Here’s the final cut, with balanced music and some text to help show the passage of time. Great job on your projects everyone! Enjoy your break!

-Jeremy Sauter

For my final, I decided to make a short story narrating my struggles with procrastination and getting work done on time. My rough cut has raw audio and the layout, and the final cut will have background tracks for the mood, as well as more proper effects and text. Enjoy!

-Jeremy Sauter

Hello class! Here is my edit of the one-minute short, working with Miryssa Casas and Hailey Betts. Enjoy!

-Jeremy Sauter

Hello class!

It took me a bit to properly get around to posting my idea for the final project, but that was primarily because I had run out of ideas to implement… However, I was struck with a bit of inspiration from the last class example the professor showed us last class!

Here is how I would want the story to go: A student sits down to work on their final project for DTC 208. As they think through a concept, they manage to come up with one! And as they start filming themselves working on said idea, they only get about a day’s worth of footage due to procrastination and forgetting to keep filming. What’s worse, they used that concept idea and proved it efficient to turn in for a DIFFERENT final, and is forced to start over on the final for 208.

They repeat this process 2 more times: Get an idea, film working on it for a day, procrastinate, time passes, they use the concept for a DIFFERENT final, start over. By thanksgiving break, they’ve run out of both time and ideas, and decide to use the footage they DID get as a way to create a “video essay” surveying the life of a procrastinator during finals season.

This would serve not only as an interesting concept for a video, but it would also let me NOT procrastinate, as I’d have to film in real time and on a weekly basis in order to get the footage that I need in order to capture this idea properly!

-Jeremy Sauter

Hello class!

I’m a little late on this post, considering the footage for the rough cuts is due this Friday, but I do think the one-minute short that my group and I have constructed is gonna be enjoyable!

My group consisted of myself, Miryssa Casas, and Hailey Betts. Together we constructed a comedy sketch about a student losing a water bottle or purchased drink of some variety, but the bottle eventually finds its way back to said student through extreme luck.

The story goes that the main student purchases a drink and then sets it down to go get something else. It then gets knocked away by another student, then begins travelling far enough away that the initial student can’t find it, giving up and heading home. The bottle makes a really long journey all the way down to the parking lot where the first student is parked, meaning they find the bottle, confused as to how it got there.

The beauty of a sketch like this is that we’re able to film on site at campus, where it’s most likely the most convenient for everyone. And it has a cafeteria where we can catch footage of the actual purchasing of the drink.

The campus is also a good location thanks to a key factor for the filming: gravity! We can use the bottle on the various hills around campus to simulate it rolling away and throughout it’s various stunts and tactics. We can also easily ask favors from any students who may be nearby while we work on filming in order to get some extra people if necessary.

-Jeremy Sauter

Hello, class!

For my interview process, one of my first thoughts was to interview one of my pastors at church. After I considered the thought, I started looking at church events to see what was coming up. With a great stroke of luck, I discovered that the week rough cuts were due, the church was hosting a rather large pastor/teacher conference! So I consider myself really lucky that I was able to capitalize on the opportunity!

I would say probably the biggest challenge is figuring out travel. The biggest challenge is that, while the church and conference IS local, it is also across the river in Portland, Oregon. I was able to get a ride down since my mom was going to help out with the conference, getting back up across the river was the difficult part. Thankfully bus transit exists, and with careful planning I was able to make it work.

I also had to check and double check that it would be ok for me to stop by the conference. It’s a limited event and it’s usually reserved for staff and registered pastors. But knowing this would be the best possible option to grab visual evidence of the pastor learning and supporting his fellow conference goers, and thankfully I got the opportunity to visit for a couple hours the first day. It allowed me to get some really good footage, even if the time was brief.

Overall, the experience was smooth and I had a really good time gathering everything I needed to make the interview work!

-Jeremy Sauter

Hello class,

Devil’s Playground by Lucy Walker is a very gripping and very interesting documentary, intending to be a commentary on the dynamic and differences between the Amish and normal English life, showing how difficult it is to transition between the two, especially for the Amish.

I think out of all of the individual stories that were told through the main character’s journey (who I assume is Faron, considering how much of the documentary was spent following him), the side story with Velda struck me the most. Velda chose to leave the Amish faith, causing her entire family (and her village) to publicly shun her and cast her out, leaving her to the whims of English society.

This is probably the story that had the visual evidence stand out to me the most. You can somewhat compare it to the main story of Faron, which gave a very active, struggling story with a LOT of visual evidence to support his rebellious, English life and it’s many twists and turns. Velda’s story, on the other hand, while there was less time spent on it overall, it told a more matured and grounded history point of view, showing the lifestyle of someone who committed to leaving the Amish faith after having committed to it in the past. It creates a great dynamic between someone who had to live with their choice of leaving, versus a growing teenager who is still learning and has an opportunity to turn back from his decisions and stick with the Amish faith.

