Post 13: The Class: Only The Beginning...

            As this semester in FST 201 draws to a close, I can't help but look back on what I've learned within the past 16 weeks.  Undoubtedly it's had its ups and downs, but what have really made an impact on me are the trials and tribulations that were thrown at me.  I've realized that, as a filmmaker, I'm always going to face obstacles in varying forms.  There will be schedule conflicts, creative differences, equipment malfunctions, killer bees, and other inevitable hindrances that test my dedication to filmmaking; waiting for me to utter the words "I give up."  Well, I'm still here, still going strong.

            The importance of networking was another vital component I learned about filmmaking.  Some of the most successful directors always have recurring cast and crewmembers in their films.  Just look at how many of Quentin Tarantino's films Samuel L. Jackson has been in, or how many of Tim Burton's films star Johnny Depp (seriously, Tim, just dump Helena and hook up with Johnny already).  The friendships you form on the set can play a huge role for future productions.

            Oh yeah, and when pitching an idea, here's a little inspiration… http://www.youtube.com/watch?v=Dl5GUOM62X4

            But I'm at the final stretch of the semester.  It's been a ball and a half to be a part of this class, and I can't thank my classmates and my instructor enough for helping me learn new things, improve on what I know, and carry on with strong optimism.  I know this class will continue to benefit me later on down the road.

Post 12: Next Semester: To Infinity, And Beyond!

Next semester I've decided to take only one film course, which is writing for film.  Because I have a few more courses to take to satisfy my graduating requirement, I decided to add the remaining required courses onto my schedule for next semester.  But I also want to take at least one film course not only to satisfy my cinephilia, but also to keep myself used to having a film-related subject in my routine.  Although it does not focus heavily on film production, it will benefit me in understanding new concepts and interpretations of films.  I recently discovered an interest in studying prominent national cinemas overseas while taking an introductory course in world cinema.  I won't rule out aiming for a career in film analysis, but I still strive to be a screenwriter and director after graduating from college.

Post 11: Role in the Wild Card: MORE SOUND!!! :D

Well, ladies and germs, we are nearing the final stretch.  The moment of our long-anticipated wild card has dawned upon us.  Our group has chosen to create an experimental short for our submission.  I've been assigned to be in charge of sound.  But seeing that we are going to go for a more Georges Melies/German Expressionist kind of feel, sound recording on the set won't be necessary.  All (if not most) of it will be done after principle cinematography is complete.

            Once again, I'm going to have to have the aid of my friend, the H4N mic.  For now, I'm hoping to use the sound similar to a scene in Harry Potter And The Deathly Hallows: Pt. 1, when Harry, Ron, and Hermione are being chased through a wooded area by the pursuing Snatchers.  The sound of their feet running, their heavy breathing, and the blasting impact of the trees are greatly exaggerated.  There are a few chase scenes planned in our film where I believe we can do something similar to that.

The scene mentioned: http://www.youtube.com/watch?v=8M9258n8rs8

Post 10: Sound Editing: The Hills Are Alive With The Sound of Editing

The fun with sound continues as my assigned partner and I continue to whittle away with editing our sound project.  Already, we have chosen the title for the two-minute sound barrage: Derive the Trajectory of Absolution. For some reason, I can't help but picture a bleak industrial setting, similar to that of David Lynch's Eraserhead.  Then again, we are trying to avoid a narrative structure in this piece (as instructed).  So we've decided to add a touch of what sounds like a Godzilla-themed audible atmosphere (actually, I'd compare it more to the Cloverfield monster), as a chaotic mess from out of nowhere ensues.  Both of these would be bridged by a seemingly comic hodgepodge of falling debris and satisfaction.  But as hard as I try, I can't help but plan this out mentally as if it were a narrative.  My perceptions of experimental might have to dig deeper into the trenches of the abstract.

Post 9: Sound: The Audience is Now Deaf

            For our sound project, we had a quite an interesting time not only recording different audio samples, but also finding excellent locations to record them.  All in a matter of two nights, we were able to gather all the necessary sounds we needed.  We had to do a bit of walking to find perfect locations, but some spots proved to be surprisingly quality locations to be used as impromptu Foley studios.  Our collection of audio samples consisted of natural sounds, background noises, human sounds, dialogue and more.

