tag:blogger.com,1999:blog-14918130729430596042024-02-20T10:44:34.599-08:006by1blog6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.comBlogger13125tag:blogger.com,1999:blog-1491813072943059604.post-77103174167035742872008-11-30T22:30:00.001-08:002008-11-30T22:31:00.524-08:00On the 3d ShootI must confess, the 3d shoot was one of the assignments I was least looking forward to. Not that it would be tedious by any means, but I struggled to find the immediate use that that experience would have on my further film education. Having now completed it with limited success, I believe the primary good it had was to never allow myself to think something is out of reach.<br /><br />I came to class with my obligatory assortment of random clothing to be used to jump start any story ideas we might have. Even less than other projects, this particular shoot was not looking for an in depth story. In fact, anything more than a few people walking across the screen would distract from the fact that it would (at least hopefully) look 3d. Our group naturally selected a scene that involved prostituting a cross dressing hooker.<br /><br />After setting up our two cameras (right and left eye) we slated (to be able to sync the tracks in post) and went through our scene. The only difficult aspect of the shoot was trying to stay within the sight of the camera, and making sure we were using plenty of the depth in staging to emphasize the 3d aspect.<br /><br />The post-production side of things was almost as simple. After importing both tapes into After Effects and syncing them up, our group just put a filter on the top layer. Sit back, get your retro glasses, and enjoy.<br /><br />Having completed the project with a some success I'm forced to wonder if future 6x1 projects should revisit other retro theater conventions. Is Smell-O-Vision a possibility for next year?...6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-36990089878382019992008-11-30T22:22:00.002-08:002008-11-30T22:31:29.672-08:00On 6x1 IIOverall, 6x1 has certainly been one of the most prolific film classes I have taken; and probably the most in this department. The amount of work seems smaller than many classes however because it is spread out from the very first day of class. Working largely in the realm of experimental allows for different films to be created in completely different manners.<br /><br />What it lacks in lecture time is gained from personal exploration, a facet that would be slightly more difficult to continue in a more advanced course. However, I don't believe simply lecturing further on different experimental techniques would foster the kind of creativity a more advance course would no doubt require. Rather than blog about different articles the students could perhaps be required to do a few in depth studies of particular experimental films they found inspiring. This could lead to their own personal exploration of technique and style, tailored to their own tastes rather than the assumption of a professor.<br /><br />More student-chosen assignments would be an apt change for a higher level class. All the students could be given broader themes or emotions to display, and allowed to choose their own methods of displaying such requirements. This could allow each student the opportunity to progress further into cameraless filmmaking, intensive found footage editing, or other means of filmmaking.<br /><br />Although most of my fellow students would probably disagree with me, I thoroughly enjoyed the readings and would be glad, and expect, to see more readings with more in depth topics. If time permitted in class, discussions could be held on the views of the authors and how they might be used to assist the creations of the students.<br /><br />I believe 6x1 II would be an excellent idea for UNC-W to add, helping not only the students to find their own niche in filmmaking, but adding helping put UNC-W on the map for an innovative curriculum.<br /><br /><br />p.s. one phrase: Smell-O-Vision6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-63814023192768018222008-11-30T22:22:00.001-08:002008-11-30T22:31:19.259-08:00On Cucalorus (2)Having been familiar with 'Rhett and Link's' website and some of their work I was shocked to hear they were in town showcasing their new documentary. YouTube mini celebrities at Cucalorus? Since when does Cucalorus care about the winners of the SuperNote challenge or music videos about Facebook?<br /><br />I was pleasantly surprised to witness a wonderful documentary about childhood and curiosity. Obviously not extremely well funded, the documentary's only weak point was its production value. They even admit this, with their own humorous spin when they show an interview whose audio was entirely corrupted by faulty use of a microphone. After narrating essentially what the man had said, they continued their quest to find the grade-school teacher that introduced them.<br /><br />Indeed, what carries the film isn't even really the quest itself, its the characters in which it entails. Primarily Rhett and Link themselves. They both have extensive experience in 2-5 minute shorts and musical numbers, but after spending over an hour with them they proved their jokes and performance could hold up for a more ambitious project.<br /><br />This was comforting because as I watched it I was standing right behind both them and their families. Certainly my most interesting theater experience as I watched them laugh at the jokes that were to come, survey the audience for flat spots in the film, or groan at different areas they wished had turned out better.