BLOG QUESTION BEG/ADV: REVISITING YEAR GOALS

Look back at your goals for the Fall and Spring Semester blog posts. Were you able to achieve your goals? Why or why not? What could you have done differently? Looking back at them, what could you have done to focus more on your goals in the course?

My goals back then were to submit films to festivals and experiment with editing and lighting. While I was able to work on these a bit, I wouldn't say I completely finished these goals. I did work on two productions that were submitted to several film festivals, but I haven't submitted my work into any yet. I plan on submitting The Ghost Writer to a couple festivals this summer, so hopefully I can complete them. I did get certified in a lot of the lights here in class, and I learned a lot of techniques, so I believe I completed that goal. Lastly, I've been expanding on my editing skills quite a bit and taking on extra projects that are longer and more complex. While I haven't had the opportunity to experiment on AE as much as I'd like, I definitely have become more proficient in Premiere and learning how to edit sound, which is a pretty good accomplishment for myself. 

BLOG QUESTION ADV: INNOVATIONS OF THE NEW WAVE P. 1

What were some key stylistic innovations of the French New Wave? How did it change editing?

Jumpcuts are used to show the difference in both the space and time between two shots. It can be used to match or mismatch two shots. The French New Wave experimented with editing to contrast two different shots, capturing the audiences attention more to the fact that they're watching a film. This style of editing was a precursor to "montage" editing, and allowed for a faster-pace editing style. The "Auteur Theory" and "Camera-stylo"  idea also comes from the New Wave era, which helped define a directors true role in the making of their film, and bringing attention to the specific styles a director may have.

BLOG QUESTION ADV: INNOVATIONS OF THE NEW WAVE P. 2

What were some key stylistic innovations of the French New Wave? How did it change shooting?

Movement such as panning, tracking, and other hand-held techniques were utilized in the New Wave to show more about a scene and the emotions/characters involved in a scene. Whenever camera movement is involved, editing is involved, and vice versa.

BLOG QUESTION ADV: THE ACTING METHOD P. 4

After watching this entire video, what are 3 key things that you've learned about acting from this lesson? What changed your understanding about the importance of acting in film?

Both Strasberg and Adler have different methods to acting, but they all accomplish the same goal. The first thing I learned was the origin of acting, which originated from stories being retold. It wasn't until the greeks formalized the "acting out" of these stories through plays. I also learned about the Stanislavski system, which is one method actors can use to prepare for their roles and channel their emotions by following 3 key steps. Lastly, I learned that there are two dstinct ways of method acting: The Strasberg and Adler method. Lee Strasberg focused on the emotional memory method of the Stanislavski system, which requires actors to reflect on past traumas in order to channel emotions into their roles. This was different from the Stanislavski system which ditched this method for a more "imaginative"/"what-if" techique. 

BLOG QUESTION ADV: THE ORIGINS OF ACTING P. 3

What is method acting? How was it different from the Stanislavski System? How did Brando, James Dean, and Monroe change their acting style in the 50s?

Lee Strasberg focused on the emotional memory method of the Stanislavski system, which requires actors to reflect on past traumas in order to channel emotions into their roles. This was different from the Stanislavski system which ditched this method for a more "imaginative"/"what-if" techique. Brando, James, Dean, and Monroe all followed the Strasberg method (Although Brando denies this and credits Alder for is techniques). This allowed them to channel their emotions, creating "method acting" as a way for an actor to prepare for the screen.

BLOG QUESTION ADV: THE ORIGINS OF ACTING P. 2

What was traditional acting on the stage like in the 19th century? How did Stanislavski change acting? What was the Stanislavski System?

Traditional acting on stage in the 19th century continued to follow the grand declamatory style. Theater had to be exaggerated in order to be considered real, and certain emotions had motions and poses that were associated with it. Stanislavski found this style boring, and found interest in "living  the part", choosing to dress himself as different characters and stay in character while acting in public spaces. The Stanislavski System is a psychological approach to acting that was made for actors to get "into the moment". 

There are 3 key steps to the system: 

1. Preparation (Training your body and voice for the role), 

2. Studying the role (understanding the work), 

3. Truth (Feel as if the play is reality). 

BLOG QUESTION ADV: THE ORIGINS OF ACTING P. 1

How did Greek and Roman theatre create the art form of acting? What was commedia del' arte's influence on the development of acting?

Greek mythology was told through word of mouth. This process of telling stories became "theater", and as the stories were passed down, different interpretations would be made to reflect the times they were being told in. In the 6th Century B.C., theater became more formalized, and "Plays" would be written down. Commedia dell' Arte was a professional form of theatre that came about during the Italian Renaissance. This was a populist form of theater, meaning it represented all people (aristocracies to common peasants). The first theater trope came out of it, I Gelosi, and they would tour all over Europe. Known for their improvisation and actors taking on authorship roles, they were also the first group to allow women to share the stage.