            For most of the sound recordings, we searched for places that would be the least effected by unwanted background noise.  To our surprise, we discovered that the courtyard on the side of Kenan Hall.  If you stand perfectly in the center, the noise will bounce off the wall and reverberate back to you.  Also, don't use the black box in the editing lab for recording screaming.  When you step out, everyone in the room will think you just murdered someone.  Trust me, it's NOT that soundproof.

Post 8: Editing: Fun with Splicing

And now, editing the master shot.  The footage from our production turned out well.  We were able to get the desired chiaroscuro effect with using the key light as well as an extra lamp that the owner of the shed had (by the way, we picked the shed for its gloomy, rundown appearance inside).  But back to editing, I enjoyed helping out with the editing process (it is worth the long nights, especially with friends).  I have been using Final Cut Pro since high school, so with most the process, I was able to help.  Editing is a fun process in filmmaking, but I feel as though sticking strictly to editing is something I'm not skilled at.  With what we had, I though of new techniques that we could use for the film.  Some of the ideas seemed fitting to the story.  Some ideas did not.  But I was glad to at least be a part of the editing process.

Post 7: Looking Forward to the Back (... Or Something Like That).

Well, with previsualization out of the way, let's look back at it all.  The script is finished and we are securing our talent and location.  But let's focus on the materials we have in front of us (well… err… in front of the five of us). 

            I helped our director out with creating the storyboard.  The shots consist of the standard master shot sequence.  Our establishing shot begins through the POV of a VHS-quality security camera.  The shot depicts the victim, bound to a chair, in the middle of the dim-lit room.  Our femme fatale of an interrogator slowly comes from behind her victim, dragging a sledgehammer.  From here, our characters deliver the dialogue provided to our group by our instructor in a dark, macabre sense.  Our final shot ends through the POV of the security camera, just like in the beginning.

            Lighting is going to play a heavy role in the project.  We've agreed to add the chiaroscuro effect seen in the films of German Expressionism, so we need a battle between pitch-black shadows and contrasting light.  For this, we are estimating to use only the key light on the set.  In that way, we will have more shadows to play around with while shooting.

Post 6: Just Call Me Mr. Max Bialystock

            My role for our upcoming master shot project is to serve as the group's producer.  I must say that paperwork and I are as close as Israel and Palestine.  But this is simply a challenge I have to overcome, which I'm sure I can do.

            As a producer, my job is to scout locations and talent fitting to the director's vision.  Since our film primarily focuses on a character in an interrogation, our location has to appear cold and miserable.  For this, we should steer clear of just any apartment (I'm picturing a cozy, basic living space, which would work if our interrogator would be a middle-class 20-something hipster).  Fortunately, our group members have ideal suggestions such as an empty studio here in the school, an old shed behind a friend's house, and an empty garage.

            As for talent, we are still looking.  Of course we are hoping to get someone who, at least, has acting experience, or is a theater major (I know a few).  One idea is to ask a classmate of ours if he is willing to play the part of the victim.  Nothing final yet, but I'm keeping my fingers crossed.

Post 5: Interview and Vox Pops Reflection.

            When shooting for the expert interview, we were searching for a more subtle background, one that didn't have many distracting patterns or activity going on behind the interviewee.  We found a small section of a wall in one of the preschool classrooms that was not heavily decorated and had color.  Unfortunately, the spot rested in a corner where the placement of the interviewee would've been awkward.  Our final decision was in a dance studio, where we had the subject sit behind the window overlooking some trees.  I was initially hesitant to choose that as a background, but because of our limited options, it was our best bet.  In the end it worked out well.  Instead of constantly swaying, the trees in the background barely moved at all, allowing the viewer (or at least me) to focus solely on our subject.   The background for the vox pops was not as much of a concern visually as the master shot.  Overall, everyone was helpful and informative, allowing us to get some quality shots.

And Here Begins Our Documentary Project.

