Gotta get me one a 'dees!

Well I'm sold.  I was convinced to purchase the 7D as soon as I saw its ability to cut light as well as seemingly create it.  With its use of light magnification, it can pull gradual light from anywhere within the frame and use it if it needs to, just like night vision.  Now THAT'S COOL! I haven't gotten it yet but will within the next couple weeks.  I have already made the decision. I can't wait to have a reel at the end of next semester.  The best thing about the DSLRs though, in my mind, is their portability.  I want to travel the world and film it. I can't be totin' around an EX3 the whole time if I'm packing through some jungle somewhere, or hangin off a cliff with climbing gear.  It's also amazing at still shots and even the cinema look that everyone is always talking about.  I'll want to use other cameras in the future, but until its proven differently, I will come to love my DSLRs I think.

Good DP'n reel

I feel like the most important, and maybe it's just me, part of a DP Reel is the music.  Music does more for feeling than sight ever could.  It's technically a true vibration within your body. Now, grant it, your shot style has to match your music a little bit but more the most part you can edit anything to any tempo.

Which brings us to our next point, editing is important.  Whether you have good shots or bad shots, you can make them look better with timing to the music and general matches in tempo.  The tempo of the shots should basically match the tempo of the music.  Even when you slow and action sequence down and have a light song playing.  If done correctly and with the right timing, it can be rather fascinating. Tarantino has a talent for this.  I love the music in his film but regardless, it's a DP reel.  It's harder to do that without much time but can be done if juxtaposed with the right images.

REEL and Artist Statement and Final Course Reflection

Sorry to say that I couldn't get my reel to work and imbed so I will simply send you where you can find it or you can look me up on facebook. It is posted on my wall.(Rachel, I emailed it to you.) I will continue to try and still post it if I can.


THANK YOU GUYS FOR AN AWESOME SEMESTER!


Here goes... final statement from a Day in the Life of David Cordell.

Wow, how far have I come since the beginning of class?  It's quite obvious considering I didn't even use any of my footage from my first portrait of a place assignment. I liked what Clayton said in class today when he referred to his interests in film making.  He said he was always interested in film, but it wasn't until this class did he truly get addicted and build an obsession for the art.  I could completely agree with that.  Three things that I learned and gained from the class were, first and foremost, relationships with my fellow peers, a huge jump in technical abilities and ideas, and a solid start.

I was most impressed by learning and gaining a working relationship with my classmates.  By gaining an understanding and trust in each individuals unique talents, a beautiful thing called collaboration is created, and through that, we can't paint some beautiful pictures.  I liked that no one had the same style and that I could easily tell who I worked well with and would like to again in the future.

As far as technical abilities go, I was just finally able to get my hands on a good camera.  I honestly want to buy a good camera but have never been familiar enough with the technology to convince myself to purchase a good camera.  I would just get mad that I didn't know how to work it. Luckily I was already decent at lighting so I was able to concentrate on other things.  I've become obsessed with nature. well, always have been i guess, just one film this time.  

Lastly, I feel like I jumped into this department knowing no one at the beginning of this semester, head first, without having a clue what a c-stand was or ever having any kind of cool footage I could call my own.  I just feel like I got a really good start.  I'm excited about what my reel will look like at the end of next semester, or that I even have on in the first place.  I feel like I already have a good resume going and that's great.  Overall, I enjoyed the class.  It was one of my favorites for sure.

$$$$$$$$$$$$$$$

OH the money shot.  Ha.  I never thought I would use the term so much.  I guess a good money shot are those in films that make you feel rather than think. It’s those shots that leave you with something more than just furthering the plot.  I think a good money shot is one that expresses the true artistic touch of the Director and DP.  It doesn’t show the actor’s skills.  It can make anyone or anything look good given the right conditions.  With nature we often have conditions like weather and time of day.  Any option within these boundaries gives plenty to work with.  There are 4 seasons and transitions from each.  Also 24 hours of different light in a day. THERE ARE SO MANY OPTIONS!  With interior designs and shoots, its more about framing and placement of objects.  Getting frames within frames and finding a purpose to inanimate object and adding things like personification and symbolism. The colors have to be right.  The light has to be right.  The framing has to be right.  All these things make us feel more than anyone really notices.  That’s why I used to love lighting in theatre. Because in the end, they did come to “watch” a play or movie.  So why not play with their eyes? Make people believe something, but only for a moment.  Bring them into this wonderful and exciting world of illusion. Or maybe show them something that actually exists and they still don’t believe.  Any way you want to look at it, I’m obsessed with film now.

