Week 7 – Workshop: PB3 Feedback

Jackson – Painting Adolescence
This was shot quite nicely, it’s quite clear that this was the work of someone who is adept at working the camera. Interesting choice of lighting, provided a certain mood. My only qualms were that conceptually it was lacking in focus, and there were certain moments where the sound could have been edited better (long pauses within sentences).

Emily – Maddi and Koenig
As someone who prefers animals over humans, I enjoyed watching this. Really interesting idea, sound could have been a bit more crisp, although everyone (somewhat) failed in that department. Nice job Rosie!

Michael – Blossoming Business
Very informative and aesthetically pleasing. Would have liked to have seen some footage of him answering the questions (rather than just using the audio), but your overlays still worked nicely.

Project Brief 3 – Diggin’ W/ Sam La Marca

Diggin’ W/ Sam La Marca is short film that focuses on my friend’s record collection. I chose this as my idea as it is purely something I would be interested in watching; I spend much of my time watching YouTube videos of record collections. This film is about obsession. My subject’s obsession is vinyl, but in a more general sense, it is about how he developed this attachment, and what has come of it.

While the fact that my subject isn’t ‘well-known’ may alienate some viewers, I love the idea that there is a worldwide record collecting community who show equal interest in each other’s collection, regardless of who they are. They are one group who are brought together purely by their love and devotion to records.

I decided to shoot with my Canon 600D, and borrow the H2N Zoom from the tech office. This was because I’m quite comfortable with my camera; shooting handheld and adjusting the focus can be quite problematic if you aren’t familiar with how the camera operates. The Zoom served its purpose, and I was able to edit out some of the background noise through editing.

I thought it was most appropriate to film the actual ‘interview’ on a tripod, and the B-footage and record presentation handheld. My personal taste prohibits me from filming an interview handheld, it’s just not right. As a whole, I am delighted with how everything turned out; my camera skills have developed to a point where I think this was my most accomplished piece of filming.

As my computer doesn’t allow me use Premiere, I had to book many sessions in the University’s editing rooms. The experience was both positive and negative. I found the experience quite therapeutic; I could fully focus on the project in a quiet and secluded environment, which allowed me to develop my skills on Premiere. However, the hassle of constantly booking and making trips to editing suites, and the inconvenience of not being able to work on the project when I wanted to was not ideal.

I structured my interview in a way that I feel delivers some kind of progression. I felt that it was important that Sam introduces himself and provides context about his history and setup before he presents his records. That way, the audience can gain an understanding of what he is about.

I shot a few different endings, but I wanted something that wasn’t so final, such as a farewell message. I decided on a more open ending; while it may be abrupt, what I’m trying to communicate is that record collecting is a never-ending process. Obsessive collectors, such as Sam, are constantly adding to their collection. If the ending were more final, to me, it would feel like his collection only exists inside the duration of the video, rather than outside of it.

The searching for the ‘Found Footage’ was quite difficult. I wanted to use videos for all the artists, but could not find anything that useful (besides the Miles Davis one). I decided to use the many album covers/notes available, and I’m pleased with how I experimented with each one differently.

Overall, I am quite happy with how everything turned out. This can be attributed to the early planning stages; here I was able to work out how practical it would be to meet my vision. My planning, camera and editing skills are developing with each project, and I’m pleased I’m gaining comfort in different areas of media.

Project Brief 3 – Diggin’ W/ Sam La Marca from Ryan Rosenberg on Vimeo.

Week 6 – Workshop: Narrative Structure In PB3

1) What is the ‘controlling idea’ (Robert McKee) of your portrait?
My controlling idea is about obsession. My subject’s obsession is vinyl, but in a more general sense, I want to explore why and how one develops an attachment to something, and what is the inevitable result of it.

2) How is your portrait film structured?
My portrait is structured around my subject discussing aspects of his record collection. This includes his history, where he purchases records, his setup and his collection.

3) What do you want your audience to make of your interviewee?
I hope the audience can relate to my subject; not to his record collection, but the idea of having an interest that is important on an individual level.

4) How is your portrait being narrated?
My subject’s answers act as narration; he is the only one who talks. B-Roll and music both support his discussion, but the focus is always on his words.

5) What role will the ‘found footage’ play in your portrait?
My subject discusses (some) obscure records that are important to him. The audience may not be familiar with these albums, so I have used found footage such as video, photography and audio to give them an understanding of what they are about.

6) Does your portrait have a dramatic turning point?
While not “dramatic” in nature, the turning point of the portrait is the departure from the interviewee answering questions, to him presenting and describing his favourite records.

7) When does this turning point [occur] in your portrait and why?
It occurs towards the end; it’s important to start by providing context of his backstory in order to get to a stage where the audience can focus on and understand his collection.

8) How does your portrait gather and maintain momentum?
The cutting of footage and the audio in general gradually builds momentum. I experiment with shot duration and volume.

9) Where will your portrait’s dramatic tension come from?
There are two cuts to black that represent a shift in discussion. This is to provide the audience with greater intrigue.

10) Does the portrait have a climax and/or resolution?
There is no resolution because collecting records is a never ending process. This video could be updated weekly, as his collection is constantly added to.

