dmschneider

david schneider

SKAM Austin

After reading the article on SKAM Austin and skimming over the video series itself on Facebook, I don’t know how I feel about it. It seems great that this series stays abreast on social media – but I also feel like this constant barrage of staying in the loop of the series on all forms of social media begins to saturate the user/viewer.

I understand the idea of FOMO otherwise known as the “fear of missing out”. I think it is my generation’s great sickness, but that’s another topic. This marketing technique on social media is either highly effective to the users who view the series, or it may cause some of them to feel overloaded with what could begin to feel like ads.

I like the idea for short and sweet serial series, but I think SKAM is too long. Cut the time for the videos in half to ten minutes, and I think viewership would dramatically increase. Off the top of my head, I don’t have any type of ideas for a series that could play on social media. I think the series SKAM might help synergize new ideas in the digital landscape, as well as show what ideas don’t work too well.

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Hybrid Cinema

The two works I chose to view for my hybrid cinema blog were Light is Waiting and Star WarsWars. In both of these works, there is some form layering of the video. In Light is Waiting, after the television falls, the images on the screen appear to be mirror-like. This imagery plus the music set the mood for an eerie type film. In Star WarWars, the videos are layered over one another in regular juxtaposition except for the opacity of all the films used throughout the work.

Before the reading, I didn’t grasp the idea of what made the film so authentic. Manovich says,

“The difficulty of modifying images once they were recorded was exactly what gave cinema its value as a document, assuring its authenticity. The same rigidity of the film image has defined the limits of cinema as I defined it earlier, i.e., the super-genre of live action narrative.”

Not only does the image on film document its legitimacy, but it was also a defining character of a genre. Now digital cinema can be defined as anything involving a live action narrative. I never realized the impact CGI had on early blockbuster movies like Apollo 13. Without these 2D and 3D touch-ups to live environments, the scene would have to be entirely created by hand.

I think it’s interesting to see the way “abstract” art in the film will be made in the future. Although I am inclined to jump in and be a creator, my heart lies in audio for the moment. I would love to continue to experiment in creating digital works, but I think I have skill sets that would better suit different artistical niches.

 

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Eagle Creek Fire

There are many aspects to the Eagle Creek Fire that affect the local community. If I were on assignment from a local community news website to create a five-minute story on the fire, I would need great visual evidence. I would interview the people most affected by the fire, the people who live and work by it. I would start near iconic places like Multnomah Falls and try to capture the devastation. These shots of the landscape would be considered “B-Roll” because as mentioned in the reading, they can tell the story without any supplemental cinematic aid. Visual evidence works to tell the story. The best way I think to encapsulate the fire of Eagle Creek would be to get shots of the sheer magnitude of the fire somehow. I think a nice visual aid of how long it would take the forest to regrow back to “normal” levels would help show how bad this fire was. Quotes from Park Rangers and Game Wardens would help people know the volume of displaced life, rather than locals saying the same thing about the fire, it was bad.

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Run Lola Run

There are many narrative and cinema techniques used in the film Run Lola, Run. The film’s setting and backstory are established in the opening sequence when the money is lost on the subway and recovered by a lucky commuter. Other techniques used are scenes of flashforward montages where a single instance dramatically changes specific character’s lives. Regarding digital aesthetics, Run Lola, Run presents many different types of shots to the audience. With the use of different cameras and “digital” art throughout the film, along with the digital editing techniques, this work encompasses most criteria for a digital aesthetic feel.

The narrative space differs vastly from most movie narratives in the way of time. After the initial scenes that set the story, each sequence is about the length of the duration the main characters must meet with the money. Lola tells Manni she will meet him half an hour, and each “run” sequence is about twenty minutes long. Not only do these sequences synchronize with “real” time in the film, but they also occur three times throughout, different each time.

This film is similar to classic Hollywood-style films in the idea that viewers like different endings to films. In the readings, the author talks about the DVD menu screen of the film Memento in which after completing a short “game,” the viewer can watch the film in “chronological” order. The author also speaks about how there are likely hundreds of different adaptations and what-ifs scenarios for a single piece that are never released to the public.

Time is manipulated in many different ways throughout the film. One idea was by the way Lola ran on screen. No one really knows how long she “ran,”  but it helps speed up time and transition to other locations.

The order of the narrative remains constant because of the clues the director leaves to the audience before and after each large jump. This could be from a previous scene or the previous trial of reaching Manni unsuccessfully. The viewer is given clues to help hold the story together and make sense. Repetition is crucial throughout this entire film as well.

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Time Frames Blog Post

In the Black Panther, the main character seems to run much faster in this shot, as he falls in the following. The rapid steps and destruction of the sign, plus a bit of speed in the CGI department aide in adding to the speed of rhythm of the shot. In the free-fall shot, the character seems to hang in the air right as he reaches the vehicle. In this second shot of the GIF, time seems to slow down as the Black Panther descends in the air.