Like everyone else in class, we are well under way with the planning stages for the upcoming short documentary assignment.  Our documentary project will be focusing on the enforced smoking bans on the local beaches and their effects on the local aquatic wildlife. For our professional interview we plan to get in contact with either an expert at the aquarium, a park ranger, or a professor at UNCW. Filming will take place at the Ft. Fisher aquarium, as well as the local beaches. We will imply a serious and informative tone for the final product. The ten questions we plan to ask for our expert interview are as followed:

1. How does smoking affect the animal species in the area?

2. What animals are affected the most by smoking?

3. Why was the ban proposed?

4. How long was this proposition being planned?

5. What other kinds of pollution effect aquatic life?

6. Has there been an increase or decrease of visitors at the beaches since the ban?

7. Are there any plans for other bans or restrictions?
 

8. Has there been an increase in the animal population since the ban?

9. Was there an event that caused the ban?

10. Do you smoke? What is your personal view of the ban?

The vox pops questions will also be filmed on the beaches and the aquarium.  The questions will primarily be aimed at children (with permission granted by a parent or legal guardian) and parents.  The main questions will be:

1. What is your favorite animal and why do you like it (this question will be geared toward the younger interviewees)?

2. What do you think if the ban?

3. Are you aware of how littering affects the animals?

Vox pop questions 2 and 3 will be aimed more toward the adult interviewees.

Shedding Light on Light.

I was outside one night.  The air was thick with fog, making it hard to see further away from me.  Across the street was a lit-up parking lot, and hanging over the entrance was a low tree branch erecting from a large tree.  I noticed that the lighting from the lampposts pierced through the tree branches, creating multiple streams of light in the fog.  For some reason, it initially reminded me of the release poster for The Exorcist.  But then, it reminded me of new images sharing the same dark and foreboding tones.

Another observation I've experienced also occurred at night.  I was driving up a country highway late at night.  The atmosphere was darker than usual, while sporadic lampposts dotted both sides of the lanes.  I looked down at my front seat.  Lying on the seat were some books and a candy bar.  As I drove under each lamppost, I noticed how the objects on the seat were quickly illuminated, then returned to being hidden in darkness until the light approached.  In my head, I visualized a scene of suspense.  A man we don't, driving to God knows where.  We only get glimpses of what mysterious object lies on his seat.  A weapon?  A small box?  It is never fully revealed to us in enough time to discover who he is or what he has.

Storyboard Art Or... Look! Pictures!

   And here begins the first project, which starts with two selected storyboard sketches of what I plan to contribute for our groups project.


Up first is a planned long, reestablishing shot.

It depicts a statue of an eagle standing on pillar with its wing spread open as it looks proudly to the sea.
And shot number two, an extreme close-up of a plaque commemorating the monument:

Here's to a good day of shooting pics!

January 13, 2013: Let's Get This Ball A-Rollin'!

   Throughout my life, I have garnered quite a boat-load of exposure to filmmaking.  My first experience with film began in high school with a fictional war film entitled Anatoliy The Ghost.  A year later came Job Well Done, my senior year final project.  The short crime drama was screened at my school's film festival where it won best cinematography, editing, and supporting actor. 

   After completing my freshman year in college, I dedicated the following summer to creating a post-apocalyptic/psychological-horror short film entitled DREAM HoME. The next two semesters (which were spent in a different school) were used to learn a good amount about the technical side of filmmaking.  I was able to write and direct another short film entitled Children of the Moon.  The mockumentary on a vampire offspring was an exercise for me in working with artificial lighting.  Though my lighting skills were not the best in the rushed film, I was able to learn the importance of proper light setting and the basic three-point lighting set up.

   This being a film course and me being obsessed with filmmaking, I hope to learn as much from this course as humanly possible.  But what I'd love to focus more on are how to continue building up my directing and screenwriting skills, as well as how to manage time between film production and all the other goodies in life (classes, work, procrastination).  I have a fascination with creating stories on paper and bringing them to life with bringing said vision to life comes dedicating a huge portion of the day to make sure everything is done according to plan (because if there is one thing your typical ADD college sophomore is amazing at, then that means I missed Grey's Anatomy).  The "limited amount of time" dilemma also makes me worried about rushing what could potentially be a good idea for a short film.

   In ten years, I hope to be highly skilled in writing and directing films with compelling stories.  I've noticed many Hollywood movies today are made to thrive on star power, CGI overkill, or exploitation.  I will admit, some movies I enjoy can be considered exploitation (and there is a time and place for that), but the films I remember the most are those that had a well thought-out story with brilliantly written characters.  It wouldn't hurt to have some CGI or a little shock value here and there, but when a movie relies solely on those qualities, then what lies in front of you is a movie that does not know the importance of moderation.