I LOVED this class! I've learned so much in such a short time. That always seems to be the case with a Raimist Class.
I had a great time challenging myself to create works of art. I loved all the people in my class. There were people who made me look at things in a new way, people who kept me calm when all of our lights blew on set. People to challenge my creative abilities, as well as people I could laugh and have fun with!
I've developed some lasting friendships in this class and I am excited to take what I've learned and expand upon it.
The most important thing I have learned from this class is that there is just SO MUCH MORE TO KNOW! and I look forward to the journey through trail and error that will lead me to learn.
Wednesday, December 14, 2011
Artist Statement
I believe that I am a storyteller, first beyond all else. As a storyteller I choose to tell my stories and the stories of others visually. I appreciate the difficulty and refinement it takes to visually tell a story. I also want to tell non-fiction stories. There is something very real about understanding a person through their experience. I want to delve into different types of people intimately. I want those people to know me intimately so I can attempt to tell their story to the world.
I am not jaded enough to think that it is my responsibility to tell other people's stories. It's not, people tell their stories everyday. However, when someone gives me the opportunity to look within them and share with me who they are, it is more for me than for them. What I mean is that I love to listen, then take what I've hard and turn it into something creative.
Tell every story. I want to tell stories that have never been heard before. They don't have to be elaborate or riveting at every point. But instead, getting to know someone who lives in rural Alabama and has lived their her entire life is more interesting to me than putting together a multi million dollar production about a fabrication of the same exact thing. Reality is daunting.
Simply I want to share realities through story telling.
I am not jaded enough to think that it is my responsibility to tell other people's stories. It's not, people tell their stories everyday. However, when someone gives me the opportunity to look within them and share with me who they are, it is more for me than for them. What I mean is that I love to listen, then take what I've hard and turn it into something creative.
Tell every story. I want to tell stories that have never been heard before. They don't have to be elaborate or riveting at every point. But instead, getting to know someone who lives in rural Alabama and has lived their her entire life is more interesting to me than putting together a multi million dollar production about a fabrication of the same exact thing. Reality is daunting.
Simply I want to share realities through story telling.
what have you been learning?
I have been learning so much! The first and most important is I never really understood how much a camera replicates the human eye. I will be walking around and just squint and notice that I can achieve this out of focus look with a camera as well. I have also learned that it is important to be organized and a good planner. Regardless of what field you go in, it is important to know what you want to accomplish and how you are going to accomplish that. Further, Ive learned so much about the manipulation of light that can set the mood and tone of a piece. I
I've also noticed that there is so much to think about within one frame! One frame is like a photograph or a painting and a movie is just a series of those individual photographs or paintings. Attention to detail is CRUCIAL in producing great filmwork.
I also know now that post work flow is very important when calculating the time of when you plan to finish a project.If you don't know the post workflow you may not have the proper converter pplug ins and this could push you back a day (at least) in the finsihing process.
I also learned a great deal about prime lens. 35mm 30mm 28mm and fish eye. These are all lenses that create very different looks. Looks are crucial to visual storytelling! So choosing the right lens for a specific scene is very important.
Last, I learned that reading is key but also doing and participating in hands on activities allows the learning process to come full circle for me.
I've also noticed that there is so much to think about within one frame! One frame is like a photograph or a painting and a movie is just a series of those individual photographs or paintings. Attention to detail is CRUCIAL in producing great filmwork.
I also know now that post work flow is very important when calculating the time of when you plan to finish a project.If you don't know the post workflow you may not have the proper converter pplug ins and this could push you back a day (at least) in the finsihing process.
I also learned a great deal about prime lens. 35mm 30mm 28mm and fish eye. These are all lenses that create very different looks. Looks are crucial to visual storytelling! So choosing the right lens for a specific scene is very important.
Last, I learned that reading is key but also doing and participating in hands on activities allows the learning process to come full circle for me.
WHAT I KNOW ABOUT CAMERAS
I have learned so many things about cameras this semester. And the most important thing I learned is that there is really no good or bad camera, but instead the best camera for a particular situation. So, I've learned to understand what I want to accomplish then research the specs of each camera I'm familiar with in order to find the camera that best suits my situation.
