If audio is recorded higher or lower than intended, it can be adjusted in editing to make it seem more balanced. However, if it is too high or too low, the editor cannot adjust it to the same level because it can only adjust up to certain level. Therefore, audio can fixed but there are limitations. The optimal level for sound recording is 0 to -12.
Wednesday, April 27, 2016
Friday, April 15, 2016
Avant Garde Critique Summary
A: In terms of composition, our group did okay lining up the shots. However, we did really well in the shots that involved diagonal, vertical, horizontal lines. To improve the usage of these principles of design, we could implement variety to create interest.
Our design was lacking because we put an over-emphasis on the usage of lines. We should have used a more comprehensive range of design such as formal balance, unity to convey more emotions. We could have also used more movements since the camera was still in almost all of our shots. The film also had a majority of closeups, so we should have varied the camera angles to create variety in those closeups.
B: I did well with the sound design of my film as it is appropriate to the nostalgia and sadness that the actor seems to be feeling. However, some of the transitions were not as smooth as I would like, so I will spend more time on transitions between different songs in my next film. Our shots were balanced well with the tripod also.
I realized after seeing my group member's film that layering could have useful for the message we were trying to convey in some of the latter shots, so I will experiment with that also. We also struggled with camera usage in trying to get the overexposure shot, so next time we can just do that in editing. Lastly, the lighting was too constant in the film as we were inside for all the shots. Using artificial light for effects or natural light to brighten up our film would work better.
C: Our greatest strength in performance is Gerry's facial expressions. He did really well in appearing stoic and serious as though he had lost something, which is exactly the message we were attempting to portray.
We could improve performance by subtly exaggerating the posture to show the actor's dejected nature after facing a hardships, such as by having him slump over. In the crying shot, it was hard to tell how he really felt, so exposing more of his would be useful. Lastly, we could attempt to make the background actor more unique rather than just having them as background actors.
Our design was lacking because we put an over-emphasis on the usage of lines. We should have used a more comprehensive range of design such as formal balance, unity to convey more emotions. We could have also used more movements since the camera was still in almost all of our shots. The film also had a majority of closeups, so we should have varied the camera angles to create variety in those closeups.
B: I did well with the sound design of my film as it is appropriate to the nostalgia and sadness that the actor seems to be feeling. However, some of the transitions were not as smooth as I would like, so I will spend more time on transitions between different songs in my next film. Our shots were balanced well with the tripod also.
I realized after seeing my group member's film that layering could have useful for the message we were trying to convey in some of the latter shots, so I will experiment with that also. We also struggled with camera usage in trying to get the overexposure shot, so next time we can just do that in editing. Lastly, the lighting was too constant in the film as we were inside for all the shots. Using artificial light for effects or natural light to brighten up our film would work better.
C: Our greatest strength in performance is Gerry's facial expressions. He did really well in appearing stoic and serious as though he had lost something, which is exactly the message we were attempting to portray.
We could improve performance by subtly exaggerating the posture to show the actor's dejected nature after facing a hardships, such as by having him slump over. In the crying shot, it was hard to tell how he really felt, so exposing more of his would be useful. Lastly, we could attempt to make the background actor more unique rather than just having them as background actors.
Friday, April 1, 2016
Avant Garde Film Reflection
Aspect ratio is the ratio of the image's width to the image's height.
The resolution of an image is the total number of pixels that it contains, with more pixels meaning more detail and clarity.
Overall, this project went very well for our group. One of the things that made it an enjoyable experience was that everyone in the group was willing to be extremely flexible. For example, we used my storyboard and I realized quite a few of the shots I planned were unable to be done with our resources. The other people were extremely understanding, and we brainstormed new ideas very quickly. Additionally, this project did actually give me the camera experience that I shied away from during the chase scene film. I think I also have a much better idea of how to direct a film also. The editing process was also fun to do, as experimenting with the effects showed me how to make our shots more interesting.
However, we did face a few pitfalls. As I mentioned previously, we lacked full planning as we realized throughout the filming process that our storyboard shots were impossible to do. I can improve on this in the future by communicating with my group better early on. Also, we faced some technical difficulties with the cameras. Initially, setting white balance and customizing all the settings took up too much time for our group. Furthermore, some of the effects did not come out as we would have liked. For example, we couldn't get the overexposure shot in the closet well. In the future, I will speed up the daily tasks and realize that shots can be modified in editing also. Lastly, given the size of our group, the majority of our film had to be centered on one actor, giving it an almost monotonous look. Perhaps, we can get other actors from outside our group in the future. In all, however, I am extremely pleased with the end result of this project.
Thursday, March 24, 2016
"The Goal of Film Analysis: Articulating Meaning" Summarizer
In analyzing film, there are three basic types of written statements: descriptive, evaluative, and interpretive statements. These three types are usually interlinked to derive a comprehensive meaning that is developed in the work.
