Unit 13 - FMP

48 Pins
 6y
Collection by
The Unit, Fictional Characters, Fantasy Characters
Vr Goggle, Che Guevara
Abstract Artwork
Spatula, Utensil
Apple, Fruit, Apple Fruit, Apples
Incense
Lamp, Lighting, Lights, Lightning, Home Decoration
Novelty Lamp, Table Lamp, Table Lamps, Lamp Table
Talk, Concert, Scenes, Concerts
Experience
The point where Film-Buff notices the camera at his side is where the montage element of the scene kicks in and the editing becomes much faster, skipping past most of the stages of his artistic process. This is due to the footage having a very discontinuous element to it anyway. Film Buff, Montage, Element, Kicks, Scene, Process, Point, Faster
The point where Film-Buff notices the camera at his side is where the montage element of the scene kicks in and the editing becomes much faster, skipping past most of the stages of his artistic process. This is due to the footage having a very discontinuous element to it anyway.
Of course the way this scene change is presented is very Lynchian, particularly by showing the emptiness of the place Film-Buff is going to before his presence actually fills it. I'm thinking The Red Room from Twin Peaks in particular when I make this analogy. Red Rooms, Analogy, Twin Peaks, Change, Curtains
Of course the way this scene change is presented is very Lynchian, particularly by showing the emptiness of the place Film-Buff is going to before his presence actually fills it. I'm thinking The Red Room from Twin Peaks in particular when I make this analogy.
Film-Buff's first scene is arguably the standout scene in a lot of ways, as it is the only one that is more beat focused in its accompanying soundtrack. It manages to use that to its advantage, (most of the scene is watching Film-Buff walk about his ever changing scenery) as it may seem quite mundane in a lot of ways otherwise. Standout, Soundtrack, Outdoor Gear, Beats, Advantage, Scenery, Lot
Film-Buff's first scene is arguably the standout scene in a lot of ways, as it is the only one that is more beat focused in its accompanying soundtrack. It manages to use that to its advantage, (most of the scene is watching Film-Buff walk about his ever changing scenery) as it may seem quite mundane in a lot of ways otherwise.
There almost seems to be a corona of light coming from behind Writer's head. The saintly way in which some of the imagery of Writer in the film is presented comes from that classic myth that for art to be truly great the artist behind it must suffer in some dramatic way (almost like Jesus Christ). Suffer, Myths, Jesus Christ, Dramatic, Writer, Greats, Film, Classic
There almost seems to be a corona of light coming from behind Writer's head. The saintly way in which some of the imagery of Writer in the film is presented comes from that classic myth that for art to be truly great the artist behind it must suffer in some dramatic way (almost like Jesus Christ).
The absurdist angle to a lot of the scenarios in my work does come from that same kind of humour that someone like Woody Allen utilises in his films (Many of them having a scene featuring a protagonist lying back on a sofa in what seems to be a conventional psychoanalytical therapy session.) Woody Allen, Protagonist, Lie, Session, Films, Therapy, Sofa
The absurdist angle to a lot of the scenarios in my work does come from that same kind of humour that someone like Woody Allen utilises in his films (Many of them having a scene featuring a protagonist lying back on a sofa in what seems to be a conventional psychoanalytical therapy session.)
This stop-motion effect stemmed from seeing a Tribe Called Quest music video (We The People...) as the way the lyrics formed I found very satisfying in its visual rhythm. This effect was crucial in how Writer's thought process is illustrated. We see his ideas literally form in real-time as his process is such an improvised one at this point. A Tribe Called Quest, Thought Process, Stop Motion, Rhythms, Real Time, Literally, Music Videos, Lyrics
This stop-motion effect stemmed from seeing a Tribe Called Quest music video (We The People...) as the way the lyrics formed I found very satisfying in its visual rhythm. This effect was crucial in how Writer's thought process is illustrated. We see his ideas literally form in real-time as his process is such an improvised one at this point.
Some of the lighting in this scene is very well framed, although the chiaroscuro does get quite repetitive after there being several scenes of consistent darkness in each frame. Chiaroscuro, Very Well, Darkness, Frame, Picture Frame
Some of the lighting in this scene is very well framed, although the chiaroscuro does get quite repetitive after there being several scenes of consistent darkness in each frame.
I like this first scene, however I'm still unsure whether its my favourite . It should feel the most confident in a way as it has one of my favourite melody's in the soundtrack. It works well within the scene too, especially with it blurring the lines between his instrument producing diegetic and non-diegetic sound. Going by how much harsher and vocalised the instrument sounds later on its suggestive that these are not the sounds actually heard. Instrument Sounds, Blur, Melody, Confident, Heard, It Works, Lines
I like this first scene, however I'm still unsure whether its my favourite . It should feel the most confident in a way as it has one of my favourite melody's in the soundtrack. It works well within the scene too, especially with it blurring the lines between his instrument producing diegetic and non-diegetic sound. Going by how much harsher and vocalised the instrument sounds later on its suggestive that these are not the sounds actually heard.
My target audience should be clearer in a way, for as I've mentioned before, the kind of things I’ve been looking at improving in my work are what more mainstream cinema focuses on: such as continuity editing and lighting. However I’m unsure whether this element of familiarity will actually make it more accessible for people or not. Target Audience, Continuity, Cinema, Techniques, Lockscreen, Work
My target audience should be clearer in a way, for as I've mentioned before, the kind of things I’ve been looking at improving in my work are what more mainstream cinema focuses on: such as continuity editing and lighting. However I’m unsure whether this element of familiarity will actually make it more accessible for people or not.
Both Szamanka and Mishima produce strong responses from myself and many other people. Perhaps my film will be too cold seeming to elicit the same kind of response as these two, but then again even if the film doesn't have a warm tone it doesn't mean there isn't warmth hidden in there.
This shot from Andrzej Żuławski's Szamanka is a rare exception as most of his cinematography has a much paler hue. In fact it is more his trademark drained look that has been more of an influence over my stylistic choices. Both Szamanka and Mishima have a unique intensity that usually isn't seen on screen.
Mishima's score by Phillip Glass is another key inspiration, as the opening and closing pieces in my film are heavily reminiscent of Glass' work on this film. I noticed during some segments that in the background of the sound design was a constant burble. I felt at the time that it provided a further depth to the tone of the film. Some of the feedback of my film's progress so far has been that there are too many periods of silence, so I have added a similar ambient burble in the sound design.