This has certainly been a class to reminisce about. College, I have found, doesn't teach you, as much as it teaches you to teach yourself. In technical classes that give you tools and direction, this is prevalent. We are given an instructor with more knowledge than time, and she has found a way to transfer as much of it as the individual is willing to absorb. This class will be valuable to me throughout a career in any field. I certainly hope it is related, but hey, I'm walking away with more than I ever have from a collegiate experience.
To list what I have learned is as ridiculous as the numerous sleepless nights in Reece. Lovers of Seattle certainly rest more frequently. The technical takeaways are uncountable. However, the two most important things to carry onward have been the importance of relationships and planning. Relationships are easier for me, but learning to appreciate planning and what it gives a filmmaker easily fits into a MasterCard commercial.
I have loved the intensity and how we are forced to become colleagues & compadres, but more importantly to rely on one another. I hope to take my relationships from this class To Infinity and Beyond, or at least to the professional world.
I have to say thank you. Finally having a teacher that has made me excited about my major. I have eked through this department with nothing much but a bitterness for it being so behind the times. While partially my fault, I am again excited and will be a proud alumnus now, I truly believe.
Friday, August 3, 2012
Thursday, August 2, 2012
modestly called an Artist
Never in youth did I consider any artistic field. An artist draws or paints or designs "stuff". I finally realized that I can create stuff as well. I have never enjoyed a task in life like the grandiose ones that encompass collaboration and expression through visual story telling. No matter how minuscule the story, very little can be done without relying on another for some form of assistance. I expect others to be better than me, and am often pleased with their powers.
Putting ideas in print to form a visual style is grueling, daunting and an all around bore of a project. But the final product is something that lends a gratification unexperienced by most and loved by everyone it touches. Even if they love to hate it. I hope to touch a spark, be it of anger or happiness, evoked emotion is a gift. I can only wish for a career full of incredible people with even more incredible ideals that I can spread throughout with the tools of photography and motion.
My form of art, at its most basic form is entertainment, but when a man is downtrodden he shall still find food and entertainment. If my entertainment is sought out, no greater gift shall be given to me.
Putting ideas in print to form a visual style is grueling, daunting and an all around bore of a project. But the final product is something that lends a gratification unexperienced by most and loved by everyone it touches. Even if they love to hate it. I hope to touch a spark, be it of anger or happiness, evoked emotion is a gift. I can only wish for a career full of incredible people with even more incredible ideals that I can spread throughout with the tools of photography and motion.
My form of art, at its most basic form is entertainment, but when a man is downtrodden he shall still find food and entertainment. If my entertainment is sought out, no greater gift shall be given to me.
DShizzyLR
My choice for camera was quite simple. My Director of Photography was advanced in the technicalities of the Canon 7D, as he himself is an owner of this fine piece of equipment. Also, other members in my group were planning to utilize the Canon aps-c sized sensor and its qualities. The more heads with information can only make mine and my DP's job a little simpler.
The camera choice was easy, and after using a few different lenses, my choice of glass was made even simpler. I had the privilege of using the Zeiss primes with different focal lengths and it was clear where my vision lied. You hear constantly that the camera doesn't matter as much as what's in front of and behind it. That has never come into focus as well as it did with a Canon and Zeiss coupling. My photographer was extremely capable of racking focus with the fine quality leant by Zeiss' engineering and it rendered beautiful imagery. The amazing details cannot be described, only seen.
Our training in TCF begins with the JVC, and it has taken me awhile to garner any respect for the camera. I believe being forced to work with any tool urges a loathing of the such that can only be diminished when doors open to new experiences. Learning more about the JVC has also given me a heightened respect, but being allowed to experiment with other tools has broaden artistic horizons as well. I was very grateful to be able to use the Canon 7D, but more especially the Zeiss lenses. Watching their amazing capabilities in post production has made me a believer.
The camera choice was easy, and after using a few different lenses, my choice of glass was made even simpler. I had the privilege of using the Zeiss primes with different focal lengths and it was clear where my vision lied. You hear constantly that the camera doesn't matter as much as what's in front of and behind it. That has never come into focus as well as it did with a Canon and Zeiss coupling. My photographer was extremely capable of racking focus with the fine quality leant by Zeiss' engineering and it rendered beautiful imagery. The amazing details cannot be described, only seen.