The camera that I've had the most fun with and the one I would probably use as a professional documentarian is the Sony HDV. It's small, easy to hold, looks great in low light and I can use filters to manipulate an image. Also the HDV is capable of crushing the depth of field. Also, the HDV uses tapes! I know a lot of people think tapes are tedious but in the long run you will always have a hard copy of your video footage if your hard drive ever decides to crash.
I would also invest in an DSLR t2i for shooting some of my more poignant beauty shots. I do agree there is an artistic/cinematic feel you get when you shoot with the DSLR that you don't really get with many other cameras that are worth the same price. For the quality, DSLR is a fairly inexpensive choice, but it couldn't be my only camera.
The camera that I've had the most fun with and the one I would probably use as a professional documentarian is the Sony HDV. It's small, easy to hold, looks great in low light and I can use filters to manipulate an image. Also the HDV is capable of crushing the depth of field. Also, the HDV uses tapes! I know a lot of people think tapes are tedious but in the long run you will always have a hard copy of your video footage if your hard drive ever decides to crash.
I would also invest in an DSLR t2i for shooting some of my more poignant beauty shots. I do agree there is an artistic/cinematic feel you get when you shoot with the DSLR that you don't really get with many other cameras that are worth the same price. For the quality, DSLR is a fairly inexpensive choice, but it couldn't be my only camera.
Wednesday, November 30, 2011
Cameras: Advantages and Disadvantages
DSLR advantages
1) isolate your sibject and force the viewer to look at what you intend them to look at. Also, the sensor on these cameras is amazing and allows the filmmaker to capture amazing colors as well as images in low light which can be amazing for documentary!
DSLR disadvantages:
1. Sometimes I want to see the background! there are other tools in directing the eye besides crushing the d.o.f
In this example this looks like a portrait of a place, but you can hardly tell where any of the speakers are because the background is so out of focus. In my opinion, it takes away from the actual place they are trying to highlight.
The Ex3, in my opinion would be a better documentary camera.
yes, it doesnt have and ISO but it is easier to hold and you are able to interchange lenses much like the dslr. The only problem with the EX3 is if you wanted to set it up to it's full capability ( matte box and red rock adapter) you would need more than one person to operate it and a LOT of time to set it up.
1) isolate your sibject and force the viewer to look at what you intend them to look at. Also, the sensor on these cameras is amazing and allows the filmmaker to capture amazing colors as well as images in low light which can be amazing for documentary!
1. Sometimes I want to see the background! there are other tools in directing the eye besides crushing the d.o.f
In this example this looks like a portrait of a place, but you can hardly tell where any of the speakers are because the background is so out of focus. In my opinion, it takes away from the actual place they are trying to highlight.
The Ex3, in my opinion would be a better documentary camera.
yes, it doesnt have and ISO but it is easier to hold and you are able to interchange lenses much like the dslr. The only problem with the EX3 is if you wanted to set it up to it's full capability ( matte box and red rock adapter) you would need more than one person to operate it and a LOT of time to set it up.
Camera Movement
Sometimes alot of movement can be TOO MUCH movement. What I've learned over all about movement of the camera is that subtle is best! When you watch movies, without a trained eye, you notice that something weird happened with the shot your looking at, but it wasn't anything you could describe. All you know is it fit with the story. So subtle quick movement in my opinion can be the best movement. My favorite movement is the character push-in. After watching movies for so long I had never noticed that in almost every movie when a person finds something out new, or is lonely there is a character push in or push out to add dramatic effect.
I also like wired movements to add to the awkwardness of a movie. For instance in Spike Lee's "Inside Man"
Speed up to 0:57. Cool way to add tension and focus of the eye without crushing the d.o.f.
I also like wired movements to add to the awkwardness of a movie. For instance in Spike Lee's "Inside Man"
Speed up to 0:57. Cool way to add tension and focus of the eye without crushing the d.o.f.
