1. Red herring - means something that draws attention away from main subject, seemingly random but perhaps somehow significant.
2. The Rule of Thirds: never really fully realized that this was a theorem, I haven't heard it actually called the "Rule of Thirds" since middle-school. Helping some of the other students, I came across this in one of my textbooks. I've always prided myself on having "the eye" for a good composition, and I've been asked to describe what a "good" composition is, but have never really been able to put it to words. This rule explains it perfectly and makes it sound pretty simple. Basically the frame is divided into a 3x3 grid, and when notable subject matter falls under the line or upon an intersection of two lines, it creates a suitable composition.
3. The most important thing I learned was during my short critique of my rough culminating video. It's hard to verbalize, but basically there are invaluable moments during critiques where I realize that something I do, a type of shot I like or an element of the context that I dwell on, is actually really archetypical and/or cliche. In my case, it was the reversed drip or the pan into a clenching fist. Those are the types of images I love and I'm comfortable with. I remembered thinking when I was edited, "these are almost flawless", knowing they were great shots and not giving them a second thought. This is because I've grown up seeing them in hundreds of movies, and I'm comfortable with seeing them and. now, using them in my own work. My program has worked to combat this comfortability, and my growth is very much a testament to how well that has worked for me. But, in this case and in many more in the future, I will continue to realize things about my work that degrade its originality. This realization is what helps me grow and develop my own vision, and moments like it are invaluable to me as an artist.
Tuesday, December 6, 2011
Thursday, December 1, 2011
Video Training Exercise
1. Keep elbows close to your body and bend your knees for stability.
Always use the grip strap tightened over your right hand and place your left hand under the lens for stability.
Utilize natural support in the environment by laying on the ground, leaning on walls, or finding flat, steady surfaces
2. Keep legs bent at the knees and your body at a lower height. Concentrate on "gliding", keeping limbs closest to ground as possible. Take soft, slow steps. Focus solely on steadying the camera and capturing the subject, but have someone look out for you as you walk blindly so as not to fall or ruin the shot.
3. Panning (moving camcorder right to left/left to right) and tilting (up and down)
4. Remaining on a particular shot for a longer period emphasizes it more and suggests that there is significance to be found. If one moves the camera too fast or unsteadily, it will disorient the audience and obscure what one is trying to emphasize or portray. Avoid "hosepiping", or the constant panning/tilting in an attempt to cover all of the subject. Be patient!
EXTRA CREDIT:
Unless the work was produced over 70 years ago, it is likely under copyright. Using copyrighted material is considered infringement unless it follows the "fair use rules". One can use copyrighted material in order to create a critique, new report, social comment, or when teaching a class or researching.
Creative Commons is a nonprofit corporation that gives artists free licensing and legal tools to both protect their work and make it easy to appropriate or share with others. It follows the same rules as copyright but is safer and easier to use, more user-friendly. Biggest advantage is that CC allows artists to state clearly in what ways they allow their work to be used. "Attribution" is the most common component, requiring anyone using a CC'd artform to credit the original artist. ShareAlike requires the appropriating artist to share the find product with the regional artist. Non-Commericial forbids people from selling or making any money with an already established work. NoDerivatives means that the original work can in no way be altered.
A video release form, also known as an Appearance Release form, is a simple contract that gives you legal permission to use the image of the person for commercial and non-commercial purposes. Generally when interviewing someone or using an emphasized image of someone, it is a good idea to sign a relase form in the event that someone presses charges against you for using their image in your work. The forms protect the rights of the filmmaker. It's hard to dictate when one is required, as rules vary greatly between jurisdictions and are constantly changing.
Always use the grip strap tightened over your right hand and place your left hand under the lens for stability.
Utilize natural support in the environment by laying on the ground, leaning on walls, or finding flat, steady surfaces
2. Keep legs bent at the knees and your body at a lower height. Concentrate on "gliding", keeping limbs closest to ground as possible. Take soft, slow steps. Focus solely on steadying the camera and capturing the subject, but have someone look out for you as you walk blindly so as not to fall or ruin the shot.