-Jeremy Sauter

Hello, here’s the final cut of my interview. Sorry it took longer than I wanted, but I managed to clean it up and add some soft music. Enjoy!

-Jeremy Sauter

This is a REALLY rough cut, I still have work to do on it, but the skeleton is here~

-Jeremy Sauter

Hello class, apologies for the low quality, I tried exporting several times at 1080p and it wouldn’t change the pixel quality. My suspicion might be because I used some stock footage to assist, as it helped me with my effects practice. I used a combination of green screen, crossfades, and zoom techniques to help create smooth transitions. Enjoy!

-Jeremy Sauter

Hello class!

So for this blog post, I have to propose my story and visual evidence for making a short documentary about the COVID experience for local nurses. My one caveat is that I’m not allowed into their hospitals with a camera. So what am I to do to gather extra footage so that the documentary isn’t just looking at the interviewed nurses from different angles for 10-20 minutes?

This is quite the challenge, as this means I cannot follow the nurses through a daily routine at work to help accentuate their words. But that wouldn’t provide much anyways, as according to the articles, that would probably be considered more as “B-Roll” instead of “Visual Evidence”.

As the article says, “B-roll is cover footage, pictures that run while someone is talking” (“B-Roll”, pg. 106). While visual evidence is more an example of telling a story with exclusively footage. Silent films are a great example of visual evidence, because, well, they didn’t have a choice. They were forced to use visual evidence because they weren’t able to use audio.

So with this knowledge, I can use my footage to help tell the story that the nurses give me. For example, I can film the nurses preparing for a day at work instead them actually working. A shot of the nurse rubbing down her scrubs can help paint the image of working a lot and staying dedicated throughout the cause. In addition, I would probably see if some local patients who were saved by the nurses could arrange a party with the nurses that they helped, as a chance to thank them for all of their hard work. There is a lot of potential with this type of footage, as it allows us to not only show examples of the grueling work they went through, but also the impact they had on their community and how much they did to save so many lives.

-Jeremy Sauter

Hello everyone, for this blog post I decided to take a look at the starwarswars.com site. This had to have been one of the most bizarre and interesting watching experiences I have ever witnessed. The website name is extremely deceiving, but if you didn’t check it out, the website has a video containing the first 6 Star Wars films — played at the exact same time. It is a very dangerous sensory overload, but I must admit, it is very technically impressive, especially with the effects.

All of the audio overlaps and is balanced surprisingly well. But the most technically impressive part of it is how at any given point, you can make out at least 3 movies, and most of the time more, in the video. What I suspect is going on is at any given point, the editor used a mixture of a color picker and a chroma key to accomplish the end result. Assuming each movie has it’s own layer, I believe that the editor went through each movie, and for each one that was on top of the base layer, created a chroma key with the most prominent color on screen at any given point, which allowed the movie in the lower layer to show through. This was probably repeated for every scene change for one movie. And then from there, they repeated the entire process for 5 more movies.

Traditional cinema was definitely altered by this process. After all, it’s 6 2-hour movies played at the exact same time, all at least audibly present, if not visually present in some way, and all combating for your attention. It creates such a unique experience that becomes really hard to sit through, but it’s worth exploring at least a little bit.

-Jeremy Sauter

Hello class! For this assignment I chose to do a temporal montage showcasing my almost daily routine for traveling to school! Enjoy!

-Jeremy Sauter

Hey everyone, here’s my window video experiment. I did my best to reach 30 seconds, but I went over a little bit. Not by much though:

-Jeremy Sauter

Hello, class:

This opening scene from Shameless is both appropriately chaotic yet extremely well-structured and framed to create a sense of continuity. The framing of the scene creates a real sense of both urgency and normalcy, as if this is just a normal happenstance for this family during rent seasons. Visually it’s a family getting ready for the day, shown from many different perspectives and creating a sense of what the house layout is. The different edits around the table, in particular, help create the sense of family dynamics. Especially when they’re passing around the rent box and they’re pitching in their shares, it shows how much each kid makes and/or contributes, which could then directly correlate to how much effort they put into helping keep their family afloat.

I think throughout the opening scene, there are two visual anchors: the mother as she moves around, and the planted table in the dining room. The mother is almost constantly in frame, which makes sense, as she appears to be the main character we’re supposed to be following in the shot, and we help obtain her sense of urgency for the bill, yet care for her kids. The other anchor, the table, gives us a grounded piece halfway through the scene that helps the scene become structured. Chaos still ensues, simply because that’s the nature of a large family dynamic, but by using a large object like a table to center all the chaos around, it helps everything feel controlled and grounded while still giving off it’s own sense of excitement.

-Jeremy Sauter

Apologies for the slight delay on getting this in, I had to make a last minute change to make sure it was natural audio only.

