While reading Scott McCloud’s Understanding Comics section on time and its manipulation in the medium of graphic novels, I have to admit at first I found it hard to draw lines between it and digital cinema as a medium. I believe that this disconnect is mostly due to me seeing the two mediums, at least for the most part, as opposites. By this I mean, graphic novels are a static form of story telling, and digital cinema obviously moves. But, after awhile, I began to see potential in this difference. The original reason I couldn’t quite get inspired by what McCloud was saying was I couldn’t see how McCloud’s knowledge in time manipulation in relation to graphic novels could begin to be applied to digital cinema as the audience of cinema has an expectation of motion. But then it hit me. McCloud says, “The durations of that time and the dimensions of that space are defined more by the contents of the panel than by the panel itself” (Understanding Comics, 99). Why couldn’t these same ideals be translated to digital cinema? If movement is whats expected in cinema to to show the passage of time in a scene, then removing movement would obviously manipulate time. While I am hyper aware that as the existence of slo-mo technology has long since been realized that I am not breaking any new ground by saying this, I’ve never actually rationalized in my head why the use of slow motion or a still frame created the effect of time being distorted in some magical fashion inside digital cinema. After thinking about it though, I don’t see how this concept couldn’t be utilized in other ways such as the removal of sound or light could not have the same affect or something similar. Maybe even something entirely different.
McCloud, Scott. Understanding Comics. Harper Perennial, 1993. Pg. 99.
Continuity: Leaving in the Morning
September 10, 2019
When looking at my video from the standpoint of framing and continuity, I have to admit I feel as though I only partially realized each concept in the editing of my video. By this I mean, in the process of story boarding exactly what I wanted to film, rationalizing why, going out and filming it, and cutting it together, I only ever partially framed my scenes to assist in the continuity. this wasn’t always the case as in some scenes I was very careful to frame the shots in a way that anyone who watched would be able to notice continuity without knowing that continuity was the intention of the entire video. scenes such as the lady in the shot at the 10 second mark going down the stairs onto the ground being connected with the scene where her feet walking across the driveway are the focus play off the idea that this is one continuous motion very well. I think if I were to go back and fix some of the scenes that don’t quite work as well such as the push button ignition scene at 45 seconds being connected to the gear shift at 47 seconds, I would put a huge focus on utilizing angles to make the limitations of the space and motions that I’m trying to convey much more clear to the audience so that there isn’t ever an instant that feels like a jump cut to a different action and instead more like a continuous action.
One thing that I am overall proud of in this video however is the subject of my video. I chose something monotonous that everyone has to do everyday – head out the door and begin their commute to wherever it is they are going. While obviously not everyone goes through the same motions, everyone can recognize these motions and because of this a certain aspect of familiarity helps the audience to get into the scene and recognize both the flow and order of the actions depicted in the video as well as the possible flaws in the video such as missing steps that would generally be taken if whats depicted in my video were actually to be done as one continuous motion. Another thing I’m proud of over all is how concise allot of the scenes are. When I made the first cut of this video the entire run time was about a minute and a half. As I was aware of the time limitations of this video project, I knew I had to cut the run time of the video down by about half in order to effectively satisfy the requirements so what I began to do was cut all possible slack from every scene in order to make each and every shot of the film only take up screen time if the action its framing was needed for context in the next. By doing this, the scenes have very little down time, and in my opinion help drive in the idea that what is being displayed on the screen is one continuous motion. While overall I think I did fairly well on this assignment, if I were to go back I would definitely reassess framing in order to better serve the story I’m trying to tell as I think through the use of better framing this assignment would have been improved astronomically.
September 3, 2019
My intent was to frame a narrative of discovering a vandalism and following the clues left behind
list of shots used:
low Medium Shot
High Medium Long-shot
Extreme Close up
“Over the Shoulder” Extreme Long Shot
The Use of Framing in “O Brother, Where Art Thou?”
September 3, 2019
-Point of View Wide Angle
-Low Medium Close-up
-High Long-shot (full body) –>
The way the framing and editing of this scene in O Brother, Where Art Thou? holds the scene together as a narrative is by letting the audience know exactly how each character is responding to their currant situation by utilizing point of view angles and close-ups to allow the viewer to maintain pace with the conversation as well as understand how each character is reacting to both what is said and what is happening. While a simple scene in terms of visuals, when watching through the editing and framing of all of the shots come together to make a very organic feeling scene in the movie.
O Brother, Where Art Thou?. Directed by Joel Coen and Ethan Coen, Touchstone Pictures, 2000.
August 27, 2019
While it can’t be denied that both Gondry’s Detour and Park Chan-wook and Park Chan-kyong’s Night Fishing contain much of what I have come to expect from modern short films with their high level of polish and craftsmanship, it can’t be ignored that the filming of each short being done on an iPhone has imbued each film with a quality that sets it apart from what others shot on more classically used equipment may look like. This quality lay mostly in how the shots feel. The reason I say feel is because in both shorts I can watch through and imagine what they would look like had they not been shot on an iPhone as the angles and shots used throughout the films are very similar to ones we would see if filmed on a full-blown movie camera. The difference lies within the organic feel of them. In many of the shots in the two shorts there is a gentle bounce with the camera work. A feeling of life and an organic weight behind the camera. a good example of this can be seen in Gondry’s Detour in the series of shots starting at timestamp 1:02 through to 1:15. the way you can feel the weight of the turns as the car moves through the neighborhood through the shakes of the camera help sell me the idea that where I am as a viewer in that moment is in the car with these characters I have just met. Something that traditional cinema tries to do as well. In this way, I’m led to believe that iPhone shot movies are indeed trying to be like traditional film as they both have very similar construction, qualities and intentions. The only difference is the technology used. I don’t feel as though iPhone shot films are an entirely different beast from traditional cinema just because they were shot on a cellular device, but more so just the same beast embracing an accessible means to an end for creation.
Now as to the question of what automatisms and qualities make up digital cinema and how its used today the ideas of portability and connection come to mind. In my eyes digital cinema doesn’t differ from traditional cinema with its intent, whether the creative idea behind it be to educate, entertain, etc. I think the main goal of digital cinema as both the creator and the consumer is to connect with one another, and the role that the iPhone plays in that connection is simply to increase how accessible both ends of these connections are.
Fire, Black. “Détour – A Film by Michel Gondry.” YouTube, YouTube, 6 July 2017, https://www.youtube.com/watch?v=Ryk0eny1j0M. Accessed 8/26/2019
Hello, my name is Gabriel. I have a slight background in film with assorted involvement in various punk films and multimedia artwork pieces having had roles that range all the way from editor to director of photography. All of which were a joyous labor with a cathartic pay off.
The video I decided to post was one of my friend Ian’s former band “JAPANTHER” playing two of there more popular songs in a studio live followed by an interview. The style of the video mixes the filming of live music performance and interview in an organic and practically seemless manner. it is this aspect of the video that I aspire to grow towards during the spans of the course as I feel that mixing entertainment with information is a difficult thing to achieve and if I were able to achieve this goal it would greatly grow my overall video skill set.