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1) A storyboard for your project (see in the book pages 106-109 on how to make a storyboard)

MISSING

2) Pre-production list — this should include: location information, props needed, actors and their contact information (if you decide to have actors outside of the class), any other materials you may need for the shoot.)

Location Information:
1. Apartment Room
2. Streets of New York
3. Hunter College West Exterior
4. Hunter College 7th Floor
5. Hunter College Room W714

Props:
1. Fake Marijuana
2. Fake Bomb (possibly harddrive)
3. Fake Vomit Juice
4. Condoms
5. Banana
6. iPhone
7. Catnip

Actors:
Sam LI – 917 291 2318
Stephen DesRochers – 203 246 3496
Professor at school: ??

3) A synopsis of your project idea (this is part of your pre-production list — a written explanation of your piece shot by shot in present tense: ex “Bob emerges from the subway and enters the front doors of Hunter College.  He takes the escalators up and the  enters an elevator.  Walking down a hallway, Bob comes across a man passed out on the floor – but he walks right past him… etc.”)

Sam and Stephen smoke a joint when Stephen’s girlfriend tells them that they are smoking catnip. Late for class to hand in their final paper, they run to Hunter College. The effects of the drugs hit them when they arrive at Hunter College. Outside, they overhear a student mention a bomb in the school. They run up to the 7th floor, see the bomb, and try and diffuse it with the materials in their bookbag. They are able to diffuse the bomb. They walk into the class and hand in the paper feeling great about themselves. The professor asks Sam and Stephen why they feel so happy. They reply that they just diffused the bomb. As they walk away, the professor quietly yells the word “FUCK!” END.

4) Someone from your group MUST bring an external harddrive to class next Thursday as you will be editing your work outside of class. The harddrive needs to be at least 50 GB in order to have enough space for all the footage. 

AFFIRMATIVE

Our hands float against the wind outside rolled down car windows as the winds blow us by. We’re chasing after the cloudy peach sunset above the grass field hills. The radio plays that one song we memorized since childhood. We play musical chairs around the open car doors on some stretch of Route 66 in Arizona. These boots feel comfy on my big wiggly toes. We aimlessly wander through small quiet towns and buy candy from a local Ma and Pa shop. The telephone booths on the corner of each end of town collect dust, signatures, and stickers. We see who can spit farthest down the river from up here on the train track bridge. The gas stations here are always quiet. There’s a gentle hum of cars rolling in the distance. We leap from bed to bed in our rundown motel rooms. There’s no service for miles. We haven’t checked our Facebook, scrolled on Tumblr, or searched tomorrow’s weather for weeks. It’s starting to never occur to us. And it’s always sunny out here anyway. The warmth on our skins. We smoke on the maroon hood of the car. Now, I don’t believe I’ve ever seen this many stars out in the night sky before. 

VIDEO HERE: http://www.steadishots.org/shots_detail.cfm?shotID=298

The scene I decided to use for this assignment is the 5 and a 1/2 minute long continuous take in Atonement called the Beach at Dunkirk scene. Personally, I love it and for the first time I saw this shot, I was amazed after realizing how long it had been going for and how intricate things started to get. The shot leaves you in awe as it prepares that feeling for the next shot to appropriately break the awe.

The power of keeping a continuous take can be used to maintain a perspective from one given point. By establishing the need to emphasis that whatever on the screen is important, and the concentration of that thought mustn’t be broken by anything else. On the subconscious level, introducing another shot is another perspective to be apprehended and the focus of something, even of the same thing but from a different angle, can break this train of thought. By keeping this continuous shot, the longer it is, the more stronger the emotion and the more complex the idea can be evoked in our audience.

The Beach at Dunkirk scene starts when Robbie played by James McAvoy, after days of battling and being sick from the weather conditions of the war, finally finds the sea where all his ally troops are awaiting to get deployed back home.

The tracking shot starts from a long shot ahead of Robbie and his two fellow soldiers. Every now and then, people and objects occasionally pass through the camera and them to establish this environment and to be conscious of this long take. After passing the burning car, the camera slowly comes around and tracks the three soldiers from directly in front. One of soldiers see that officers are executing sick horses and disappears from the shot, as too the other one as they near the large ship. Robbie’s character eventually comes out of the frame too and the focus of the continuous shot is focused on the soliders at the beach. Soliders being silly, soldiers mourning over the loss ones, soldiers still working out. Eventually, one of our soldiers from the beginning enters the continuous shot again and enters the singing crowd in the opposite direction of the soldier. Just by following the character at first, almost makes us put ourselves in his position as the camera circles around the faces. The camera follows the solider coming out the opposite side along with Robbie, who is back in the presence of the shot. The tracking shot starts again with the characters directly in front of the camera.

Tracking the shot from the front from the back also creates entirely completely different mentalities in judging our character than if the director had decided to track the character from the back. Tracking from the back would have given the audience the perspective that they were in their shoes, and opinions would be created only for the environment. But the director decided to track the characters from the front because then the audience is able to create opinions of the character, who’s constantly facial expressions is tied with the environment. And the audience feeds off of the character’s expressions. Almost telling the audience how we should be feeling. And by establishing this combination of awe, disgust, and grandeur, all those heavy concentrated emotions are all broken down when in the next scene, Robbie cannot deal with everybody getting drunk at a bar anymore when there’s so much going on just outside.

I definitely recommend this movie. Be warned, It’s ridiculously depressing though.