Weekly Posting: Week 2

Book Readings
Cinematic Storytelling
Jennifer Van Sijll

Page 72
In the example of contrast of time, it shows how useful it can be with a character's objective. The person - in a rush - is intercut with another shot to be a roadblock and slow down time. I feel this can create the suspense I'm looking for to use in a short urban legend film

Page 74
What I find useful is expanding time. Turning 3 seconds into a whole minute. This way I can elongate a perfect scene.

Page 76
The use of slo-motion is greatly used to show the dramatic value of increasing the connection with a character. It allows the audience to feel what the character feels and can even allow them to see from their point-of-view (POV). For instance, in Martin Scorsese's Raging Bull (1980), it seemed like I could actually feel every blow Jake La Motta received due to slo-motion. I could see every drop of sweat and spit in the shot as he was hit.
My concerns for using slo-motion is if I would need a special camera since slowing down time in FCP makes the image blurry and the trick is to have the shot slow, but clear.

Page 80
The use of flashbacks I learned should be used more sparingly. I remember putting a few in a screenplay in the past, but now I'm considering revising it, as it gives no important back-story rest of my film. One thing I have to consider is if it moves my plot forward or not.

Page 82
Using a flash-forward in a short story film could be useful if it's not overdone. I can manipulate time this way by covering more in a story and getting to the main point.

Page 86
Foreshadowing might be one of the best options for a short film. A suggestion of something later in the film makes more sense in this case than a symbol.

Page 91
See page to view list when considering sound effects.

Meshes of the Afternoon
Directed by: Maya Deren
Run time: 14min
Year: 1943
Viewed: 9/10

What I liked about this film is the camera movement. The way the camera moved along with the actor made it look like the camera was controlling their movements and throwing them around on screen.


Idiot with a Tripod
Directed by: Jamie Stuart
Run Time: 3:35
Year: 2010
What I liked about this film first is the intercutting Jamie Stuart did (around 2:00). After reading examples from the book, I saw how it could be done. It was taken to another level by connecting three shots he used all with the same issue - being stuck in the snow, and then later their issue resolved by getting unstuck.

Video Clips

Clip1A from Dez Brown on Vimeo.


What I wanted to do with this clip was work with the Z-axis as it was demonstrated on page 12 in the book. After many attempts, this is the best I could come up with as these trials failed miserably. I did everything from the book with the camera by opening up the camera for a greater depth-of-field, but what I think made it fail was I might not of had enough space between me and the camera.

Clip1B from Dez Brown on Vimeo.


For this clip I wanted to imitate the camera movement from the film Meshes of the Afternoon. What I did was direct someone to move with the camera as I swayed it back and forth then added a small amount of stabilization in editing to make it appear more as if the person were really controlled by the camera. I think I did this well, but might want to perfect it if I actually do use this in my film. I would work more with my actor to get their movements just right with the camera.

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