3. Panning (moving camcorder right to left/left to right) and tilting (up and down)
4. Remaining on a particular shot for a longer period emphasizes it more and suggests that there is significance to be found. If one moves the camera too fast or unsteadily, it will disorient the audience and obscure what one is trying to emphasize or portray. Avoid "hosepiping", or the constant panning/tilting in an attempt to cover all of the subject. Be patient!
EXTRA CREDIT:
Unless the work was produced over 70 years ago, it is likely under copyright. Using copyrighted material is considered infringement unless it follows the "fair use rules". One can use copyrighted material in order to create a critique, new report, social comment, or when teaching a class or researching.
Creative Commons is a nonprofit corporation that gives artists free licensing and legal tools to both protect their work and make it easy to appropriate or share with others. It follows the same rules as copyright but is safer and easier to use, more user-friendly. Biggest advantage is that CC allows artists to state clearly in what ways they allow their work to be used. "Attribution" is the most common component, requiring anyone using a CC'd artform to credit the original artist. ShareAlike requires the appropriating artist to share the find product with the regional artist. Non-Commericial forbids people from selling or making any money with an already established work. NoDerivatives means that the original work can in no way be altered.
A video release form, also known as an Appearance Release form, is a simple contract that gives you legal permission to use the image of the person for commercial and non-commercial purposes. Generally when interviewing someone or using an emphasized image of someone, it is a good idea to sign a relase form in the event that someone presses charges against you for using their image in your work. The forms protect the rights of the filmmaker. It's hard to dictate when one is required, as rules vary greatly between jurisdictions and are constantly changing.
Thursday, November 17, 2011
Learning Assessment & Reflection: 11/17
1. A jagged editing strategy or an inconsistency in pace or tempo gives videos an abstract, interesting aesthetic which make the process of juxtaposition --> emphasis --> reveal work.
2. Achieving the "flow", or the weightless feeling created by the perfect editing of shots-in-motion, depends more on the geometry and subject orientation than matching together two shots to mimic motion. The composition and the precise angles of the visual context decide if two shots can achieve the link of "flow".
3. Sound that is synchronous and seamless in relation to the edited visuals is the general goal in achieving the "flow", equally as important as simply the flawless editing on motion.
2. Achieving the "flow", or the weightless feeling created by the perfect editing of shots-in-motion, depends more on the geometry and subject orientation than matching together two shots to mimic motion. The composition and the precise angles of the visual context decide if two shots can achieve the link of "flow".
3. Sound that is synchronous and seamless in relation to the edited visuals is the general goal in achieving the "flow", equally as important as simply the flawless editing on motion.
Concept Brief
OVERVIEW
In the primary stages of developing my idea for my Culminating Video, I elected to delve deeper into the issues that my Sound Research project "Hangul" was tackling. I am very interested in aspects of the South Korean culture, in particular the core values of respect and dignity as well as the identity crisis that plagues many Korean Americans. The main visual themes that I'll explore in this final video will be identical to those in "Hangul": isolation, confusion, nostalgia, and darkness. It's important to me to expose viewers to a different perspective and a foreign mindset. The American culture is a very informal one, much of the courtesy and respect now absent from our customs. My final video project will aim to highlight the struggles of another young adult and the inner-conflict of an equally important culture.