Favorite Short Film

http://www.youtube.com/watch?v=_4WkB8i8D4c

Sink or Swim, a mocumentary about a male synchronized swimmer, is not my favorite but is certainly a good example of the feel I would like out of my mocumentary that I want to shoot in the spring.  All the shots have a good contrast of light and a great feel to the depth of feel.  I think that there is a great relationship to take the documentary style to a made up comedic story.   Like I said, its not my favorite I don’t guess but the feel of it is great. Quick shots to keep the energy up and great edits and conversations made the film.  I love finding a spot to set up for and interview.  In a mocumentary you can do a lot with the set behind the character being interviewed and make subtle hints about the plot line or whatever. I just love the idea of having the ability to control what interviewees say, not by asking the right question to get the right answers but rather writing their answers in order to set yourself up for a better question, more in depth, maybe crazier and funnier. 

Camera Movement

http://www.youtube.com/watch?v=PmILOL55xP0

I really like these takes from Full Metal Jacket because of the smoothness of the handheld camera.  Its almost as if a dolly was set up imperfectly for a reason to give it a somewhat smooth feel while you are behind the troop, but still choppy. This gives you the effect that you are walking along behind everyone and getting a view from the back.  When our main character realizes he is in charge and has rounded as a character at this point from the experience of “takin out the sniper.” This time the dolly was set correctly and level to give a smooth and controlled feel as we follow along our main character.

http://www.youtube.com/watch?v=7UwJtDRQkoE

I really like this example from Eternal Sunshine of the Spotless Mind.  I am mainly talking about the camera movement during the sequence/montage of him collecting anything that reminded him of her.  Its all extremely rough, BUT NOT TOO F’N “CLOVERFIELD” rough, but rustic and hasty.  I feel like it shows the frustration of our main character and does well showing his franticness in each individual item, from ripping things out of his journal to grabbing the coffee cup with her picture on it.  A lot of the movie happens in Carrey’s character’s mind therefore it gives room for a lot of experimental lighting and camera movement. 

Another thing that I like in the area of camera movement is the use of extraordinarily long shots or takes.  I love when a lot of things happen all in one take.  It takes a lot of artistic planning and vision to plan a lengthy shot out and still make it perfect.  Conversation is not used enough anymore in film.  People want explosions now, not witty conversation. I don’t understand that.  I don’t have any good clips but one example of a film maker, that uses this talent and method, that I really like is Quinton Tarantino.  There are several AWESOME and extremely long takes in Pulp Fiction and Jackie Brown, scenes also full of good conversation and/or action.  Maybe its my theatre background but I feel like this is not done enough anymore. 

Scene Assignment

Scene Assignment "A Foot Massage" from Pulp Fiction

!!!OK!!!! Here's my Shot by Shot analysis! SHEESH!

I chose the Movie Pulp Fiction because it definitely represents a style that I enjoy.  I'm a theatre major.  Therefore, sometimes I enjoy a more theatrical approach.  The lighting in this movie amazes me sometimes and the framing is pretty close to perfect as well. (Cinematographer-Andrzej Sekuła)

The scene starts in a strip joint during the the slow hours of the day. Aging prizefighter Butch Coolidge (Bruce Willis) accepts a large sum of money from Marsellus Wallace (Ving Rhames), agreeing to take a dive in the 5th round of his upcoming match. I like this scene because it takes you into the world of the mob leader and gives you an idea of what they might be up to during the day.  We see an over the shoulder shot, not yet seeing Marsellus' face, of Butch's face.  He is in the left 3rd of the frame and we can see easily, but slightly out of focus, the environment around him.  I like the red gel being used. Not only is this the feel of the place, Red, Hot, Exotic Dancers, but also with the dirty blood work involved in what you might call the mob bosses "day job."  I like that the blue lights along the stage and the light above the bar counter the red and almost frame Butch within the frame.  He is in high contrast lighting, showing an almost mysterious side of his face.  Because of this, we know that he may not do everything that he is told.  

