Category: sound

Carrick – Blog Post 4 (ChatGPT Cinema)

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Carrick

ChatGPT story summary for AI Cinema project.

‘A young child sits in a warm, dreamlike space, eyes full of wonder as their parent places a single ornament on a tiny sapling. The ornament catches the light—a symbol of hope, potential, and expectation. The child watches, mesmerized, as the sapling sways but stands tall.

Time flows. The child, now slightly older, moves through life with optimism. The sapling’s growth interweaves with their journey, stretching upward as the child stumbles through small failures—a missed assignment, a lost race, a moment of hesitation. Each setback adds weight, but the child keeps going.

The warmth that surrounded them fades but never fully disappears, a quiet presence behind the growing cold. The sapling bends under the weight of the ornament, its branches trembling. The child faces growing isolation—their mistakes snowball, and then, something unspoken breaks them. Their friends leave. They are alone.

The sapling collapses, burdened beyond its strength. The world, once soft, turns stark and still. The child stares at the fallen tree, expression unreadable. Then—a shift. A choice.

With quiet resolve, they kneel beside the sapling. They pour water at its base, brush dirt from its fragile roots. The ornament remains, heavier than before, but the child stays.

The final shot pulls away—the child in a fetal squat beside the tree, just watching. The world is dim, but a subtle warmth lingers. Even after everything, they still try to keep the promise.’

This was the summary for the first idea I had for the AI project. It has since been changed to an idea that was not made using ChatGPT.

Carrick – Blog Post 2 (Brumes d’automne)

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Carrick

Through drastically changed images in which nature was losing its density and unity. This is how Kirsanoff described the intension of the film. I, however, simply say that it’s the story of someone spending the day in lalaland.

This is a tough rate for me because as I watched this short I found myself constantly appreciating small things about the films craft, but that’s it, just appreciating. I couldn’t get invested into anything it was trying to portray, nothing was evoked and I have a theories as to why.

The first thing I noticed as soon the grey skies entered frame was the music. Film of this era always has this kind music, the same feeling to them, and personally, I don’t like it. It feels mismatched, all these somber and dreamlike frames are being played with these high notes that just make me think of stuff completely irrelevant emotionally which lessens the impact of what’s being shown. Now, this is a clear personal issue that isn’t the films’ fault. I’m sure it’s because of how overtime these old films and that kind of music have been portrayed in recent media.

The editing or montage for this film, just didn’t hit. Like I briefly mentioned earlier, the technical side of this is great for its time. There are moments of her dissociating while looking out to the lake that I thought was brilliantly made clear through lens. I could appreciate little techniques like that because it was the story of someone just daydreaming and I’ve had many of those days myself. I noticed similarities to the state of mind between my days and this due to great creative use of the camera. Yet, when it’s all stitched together, I was left feeling . . . nothing. And as of right now I don’t have much for an answer as to why, just leads.

I’ll leave it there for now and as always leave everyone with my letterboxd review because why not.

– Carrick
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Autumn Mists
⭐⭐
Technically and creatively great. I saw
the vision and for its era it did a
great job. Just couldn’t get invested.
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Carrick – Blog Post 1 (Run Lola Run)

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Carrick

The style of Run Lola Run certainly loves to attach itself to the ideas of speed and chaos. Its constant jumping around from character to character and its high-tempo music that plays nearly the whole film sets a momentum that never dies—except for key moments that stick out due to the uniqueness of its direction. Despite its fragmented storytelling and unconventional visuals, the film manages to stay cohesive through its editing, repetition, and clear sense of urgency.

One of the main reasons the movie never loses steam is its fast-paced editing. I personally love the way the movie throws you in and just starts running, jolting the audience into a thrilling experience with no hand-holding. There was a clear sense of direction with it too, tying the speed of the story to the mind of Lola. As her mind races to find a solution, the cuts, music, and feel of the film keep up the pace, only stopping during the brief moments where Lola’s mind is preoccupied with something else. A key example is when she stands in front of the bank, just after learning the truth about her father and the lie of his real identity in her life. In that moment, as she processes this information, the urgency of the 20 minutes leaves her mind—along with the fast cuts and the intense music—leaving a longer shot sitting in silence.

The way the film manipulates time also adds to its sense of momentum. Slow-motion is used sparingly but with purpose, stretching key emotional beats to make them feel heavier. When Lola screams, for example, everything slows down, making her desperation almost tangible. On the other hand, the quick montages showing the futures of minor characters compress time, delivering entire life stories in just a few seconds. This contrast between stretched and compressed time keeps the audience engaged, making every moment feel unpredictable yet purposeful.

 

Even when time resets, the familiarity of the previous run keeps the viewer invested, eager to see what will change this time around. The high-energy techno soundtrack also plays a crucial role, acting almost like a heartbeat that drives the film forward. Lola’s constant movement—running through the streets, dodging obstacles—reinforces the sense that time is slipping away.

Ultimately, Run Lola Run is held together not by strict continuity, but by the sheer force of its pacing and storytelling. Even as it rewinds and reshapes time, it never loses sight of its central conflict, keeping the audience engaged from start to finish. The film isn’t just about Lola trying to save Manni—it’s about the endless possibilities that split-second choices create. And that’s what makes it so exciting to watch.

On a personal non-dissecting note, I felt the final third loop of the movie was a little much. The intense fast pace of everything that highlights the tiny changes in each loop is a ton of fun, but this can get boring too and I feel like it does just that in the third loop. Anyway, I leave you all with my letterbox review of the movie as these are what I consider my definitive feeling about the movie. Enjoy.

– Carrick
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Run Lola Run
⭐⭐⭐½ 🧡
So in the third loop she became God?
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Rylan Eisenhauer DTC491 One Day in 30 Seconds

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Rylan Eisenhauer

This was shot on Friday my day off from school. I hung out with my best friend Landon at his place and later met up with some other friends at Round One. We got back and played some Fortnite, went home to watch a movie before going to bed.

As sporadic as the video may be, it almost perfectly encapsulated the type of day I have with Landon. I enjoy having many segments show I just like to goof around and do random funny stuff and just like many people just relax and wind down after a long day. I made effort to try and have some connections to feed on video into another such as in the background of the skeleton video you can hear my friend playing the piano in the background and it cuts to the cat playing the piano. Another example is the shot of us doing a shocked face at Miku on his computer leading into both of us playing Fortnite in the same room. Even at the end of the video winding down, the shots within the recording room (the curtain, the movie stack, and watching the movie) are pretty close together in time to represent things slowing down at the end of the day.