<br /><br />The ending, like the entire film, was tidy and happy. Ms. Locklear turned out to be not only quite photogenic, but a perfect character for the documentary. She happily allowed them to interview her and follow her around a typical day. A factor I know at least I was quite worried about. The problem with a documentary of that kind is the threat of succeed only to discover that your goal didn't end up making for a good film. In the case of "Searching for Ms. Locklear', this was certainly not the case.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-16442388312755114612008-11-30T22:21:00.001-08:002008-11-30T22:31:11.888-08:00On Cucalorus (1)My first experience with Cucalorus was a long line for the student screening and an anti-climactic rejection. I had already seen a fair number of the films that were to be screening in the student festival so I counted it as only a minor loss.<br /><br />Learning from my previous mistake I found my way downtown and parked myself in the black box at Thalian and waited. The Cinderella Shorts were thirty minutes from starting and by the looks of it only a few elderly couples were to be my companions. Much to my chagrin the crowd did fill out but only a few minutes before the show began.<br /><br />Overall the short films were an excellent batch. Each inspired me in their own rite. A few, for the reminder that as long as you put together some effort to actually create something, someone will appreciate it. Too often I think writers don't allow themselves to write imperfect scripts or stories. Obviously there are benefits to a perfectionist mindset, but if it comes at the cost of having no self confidence, then that person is simply a perfectionist, and never a writer.<br /><br />That said, I felt like many of the shorts had some weak points in dialogue or plot points. I realize no piece of work will be perfect, and I will always be overly critical of my own work, but the important thing is to at least have created something.<br /><br />A few of the shorts inspired me in a completely different way. They reminded me of the power of good writing. What a few lines of dialogue and the actions of characters we've only known a few minutes, can do to an audience. This power is both fascinating and dangerous. Fascinating because no audience member will leave the theater the same, and dangerous because it can happen without the realization of anyone present.<br /><br />The last film, "Glory at Sea" was insane. Extremely poetic, almost nonsensical throughout. the production value was obviously generations beyond any of the other films. What inspired me the most however was the music. It was almost overly sentimental, swelling on cue with the action, and romantically composed with an orchestral feeling. It broke from action with sudden cuts that reminded the audience where they were. Refusing to follow narrative norms and attempt to suspend the audience's perception of time and place, the musical interruptions both annoyed and fascinated me.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-58246509740004634122008-11-30T22:10:00.000-08:002008-11-30T22:29:08.560-08:00On 48 hour Video RaceI've always thought a 48 hour film festival would be extremely fun to participate in. For a class to be doing it sounded very little like a school assignment, however naturally 6x1 would have to change perspective a bit on something normal. This change didn't make the assignment any more like school, just forces the 'student' to think outside of the box.<br /><br />No device who's primary use is motion capture. My initial reaction was probably the same as the rest of the class. Everyone always says the fact that in 90% of American's pockets lies a camera has changed culture and everything about it. The YouTube generation can be found guilty of almost anything in low-res and viewed for free. Having spent three years in film school makes one more than a little hesitant to even watch something of such poor resolution.<br /><br />My second thought on capture was the webcam on my laptop. Certainly a higher-resolution, with the added bonus of automatic transfer onto my hard drive. Still seeking for a high-res solution, I thought of my digital camera. I experimenting with taking a series of stills, but after messing with the settings could still only get 3 or 4 pictures before the camera had to compute everything. Certainly an option, but perhaps not on the scale I had hoped.<br /><br />I came back to the cellphone, imagining the possibilities that are offered at the cost of clarity. The relative weightlessness of it allows for some acrobatics that would be dangerous or impossible with a more standard camera. I've always loved the opening shot of 'Touch of Evil' when the camera cranes through entire sections of town and finds its way to the main character. A rig like that would be easily achievable with a camera-phone, and something I hope to accomplish.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-91797366180270363762008-11-30T22:07:00.002-08:002008-11-30T22:28:56.332-08:00On Yes MenThe 'Yes Men' film was an interesting film to watch in a class room environment.<br /><br />A rags to riches story for any aspiring student of theater, or anyone simply looking for fame. But [find the names online] aren't in it for the fame. At first glance, making a documentary about yourself (an 'auto-documentary'?) can seem pretentious, but the two don't seem to be wanting their faces plastered on the news. Indeed, doing so would be detrimental to their deeper goal. Social change.