Life, The Revenant); John Toll's vast outdoor lighting (Thin Red Line). Each of the styles indicated above was chosen to complement the lens and emotion: soft backlight and mild diffusion for wide-open lenses and dreamy depth; strong directional shafts for deep focus and structure; fragmented sun for handheld tension; and color variations to suggest inner perspective. These examples from poetic film show how lighting design can enhance depth of field and atmosphere in every scene.

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Lighting considerations, motivation & intention

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Lighting considerations, motivation & intention

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Lighting considerations, motivation and intention

This story presents a confrontation between nature and the consequences of violent misunderstandings. Lighting will play a key role in emphasising the characters' perspectives. For the Lady in Green, we will use warm, harmonious lighting to reflect her spiritual depth. In contrast, the lighting for the Hunter will be harsh, highlighting his feelings of paranoia and disconnection.

The Lady in Green should be lighted in a way that is natural, warm, and spiritually uplifting. Cinematographers such as Emmanuel Lubezki have notably used natural daylight to create a harmonious ambiance. Lubezki filmed nearly solely with available light in Terrence Malick's The Tree of Life, allowing the "sun, wind, rain, and other elements" to become part of the scene (Emmanuel Lubezki). This method produces soft, naturally dappled images - imagine sunlight streaming through foliage and bathing the character in a lovely glow. A typical technique is to employ the sun as a backlight, placing it behind the subject. This produces radiant edges (a sort of crown effect), while the face is lighted indirectly by light reflected off the environment. Lubezki observes that the sun, as a very hard light source, works best for him as a backlight, reflecting off the surroundings to illuminate faces without flattening (Rubidium Wu, 2020). The end result is an ethereal, even otherworldly aspect, perfect for a character at one with nature.

The lighting should underline the Hunter character's discomfort, stiffness, and isolation. Here, cinematography from folk horror or psychological dramas serves as an excellent reference. The Witch (2015) by Robert Eggers is one example of how natural light is used to create a gloomy, paranoid tone. Director Eggers purposefully chose "gray and dead" looks, with everything feeling dismal (Mark Dillon, 2016). To accomplish this, cinematographer Jarin Blaschke primarily shot under gloomy skies or unfavorable light, withholding any warm fill. Instead of beautiful golden hues, The Witch adopts a frigid, desaturated palette—daylight appears cold and antiseptic, and shadows are deep. When sunlight did come, the crew frequently filtered it (for example, using bleached muslin cloth to soften direct rays) or employed "solids and nets" to carve out shadows, ensuring that the light was intense (Mark Dillon, 2016). They also employed negative fill (black flags or cloth that subtract light) to boost contrast. Blaschke says that all the daytime exterior scenes were filmed with "shaped natural light primarily using negative fill", avoiding any "mushy 'available light' look." The end result is intense lighting with noticeable shadows; faces may be lighted from one side while the other falls into darkness, intensifying the Hunter's sense of internal turmoil. This high-contrast, unforgiving lighting can make a character appear worried and serious.

From the Lady's perspective, the Hunter will be illuminated by a soft, warm backlight that filters gently through the trees, casting him in a calm and inviting glow. In contrast, from the Hunter's perspective, the Lady will be lit only by natural sunlight, creating deeper shadows around her and will use a cooler, more desaturated colour palette. This portrayal will give her a more menacing appearance.

When we return to reality, the lighting will be neutral and balanced, resembling natural daylight. This light will strip away the illusions and reveal the emotional truths beneath their respective viewpoints.

Even in full daylight, colour temperature plays a critical role in distinguishing the emotional tone of each character's environment. The Lady in Green's surroundings should embrace the warmth of nature, using golden, sun-dappled hues that emphasise her harmony with the forest. This can be achieved through warm reflectors, bouncing light from the surrounding foliage and the late-day sun.

In contrast, the Hunter's camp should feel cooler and more sterile, even under the same sunlight. Choosing shooting angles that minimise green or warm reflections and using negative fill can help drain warmth from his scenes. During the confrontation, this contrast will be subtly heightened through adjustments in white balance. Cooler tones will be used in the Hunter's point of view to emphasise suspicion and fear, while warmer tones in the Lady's perspective will convey trust and peace. Although all scenes share the same daylight, their emotional worlds remain visually distinct due to these nuanced choices.