Our training in TCF begins with the JVC, and it has taken me awhile to garner any respect for the camera. I believe being forced to work with any tool urges a loathing of the such that can only be diminished when doors open to new experiences. Learning more about the JVC has also given me a heightened respect, but being allowed to experiment with other tools has broaden artistic horizons as well. I was very grateful to be able to use the Canon 7D, but more especially the Zeiss lenses. Watching their amazing capabilities in post production has made me a believer.
Wednesday, July 25, 2012
Midterm Reflections
The most obvious learning experience is hands on camera involvement. I have watched hours of tutorials from YouTube and Vimeos finest arteurs, but nothing compares to playing with and experimenting with an actual camera. I’ve enjoyed the ability to discover what I like, as I really don’t have what I believe to be a style just yet. I hope to develop one quickly for my scene assignment, and I feel confident in my abilities.
The confidence comes from my next greatest learning experience yet, which is the importance of being prepared. The idea is generally known, but unfortunately dissipates without much thought. I was fortunate in that I am slated to direct photography for a well-prepared director with a clear vision to convey. The greatest learning experience thus far has certainly been the in depth conversion betwixt the director, our instructor and myself. The conversation was so informative that I immediately phoned group members and relayed the urgency of preparedness. I am finally grasping the need for each of the strenuous tasks that lay as obstacles in the way of your vision, and am finally treating them as tools of the trade that will make my jobs easier and enrich the final project.
It is certainly easier to learn when the subject matter is something that you do not dread delving into. Having the want to create and use visual tools is very compelling, but a want will not suffice. The world of videography seems never ending and at times daunting, but without technical skill we are left to barely tread water. I have an understanding of camera terminology and practices, but this is a field that I will forever have to maintain an educational approach. Learning the ability to learn is often more important to educational sustainability. I feel like each class period there is something that will help me to teach myself how to better implement some aspect of this industry.
Such small details that truly matter such as filter application, which was the first real eye opener for me, have provided a base knowledge that I will carry on for as long as I have any sort of career in this field. The basic fundamentals of lighting, which I had honestly looked into but certainly not as far in depth as we have as a class, are invaluable in practice. Something that we know we will encounter in this field but I didn’t believe I was good at is collaboration. We should have all had some practice by now, but not in the way of truly relying on people. I like to do things for myself, and being forced to lean on someone to accomplish something we will both be proud of is hard but satisfying. And that is something I hope to continue to improve upon.
The confidence comes from my next greatest learning experience yet, which is the importance of being prepared. The idea is generally known, but unfortunately dissipates without much thought. I was fortunate in that I am slated to direct photography for a well-prepared director with a clear vision to convey. The greatest learning experience thus far has certainly been the in depth conversion betwixt the director, our instructor and myself. The conversation was so informative that I immediately phoned group members and relayed the urgency of preparedness. I am finally grasping the need for each of the strenuous tasks that lay as obstacles in the way of your vision, and am finally treating them as tools of the trade that will make my jobs easier and enrich the final project.
It is certainly easier to learn when the subject matter is something that you do not dread delving into. Having the want to create and use visual tools is very compelling, but a want will not suffice. The world of videography seems never ending and at times daunting, but without technical skill we are left to barely tread water. I have an understanding of camera terminology and practices, but this is a field that I will forever have to maintain an educational approach. Learning the ability to learn is often more important to educational sustainability. I feel like each class period there is something that will help me to teach myself how to better implement some aspect of this industry.
Such small details that truly matter such as filter application, which was the first real eye opener for me, have provided a base knowledge that I will carry on for as long as I have any sort of career in this field. The basic fundamentals of lighting, which I had honestly looked into but certainly not as far in depth as we have as a class, are invaluable in practice. Something that we know we will encounter in this field but I didn’t believe I was good at is collaboration. We should have all had some practice by now, but not in the way of truly relying on people. I like to do things for myself, and being forced to lean on someone to accomplish something we will both be proud of is hard but satisfying. And that is something I hope to continue to improve upon.
Tuesday, July 24, 2012
Monday, July 23, 2012
Lighting Imagery
As we increase our knowledge of videography, we find that the principle that lighting is photography to be constantly proven as filmmakers' law. This is applicable to all forms of visual aesthetics as seen in still photography and paintings alike.