-Jeremy Sauter

Hello, class! Today I will be analyzing this scene from Duel, which we watched last week in class:

Steven Spielberg managed to create an extremely intense chase throughout the movie, but this scene in particular used continuity edits extremely well to raise the tension even further.

As the scene begins, continuous, longer shots are used to create a hightened tense of uncertainty, while using the 180 degree rule several times to face the driver from the side, so that he’s facing left from our perspective, to get his thoughts and expressions. As the scene approaches a refueling station, the camera uses a reverse shot as our main character talks with the gas attendant. It then turns into a panning shot to turn around and see the gas truck parked and supposedly anticipating something.

As more and more of the gas stop is revealed, as our protagonist walks around the venue, you can faintly hear the attendant fiddling with his car as he makes his way to the telephone booth, which is done in one longer take to help get a sense of the distance between his car and the booth.

As our main character talks on the phone, we get match cuts between him and the gas truck, letting us “keep our eye” on both sides of the situation and further increase the tension. And as the truck begins to turn around and approach, wide shots are match cut with the booth as he frantically tries to get the police to help. The shot right before the gas truck gets ready to ram the booth, continuity is held thanks to the constantly growing louder engine of the truck, and it comes into frame from the left, which was established where the truck was at compared to the booth in previous shots.

Finally, high and low angled, yet wide shots help capture the scale and danger of the truck as it destroys the stop, the noises of the crashes and the truck engine pushing you to the edge of your seat. It truly becomes one of the more tense and pulse-rising scenes in the movie.

-Jeremy Sauter

Hello, class! Here is my submission for our Framing assignment. It took a bit of clipping to make sure it looked smooth, but I hope you guys enjoy it!

-Jeremy Sauter

Hello, everyone! For this blog post, I will be framing and analyzing the iconic Avengers circle-up scene.

The 2012 Avengers movie is one of the biggest and most iconic superhero movies of all time, and for good reason. The cinemetography, the character interaction, the well-paced writing that kicks off the beginning of an incredible story arc, and the action all makes this a movie that is enjoyable on every single rewatch.

Shots and references: We start with Bruce Banner arriving in the middle of the Battle of New York, establishing all but one of the core Avengers in a wider shot as the conversation begins, before closing in on the heroes to get more details.

Long shot, behind, wide angle

Medium shots, over the shoulder style-ish?

Medium close up shot, frontal

We then cut away to an almost direct perspective shot of Tony Stark, aka Iron Man, as he prepares to bring Bruce a Chitauri Leviathan to fight. We’re then brought back to the grounded heroes, to remind us of the aerial capabilities of this beast as they are all looking up and out off camera to watch it approach.

Close up shot, frontal view

Long shot (to capture the scale of the Leviathan), frontal

Medium shot, zoom, over Bruce’s shoulder

Medium, zoom, frontal shot

Medium close up, zoom, frontal

Long shot, frontal

Medium shot (to help capture the size of the creature, behind

We then get to watch both the heroes and the enemy approach to capture both the scale of the city and feel the intensity of the battle that is about to tip towards the heroes’ scales, with the awakening of the Incredible Hulk.

Medium shot, behind Captain America, wide lens (to include the Leviathan)

Medium close-up, zoom, frontal shot

Medium shot, wide lens (to include the beast), behind Bruce

Close up shot, zoom (focused on Bruce, but you can still see the beast approaching)

Medium shot (watching the Hulk emerge as it grows), zoom, side shot

Long shot, wide lens (helps capture the size of the Leviathan and just how strong the Hulk is), behind Hulk

And with the Leviathan wounded, the Avengers manage to destroy the beast and officially begin the Battle of New York, with wide shots to show the army they still have to fight, as well as unique and never before seen shots in the entire movie.

Long shot, side view, wide lens (to help keep the Hulk in frame)

Extreme long shot, high, wide lens

Medium shot, zoom, frontal shot

Medium shot (chosen thanks to how much of Thor is in the shot, low angle (to help the viewer also feel the power of that explosion), zoom

Long shot? (It’s full body but I didn’t know if it was zoomed in enough to qualify as medium), high angle (to show him hiding behind the car)

Medium close-up shot, wide lens (to include more of the army), zoom to focus on the main grunt in front, frontal shot

Medium shot, wide lens (to include all of the Avengers), frontal shot

The continuity is held up remarkably well, as several of Hulk’s shots are quick cut shots to show the sequence from a different angle, yet they still feel realistic enough to help us see a better picture of what’s happening. And the narrative purpose of the scene, as said, serves as the turning point and the excitement that the entire movie has been building towards up to this point.

-Jeremy Sauter

This is a test of the blogging system. If this works, then awesome! Nice to meet you all!

My name is Jeremy Sauter, I’m a senior in the DTC program. Some of my favorite hobbies are video games, watching Marvel content, and reading books!