 Next we cut to a further away over the shoulder shot as Butch stuffs the money into his jacket.  This is the first time we see Marsellus, but still remain to see his face. Notice that all you really see in this this long dialogue filled shot is that DAMN band-aid!!!!!  It's almost like the ear rings frame it.  It also jumps to the left third of the screen exactly where butch's face was located in the last shot.  Our eyes jump to it immediately.  Butch's face is well framed over his shoulder as well and for the first time we actually see a stripper pole in the back ground and even more color comes into the scene.

We jump back to Butch's face as he is required to repeat out loud that he will "go down in the 5th."  This is a very emotional close up with that low level lighting assuring us that he may not "go down in the 5th." After all, he doesn't think he's getting old.  He thinks he's a bad ass that can beat anyone anyway. I mean come on, its Bruce Willis!

This is a little unimportant, but I think it might be there for establishing the fact that it is daylight outside and that the bartender knows these two guys entering the joint.  

We then go to a full dolly shot, sideways, and follow Jules Winnfield (Samuel L. Jackson)  and Vincent Vega (John Travolta) into the bar wearing their ridiculous cloths.  As the dolly stops the two sit perfectly in frame at the bar staring back across towards Marsellus.  

The briefcase that the movie is so abstractly centered around is sitting in plain sight but the light below the bar has been flagged so that the case almost disappears into the floor.  Both are identically and equally framed, as done in several other scenes maybe as a racial message. These two are friends, and though they may disagree on certain things quite a bit, they never cease to find something novel or inspiring to tell the other or talk about.

Next we cut back to that Boss' world with the really rich red tone as we get a perspective shot of what Vincent and Jules are looking at across the lounge.  Butch and Marsellus are framed within the columns and the shot goes on forever behind them because of the mirror.

And so we bring Vincent and Jules into this world.  The concentration in the framing draw our eyes to Vincent and Marsellus behind him.  

The Bartender gives Vincent shit about having to take Marsellus' wife out for the night and the scene goes to show Vincent's frustration knowing what The Boss had done to the last person that gave his wife a foot massage. Jules goes to the bathroom laughing leaving Vincent alone.

As the "bad ass" (butch) walks up to the bar he challenges the look that Vincent, an unknown hit man for Marsellus, gives him. After all, the light looks much cooler on Bruce Willis because of the color in the jacket that he's wearing rather than looking almost like he's in a pink t-shirt, Travolta. Not only that, but now Butch has taken the place of Jules at the bar and suddenly the energy changes. There's only one guy, from Butches perspective, in goofy cloths, not two. We know this because of the last shot where Butch's back was to them when Vincent and Jules walked in.  Marsellus is perfectly framed between the two, blurry, almost blending with the background. WE HAVE YET TO SEE HIS FACE, even though we are looking right at him!

Marsellus calls Vincent out at Trovolta delivers the line "You heard me, Punchy," (I love it! hahaha) secretly he knows he has no problem shooting him right there.  Butch realizes the familiar tone as his face turns and fills into the light.  Then, as Vincent walks away, the camera does this nice follow circle around  Butch as he turns his head to follow Vincent, with his eyes, across the room.  I do not have that shot but it does turn to this perspective shot from Butch as he watches Vincent and Marsellus hug:

It almost shows Marsellus' face here when they pull away from the hug but just as you think your getting a glimpse, a well place flag cuts light and cast a shadow over his face.  We can also now see the whole room and now have a good idea, spatially, how it's set up.  It makes it feel a little more comfortable to the viewers eye rather than blurring the back ground a lot before and only being able to slightly make out what kind of furniture was in the room.  