Dali has constructed a masterpiece of color and light. While the imagery is certainly left to the interpretation of the viewer, the vibrancy and focus of light cannot be disputed. The foreground adds contrast to an otherwise brightly depicted aqua scene. The highlights of the clouds explode in the upper right and fade with the direction of the light source. The stern is well light, but the port side allows shadow casting on the hull all the way up the mast of butterfly sails. The water's color and highlights transition remarkably from right to left.
My favorite black and white film is The Hustler. I am astonished with the quality of contrasting light that seems to be such a focus with a lack of color. The highs are high and the blacks are crushed. This extraordinary composition has a key and fill light placed directly above and is a prop for the scene. The back light gives each character amazing definition.
The deep saturation of this photograph is what is most compelling, but the simplicity of the framing works wonderfully. Paul Rudolph's architecture is given even more life by the high sun's rays filling the branches of the beautifully placed foliage. Enough key light is allowed to give the house definition.
I tried not to focus on paintings or even nautical themes, but the most beautiful sunset in the world is supposedly just off the western most Key of Florida. I have seen it in person, but the beauty of the brush adds another dimension in this unknown arteur's depiction. The warm glow radiating from the clouds is a spectacular beauty, but my favorite is the reflection allowed by the gentle swells. The sailboat in the distance adds depth, but I honestly don't love the framing. Certainly, I do not have an eye trained to criticize.
Revolutionary Road maintained an overcast look throughout the majority of the film, and especially with exterior shots. The drabness of the clothing mixed with light saturation give an dynamic of old but classy. This medium shot shows many different colors that would mostly be on the same palette, all while evenly lit. There are very few shadows and the ones visible are softly cast. The skin tones seem to almost fall into the mix. There is no real pop, but the blandness delivers a unique tonality to the film expressed well in this exterior beach still.
Wednesday, July 18, 2012
Choreographed Cameras
Children of Men
This is an incredible example of choreographed camera movement as well as a choreographed scene. The ability the director has to move through the cafe crowd without seeing them part for him is unique. But what is unbelievable is the timing of every aspect to allow the director to start filming the shot at the counter in the cafe and make his way out behind his actor, down the street, end up on the opposite side of him (done so in a handheld, tracking manner), and eventually watch an explosion from the building he just exited. A masterfully planned and executed shot.
Sunday, July 15, 2012
Shot by Shot Reiteration
My absolute favorite visual in any film or any other media entity has been the "Train Robbery" scene in The Assassination of Jesse James by the Coward Robert Ford for several years now. There are things that stick with you when you watch films even way back when we didn't analyze the footage to become better at our chosen fields. But when we return to intriguing footage for examination with a better understanding and find that our eyes were mesmerized by visual arts before we were taught to respect the form, there clearly has been a profound resonance from what we have seen. My analyzation starts in the following clip at exactly the one-minute mark. I have posted the video, yet again, and I will also post the shots that exuded excellence in this sequence.
My first shot establishes a transition from evening to night with a very defined and saturated landscape. The land itself is on the wayward side of the sun casting a magnificent aura through the clouds while leaving the land barren and dark with few trees to the right lower third. The shot begins the sequence I wish to analyze, and allows a few seconds of transition into darkness that is clearly done in post using a brief time lapse.
The second shot is more or less another establishing shot. This one being a cowboy frame that puts the men in a densely wooded area awaiting something. This shot tells the viewer of the darkness that is prevalent in the following shots and is intelligently lit with mandatory props and what feels like nothing else.
The next shot I have chosen is of James placing his ear to the track to listen for the train and is tightly composed with his face taking the majority of the left vertical third line. This is a tracking shot that tightens in on James to allude to the coming climatic event. Again lit with a terrifically placed lantern casting a hard shadow just above the brow line from his hat.
My favorite shot in the sequence is a combination of lighting, costumery, and the sheer sinisterness in composition. The thieves litter the edge of the tracks with their positions commanding a medium depth of field that seemingly allows them to stand out among the unfocused branches. The light casts extremely harsh shadows over the men at the first framing.
As the train nears, the highlights are accentuated with very light shadowing. The ne'er-do-wells watch the engine pass as the light fades. I find this to be the most riveting and malicious shot of the sequence.