While I am still continuing to develop all of the specifics, the general details of the project context are clear. I will showcase a Korean student who resorts to boxing in order to relieve his stress and cope with his internal struggles. The concept was actually born from fact, as my good friend Zach Han did start boxing and sparring by himself in order to lower his stress level. An important contrast in the Culminating Video will be the alienation and familiarity that the audience will feel towards the character and the situation. What prompted Zach to start boxing are mutual issues that all young men face and cultural issues specific to the Korean people. Zach explained that the principal of respect is integral in the Korean culture, and created a lot of stress in his life. Youth must always respect their older hyungs, or brothers, even if they are merely a year older. To Koreans, respecting your elders means constant bowing, taking orders, and expected courtesies, and defying these often-strict social customs is highly frowned upon. In Zach's case, he was actually physically assaulted by a self-righteous elder after he refused to bow or show him respect. Zach was 14 months younger than the hyung. In talking with Zach, he said that he took up boxing shortly after the assault, and it helped him build confidence and expend his aggression. Zach made it clear that, as a Korean American who doesn't speak his own language, he felt isolated among those Koreans who are more akin to their culture. "Am I a Korean or an American?" he asked, a very poignant question highlighting his identity crisis. After our conversation, I saw several strong connections between his situation and the general conflicts that plague Koreans. Foremost, there is great irony behind his actions as well, particularly in the constant presence of violence. Zach begins to practice violence in order to avoid and oppose it. Violence has become a mainstay theme in Korean existence, the lives of people constantly threatened by bombs and bullets from their enemy to the North. Much like North and South Korea, Zach and the hyung that assaulted him are brothers of the same origin, affiliated by an act of pointless violence. Even in America, Koreans are fighting each other over petty indifferences. Struggle and oppression are seemingly unescapable.
Needless to say, there is a ton of significance behind the idea that I have really only begun to scratch the surface of. Once paired with the equally significant sound piece, my Culminating Video will be a dynamic and gutsy piece. It will be a pleasure honing aforementioned principals into a concise motive through the juxtaposition of sound and image. As a senior, I'd like to go above and beyond with this final project. I want to create a polished piece that really reflects my interests. In Time Arts, I have spent the semester developing my skills in abstract and ambient art forms, and appropriately in this culminating project, I will combine my new affection of abstraction with my prime abilities of narrative storytelling to create an aptly psychological piece. Specifically, I will utilize abstract visuals, audio, and editing to construct a dream-like sequence with narrative tendencies. I will reenact Zach's situation and approach it with a duly conflicted perspective, reflective of his conflict and confusion.
LOCATIONS
I will focus my shooting in three chief locations around the Syracuse campus. The primary location will be a lower gym in Archbold Gymnasium with a lone boxing bag. The room is appropriately dark and isolated, the only windows up at the top of the high ceilings. Very little light gets into the room and the place is deathly quiet. It will be fantastic for evoking central themes of isolation and contemplation.
The two secondary locations will be a stone gazebo near the Law building and an alleyway between Archbold Gymnasium and the backside of the Carrier Dome. These locations maintain the dark, industrial visuals utilized throughout the piece; an abundance of drab grays and exaggerated, prison-like geometry. The alleyway is where Zach will be assaulted, and evokes a strong sense of entrapment as he walks between the high cement walls. The gazebo will act first as something of a throne for hyung, where he and his posse sit and hang out. Later in the piece, I want to this gazebo to resemble a stone cage, too, where Zach eventually confronts his demons.
I've obtained permission and an official memorandum from Archbold Gym to film for two hours in the lower gym. The other locations are in public but isolated areas, and my shooting in those locales will be dictated mostly by the Carrier Dome event schedule (in an attempt to avoid crowds).
AESTHETIC
The piece will be very tonal and reliant on its visual aesthetics in order to communicate its motives. The locations will all have varying attributes but will also share the same tonal characteristics of isolation and darkness. Shots in the lower gym will have the heaviest shadows and will play with darkness the most, while the secondary locations will rely more on their color and geometry. Likewise, my compositions will adhere to the themes of the motive. I will utilize strayed compositions, dutch angles, and an omniscient perspective to create the abstract, psychological aesthetic. I will use an abundance of shots-in-motion with dolly shots, tilts, pans, and slow motion to emphasize the flowing, dream-like aura. My visual strategy is simple but specific, and it can be difficult to put into words. I will utilize tone, color, and geometry to create my desired aesthetic.
