The finale of this semester’s honors course is the creation of a short movie. Our class members have been divided into groups of 5 or 6 and our assignment is to shoot, edit, and present a 5 minute short film on a various topic.
Last week in class, we finally began the process of creating our short films. Eric split us into small groups based on the roles that we have been assigned to play in the upcoming project. I clustered with the other camera operators on the sofa and struggled to grasp the multitudes of camera knowledge that was thrust upon us. You would not believe how difficult it truly is to take the shot you envision in your mind and transfer that to film by a specific manipulation of camera components. I found myself getting confused just trying to zoom in on a random object. Because of class time constraints, Eric decided against making each group check out a camera and running test footage. Instead, I and the other camera operators took a camera and whatever quick notes we could jot down during the tutorial and set out on the world (the hallway) to see what we could do. I think that this strategy was more useful in the end, because the group setting allowed us to help each other better understand the intricacies of the device. I must admit, we had some fun.
It seems that Donna and Eric do not trust us Honors kids to come up with a film from scratch, so they decided to assign our groups random genres to focus on. I was away from class for the last two hours of so trying to manage wide and long shots in a building hallway, so I missed the majority of the genre assigning and brain storming. It seems as though my group was assigned the task of making a five minute romance film. Just what we wanted (seriously). I and my group members had a short talk before class ended and I like the ideas they came up with in my absence. I believe our consensus was to do a stalker variation of the romance theme. Everyone surely has seen some scene in a movie with a creepy guy filming someone through the window or watching them from afar. I’m not quite sure how that theme will be associated with the romance genre or how the film will end but I’m sure there will be some unexpected twist. Our group will not be meeting until tomorrow afternoon so I don’t really know anything for sure yet. I’ll post more when we know for sure.
I’m kind of nervous for the project to get underway. I do not know exactly what our group is capable of with the minimal resources we have available. I have this idea in my head for a film that looks and compares to the stalker films that we are all accustomed to. There is a certain look to a scene where someone is in power and someone is completely oblivious and vulnerable. I don’t really know exactly how to create a shot like that. I’m just hope our product turns out half as well as we’re all expecting it to and that at least a few viewers get the point.
Tuesday, February 23, 2010
Wednesday, February 17, 2010
Make 'Em Laugh
I finally managed to make it to a film screening, and I must admit, it was a lot better than I thought it would be. Even though we watched Sunset Blvd. in the first group cinema session, and I found it highly enjoyable, I can't seem to shake the dread that surrounds me when I'm about to watch a motion picture from past decades. Before last Thursday, the only thing that I knew about Singin' in the Rain, the selection for that week, was that it was a musical. Gasp! Dread! Run away! I can't say that I didn't enjoy the movie though and, if given the chance, I'd probably watch it again. (Don't tell anyone).
The musical and dance numbers were pretty exaggerated and came off as rediculous and overdone sometimes, but they weren't corny like most other movies I have been forced to sit through. It is rare to see a movie that uses it's theatrical numbers to elaborate on and help advance the plot and develop characters. I enjoyed the step away from the norm.
It is odd to watch a film about a movement in film cinema that many of us have never even thought about. Apart from small gradual transitions to things like DVDs and HD motion pictures, our generation hasn’t experienced anything that completely revolutionized the film industry in the way that sound altered film making in the 1920s. I’m not sure whether I would have liked the film to portray the subject in a realistic sense, or use the exaggeration, comedic approach that makes Singin’ in the Rain so memorable. For a while after the film had ended, I was still trying to decide whether terrible films like The Dueling Cavalier were ever created. Did directors and stars really struggle that much incorporating sound into the film making process? Were there instances of heart beats and other outrageous things slipping into serious films during the transition period?
I don’t believe that the directors could have found better actors to fill the roles on this film. When I think about classic movies, I think about the “big” star; that guy on the screen with the seemingly constant close ups and million dollar smile. Gene Kelley’s comedic portrayal of the classic era ego was both memorable and captivating. Donald O’Connor’s performances were so amazingly choreographed that I never wanted to see them end. I do believe that I could have spent the entire duration of the class time watching Cosmo tap dance around and fall over props and scenery. Debbie Reynolds possesses an uncommon amount of beauty, even by today’s plastic and processed standards. Her acting was powerful and subtle to the point that I actually missed her when she was absent from the shot. I still can’t decide whether I like the movie because of the actors, or like the actors because of the roles they played. Either way, I came out the winner in the situation.
I’d have to say that, so far, this class is two for two on the movie selections. Keep up the good work on selections guys.
The musical and dance numbers were pretty exaggerated and came off as rediculous and overdone sometimes, but they weren't corny like most other movies I have been forced to sit through. It is rare to see a movie that uses it's theatrical numbers to elaborate on and help advance the plot and develop characters. I enjoyed the step away from the norm.
It is odd to watch a film about a movement in film cinema that many of us have never even thought about. Apart from small gradual transitions to things like DVDs and HD motion pictures, our generation hasn’t experienced anything that completely revolutionized the film industry in the way that sound altered film making in the 1920s. I’m not sure whether I would have liked the film to portray the subject in a realistic sense, or use the exaggeration, comedic approach that makes Singin’ in the Rain so memorable. For a while after the film had ended, I was still trying to decide whether terrible films like The Dueling Cavalier were ever created. Did directors and stars really struggle that much incorporating sound into the film making process? Were there instances of heart beats and other outrageous things slipping into serious films during the transition period?