The first viewing the audience is given of the train is composed placing it dead center of the frame with the light blaring, allowing only the cattle guard to be seen in the lower horizontal third. The camera is placed on a moveable platform on the tracks and does not move until the train hits it. As the engine nears the camera, we are allowed more and more of the train body itself to be visible, as the front light eventually tops the frame and illuminates the foreground. When the train hits, the audience travels with it for a few seconds, which is incredible to see but unfortunately is disorienting. It almost feels as though the train has hit the platform constructed for Jesse James to stand upon to let the engineer know to stop.
As the train comes to a stop, a wide angle long shot is shown to provide room for the many happenings to end the sequence. Jesse is shown standing just left center with his full body in frame silhouetted from the engine's single light. The one illumination triumphantly strikes the encompassing smoke that surrounds him, whilst dimly scouring the landscape. I have yet to spot a reflection off the lens glass in any of these frames. I find this most impressive with the straight shots, or very slightly skewed angles of such a harsh light. Certainly filters were used, or the editor was able to brilliantly manipulate the glare.
My first shot establishes a transition from evening to night with a very defined and saturated landscape. The land itself is on the wayward side of the sun casting a magnificent aura through the clouds while leaving the land barren and dark with few trees to the right lower third. The shot begins the sequence I wish to analyze, and allows a few seconds of transition into darkness that is clearly done in post using a brief time lapse.
The second shot is more or less another establishing shot. This one being a cowboy frame that puts the men in a densely wooded area awaiting something. This shot tells the viewer of the darkness that is prevalent in the following shots and is intelligently lit with mandatory props and what feels like nothing else.
The next shot I have chosen is of James placing his ear to the track to listen for the train and is tightly composed with his face taking the majority of the left vertical third line. This is a tracking shot that tightens in on James to allude to the coming climatic event. Again lit with a terrifically placed lantern casting a hard shadow just above the brow line from his hat.
An aft over the shoulder shot is tracked into darkness just past James' face and for a brief second the viewer is in total silent, blackness. The train light enters the frame dead center but from an angle to let the single light aboard the front of the engine cascade through the nothingness and peer down the tracks allowing a slight reflection off the tracks. The light continues to grow in size and fill the center of the screen before cutting to shots illuminating the surrounding foliage.
We are never given a clear shot of the train, which I believe builds the moment even further. The viewer now sees the train's light pushing its way through the thick forest from a higher angle. I find these next few cuts to be what is most enchanting.
My favorite shot in the sequence is a combination of lighting, costumery, and the sheer sinisterness in composition. The thieves litter the edge of the tracks with their positions commanding a medium depth of field that seemingly allows them to stand out among the unfocused branches. The light casts extremely harsh shadows over the men at the first framing.
As the train nears, the highlights are accentuated with very light shadowing. The ne'er-do-wells watch the engine pass as the light fades. I find this to be the most riveting and malicious shot of the sequence.
The first viewing the audience is given of the train is composed placing it dead center of the frame with the light blaring, allowing only the cattle guard to be seen in the lower horizontal third. The camera is placed on a moveable platform on the tracks and does not move until the train hits it. As the engine nears the camera, we are allowed more and more of the train body itself to be visible, as the front light eventually tops the frame and illuminates the foreground. When the train hits, the audience travels with it for a few seconds, which is incredible to see but unfortunately is disorienting. It almost feels as though the train has hit the platform constructed for Jesse James to stand upon to let the engineer know to stop.
Wednesday, July 11, 2012
Mediocrity is a Must
I don't often shoot for the middle, but honestly I don't have a desire to be the most famous person in the world in any entity. I have recently grown an admiration for Woody Allen. And more for the fact that he understands his brand of humor or content is not for everyone. He makes his films with a reasonable budget expecting to make at least one more dollar than what it cost to make the film. His ability to remain economic has afforded him great luxuries in the industry that I would be proud to have. While I certainly am no Woody, I understand that my brand of humor, as well as my spin on intellectuality can be endearing to some. It is more often annoying with a hint of comedic relief. I thought film making would be an enjoyable way to make a living, and it wasn't until actually finishing a project that I discovered an absolute desire to be apart of this industry in some facet.
