Category: editing
Sunday Paper – Interview Rough Cut (B-roll only)
Endless Tune – One Minute Short Final
Florida’s Natural – Final
For my final project, I decided to tell a story about an everyday problem—only with a comedic twist by exaggerating it just a little.
I had difficulty coming up with a story to do. As finals week loomed closer, I found my creativity waning, replaced by the stress and exhaustion of burnout—until an unexpected moment sparked an idea.
When I was walking through the juice section of the store, looking to replenish my beverage of choice, the idea suddenly came to mind.
The story is about having a difficult, inconvenient time trying to find that delicious orange juice, as most grocery stores don’t carry it anymore. :'(
Superheist – Simone’s Version
Endless Tune – One Minute Short ROUGH DRAFT
Custom audio and end credits still needed!
With Victoria Clark, Jaxon Stephens and Brent Ocampo.
One minute short
Hey everyone, here’s my version of our one minute short.
Generated Terrors – Compositing and Effects
Ai Cinema Project
I had a lot of fun using ai on some of my old art to make this video, all footage is ai generated via Vizcom, based off of my original art, animated with Runway ai.
Amish or English? – Visual Evidence Blog
Job Interview and Car Crash Scenes.
In this clip of Devil’s Playground, Faron is trying to win back Emma and trying to see if he can make it on his own before going back and joining the church. Visual evidence is shown in the job interview and car crash scenes. First, the job interview scene is shown, where Faron is at the house of a family that is hiring for a landscaping business. In the interview they specifically ask if has his own means of transportation, and he answers “yeah, I’ve got a car”. Because he has his own car, they ask him to start as soon as possible. The next scenes then show Faron’s car busted in the middle of the road with the door wide open, and then Faron on the sidewalk with blood running down his forehead with an officer talking to him and sirens blaring in the background. While the transition of scenes seems jarring, it is important for the audience to see the visual evidence of Faron’s car crash. If they had only interviewed Faron about the car crash, it would not have had as great of an emotional impact on the audience. Because of the visual evidence, the audience can feel how Faron was feeling because of the crash, which is “How is he going to make it to his job? How is he going to make it on his own now?”. Visual evidence makes the story more real for the audience and allows them to have a sense of being in the “shoes” of the people being interviewed. Though as an English Faron has a car as transportation, he has to worry about car accidents and repairs. He must also worry about finding a means to make money, as no one is guaranteed a job in the English world. If Faron were part of the Amish, he would not have a car, but he would not need to worry about accidents and repairs, and he would be guaranteed a job.
Cinema Vibes – Framing
Sick Day – Continuity
Digital Effects – Blog Post
In How Not to be Seen by Hito Steyerl, a green screen is used to not only change the surroundings of the female character but to transport the viewer to a world that the cinematographer isn’t actually in. The green screen is used to change the surroundings of the character and objects she has, going back and forth from the studio that the character is in, and a world created by the green screen. The way the green screen is used challenges realism of traditional cinema, specifically when they put green paint on the character which makes parts of her face one with the background, and when they have an environment and a “green screen” in it, which makes the environment seem “real” and the green screen fake, but in actuality it is all still green screen. These effects make the viewer have a sense of an altered reality and makes them second guess which representation is the reality.
In Whispering Pines (series) by Shana Moulton, A green screen is used in a cut out shape and a line drawn off center which shows two different perspectives. At first it seems that the second perspective represents what the character is visually thinking, but then this perspective shows different environments. Showing two different perspectives at the same time alters traditional cinema as the viewer does not know which perspective is the real reality for the character. By showing two different perspectives side by side at the same time, the viewer must change their focus back and forth from both representations to try and understand what is happening.
Blog Post: Shameless
The scene in Shameless is chaotic, but it is organized in a way that makes it easy for viewers to follow. This “controlled chaos” keeps the audience engaged without feeling overwhelmed by the flurry of action. There is a lot of movement and action, yet continuity is maintained throughout, allowing the scene to flow smoothly. The strategic use of the background, midground, and foreground shows the disorder of the family in nearly every frame, especially in the opening moments when Fiona looks in the mirror and closes the door to reveal her brothers. The continuity editing emphasizes Fiona as the central figure, insinuating she is the backbone of the family. The scene’s editing style ensures that the focus stays primarily on her actions. A key element of the scene is the milk, which acts as an anchor object. Its journey from the fridge to the sink and table creates a sense of coherence and serves as a visual cue for the quick passage of time. The milk’s movement helps viewers navigate the scene’s fast pace, providing clarity amid the chaos. All of the editing and framing choices in this scene demonstrate the familial dynamics and make the scene’s complexity digestible.