I don’t believe that the directors could have found better actors to fill the roles on this film. When I think about classic movies, I think about the “big” star; that guy on the screen with the seemingly constant close ups and million dollar smile. Gene Kelley’s comedic portrayal of the classic era ego was both memorable and captivating. Donald O’Connor’s performances were so amazingly choreographed that I never wanted to see them end. I do believe that I could have spent the entire duration of the class time watching Cosmo tap dance around and fall over props and scenery. Debbie Reynolds possesses an uncommon amount of beauty, even by today’s plastic and processed standards. Her acting was powerful and subtle to the point that I actually missed her when she was absent from the shot. I still can’t decide whether I like the movie because of the actors, or like the actors because of the roles they played. Either way, I came out the winner in the situation.
I’d have to say that, so far, this class is two for two on the movie selections. Keep up the good work on selections guys.
Sunday, February 7, 2010
Coverage!
Since we just received our film group assignments, I am not quite sure what kind of short picture we are going to be making. The members of my group represent a very diverse style and whatever we create promises to be something both odd and memorable. It would seem that the style of film my group chooses to create will dictate the structure, effects, and filmmaking methods that we employ. Doug had mentioned a desire to create a co
medy, and as far as film making projects go, it seems that comedies would be some of the easiest films to shoot and edit.
medy, and as far as film making projects go, it seems that comedies would be some of the easiest films to shoot and edit.Because the comedic mood is light, there would be no need for specific lighting patterns. Specific genres like horror, mystery, or even suspenseful action rely on lighting techniques to convey mood and create viewer emotion. While experimenting with specific lighting setups using things you can find around the average dorm room, the ability to put all of our focus into the story line and shot composition will enable us to create a more enjoyable picture overall.
Over the past few weeks, Eric has shown us numerous examples of shooting styles to make a shot work. The wide shot, the trolley shot, the close up, and any other of the various ratios of zoom and focal length fit well into a comedic performance. The way that our scenes are set up and shot should reflect the type of comedy that is being performed. If it is a dance, a trolley shot should effectively encompass the motions. If it is a facial expression or an impression, a close up or specific zoom and focus setting could capture the moment and bring attention to specific areas of the scene. Simple things like this are easy to pull off with the advanced technological devices we have been supplied with and, when used effectively, can make a motion picture exponentially better.
One of my favorite comedic motion pictures is Rush Hour. That trilogy is comprised of a perfect mix of comedy and martial arts action. Chris Tucker’s comedic dialogue is presented in a series of close ups and moving close angle shots. When the action segments kick in, the shots take a generally wide angle stance to get the entire room or setting into each shot. I think our movie will be shot in much the same way.
Black and White Sunset
I am running far behind in this film race it seems. I just managed to track down a copy of the 1950 motion picture, Sunset Blvd, and I must say, it lived up to all of the hype that I’ve been hearing from the students w
ho attended class last week for the group screening. I have to admit that I, like Imran, always stuck to the notion that black and white films were boring and unentertaining. I remember my grandmother trying to get me to sit still and watch some of her old favorites on VHS, and I wouldn’t get through the first scene before my attention would wander. I can’t imagine the number of captivating motion pictures I passed up just because of a lack of color and a scratchy audio recording. I think I should call her up soon and talk about the classics.
The thing that I enjoyed most about the screening of Sunset Blvd. was the fact that it offered me the opportunity to compare past and present film techniques. There were several noticeable scenes in the movie that made it clear that it was not made in the current era. Aside from the noticeable aspects like fashion and dialogue, the style of shooting and the acting of the film’s stars serve as a marker for the era in which the motion picture was created.
One of the first things you notice is that classic film noir style. There is a noticeable contrast between light and darkness that is used to hint at the mood and mental state of the characters compared to one another. The director also used age, wealth, and even location contrasts to convey mood and emotion in a scene. In this way, he was able to tell a lot about the characters he created without using dialogue.
There are certain scenes throughout the motion picture where Norma’s acting becomes overly dramatic and unbelievable. I’m not sure whether that style of acting is a clear representation of the era in which the film was created or simply a unique concept used by that actress to further accentuate her character’s mental state. Either way, I don’t believe that that style of acting could be taking seriously in today’s film market.
I think it will be interesting to watch the steady progression of a hundred year’s of film this semester through the screening of a few key motion pictures.
ho attended class last week for the group screening. I have to admit that I, like Imran, always stuck to the notion that black and white films were boring and unentertaining. I remember my grandmother trying to get me to sit still and watch some of her old favorites on VHS, and I wouldn’t get through the first scene before my attention would wander. I can’t imagine the number of captivating motion pictures I passed up just because of a lack of color and a scratchy audio recording. I think I should call her up soon and talk about the classics.The thing that I enjoyed most about the screening of Sunset Blvd. was the fact that it offered me the opportunity to compare past and present film techniques. There were several noticeable scenes in the movie that made it clear that it was not made in the current era. Aside from the noticeable aspects like fashion and dialogue, the style of shooting and the acting of the film’s stars serve as a marker for the era in which the motion picture was created.
One of the first things you notice is that classic film noir style. There is a noticeable contrast between light and darkness that is used to hint at the mood and mental state of the characters compared to one another. The director also used age, wealth, and even location contrasts to convey mood and emotion in a scene. In this way, he was able to tell a lot about the characters he created without using dialogue.
There are certain scenes throughout the motion picture where Norma’s acting becomes overly dramatic and unbelievable. I’m not sure whether that style of acting is a clear representation of the era in which the film was created or simply a unique concept used by that actress to further accentuate her character’s mental state. Either way, I don’t believe that that style of acting could be taking seriously in today’s film market.
I think it will be interesting to watch the steady progression of a hundred year’s of film this semester through the screening of a few key motion pictures.
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