BLOG QUESTION ADV: AUTEUR THEORY P. 3

How did the French New Wave transition to the United States? What influence did it have on cinema here? Go into depth.

American filmmakers didn't accept the auteur theory because American productions weren't used to the small artisan productions.  Pauline Kaele believed that the Auteur theory measurement of what makes a good director was pointless if a film they created was great. We only notice the flaws in the directors style afterwards, if there's nothing else notable about the film. She also argues that having obscure hidden meanings doesn't elevate a film, "Judge an artist by the movie, not the movie by the artist". The Auteur theory implies that the director has a large influence on the how a movie turns out, when filmmaking involves much more collaborators and is very complex.

BLOG QUESTION ADV: AUTEUR THEORY P. 2

How did French cinema critics begin to influence the development of auteur theory? What were two key critiques they made on the difference between auteur directors and traditional directors?

French cinema critics believed in the rejection of montage in favor of Mise en scene, as it allowed audiences to take in a scene as it unfolds. They also believed in Camera-stylo, which was the idea that a director should wield his camera like a writer uses his pen, and that they shouldn't be held back by traditional storytelling. Auteur directors also implemented their own personal style into their films, and they focused on establishing a mise-en-scène.

BLOG QUESTION ADV: AUTEUR THEORY P. 1

What is auteur theory? How did it first develop in France?

Auteur theory is the idea that a film holds a reflection of the creative vision of a director, that the director is the author of a film, therefore the films quality is in the hands of the director. It first developed in France when French theaters started converting to sound. This introduced Musicals and "filmed theater" became popular. After the war ended, French cinema took off since American films were banned. These films were organized, polished, but lacking artistic quality. 

BLOG QUESTION ADV: GUILLERMO DEL TORO ON DIRECTING

What are the key pieces of advice that Guillermo del Toro gives beginning directors? How can this apply to your career?

Directing doesn't just apply to feature films, it applies to tv shows, video games, and even home videos. If you don't like the current state of media, start making your own films to tell stories that matter to you. It's also good practice to try and write stories, since it can be done with even less resources. You can also start doing it immediately, and your writing has the potential to live on longer than you. Lastly, it's important to take rejection and use it as redirection rather than giving up. As a director, you will get rejected many times, but if you truly believe in your story, you keep trying until you make it. I think his advice can apply to any field in filmmaking, and even contexts outside of it. I like his advice of utilizing your resources and persevering, and I will definitely remember it in the future.

BLOG QUESTION ADV: WHATS THE POINT OF A DIRECTOR?

1. What do you know about a director's role in a film?
2. What questions do you have about the director's role on a film?

A director is responsible for communicating acting directions to the actors in their film, as well as being able to communicate their wants to the rest of the crew. They must have general knowledge about all the different departments and tools they use to be able to make their vision come to life. They collaborate closely with the Director of photography during pre-production and production to figure out the cameras position relative to the story, and they collaborate with the editor in post-production to ensure that the project matches the story.

I want to know more about the creative process of directors and what habits they practice to be able to communicate their vision to actors. In the previous blog, we learned that there are certain ways to talk to actors in order to get them to become immersed in their characters feelings and motivations. I want to go more in depth into that topic and learn better communication tactics.

BLOG QUESTION ADV: ROLE OF THE DIRECTOR

Write an in-depth reflection on what the role of the Director is. What are their duties in the production?

A director's job is to bring their vision of the film and the characters within it to life. They have two main questions they ask themselves: What do I tell the actors, and where do I put the camera? However, a director's job can be a bit more complicated. While the director might not know all the answers, they should know where they are buried and how to steer their team to find those answers. The actors rely on the director to ensure that they have a safe space to explore their characters and steer them in the right direction of the story. The director has to give actors enough direction so that they know what kind of dynamics, headspace, and action the character should have/be doing in a scene, but they shouldn't be telling the actors exactly what emotions to convey, which would result in result-oriented directing. You want your actors to understand the feelings and motivations of a character so they can portray them to the best of their ability and telling them exactly what to do in a scene can take away from the realism of their character. Directors have to build trust with the actors to establish healthy communication. Directors also have to understand the other departments in order to communicate clearly with everyone. They need to communicate with the art, HMU, SFX, and wardrobe departments to build the mise en scene and world of their films. They also communicate with the camera and lighting departments to ensure the shots match the feelings they want to convey through the story/characters. They collaborate with the DoP and storyboard artists to create the shotlist, going over the script throughout the process.

BLOG QUESTION ADV: MONDAY, MAY 11TH

Explain in detail three key things that you have learned during the scope of this unit. What are two things you still have questions about or want to learn more about?