Ryan’s Roast – #1: “Texting Friendly” Theatres

If you’re a reader of this blog, you probably know I hate everything. Last week’s blog wake-up call has had me thinking: what ‘initiative’ blogs should I post? So I’ve decided to create a weekly segment, ‘Ryan’s Roast’, which is exactly what it sounds like.

The inaugural roastee is AMC Theatres, the Hoyts of America (that isn’t a compliment). This week they revealed their plan to create “texting friendly” theatres. CEO Adam Aron cited the following reason:

“When you tell a 22-year-old to turn off the phone, don’t ruin the movie, they hear please cut off your left arm above the elbow. You can’t tell a 22-year-old to turn off their cellphone. That’s not how they live their life”

How about screw you millennials. Why must you be the destroyers of every remaining good thing in this increasingly uninspiring world? “You can’t tell a 22-year-old to turn off their cellphone. That’s not how they live their life” – this is what the Gen Xers deserve, because they have refused to say no for years.

The movie theatre is the last sacred venue for art to be viewed. The director created a piece of work to be viewed in a dark room, with no distractions, so you can fully immerse yourself in the experience. Phones should never be used in a theatre, not even in an emergency. If you really want to use your phone, do us a favour and watch the film at home by yourself.

Now it’s not all doom and gloom. The public have (somewhat) restored my faith in humanity by complaining about this poor idea, which has resulted in AMC backing down. +1 to common sense. But the fact that AMC originally considered this to be a good idea is a scary thought.

Read: before and after

Week 6 – Readings/Lecture/Workshop: The ‘Empathetic’ Character

Robert McKhee’s ‘Substance Of Story’ raised some very interesting points on characters desires and narrative structure. One particular idea has had me thinking for days: “the protagonist must be empathetic; he may or may not be sympathetic”.

McKhee defines “sympathetic” as being “likeable”, and “empathetic” as “like me”, or relatable. This week’s Workshop revealed that some who watched shows like Breaking Bad, Dexter and House Of Cards lost interest because the main character isn’t ‘likeable’ enough. But is this purely because they aren’t ‘sympathetic’ characters?

I’m of the belief that today, a characters likeability is now determined by both the audiences sympathy and relatability. The death of cinema is happening because of this shift; you wonder why the most popular films today are kids or action films, where the main character(s) are there to please the audience. Nobody went to see Anomalisa or The Lobster because audiences now go into films knowing how they want to feel at the end of it. For TV, none of the mainstream networks sell shows where characters are deemed ‘unlikable’.

I think about the TV shows I like (Mad Men, Girls, True Detective, House Of Cards), and I like them because the characters aren’t there to please. Who wants a character to be likeable? How boring. I want sensationalism. I want Don Draper to be a man of indulgence, I want Hannah Horvath to be the selfish, entitled person she is, I want to hear Rust Cohle’s nihilistic ramblings and I want Frank Underwood to kill more innocent people. For me, the further they are detached from reality, the more ‘likeable’ they become. This, is great art.

Week 5 – Workshop: A Quick Complaint Pt. 2

As you may know (if you read my blog), my laptop does not allow me to use Premiere freely. Originally, the program would just lag, which is bad enough when trying to edit a video. But there has been a development: the program just crashes now. I open it up and within seconds it’s gone. It’s telling me “don’t even bother”, so I guess I can appreciate its honesty.

I’m in a very awkward position. Apple is set to release a new laptop any day, but I need to edit now. So do I go and purchase a new laptop, only for it to be superseded in potentially a day? I have decided no, I’m going to wait it out.

Due to this, I was unable to successfully edit the ‘Video Interview Exercise’. I have nothing to show. I can say, however, that I was quite happy with the footage we (Reza, Sem and I) collected, considering our tripod was quite problematic.

The poster for the film they made about my laptop’s problem with Premiere:

Failure_to_Launch_2006_0

Week 5 – Workshop: The ‘Aspirational’ Figure

Despite my best efforts to ignore the cancer that is reality television, our Workshop centred a discussion around ‘lawyer’ Gina Liano, a ‘Real’ Housewife of Melbourne. We agreed that she is an ‘aspirational figure’ – something that is at the forefront of the culture.

‘Reality television’ could not be further from reality; it’s a hoax, like God and WWE. So why do so many mindless people aspire to be like the people on these shows?

In this age of celebrity-everything, many live in a world of fantasy. Celebrities represent our desires and we know we cannot compete with them. So as a defence mechanism, we use things like Tumblr and Instagram to pretend like we are a part of their world.

Gina Liano represents everything these people ‘aspire’ to be; famous, glamorous, rich, successful, etc. She is not the only one; reality television stars have taken over the world.

But this isn’t just a problem with reality television. You see this throughout the mainstream; there’s ‘The Aspirational Figure’, The Aspirational Movie’, The Aspirational Song’, The Aspirational Novel’. Art has been destroyed because this is where we are – there are no thinkers at the forefront of the conversation.

One uses art to create art. Although in today’s generation, one uses art (the aspiration), pretend they are creative (using Tumblr/Instagram), then complain when inevitably nobody cares about them. And nobody cares because there are literally millions of them thinking they have something interesting and/or important to say.