This class, in just the few short periods of meeting, has already proven to be extremely informative. I can't wait to learn technicals, so that I can communicate a vision and execute it. Kiss-assery aside, I am excited to learn from someone with field experience and a vast knowledge because nearly everything I know has been self taught through rabbit holing on the google box.
This class, in just the few short periods of meeting, has already proven to be extremely informative. I can't wait to learn technicals, so that I can communicate a vision and execute it. Kiss-assery aside, I am excited to learn from someone with field experience and a vast knowledge because nearly everything I know has been self taught through rabbit holing on the google box.
Tuesday, July 10, 2012
Aesthetically, Please
Deakins impresses to no end, but this entire sequence in The Assassination of Jesse James is truly incredible. He transforms a black canvass into a riveting few minutes of storytelling by utilizing the main light from the train for the majority of the shots. I have posted the sequence in my first blog post for your viewing pleasure.
This is of course a manipulated still from the afore mentioned picture, but it gives an idea of Deakins' aesthetic and feel for the film. The warmth in lighting attracts me to the long and often slow story with beautiful visuals.
There Will Be Blood is another example of fascinating visuals to an otherwise endless story line. Robert Elswit manipulates a fire, which I can only imagine to be extremely difficult to execute well. The light seems to be cast as though he designed the fire magnificently.
The reverse for the oil fire portrays Daniel Plainview in this incredibly red and menacing tone. The entire sequence was memorable.
This shot is easily passed by with little consequence upon an initial viewing of No Country for Old Men, but after watching an excerpt of an interview with Deakins I had a changed perspective. The underlying message of Chigurh barely visible with just his barrel is that Tommy Lee knows that he is still in the room and is satisfied with not pursuing him. Beautiful, short scene.
I certainly don't intend for this class to pose as my homage to Roger Deakins, but I couldn't exclude my favorite, O Brother Where Art Thou?. While being shot with incredible precision, it was the first Hollywood film to be digitally graded to provide the amber hue to the foliage and to most of the film. This kind of respect given to a comedy is the most enjoyable aspect for me.
Monday, July 9, 2012
Ten Thingys About Me
Roger Deakins - I believe Deakins is one of the best cinematographers in the industry. This link is for one of the most beautifully shot scenes I can recall and is in the film The Assassination of Jesse James, shot by Deakins.
Curb Your Enthusiasm - I am a long time fan of Larry David. A long time Seinfeld fan, and an even bigger Curb fan, I have found his style of humor to sync naturally with mine and my friends'. My favorite portion of the clip below starts at 3:40 and is a scene where Larry runs into his soon to be Ex at their attorney's office.
NBC Comedies - I have been an ardent viewer of NBC's Thursday night line up for several years now. Many would assume that I jumped on The Office bandwagon, which is true, but at a latter date. I was attracted by Tina Fey from Saturday Night Live to her new show 30 Rock, and have since remained a loyal fan while picking up on the new shows such as Parks and Recreation.
Saturday Night Live - Need I say more?
I Love All Types of Music - Proven by Pavarotti's last exhibition. Consider yourself cultured!
Hobbies and Interests - They are ever changing. Television and Film remain as one of my interests that have sustained. The excuse I use for this is that I am constantly learning about new ventures. A jack of all trades, master of none.
Six months ago I was really into Rat Rods. Still love them but not like then.
Ernest Hemingway - One of my newer obsessions is Hemingway's writings. Of course I had known a little about the man, but was never interested in his writings, but I have become increasingly attuned to his prose and style. I am currently reading Islands In the Stream.
Woody Allen - I am begrudgingly becoming an Allen fan. I understand the necessity to love him as a student of film, and I think this is why I was standoffish at first. His talent for the written word is so vastly proven by each of his different works, that I am becoming astonished. I am half annoyed by his whinny temperament, but his intellectualism keeps me returning.
The Newsroom - Aaron Sorkin's latest project has captured my attention and with no disdain. I knew I would love it and I do. I am also glad HBO is giving me something on Sunday nights for the summer.
Comedy - The greatest thing that human beings have invented, aside from compounding interest, is humor. I have loved to laugh and even more to make others. All my material isn't great, some of it stolen, but I enjoy comedic wit more than breathing. While I could live without one, I would hate to lose either.
Thursday, July 5, 2012
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