Scene Assignment Relflections
I had a great time doing the scene assignment. Overall, it was a great lesson in patience. Sitting on a set for 6 to 12 hours at one time is no small feat. Even if you are just gripping or gaffing paying attention to detail is VERY important, and paying attention the entire time is the most important. As director, again I learned that it is really hard to articulate what you want your movie to look like. Also I learned that there can never be enough pre production. Even if you don't want to shoot narrative films, having a definitive idea about what you want to achieve visually is crucial to succeeding as a film maker. I enjoyed working with my group. I gaffed and gripped four project and dp'd one and directed one. So my plate was full! But I enjoyed every moment of it. The scene assignment was great hands on experience, we got to touch and understand the equipment we learned about in class and that is priceless.
I still don't want to direct narrative films, but this assignment taught me that I can manipulate light for my documentaries as well. Viewers like to see visually interesting dynamics playing out on screen regardless of the genre so learning these lighting skills was definitely an advantage. Even manipulation of natural light can add the little bit of creativity you are looking for to make a subject look more dynamic. In many ways lighting compliments your story by adding depth and mood.
I still don't want to direct narrative films, but this assignment taught me that I can manipulate light for my documentaries as well. Viewers like to see visually interesting dynamics playing out on screen regardless of the genre so learning these lighting skills was definitely an advantage. Even manipulation of natural light can add the little bit of creativity you are looking for to make a subject look more dynamic. In many ways lighting compliments your story by adding depth and mood.
Tuesday, November 29, 2011
Shot by Shot Analysis: Pulp Fiction
I love this scene because the tension is built so creatively. We don't even know the background to the story (who these people are where they come from) but as the story progesses it's like we've been watching the movie for almost am hour.
we see Vincent, a gangster, is looking for something very important. In fact what he is looking for has rimmed his face in gold letting the viewer know it's something valuable.
Vincent walks around the counter.
The Camera Follows him to add visual interest and style.
Again we see Jackson the only person standing. But the guy in the blue shirt seems to think he can talk his way out of his situation and begins to feel powerful. I also like the smoke in the upper left to remind us that Vincent is still here even though he's not in the frame.
As the guy in the blue shirt stands he challenges Jackson's power. But Jackson is not phased, Jackson simply motions his had for the young man to si back down. (without a gun)
The guy in the blue shirt sits. The framing of this wide shot gives the audience a calm feeling.
Nothing too intense should happen in a ws right? Wrong! All of a sudden the calmness is disrupted and the tension starts to build as Jackson shoots the man on the couch.
As the scene grows more intense we start to see more medium shots and the expressions of each person's face.
The medium shots add to the tension of the scene. But then we strt to see close ups which add even more intensity.
There is brief conversation over the next few frames, but the fact that Jackson is towering over the man in blue is scary and suspenseful.
When the tension is reaching a peak we move back out o a wide shot to remind us of where we are.
Also, the framing is intense, we know that Jackson is the biggest in the frame so he is definitely the most powerful.
Now we see Vincent's pov and Vincent looks oddly calm adding to the fact that they do this quite often. Also this shot gives some visually relief from the back and forth cu shots
The back to the intensity. The lighting is dark but even, I like that there are no hard shadows...it adds to the reality of the situation.
Here we don't even need to see Jackson, the gun is enough to frighten the audience and build suspense. It's also a little funny that Vincent is in the background calmer than ever.
Here in these next few frames the intensity builds up again from the MCU to a CU
Now we see more tension. The shot seems as if it were canted but it's not. Here we know again who the dominant power is.
The guy in blue gets shot. It is important that we see Vincent is not phased. It's a great element of story telling that all Vincent does is put out his cigarette, while the guy in blue is panicked.
Again, the tension build with a MS
Jackson is standing in the middle of the floor the only person upright in the frame. No one is taller than him (not even the guy in the background)
Here we know that this is the climax because we atrt to see ECUs
The intensity has built
Now we see Jackson's target...more tension building
we see Vincent, a gangster, is looking for something very important. In fact what he is looking for has rimmed his face in gold letting the viewer know it's something valuable.