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Camera Positions: For drama scripts, use the Shot Designer APP

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Camera Positions: For drama scripts, use the Shot Designer APP

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Sun Path: How will you utilise the path of the Sun?

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Sun Path: How will you utilise the path of the Sun?

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Sun path

Sunlight Timing Overview For Tuesday 13th and Wednesday 14th May

- Solar Noon: 1:00 PM (The sun reaches its highest point at approximately 58° altitude)

- Golden Hours (approximate):

- Morning Golden Hour: 5:18 AM – 6:18 AM

- Evening Golden Hour: 7:45 PM – 8:45 PM

- Soft Light Windows:

- Morning: 6:18 AM – 10:00 AM

- Late Afternoon: 4:00 PM – 7:45 PM

- Harsh Light Peak: 11:00 AM – 2:00 PM

We will film the Lady in Green's scenes between 9:30 AM and 11:00 AM, as this is when the light is soft and low in contrast. Like Emmanuel Lubezki said "We were constantly chasing light, particularly in the mornings and late evenings". The lighting is softer, more realistic, and contributes to the scene's emotional impact." This creates an ideal atmosphere to emphasize her connection and harmony with the forest. During this time, we will prioritise all close-up and medium shots of the Lady. We will also ensure that she is not placed in direct sunlight, opting instead for the filtered light that comes through the trees. Additionally, we will capture the Lady’s point of view of the Hunter during this period, as the softer light will help portray him as less threatening, aligning with her perception of him and her view of the world around her.

The Hunter's Scenes will be filmed between 11 a.m. and 2 p.m. to take advantage of direct sunlight, which creates strong shadows. Like a director used to say "Shooting at high noon creates a sense of exposure; the characters are lighted in a raw and vulnerable manner. "There's nowhere to hide." (Roger Deakin) .These hard shadows are ideal for conveying tension and realism, reflecting the character's rigid and paranoid worldview. We will fully embrace the direct sunlight and strong shadows, avoiding diffusion to emphasise his discomfort and anger. Additionally, we will capture the point of view of the Lady in Green during this time, where her presence will appear more threatening under the high-contrast lighting.

From 2:00 PM to 4:30 PM, we will film shared and neutral shots of the final encounter in balanced lighting. This approach allows both characters to be depicted as they truly are. It ensures that the emotional and psychological tones of each perspective are visually represented while adhering to the logistical constraints of the shoot.

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Justify your camera equipment choice Justify your Lens

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Justify your camera equipment choice Justify your Lens

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Camera Selection: Sony PXW-FS7

The Sony PXW-FS7 was selected due to its versatility and high-quality images. Rich detail in highlights and shadows is made possible by its Super35 sensor, which has a dynamic range of up to 14 stops. DoP Dan Mears reports utilizing the FS7 on "Broadcast Documentaries to…Dramas," praising its form-factor, versatility, and outstanding picture quality. Cinematographers have complimented the FS7 in narrative work (Danmears tv, 2018). Director Nicolás Puenzo praises the FS7's "superb combination of exceptional image quality, usability… and robustness" in difficult locales in the case study of "Cromo," an Argentinian eco-thriller. These attributes complement our stylized naturalistic look: the FS7's high resolution (4K UHD/DCI) and S-Log settings capture excellent filmic detail and color, while its lengthy battery life and dual XQD slots allow for extended filming. Importantly, the FS7 is ergonomically intended for hand/shoulder use, having an adjustable grip and viewfinder for comfort during extended shots. This makes it suitable for both static and moving pictures in our production.

Key FS7 Advantages:

High Image Quality (4K/14-stop DR): Captures cinematic 4K (4096×2160 or 3840×2160) footage with 10-bit 4:2:2 color, allowing extensive grading latitude.

Ergonomics: Lightweight shoulder-mount design and EasyRig compatibility make handheld shooting comfortable for long durations.

Proven in Drama/Doc: Used by pros on dramas and documentaries (Dan Mears, Cromo, etc.) for its robustness and usability(Danmears tv, 2018).

Flexible Recording: Supports XAVC-I/XAVC-L codecs (HDU and 4K up to 60 fps) and internal 10-bit recording for broadcast-quality images (Danmears tv, 2018)..