The scene finishes, before Butch's character walks out the door, with a close up and the reaction that "billy bad ass here" has about the obvious realized friendship between the guy that just tried to pick a fight with him and the guy that's basically bending him over by convincing him to throw the fight.  It's seems so just when Butch gets off Marsellus' hit list (Butch doesn't throw the fight, wins, and skips town with the money.) by saving him, with a samurai sword, from getting bent over himself by a good ol' man named Zed. Well, almost in time. Ha

Ahhhhh. That's niiiiiice. Lighting...

First of all, before the examples, I'd like to point out that lighting effects me the most.  I feel like music could be a close second but our eyes are very in-tune tools when it comes to recognizing expression, body language, and where the lighting comes into play, setting. That "perfect shot" always seems to be lit a very certain way whether it is intentionally bold or subtle.

Starting with natural light (left), this is a great example of the use of magic hour early in the day.  It projects a warm soft feeling as the light reacts with and moves through the early morning moisture in the air. The boat is literally traveling with the light and there is use of "look room" or "leading room" in front, considering the boat is in the right third of the frame.

This (right) is a good example of high contrast lighting skills mixed with of course, a beautiful set of eyes.  I guess it makes a difference when you simply have the right talent to light.  Her key light is strong and there is hardly any, if any, back and fill light.  This is when that beautiful triangle of light is projected on the opposite side of the face and almost capturing the other eye but is left to the mysterious look.  There is also use of an object blocking the light, making the shadowed line across the side of her face with the key light.  This could be a small type of flag or gobo, or it could be as simple as a stick or branch mounted or held between the key light and and subject.

Screwin up = Learning (Portrait of a Place)

Overall, I feel like I learned a great deal more from hearing the, obviously, more experienced classmates talk and give advise about each others projects.  I can't even express how much I learned about the process of setting up certain shots (f-stop, shutter speed tricks, camera movement, etc).  I also got a kick out of having not only good, but bad examples to work with and discuss.  I can say this because mine was amongst the most terrible.  In the movie and scene critic world, its easy to get lost in the work and not notice certain effects and techniques.  In fact, it's even more noticeable if techniques cease to be used at all. It's hard to talk about something close to perfection until you note the works that are far from it.  I can't wait to get another camera in my hand and work on another project.  I feel like I can do nothing but improve.

JVC or SONY? I choose door number 3.

When it truly comes down to it, I really didn't get to use the SONY as much as I would like.  I felt like I was more familiar with the SONY, true. (though i might have been sick for the JVC tutorial day)  But, in my familiarity with the controls on the SONY, I am completely unfamiliar with the way one transfers the raw footage from the tapes into FCP. Therefor with the simplicities of these two cameras, I must choose the JVC with its ability to transfer files digitally, straight into a quicktime file and immediately usable in FCP.

The JVC seems to have an ease with the white balance button but who cares when it comes down to it, as long as it is somewhat easily accessible. I did not, however, like the fact that the focus and the zoom were on the same dial up front.  Maybe it was my brain deadness, but I found myself forgetting which side the toggle was on and screwing up shots, having to redo them, and ultimately wasting time. I guess I could learn to pay attention more the more familiar I get with these two cameras.

Bottom line, I think it will be better when we move onto the higher grade cameras and get a chance to venture out more with our abilities and options, considering there is not too much difference between the two pieces of equipment. As a whole, I liked the digital factor from the JVC but haven't thrown out the idea of tape at all if I can get a better picture out of it.

Roll Tide

What are my goals? Geez...... that's hard

I feel like one of my biggest goals always is networking.  Networking, in my opinion is the only real way to ever achieve anything, especially in this line of work.  I am excited about meeting and working with other people that share my passion for catching those "perfect shots" and the thrill you get, more importantly, when you show others your final work and it moves them in whatever way. I want to change the world somehow and with the way the world works visually and through media, I think that it becomes a great medium to reach people.