As it cuts to his partner we see Samuel L Jackson is the only person in the room standing upright. He is in the position of power. Non verbal plays a pretty big role here, because at this present moment, there are no guns.
Vincent walks around the counter.
As the guy in the blue shirt stands he challenges Jackson's power. But Jackson is not phased, Jackson simply motions his had for the young man to si back down. (without a gun)
The guy in the blue shirt sits. The framing of this wide shot gives the audience a calm feeling.
And finally we watch Jackson pull the trigger. I like that we stay of Jackson instead of the guy in blue, because the we understand who's story it is. Jackson is doing the action and is the person the viewer is supposed to be watching and connecting with
Thursday, September 22, 2011
went back and added some nat. sound too! I've learned so much when it comes to using the sony hdv. For this assignment Luke and I played around with Polorizer Filters. It was fun to take the camera apart, place a new filter on the camera and see the difference/enhancement in our colors. Also, I learned I really like work-shopping our work. Having people critic you is a great opportunity to get feed back. As far as the project, I learned it's hard not to touch the camera. It's my vision, but I can't physically help make that vision happen. That's hard. Not being able to touch the camera forced me to vocalize what I wanted. It helped me remember terms like high angle, crush the depth of field, open your iris, lower your shutter ect...Overall it was a really fun experience. The book arts program is absolutely fantastic.
Wednesday, September 21, 2011
Reflections
Its an interesting question, What have I leaned so far? I have learned a lot! I have learned the importance of color temperatures when lighting a scene. Also, the crucial importance of white balancing your camera. Also, organization is crucial when planning to go on a shoot, even if you think it's going to be a simple point and shoot and wrap set. I've learned about filters and their importance, I have learned the basics of shutter speed, aperture, color temps, depth of fields, and about the aptitude of several different cameras like the HDV and JVC. I've also learned cinematography is an important concept for ever gorilla documentarians to understand, because style, tone, and look are all important when you are telling a story visually.
The most challenging thing i have had to learn is lighting and trying to break away from the writer side of myself. I come from a writers background. I love non fiction writing and that is part of the reason I decided I wanted to be a documentary film maker. However, translating non fiction writing into a visual piece of art work has been difficult and frustrating. For instance in a documentary you can't just show talking heads you have to have visual variety to tell your story because that's what makes the story more appealing and ultimately that's what you're audience expects. Now, lighting is something I have never done before except for that one time in Schwartz's class :). So This is definitely foreign territory. However, I accept the challenge. Trying to articulate a vision visually is one of the most interesting skills I have ever had to try and accomplish.
The Rewarding thing about videography is succeeding once I have failed. I have learned that I WILL FAIL! but that's okay. I think the most rewarding thing for me is learning patience and that I won't be the best at everything right out of the gate.Film-making takes time, preparation, and knowledge. But the most gratifying thing is knowing that I am learning and that if I fail, I learn from the mistakes I make. Lessons leaned: always white balance, Always check the equipment to see if it works, and always stay organized. I am happy to have the time to fail in a comfortable place where we are all learning and we will all take our learned experiences of this class and turn them into something great.
The most challenging thing i have had to learn is lighting and trying to break away from the writer side of myself. I come from a writers background. I love non fiction writing and that is part of the reason I decided I wanted to be a documentary film maker. However, translating non fiction writing into a visual piece of art work has been difficult and frustrating. For instance in a documentary you can't just show talking heads you have to have visual variety to tell your story because that's what makes the story more appealing and ultimately that's what you're audience expects. Now, lighting is something I have never done before except for that one time in Schwartz's class :). So This is definitely foreign territory. However, I accept the challenge. Trying to articulate a vision visually is one of the most interesting skills I have ever had to try and accomplish.
The Rewarding thing about videography is succeeding once I have failed. I have learned that I WILL FAIL! but that's okay. I think the most rewarding thing for me is learning patience and that I won't be the best at everything right out of the gate.Film-making takes time, preparation, and knowledge. But the most gratifying thing is knowing that I am learning and that if I fail, I learn from the mistakes I make. Lessons leaned: always white balance, Always check the equipment to see if it works, and always stay organized. I am happy to have the time to fail in a comfortable place where we are all learning and we will all take our learned experiences of this class and turn them into something great.