These capabilities meet our production requirements: a cinematic appearance with authentic lighting (the FS7's dynamic range and S-Log support assist capture subtle tone), and a camera that can handle both handheld and tripod settings without adding bulk. In summary, the FS7's great dynamic range, 4K clarity, and ergonomic form make it ideal for our stylized narrative visual approach(Danmears tv, 2018).

Lens Kit Justification

We used a mix of wide, standard, and telephoto primes (Xeen and Samyang) to suit a variety of moods: wide-angle for environment or disorientation, normal for neutrality, and telephoto for intimacy and tension. In general, wide lenses increase space and depth-of-field, whereas long lenses shorten distance and separate subjects. These optical characteristics correspond to our scene aims tone versus paranoid mood. Wide-angle close-ups, such as an 8mm fisheye, can create surreal distortion during moments of paranoia or dreamlike intensity. A long 85mm prime lens compresses the background and creates shallow depth-of-field, making it perfect for isolating a character in crisis or creating an ethereal picture (soft bokeh behind the subject). In practice, our kit is utilized as follows:

8 mm Fisheye (Samyang): Extremely wide angle with heavy barrel distortion, used for disorienting or surreal shots. This lens will make the frame look “warped,” which can visually heighten a character’s paranoia or anxiety.

24 mm Wide (Xeen/Samyang): Wide-angle establishing shots showing the environment or group scenes. It exaggerates depth and keeps more in focus, reinforcing an open, airy feeling. This suits the Lady in Green scenes where we want a naturalistic, expansive look.

35 mm (Xeen): A roughly normal field-of-view lens, often closest to human perspective. Used for everyday coverage and standard medium shots. It provides a balanced look that feels neither too wide nor too compressed.

50 mm (Xeen/Samyang): Mild telephoto, flattering for medium portraits. Background compression increases and depth-of-field thins compared to 35 mm, so this lens is used when we want to subtly emphasize a subject against a backdrop.

85 mm (Xeen): Strong telephoto for tight close-ups. It greatly narrows field-of-view and flattens distance, isolating the subject. We’ll use it in tense or emotional moments like, confrontation close-ups to intensify focus on a character. PremiumBeat notes that telephoto “heightens the intensity of action by compressing space”, so an 85 mm will make actions appear more immediate and characters more isolated.

Additionally, lens weight and build influenced how we shot. The carbon-fiber Xeen primes (each ~0.96 kg) offer fast T1.5 apertures and quality optics, but are hefty. Samyang VDSLR cine primes (e.g. 24 mm ~0.615 kg (LK samyang)) are lighter, making them easier to utilize handed or with an EasyRig. In practice, we may use the Samyang 24mm or 50mm for run-and-gun or Steadicam shots (lighter on the rig), and the Xeen equivalents when weight is not a factor. This balance guarantees that we get the desired effect (fast aperture for low light and bokeh) without overburdening the operator.

Lens Intentions by Mood: Wide lenses (8-24mm) are utilized in ethereal or environmental images to capture vast detail and delicate depth, while extreme wide (8mm) can create dreamy distortion for paranoia. Standard lenses (35-50mm) are suitable for neutral, observational views, and medium close-ups. The 85mm lens is ideal for capturing intense or intimate moments, where shallow depth-of-field and confined space create tension. In summary, we chose each focal length based on narrative intent: wide for openness/disorientation, telephoto for focus and tension, in accordance with cinematography principles.

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Lighting and Grip Strategy

We will craft lighting and camera support to match each scene’s emotion:

Lady in Green moments (warm and naturalistic): To create a romantic, ethereal atmosphere, we use golden-hour lighting, which includes soft, warm backlight and fill. For example, shooting soon before sunset or with warm-tinted lights behind the subject results in an amber glow. According to Stanley Kubrick, natural light is "the way we see things," and golden-hour light does "reshape ordinary scenes into extraordinary natural light shots." In practice, we'll position a key light or sun behind the actress to create a rim/halo effect, then gently fill her face with a reflector or diffuser lamp. The warm lighting and subtle softening (lens flares, shallow contrasts) generate a bucolic, calm atmosphere.

Hunter scenes (cooler, harder light): To create contrast, we use colder tones (daylight-balanced or minor blue gels) and harder light. A directional key (such as an HMI or bare source) angled from above or to the side may throw large shadows. We also use negative fill (black flags or cards) on the other side to deepen shadows and increase contrast, making features and shapes appear more sinister. According to one lighting guide, direct sunlight produces "distinct shadows and high contrast". This starker, colder lighting emphasizes the Hunter's intensity. A high-contrast low-angle light, for example, might highlight angles on the face and torso, whereas a cool color can imply tension or menace.