Descriptive claims are the simplest; they involve detailing plot events in sequential form to reach a plot summary. They may also note a certain visual or audio style that is prevalent in the film. Descriptive claim can refer to references, allusions, and intertextual connections. Delineation of genre also occurs in descriptive claims.
Interpretive claims are more thorough responses that present a certain argument about the film's meaning. There are an unlimited number of interpretations of any given film; thus, innumerable interpretative claims can be made. However, such claims must be substantiated by descriptive claims and specific details of the film. Using these details, these claims also analyze the abstract ideas and themes the film presents and attempt to solve what the film is commenting about them. Claims must draw a series of analyses of individual scenes, motifs, and other specifics to arrive at an over-arching argument. Therefore, interpretive claims are sophisticated arguments that seek to be conscious of all the elements that comprise a film in order to construe a detailed analysis of the film's message and its significance. Most importantly, interpretive claims act as catalysts for discussion on subject and themes greater than the film itself.
Lastly, evaluative claims are those that seek to express an author's belief about a film. Strong evaluate claims must include specific reasons that support the claim; of course, every author's standards of evaluations vary. However, by citing reasons, the author gives empirical evidence to evaluate in addition to opinion. Thus, evaluative claims must also follow careful interpretation of a film.
In conclusion, descriptive claims identify details of a film, interpretive claims argue a film's meaning and significance and evaluative claims critique the quality of a film.
Descriptive claims are the simplest; they involve detailing plot events in sequential form to reach a plot summary. They may also note a certain visual or audio style that is prevalent in the film. Descriptive claim can refer to references, allusions, and intertextual connections. Delineation of genre also occurs in descriptive claims.
Interpretive claims are more thorough responses that present a certain argument about the film's meaning. There are an unlimited number of interpretations of any given film; thus, innumerable interpretative claims can be made. However, such claims must be substantiated by descriptive claims and specific details of the film. Using these details, these claims also analyze the abstract ideas and themes the film presents and attempt to solve what the film is commenting about them. Claims must draw a series of analyses of individual scenes, motifs, and other specifics to arrive at an over-arching argument. Therefore, interpretive claims are sophisticated arguments that seek to be conscious of all the elements that comprise a film in order to construe a detailed analysis of the film's message and its significance. Most importantly, interpretive claims act as catalysts for discussion on subject and themes greater than the film itself.
Lastly, evaluative claims are those that seek to express an author's belief about a film. Strong evaluate claims must include specific reasons that support the claim; of course, every author's standards of evaluations vary. However, by citing reasons, the author gives empirical evidence to evaluate in addition to opinion. Thus, evaluative claims must also follow careful interpretation of a film.
In conclusion, descriptive claims identify details of a film, interpretive claims argue a film's meaning and significance and evaluative claims critique the quality of a film.
Sunday, March 6, 2016
Homage to Silent Film
Sources:
Caldwell, Thomas. "Film Review – The Artist (2011)." Cinema Autopsy. N.p., 30 Jan. 2012. Web. 06 Mar. 2016.
Jeffries, Stuart. "The Artist: The Silent Film They Said No One Wanted to See." The Guardian. Guardian News and Media, 08 Dec. 2011. Web. 07 Mar. 2016.
Karpel, Ari. "Tributes That Leave Hollywood Speechless." The New York Times. The New York Times, 07 Jan. 2012. Web. 07 Mar. 2016.
Masters, Tim. "The Artist Pays Homage to Hollywood's Silent Era - BBC News." BBC News. N.p., 17 Nov. 2011. Web. 07 Mar. 2016.
Images
https://peoplesfilmreview.wordpress.com/2012/01/23/the-artist/
http://www.themovingarts.com/the-artist-long-on-art-short-on-plot/
https://opionator.wordpress.com/2012/02/22/the-artist-2011/
http://cinema.theiapolis.com/movie-2TGW/the-artist/gallery/jean-dujardin-as-george-valentin-in-the-artist-1064621.html
http://criticsroundup.com/film/orphans-of-the-storm/
Monday, February 8, 2016
Montage and Meaning
Montage is a type of editing that involves cutting together short shots into a sequence. This type transcends space and time. Usually, the sequence is created by the director to evoke certain reactions from the audience. In this clip, the primary feeling synthesized from the montage editing is anticipation. For example, from 2:18 - 2:22, the scene pans between the protagonist and his opponent creating tension between the two forces and anticipation in the audience. Then, more montage editing reveals the reactions of the people on the sidelines- as a parallel to how the viewer feels. Montage editing, thus, works to create an feeling based on the context. It deviates from sequential storytelling to evoke certain reactions that serve the interests of the director.
Sunday, February 7, 2016
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