Tuesday, September 20, 2011
Ligthing Styles
Natural Light Manipulation
When viewing the manipulation of natural light and shadows, it interest me because of how simple and complex light can be. I can appreciate the manipulation of natural light because it seems that you are working with the elements that surround you. Observing natural light is amazing to me as well because it's everywhere! Light exist in neat shapes; surrounding objects and creating soft and hard lines or shadows.
Hard Light
Hard Lighting is also a favorite of mine. I think Xavier said that shadows give character and I completely agree.Also, the depth and texture that shadows give create some of the most beautiful images that I have seen. Adding texture to a photo like the one above allows the viewer/observer to relate in an more intimate way.
Tuesday, September 13, 2011
My Goal As A Filmmaker
I don't think I have ever stopped to sit down and write out my goal as a filmmaker. However, I guess my goal would have to be directly correlated with my purpose as a filmmaker. My purpose is to create unity and understanding amongst the people within my stories as well as those who view them. Film is an intriguing medium that allows the viewer (observer) an access to the subject (observed) in one of the most intimate ways I have known. My purpose in film making, particularly with documentary form, is to analyze this intimate dynamic of the observer and the observed and effectively manipulate it in a way that will lead the observer to connect emotionally with the observed. Emotions are powerful tools that shape political motivations, thus if you can connect intimately with a person and their experience, then you will ultimately find motivations to treat them as equal (human). In essence, I want to expose our depth (motivation/desire) as human beings, hopefully my films will allow people to realize no one is completely perfect or completely flawed.
I intend for this class to help me visually illustrate my motivations for documentary film. I come from a writing background, so the content seems to be less of a problem for me than form. This class has shown me that it is necessary to explore form to accent the content of film. I hope this class expands my understanding of how to convey the tone and mood of particular situations I am filming. It may be the small detail of light that provides more depth to a story and allows the viewer (observer) to connect even more deeply with the subject (observed). I look forward to learning how to manipulate a message visually in conjunction to the content.
I intend for this class to help me visually illustrate my motivations for documentary film. I come from a writing background, so the content seems to be less of a problem for me than form. This class has shown me that it is necessary to explore form to accent the content of film. I hope this class expands my understanding of how to convey the tone and mood of particular situations I am filming. It may be the small detail of light that provides more depth to a story and allows the viewer (observer) to connect even more deeply with the subject (observed). I look forward to learning how to manipulate a message visually in conjunction to the content.
Thursday, September 1, 2011
Inspiration
Gordon Parks was one of the first photographers I discovered. After reading his book, Choice of Weapons, I knew that documentary form was what I wanted to peruse as my career. Despite the lack of lighting equipment or a studio, the framing, composition and color of the shots speak volumes. I enjoy shots of real people in real time, it allows the photographer to subtly explain a political choice without an overt agenda. People and situations are intrinsically political. Authenticity inspires me.
Mad Men
Also, something that I thought I would never like, a show about advertising executives, inspires me. The attention to detail is what is amazing about the show Mad Men. This shot of the three completely different women occupying one space is striking. They don't have to speak. The details say it all. Their clothing, their facial expressions and posture and last the framing. All of the details paint a picture about three completely different women in one elevator ( meaning they are going somewhere-up or down). In my opinion, it's one of the most powerful shots of the season. Proving that careful manipulation of light and set design can implore powerful messages and meanings.
Monday, August 29, 2011
10 of My Favorite Documentaries
In No particular order:
Murder on Sunday Morning
The Execution of Wanda Jean
Tarnation x This doc was edited completely on iMovie.
Trouble the Water
Deliver us From Evil
objectified
hoop dreams
Tapped
Dive
Very Young Girls
Murder on Sunday Morning
The Execution of Wanda Jean
Tarnation x This doc was edited completely on iMovie.
Trouble the Water
Deliver us From Evil
objectified
hoop dreams
Tapped
Dive
Very Young Girls
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