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.