Confrontation scene (contrasting light and mood): We intend to create a high-contrast, dappled image. This could include layering light through "gobos" (cutout patterns) to generate areas of light and shadow (e.g., sunshine through trees), so fragmenting the frame. We can also accentuate tension by combining color temperatures (one light warm, one cool) in a single image. Overall, this scenario will use more contrast and less fill light, making faces and actions stand out against the darkness. The visual combination of light and shade emphasizes the emotional beats of the meeting.

Grip/Support Choices:

Tripod (static): Used for steady, composed shots – for example a locked-down frame on the Lady in Green or an establishing shot during confrontation. A tripod offers stability and a formal feel, which can make a scene feel calm or inevitable (no camera movement distracts the viewer).

Handheld/EasyRig (dynamic):We employ handheld for more urgent or subjective situations, like as action, chase, or the most dramatic confrontation beats. The ergonomic design of the FS7 (adjustable shoulder pad and grip) and the ability to add an EasyRig harness will assist maintain shots smooth even when moving. The EasyRig transfers weight to the operator's torso, allowing for smoother long takes. Handheld gives a tactile immediacy and slightly unpredictable feel, heightening tension and closeness.

Dolly/Slider (tracking):When a smooth, fluid motion is required, we install the FS7 on a tiny dolly or slider. A steady push-in toward a character, or tracking sideways with action, can gradually create suspense or represent movement through space. The smooth motion contrasts with handheld shake, creating a more lyrical camera approach that might highlight a character's journey or loneliness.

Each support method is used to achieve a certain emotional effect: tripod for calm or authority, handheld for chaos or intimacy, and dolly for narrative emphasis. Lighting and camera movement are used to enhance mood. For example, a handheld picture with warm backlight feels dreamy, but a static shot with hard, cool light feels austere and menacing.

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Specify BAFP default recording format speci cations (i.e. Resolution, FPS, Shutter speed, Codec, Media card format etc) for the camera you have selected.

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Specify BAFP default recording format speci cations (i.e. Resolution, FPS, Shutter speed, Codec, Media card format etc) for the camera you have selected.

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Sony FS7 Recording Format (Default Settings)

Our BA Film production adopts these standard Sony FS7 settings:

Resolution: 4K UHD (3840×2160) at 25 fps (progressive). The FS7 can record QFHD or DCI 4K; we use 3840×2160 for compatibility with broadcast format (Pro.sony).

Frame Rate: 25 fps (progressive) – the standard UK film rate for a natural cinematic motion. (The FS7 supports 23.98–60fps at 4K (Pro.sony), but  25 p keeps our workflow simple.)

Shutter: 180° shutter angle (≈1/50 s at 25 fps) for normal motion blur. This mimics film motion blur and is the default “cinematic” setting.

Codec: XAVC-I format to maximize image fidelity. (Dan Mears notes XAVC-I as the top choice for quality (Danmears tv, 2018). XAVC-L (long-GOP) is also available for smaller file sizes if needed.

Media: Dual XQD memory card slots with Sony G-series XQD cards. The FS7 records internally onto these cards (Danmears tv, 2018).. We typically record onto both cards simultaneously (backup mode) for safety.

Color Space / Picture Profile: SGamut3.Cine color space with S-Log3 gamma (Picture Profile 8). This maximizes dynamic range (14+ stops) in-camera (Danmears tv, 2018).. (For quick-turnaround scenes, we could use Rec.709 gamma, but by default we shoot log to retain grading flexibility.)

Audio: 48 kHz, 24-bit, using the two on-board XLR inputs (A/B mic channels). We set audio levels manually and use the limiter/phantom power as needed. (The FS7 can record up to 4 channels [two XLR + two 4-pin inputs], but we default to 2-channel stereo for simplicity.)

Aspect Ratio: 16:9 (1.78:1). All footage is captured in widescreen HD format. (For a cinematic 2.39:1 look, we will write a letterbox in post.)

These settings reflect professional practice: Dan Mears himself emphasizes shooting the FS7 in XAVC-I 4K with S-Log3 and SGamut3.Cine for the “ultimate picture quality” (Danmears tv, 2018). Our chosen defaults ensure we capture the highest image quality (4K, 10-bit log) on reliable XQD media, matching BA Film standards for color and resolution (Danmears tv, 2018).