This GIF, from the Film No Country For Old Men, is unlike a cinematic GIF I’ve seen before. Not only does it have a “perfect loop”, but it portrays one of the main characters of the film perfectly as well. This character doesn’t speak much in this film and is very quiet and spooky. Time seems to wander on endlessly in this GIF.

In this GIF, from one of the many films The Incredible Hulk stars in – shows how slowing down time and focusing on facial gestures can increase emotion and feeling of a shot.

 

 

When it comes to the future of narratives using GIFs and loops, I think we have somewhat of a landscape online for them. The future could be different. If supercomputing occurs, we may not be writing stories – our computers could analyze our media as a humankind and then write algorithms to make the stories better or create new ones we’ve never fathomed.

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Continuity

For my video in regards to continuity editing, I chose to have my lovely girlfriend make some eggs. I used a couple of different framing techniques to film the preparation and cooking process. I used an establishing shot at the start of my film with the lights coming on to set the scene. One of my favorite shots is the over the shoulder canted/Dutch shot of my girlfriend cooking the eggs. The remainder of the shots were mostly medium shots with a couple of close-ups and medium close-ups.

As a visual story, some of the shots I took didn’t pan out. I had to edit many of the shots down to allow myself to hit the 30-60 timeframe. Some of the shots didn’t even make it into the final project because they were to slow or didn’t need to be shown (like coating the pan with non-stick spray). What I think worked well is the first couple of shots at the beginning where she places the eggs on the stove then opens the refrigerator. It seems to flow well. I also think the shot of her cracking the eggs, adding the milk and then whisk into the next shot adding the eggs to the skillet works well. I had planned on using the audio from the actual recording but ran into some import issues and decided to go soundless. If I could do this whole process over I would have used more cut in shots to show more detail in certain parts.

 

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Narrative Spaces – Butch Cassidy and The Sundance Kid

Shot 1 – A medium close-up of the main characters Butch Cassidy (Paul Newmann) and Sundance (Robert Redford) in the closing scene of the classic “Butch Cassidy and The Sundance Kid” This intimate shot of the two friends in their final moments paints a perfect picture of the duo’s relationship. Butch and Sundance talk about where they’ll end up after the next battle.

Shot 2 – A medium longshot of the two characters pulling themselves up for their final fight. This helps build anticipation for the closing action. After this shot, the next shots are much quicker in progression and aids in contrasting the “resting” shots prior, and the “action” shots that follow.

Shot 3 – A quick medium shot as each character rises against the wall. This is a quick transitional shot

Shot 4 – A medium close-up of Butch and Sundance talking about being relieved “the force” isn’t outside waiting for them. After the quick exchange, the two heroes draw their pistols.

Shot 5 – A freeze frame with audio of gunfire and lots of yelling. This shot ends the film as the freeze frame fades to black. With this edit, it creates wild ideas for the escape or the eventual death of the two main characters.

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Framing for Visual Evidence – Noir Style

For my framing project, I decided to take on a noir-style film on the premise of pressed pants. Using Photoshop, I created a title sequence and timelapse title. After applying some quick effects in AfterEffects, I was able to take my raw footage and edit the .ae files all together in Premiere.

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Blog 1: Handheld Cinema starts new era

              After viewing the films “Détour” “Starvecrow” and “Tangerine” from the article, I was blown away by the level of quality achieved by the directors of each film. When asked if these works are trying their best to be film? I would answer yes. These pieces of film all encompass certain aspects and qualities that fit them into certain categories already established in the cinema realm; as well as creating new and exciting genres specific to each film’s narrative.

            There are certain automatisms specific to each medium used to capture movement in film. In digital video, these automatisms seem to revolve around closer, more intimate shots. Since the lenses on digital cameras become fuzzy as you digitally zoom, most work is in an aspect ratio congruent with crisp and beautiful shots at a short to a moderate distance from the subject.

            As a creator, I use digital video for school work and personal projects. As a consumer, I use digital videos all the time. Be it filming a show at a club, taking a video of my girlfriend, or sending a hilarious Snapchat to a friend. These all fit into the categories of entertainment, and human connection in terms of “use”.

            As an expressive form, I think digital media wishes to remain fluid, and changing. As technology continues to grow exponentially due to Moore’s law, our tools for capturing movement on our personal devices will continue to grow. With these exceeding capabilities, it is important to not limit the genre by defining it in a certain way allowing it to achieve maximum growth and exposure.

 

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breaking the ice with david schneider

When it comes to my background in film, I have some experience. During my eighth grade year in middle school, my English class was the first class to start an in-house news program for our school. It became immensely popular and still continues on air to this day. Also in terms of experience, I have taken a year of classes here at WSUV in the DTC program and have learned some techniques that apply directly to film and this class.

In terms of video equipment I own currently, I just acquired an iPhone X.

My aim in this class is to learn more about the history of film and cinematography, as well as gain experience in producing films.

My major is DTC with a minor in Communications. I hope to go into the world of advertising and marketing after graduation.

If asked to what my favorite style of video or film is, I would answer anything with long takes. This is best illustrated by a scene in “Goodfellas” –

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