<br /><br />One of the most fascinating aspects of the film, to me, was the origin of the [find names online] From buying hundreds of GI Joes and Barbies simply to return them to the store with traded voiceboxes, to hacking into SimCity's code to give players a few surprises. When the two met and start working together their high profile pranks take a turn. To watch as two pranksters become movie stars with a message makes for a fascinating documentary.<br /><br />I was continually reminded of the NY based group 'ImprovEverywhere'. They both attempt to use a sort of urban theater to progress their agenda. In the case of 'ImprovEverywhere' that goal is simply to wake people up from their routine patterns and find entertainment in the typical. While the 'Yes Men' certainly succeed in changing people's days, the change is viewpoints and perspectives.<br /><br />One of the best Improv Everywhere urban sketches:<br />http://www.youtube.com/watch?v=luVcCs0UMB06by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-83975597419219815862008-11-30T22:07:00.001-08:002008-11-30T22:28:45.277-08:00On Molotov ManThis article fascinated me in the way in which my mindset was changed entirely while reading. Initially I supported the artist in allowing him to create his own rendering of the photograph. A stance I'm sure most people (other than lawyers maybe) would naturally take. Garnett's respectful treatment of the situation solidified my opinion even more. As the concept of 'owning' art becomes more and more developed the trend towards freedom seems to be natural. Technologies allow for copies of music, video, art, ideas, almost anything, to be transferred for free. Of course, those creating these things almost always need to eat and pay rent, and as they would like to be able to concentrate on their particular expertise, the ideal world is one that pays them to do just that. The flip side is that in order for many good artwork to even exist, the artist does need to be able to be full time. No where is this more of an issue than in the film world. If billions weren't spent on consuming movies, the only way we would have any films would be in extremely small circuits, void of any of the benefits expensive technologies and great actors.<br /><br />After reading the photographer's section of that article I was fascinated at the way in which my perspective entirely changed. To have recontextualized this man's struggle, albeit innocently, had the effect of almost mocking the things that he stood for. I think the ultimate lesson is to realize that there will always be consequences for taking things and placing them in new contexts. More often than not it will not take on as much importance as 'Molotov Man', but the fact remains that everything changes for any piece of artwork when it's context is changed. The photographer says it much better in a quote that I believe sums up the article and my thoughts afterwards.<br /><br /><br />"Technology allows us to do many things, but that does not mean we must do them. Indeed, it seems to me that if history is working against context, then we, must, as artists, work all the harder to reclaim that context."<br /><br />Two other little snip-bits I thought too good to ignore:<br />"The process of framing an object in a lens was often enough to create the change they sought."<br />"...hidden details of familiar objects..."6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-54238313639047899892008-11-30T22:06:00.001-08:002008-11-30T22:28:36.261-08:00On The Saturday ShootOctober 11 started as a dreary day with no sign of blue anywhere in the sky. Even the rain seemed too apathetic to decide if it should just get it over with or linger the entire day in sporadic drizzle sessions. Normally the prospect of having to go on campus for school on a Saturday would be annoying at best, in this weather, purely dreadful.<br /><br />However, I happily rummaged through my closet for some sort of elaborate costume for what would be my first 'real' film shoot. Once I arrived to the classroom our group began to plan out our one minute narrative. With no sound, and only one shot at a one take short, our plot had to be somewhat sparse. We ended up with a "trade-off" of a mysterious briefcase between two ridiculously clothed men. For comedic effect, the recipient of the case would then be tackled by a runner coming from off screen.<br /><br />The shot required only a long sidewalk, a simple dolly movement forward, then back as the recipient walked toward the camera. Thankfully, the rain held off when we actually began practicing our camera movements. My position was the dolly grip, and my enemy would turn out to be the cracks in the cement, each one jolting the camera and skewing my path toward the grass. After a few run throughs for timing we ended up succeeding in producing my first 'real' film.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-49556757661157515732008-11-30T22:05:00.001-08:002008-11-30T22:27:51.500-08:00On FilmScratchJunkies (a 2nd Glance)I had the refresh myself with the FilmScratchJunkies by looking at some YouTube clips of their work to get into proper context for writing a second response. The weakness of experimental, or perhaps simply in my greenhorn approach of it, is that after awhile, any one artists work begins to meld into one another. I searched through a number of different videos, never really sure if I was watching the very same we did in class, or something completely different. I remember a few scratched films of city life, a firefighter in particular, but nothing else stuck out.