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RA 2024-2025 ADDITIONAL RISK ASSESSMENT Woods - Google Docs

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After completing our film, a problem arose with the location and permissions. We had been unable to come up with a woodland location and had limited time before we had to begin filming. We therefore asked around to see if anyone knew of a place to film where we did not require permission.

We were told by another student of the location in the new forest where we were able to film. I notified the team and location researcher of what I had discovered, and we filmed our cinematography project. We filmed in this location in good faith; however, we have failed in our due diligence to double-check everything.

At the beginning of the web page, it says that you can film without permission for educational purposes, ‘visitors and residents are welcome to take photographs for their own (non-commercial) or educational use without being charged or requiring permission.’

However, I have just noticed when re-reading the link that further down the page it says permission for student filming is not currently permitted. (https://www.forestryengland.uk/article/new-forest-permission-filming-and-photography)

We emailed Benjamin Hodgson to ask for advice, to which he said, “Thanks for letting me know, just add this report to your Padlet.”

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The response to the email we sent.

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In term of copyright clearance, we didn't use any copyrighted music or sound effects. They where found in the Royalty free section of the website Pixabay https://pixabay.com/music/

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Synopsis

Act1- Act one shows the lady in green building a wiccan structure to pray to.

Act 2- introduces the witch hunter as he gathers fire wood, we continue switching back and forth between the two characters the next scene being the lady in green talking to the plants and trees, touching and whispering to them. She also wanders through the forest touching the trees as she goes. We cut back to the witch hunter as he eats glutinously and wanders off into the forest, stepping on plants as he goes.

Act 3 – The lady in green creates a piece of art with sticks on the ground and wanders into the forest. The two characters encounter each other. From the eyes of the lady in green the witch hunter seems to be smiling and happy, whereas from his eyes the lady in green seems demonic and evil. We end with the witch hunter breaking her structure and ominously approaching the lady in green leaving the audience to infer what happened next.

Further development

Oliver's approach depends heavily on symbolic imagery. Her poetry frequently feature trees (sometimes as familial or ancestral symbols), animals, and acts of compassion. In "The Black Walnut Tree," for example, the old walnut tree represents the family's descent and roots, and pulling it down would create "unshakeable shame" because it represents generations' labors (Emma Balwin). Birds appear as living metaphors in many poetry; they are not just decorative but also have spiritual weight (for example, vultures and owls represent mortality and knowledge (Irina Ishrat). Oliver also frequently employs maternal animals as totems of nurture; her turtle and bird moms "give virtues of connectedness" and represent a nonhierarchical relationship with the earth (Claire Ollivain, 2020). Oliver creates bright, concrete imagery (rivers, woodlands, white fire). The "forest, river, birds, insects, and the white fire" all serve as poetic symbols, representing her "being one with nature". Her poetry construct layers of meaning by wrapping emotional truths in natural metaphors (trees for roots and family, animals for instinct and caring, and landscapes for spiritual order).

Oliver's poetry is firmly rooted in the tradition of nature-based poetry. (Cassey Morris, 2025) Critics note that her volumes “continue the work of Emerson, Thoreau, Whitman, and other Transcendentalists." She inherited Emerson's Transcendentalist view of nature as a source of spiritual redemption and a means of self-discovery. Oliver "reorients our busy lives before the altar of nature and its abundant gifts," much like the Romantic poets Shelley or Keats did before her (Cassey Morris, 2025). Her poetry bring hidden natural beauty—such as "wild roses or mountains, rivers, and 'clear pebbles of the rain'"—sharply into awareness and depict the "serenity of a walk through the woods or beside the sea" (Cassey Morris, 2025). In this way, she mimics traditional nature poetry, such as Wordsworth's pastoral settings or Keats' "To Autumn," although her language is noticeably contemporary and simple. She steers clear of some of the earlier poets' grandiose style while maintaining their sense of awe. For example, she describes rivers and geese with the same reverence as Whitman's grassland imagery or Emerson's "transparent eyeball." Oliver is a prominent character in modern ecopoetry because of her role as a late 20th-century nature poet who successfully combines tradition with personal lyric.

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The film file will be uploaded separately alongside the Padlet, as it is too large to attach.