This unit has taught me a lot about lighting and the different tools at our disposal.  I learned how to apply flags, gels, and diffusers depending on how I want to light a scene. I also learned the different kinds of lighting and what they're used best for (e.g. flourescent for interior office shots, HMI to replicate sunlight). Through the Film Noir, I learned how to use lighting to manipulate our audiences and direct them to pay attention to certain things on screen/evoke feelings using shadows. I also learned different concepts such as chiaroscuro lighting and color theory. Two things that I'd like to go more in depth and learn about on my own is the psychology and history behind horror films.

BLOG QUESTION ADV: CINEMATOGRAPHY SCAVENGER HUNT

Why did you choose this film? What makes it interesting to you? Use what you've learned in this unit to study the lighting and write a reflection on what you've learned about how the cinematographer uses lighting to communicate the story.

 

Christopher Doyle is best known for his collaborative work with director Wong Kar Wai. Some of his most notable films include Fallen Angels, Chungking Express, and In The Mood For Love. He is known for his unique style, often using experimental lighting, shutter speed, and camera angles to enhance his films. Their choices of locations were very intentionally and were used as driving forces for these films. The colors in these films are usually motivated by practical lights, since most of his films take place in urban outdoor settings or interiors. Color is used as a both cultural and emotional signifier. Rather than being used symbolically, it shows up through the cultural context and locations of the story. For most of the outdoor city locations, the color palette is red, green and yellow to match the neon lighting of store signs.

BLOG QUESTION ADV: DON'T COMPLICATE LIGHTING

What is Geoff Boyle explaining in this video? Why is it so important to keep this in mind?

   

Geoff Boyle is explaining the importance of simplifying your lighting technique in order to save money, space, and time. A lot of the "fancy" lighting techniques you see that are done with high end lights can be replicated with different tools. Understanding the principles of lighting and how to utilize those tools to achieve your desired lighting look will help you save these 3 things. You don't meed to overcomplicate lighting by adding unnecessary elements, starting from the basics can help you achieve your desired look, even if its unintentional.

BLOG QUESTION ADV: GRIP GEAR SCAVENGER HUNT!

 

Explain what piece of grip gear this video is about. Walk us through its features. What did you find interesting about it? Why did you choose it?

This is the Avenger Strato Safe Stand B150-1. It's a multi-purpose heavy duty lighting stand with a lot of different features that makes it different from an average lighting stand. Some of its features include:

- Foldable (length 88.6 in.)

- A spread of 83.9 in.

- 1 1/8" Female Junior Socket

- Chrome steel column with t-knob lock

- Aluminum legs with braked wheels

- Crank mechanism for safe and easy raising and lowering

- Max payload of 154 lbs

What drew me into this stand was its size and all of its features. Despite being able to carry a pretty heavyload, it can be compacted to a reasonable size.

BLOG QUESTION ADV: FILM LIGHTS SCAVENGER HUNT!

 

Explain what kind of light this video is about. Walk us through its features. What did you find interesting about it? Why did you chose it?

I chose a Storm 700x walkthrough. Some of its features include:

- brightest light in the storm line up, 54,900 lux

- compact, 12 lbs.

- utilizes blair light engine

- cct ranges from 2500k to 10,000k

- able to match the natural color temperature of daylight

- IP65 Weatherproof rating in the head, ballast, and cable.

- controllable through bluetooth

- Same locking mechanism as the 80c lights in class

- Same UI and menu as the other storm x lights

I found its weatherproofing feature very interesting since the example in the video showed the light fully being drenched by the rain. I chose this light because the attachable CF10 Fresnel attachment caught my eye. This fresnel has dual lens and focus, comes with attachable barn doors, making it compact but powerful. This can also be attached to the 600x and 600c pro.

BLOG QUESTION ADV: MAKING BEAUTIFUL IMAGES

What are some key things that you learned in this video? What is Deakin's approach to cinematography? What makes his work so beautiful?

Deakin doesn't have a "set" style to his cinematography, he constantly adapts to the project depending on the genre and message of the film. Some of the techniques he utilizes includes Silhouttes (denies the viewer information about the character, forcing them to look at the background and analyze the scene itself). This creates mystery to a character, drawing the audience in. He also utilizes practical lightings to create a realistic and convincing look to the scene. Practical lights can even be lights based on your environment (e.g. the different lighting on the planets in blade runner).

BLOG QUESTION ADV: PRACTICAL LIGHTS

What is a practical light? How is it used differently than regular film production lights? What is Bradford's advice in using them for film?

A practical light is a light source that fits naturally into the set design of the scene. An example of a practical would be a lamp shade. It is different from regular production lights as it blends in with the mise en scene. It gives visual texture to the scene and it gives you more freedom to shoot from different angles, and it can save you space on smaller sets. Sometimes you need extra light to support practical lights (temp/intensity). Bradford also highlights the importance of blacking out the background of some shots to bring more attention to your subject (e.g. if a subject is standing in a door way), and he explains the importance of using shadows to shape your scene.