<br /><br />After completing some of the camera-less projects for 6x1 I begin to realize why this might be true. Though there are a number of approaches to camera-less filmmaking (which to be fair is only one small subset of experimental) most film paintings are almost immediately identified as such, and the speed at which they progress doesn't allow for an ambitious film painter to create a masterpiece, more importance seems to be given to the creators whose work is prolific enough to be given notice. Similarly, though to a lesser degree, magazine transfer and film scratching start losing any clarity and quickly become a series of abstract paintings flying across the screen.<br /><br />My tone thus far has probably seemed extremely condemning of this section of experimental film. I don't intend to tout my personal preferences as a definitive definition of what makes something art, only my personal preferences. Indeed, I truly have enjoyed creating my own films in the style, and to be fair, they have been obviously a lesser quality than the other films showcased in the class. I haven't been particularly disappointed by this because I don't seen myself doing something like this as my primary medium. I find it very interesting and will continue working on different aspects of it outside of class, but never with intentions of festival showcasing. Rather, I will continue to do so simply for the love of creating film and the desire to have explored all corners of it.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-81175914767165428122008-11-29T13:56:00.000-08:002008-11-30T22:26:58.575-08:00On Camera-less FilmmakingOne of the first films I saw in a UNC-W class was Brakhage's Black Ice. I remember at first thinking of it as little more than a pretty screensaver. As it progressed I became entranced with the way in which it was created. Absent were any of the perfections one would find in a computer rendering. It was raw and unforgettable.<br /><br />I experienced a similar interest in the means of creation with the Film Scratch Junkies film that was first screened in 6x1. Again the sense of almost mystical images plagued my mind on how something so unnatural looking could look so organic. To my surprise we dove in on the first day into exactly this mystery. Everyone in the class was given some stock footage to scratch, color, paint, and in any way alter. The tiny images made little sense in the 6 foot segment given me, what looked like a series of almost identical pictures of a baby. Being free from the chains of creating some continuous narrative, I began creating my first 6x1 project.<br /><br />Naturally we only started on what would be our minute-long film. As I walked out of the class I wondered how best to preserve my 9 feet of stock footage. The first real film I had ever worked on I clutched to it like a child making sure as to not drop or bend it in any way. My solution to find a more permanent container came as soon as I finished drinking my bottle of orange juice. I left a small amount of juice in it to experiment further with my already altered film. When I tightly rolled the film up and placed it in the bottle I noticed that the orange juice would come in contact with the film at each turn of the roll. I assumed this random occurrence would create an unspeakably cool effect on the film strip.<br /><br />A week and a half later when I pulled out the film I anxiously unrolled it to see what the orange acids had done to my film strip. Sadly, they had simply eaten away practically all the emulation that they came in contact with, not quite the amazing effect I had hoped for, but it was an interesting experiment.<br /><br />When we did eventually splice all our films together to create our group film it was an awesome experience. To see, for the first time, our creations on the screen rather than simply in our novice imaginations. I was surprised at the difference in viewing experience knowing how the creation was made and what each of its elements entailed.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-82467244360253248372008-11-18T10:28:00.001-08:002008-11-30T22:27:32.289-08:00On WellsHaving always been fascinated by early Disney cartoons the Well's articel proved to be an thoroughly enjoyable read. I can very distinctly remember opening our VHS cabinet many years ago and scanning over all the Disney movies our family (as every 1990s American family) had purchased. They had their own shelf because their large plastic cases formed a more organized row than if they were merely scrambled with their smaller (and infinitely less important) VHS cousins.<br /><br />While I also spent hundreds of hours watching Wile E Coyote and other Warner Brothers cartoons, it was the feature length cartoons that were too important to be interrupted by commercials that captivated, rather than entertained me. I recently re-visted that treasure trove and dusted off our old VHS deck to watch some of Fantasia. Having a much deeper appreciation of the beautiful musical compositions I was spellbound by the way in which the image gracefully matched the music. Colors and patterns rhythmically take the viewer out of the living room and into a world of imagination. I chuckled to myself as various scenes including fish came on, thinking of the new generation of children's entertainment. Had Finding Nemo been set to Wagner perhaps it would be a masterpiece, but I can't help but think the picture would not succeed in doing justice to the music.