Skip to main content

Post #5: Vox Pops & B-Roll Reflection

Although I wasn’t able to make the first b-roll and vox pop shooting, due to my evening art class, I was at the second (and final) b-roll shoot down at the Phoenix Hometown Hires office. Shooting b-roll was a different experience from the interview, where we had a specific, preplanned shot we wanted to get. We definitely came to the b-roll shoot with ideas, but we were able to look for things in the moment, things we might not be able to predict or didn’t occur to us until we were collecting the footage and audio, such as when church bells started ringing in the distance just before we started recording ambient sound. We could experiment with angles, subjects, and heights. “Wouldn’t it be cool if…” and “what do you think of…” were tossed around as we collected instances from life, making our b-roll form from a more organic shoot.

Comments

Post a Comment

Popular posts from this blog

Post #11 (Blog Assignment #13): How Has This Class Affected You?

Through this class, I learned it takes time to think cinematically. I’m used to visual design and writing being intuitive, with fixing problems and visualizing projects coming naturally, so not knowing how to make something look “right” was an unnerving experience. I also learned that I have a hard time working in groups while maintaining any kind of artistic identity, and that I liked working behind the camera more than I thought I would. As for filmmaking in general, I learned that it depends a lot on the people you’re working with, which I had already had an idea about, but now I've gotten to see it play out in person. Finally, I also found that if you don’t have a strong understanding of tech, making films is a painful, uphill climb. We had lots of tech problems throughout the course of the semester that slowed down the creative part.
Post a Comment
Read more

Post #8: Editing the Master Shot Scene

Editing the Master Shot Scene was, of course, different from the documentary. We had many more cuts than in the documentary and had the extra-added concern of trying to match action and uphold continuity. Even though the documentary was in parts when it went to editing, the main structure of it – the interview – was intact. The footage for the Master Shot Scene was in scattered pieces, with even the master shot itself not resembling the final product's effect. Editing made the scene slowly come to life. From the rough footage, it turned into a cohesive series of events, the titles helped it to seem like a unit, and the music infused the identity into the project. While editing sometimes revealed problems we couldn’t recognize on set, it also was the time when our film really formed. We made changes to the storyboard throughout the project, modifying and moving things during editing beyond what we’d intended during principal photography.
Post a Comment
Read more

Cucalorus Responses (Two Responses)

My Life as a Zucchini The first event we went to at Cucalorus was a 10:45 am showing of My Life as a Zucchini , a French stop motion animation, which was shown in Thalian Main Theater. The theater itself was incredibly striking, with the red-velvet covered seats, antique furniture, and colorful embellishments around the stage itself, such as the cherub painting on its ceiling. It made it so that the screening was more than the film itself; it was an experience that as a result heightened the respect for the film by nature of its surroundings. If we’d walked into a barren garage filled with metal fold-up chairs, we still would have appreciated the film, but I don’t think to the complete effect would have been the same at all. What I liked most about My Life as a Zucchini is that it is another step forward for animation as a mode for serious content, since it’s a medium that, in my experience, isn’t taken seriously at all by the general population (an animated film equals a kid film...
Post a Comment
Read more