I certainly have a dream to have my own travel show and have enough theatre and "in front of the camera" experience to be able to get in front of the rest of the world like that and show people things they couldn't even imagine.  I think THAT is my goal more than anything else.  I want to show the world all these amazing things that they didn't know even existed. But, how am I going to do that? I need a camera. I need people that I can trust and that I have worked with.  I need a knowledge of what goes on behind the camera in order to help not only the shooting process and having all the right coverage, but also post production.

This class for me is also an experimental stage to see how I can achieve certain shots. Like anything else it becomes trial and error a lot but I feel like I have a good eye for framing at least and want to perfect it with lighting, angle, and simply learning crazy shots that I've never thought of before. I have a love for reflective shots, (mirrors, water, windows, sunglasses, etc.) and want to prefect that skill.

More importantly than anything else, I want to use this as a time to get my hands on as many different types of cameras, that might or might not do different things, as I can so as to gain a knowledge for the equipment I will end up investing in. I am a control freak and would not only want to own my own cameras for my show, even if I wasn't operating it, but I also want to know the ins and outs of how to work it.

Bottom line, I will have a travel show, and this is an amazing stepping stone and opportunity to learn things that will be extremely important for me to know in the near future.

"My country is the world, and my religion is to do good." -Thomas Paine

CONTRAST

This first few picture starts with my love for contrast.  In this still (above), there are several things that seem to assign depth to the picture. The camera is focused on three things as well as the light only hitting three things relatively. The first is chair back in front of him, then daniel Craig's face, then the shelf behind. 

This picture (left) could almost be placed in my framing category that you'll hear of next but I chose it for contrast because of the light in the center of the room surrounded by darkness.  

This picture (right) is great to me because it shows two completely different feelings in several ways. First of all there are his feelings and that can be shown through the acting skills as well as the way the light is soft on him.  I chose this for contrast because he, in a non forceful but persistent way is enjoying this or trying to and she, sadly is not.  Hints her face and body language.  The LIGHT IS MY FAVORITE PART!!!! with the softness on him and hard sharp light on her face make an argument for obvious disagreement.

LOCATION AND FRAMING

I have a love for great and overpowering, awing locations.

Another notable things about these pictures is their use of framing, achieving grasping as much as one can or might in only one shot.

Silhouettes

Backlighting, in my opinion, is the strongest type of lighting you can use. It creates a overpowering feeling that almost dehumanizes what ever is being framed, making it almost god like.  

PERSPECTIVE

Last but not least, camera tricks, or camera placement rather, can make things: big and small, bright and dim,  cold and hot, near and far. Things can look, feel, and simply be completely different just because of the camera placement.  

10 Favorite Quotes (plus 2 cause I couldn't decide)

"My country is the world, and my religion is to do good." -Thomas Paine

"All that we are is the result of what we have thought" 
-Buddha

"So let us go forward, quietly, each on his own path, forever making for the light." 
-Vincent Van Gogh

"Go confidently in the direction of your dreams! Live the life you've imagined." -Henry David Thoreau

"Imagination is everything. It is the preview of life's coming attractions." -Albert Einstein

"Reality is that which, when you stop believing in it, doesn't go away." -Philip K. Dick

"When the people fear the Government you have tyranny, but when the government fears the people, you have liberty." 
-Thomas Jefferson

"Common sense is not so common." 
-Voltair

"I'm growing older but not up. . . I'd rather die while I'm living than live while I'm dead."
-Jimmy Buffett

"You'll get mixed up, of course,
as you already know.
You'll get mixed up
with many strange birds as you go.
So be sure when you step.
Step with great care and great tact
and remember that Life's
a Great Balancing Act.
Just never forget to be dexterous and deft.
And NEVER mix up your right foot with your left."
-Dr. Seuss

"If you can't sleep, then get up and do something instead of lying there worrying. It's the worry that gets you, not the lack of sleep." 
-Dale Carnegie

"I choose. . . BOTH!" 
-Towelie