<br /><br />Something that instantly struck me as the central point regarding experimental animation was a quote from Moritz and Wells' response. First the quote:<br />"The true abstraction and the true symbol must have an intriguing spirit and intergrity of its own, and it must suggest more meanings, various, almost contradictory depths and speculations beyond the surface value; otherwise, why bother to obfuscate? If the viewer comes to the point of saying, 'Oh, that represents the police and that represents freedom,' then that revelation is about as interesting as, 'Gee, Donald Duck drives a car and mows his lawn just like an average American; he must represent the average irascible American!"<br /><br />"Moritz, in determining the necessary requirements for the truly abstract film, and the role of its audience, simultaneously distinguishes the kind of film which, in my analysis, would constitute developmental animation in the sense that i would be deliberately using animation in a directly metaphoric way and not working the in the realms of the purely abstract."<br /><br />This, I believe, is what separates a novice from an artist. Knowing how to articulate a meaning beyond the obvious, first gut reaction. Advice that can begin a novice on the journey to becoming an artist can be found in another quote from the article:<br />(regarding experimental animation)<br />"This kind of subjective work has therefore necessitated that audiences respond differently."<br /><br />I believe this to be the crux of any discussion on avant-garde cinema or practically anything experimental. Viewers must forget preconceived notions of story or plot or development if they become obstacles to enjoying a work of art.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-81057598778307713562008-11-17T21:48:00.000-08:002008-11-30T22:25:33.770-08:00On BrakhageBrakhage's article opens with an extremely rudimentary explanation of how camera-less filmmaking begins. He visually describes every step that a novice filmmaker will take, even their first handling of unexposed film. His attitude throughout the article reveals a genuine love not only for film, but for the journey new filmmakers take in finding their own ways to create. This kind of passion is quite encouraging to someone who might disregard experimental film (camera-less in particular) as nothing more than a random result of arts and crafts. Unlike professional productions, what Brakhage talks about is the enjoyment of filmmaking in both viewing and creation.<br /><br />As he begins to describe how a splice is made he expresses an extreme sense of wonder and almost nostalgia to beginning filmmakers. His close attention to detail and careful warnings of the different pitfalls of splicing demand the attention of only the most dedicated filmmakers. Brakhage seems to take for granted that everyone will instantly fall in love with film the same way he has.<br /><br />Reading through the Brakhage article makes me realize some of what separates those who simply create and those who are remembered for having changed the way in which people create. A passion deeper than having a cool sounding major in college, or a fun job afterwards, or maybe even something that just seemed like less work than other professions. Artists understand their medium, from the technical ways in which their art comes about, to the meaning of the overall aesthetic that results. Brakhage not only seems to have an intimate knowledge of every aspect of his craft, but also a deep desire to create a particular mood or emotion. This exposure to such a genuine enthusiasm for film has encouraged me to continue my own journey in learning more and more about filmmaking.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0tag:blogger.com,1999:blog-1491813072943059604.post-73965711498522428022008-11-08T06:53:00.000-08:002008-11-30T22:25:13.975-08:00FILMscratchJUNKIESThe colors and pace seemed to reference a busy city. The construction worker at the beginning followed by the colored moving lights that stopped and went like cars or traffic lights. As the pace of the music and images changed it was as though the viewer too was moving through the city to a different section of town that has a unique mood and atmosphere.<br /><br />I find it interesting to look at my own reaction to experimental film. Before even considering film as a potential field of study in college I had always found different experimental shorts I would come across very interesting. Some of the particularly avant-garde pieces would confuse me, but even if I found it physically painful to listen or watch, I was always fascinated by the way in which something so other-wordly could be created by a person. (And as experimental film often allows, just one individual)<br /><br />The transition to actually studying film has both de-mystified experimental and given it more meaning. After studying pace in editing, graphic matches, the way in which sound and image relate, experimentals have more depth and yet I can begin to see through the layers. I hope throughout the class this de-mystification will continue as I create my own short films.6by1rudolphhttp://www.blogger.com/profile/16971525068387842530noreply@blogger.com0