PROCESS
I have already reserved video and audio equipment with the film cage for the first week after we return from Thanksgiving. I have a small crew slated to assist me with sound recording, dolly grip, camera, etc. Zach will play himself in the "leading role" of the piece. Our mutual friend Jae Wook Ryu and two of his underlings will play hyung and his posse. Zach and Jae both have previous acting experience. Jae actually is a hyung in real life (although not an abusive one) and his friends are his "younger brothers". This works out well in my favor since all of my actors are playing either themselves or characters in very similar circumstances to their own.
I will shoot during the week of December 1st over a period of two days. I have already conducted camera tests at on location with Zach and considered the obstacles of the locations. The alleyway, for example, is something of a wind-tunnel, so that could great affect any audio recording I do there. I'll be sure to bring appropriate tools like a wind filter to the shoot. The biggest potential problems will be, as usual, actors and being able to coordinate people's availability and make sure they actually show up. I will be diligent in communicating constantly with Zach, Jae, and the other guys. In terms of timeline, I would like to be done shooting by December 3rd. I will adhere to any Time Arts deadlines as they are made clear. I spent the last week finishing up pre-production, hope to end production by December 3rd, and hope to finish post-production by December 10th.
In the primary stages of developing my idea for my Culminating Video, I elected to delve deeper into the issues that my Sound Research project "Hangul" was tackling. I am very interested in aspects of the South Korean culture, in particular the core values of respect and dignity as well as the identity crisis that plagues many Korean Americans. The main visual themes that I'll explore in this final video will be identical to those in "Hangul": isolation, confusion, nostalgia, and darkness. It's important to me to expose viewers to a different perspective and a foreign mindset. The American culture is a very informal one, much of the courtesy and respect now absent from our customs. My final video project will aim to highlight the struggles of another young adult and the inner-conflict of an equally important culture.
While I am still continuing to develop all of the specifics, the general details of the project context are clear. I will showcase a Korean student who resorts to boxing in order to relieve his stress and cope with his internal struggles. The concept was actually born from fact, as my good friend Zach Han did start boxing and sparring by himself in order to lower his stress level. An important contrast in the Culminating Video will be the alienation and familiarity that the audience will feel towards the character and the situation. What prompted Zach to start boxing are mutual issues that all young men face and cultural issues specific to the Korean people. Zach explained that the principal of respect is integral in the Korean culture, and created a lot of stress in his life. Youth must always respect their older hyungs, or brothers, even if they are merely a year older. To Koreans, respecting your elders means constant bowing, taking orders, and expected courtesies, and defying these often-strict social customs is highly frowned upon. In Zach's case, he was actually physically assaulted by a self-righteous elder after he refused to bow or show him respect. Zach was 14 months younger than the hyung. In talking with Zach, he said that he took up boxing shortly after the assault, and it helped him build confidence and expend his aggression. Zach made it clear that, as a Korean American who doesn't speak his own language, he felt isolated among those Koreans who are more akin to their culture. "Am I a Korean or an American?" he asked, a very poignant question highlighting his identity crisis. After our conversation, I saw several strong connections between his situation and the general conflicts that plague Koreans. Foremost, there is great irony behind his actions as well, particularly in the constant presence of violence. Zach begins to practice violence in order to avoid and oppose it. Violence has become a mainstay theme in Korean existence, the lives of people constantly threatened by bombs and bullets from their enemy to the North. Much like North and South Korea, Zach and the hyung that assaulted him are brothers of the same origin, affiliated by an act of pointless violence. Even in America, Koreans are fighting each other over petty indifferences. Struggle and oppression are seemingly unescapable.
LOCATIONS
I will focus my shooting in three chief locations around the Syracuse campus. The primary location will be a lower gym in Archbold Gymnasium with a lone boxing bag. The room is appropriately dark and isolated, the only windows up at the top of the high ceilings. Very little light gets into the room and the place is deathly quiet. It will be fantastic for evoking central themes of isolation and contemplation.
AESTHETIC
PROCESS
I have already reserved video and audio equipment with the film cage for the first week after we return from Thanksgiving. I have a small crew slated to assist me with sound recording, dolly grip, camera, etc. Zach will play himself in the "leading role" of the piece. Our mutual friend Jae Wook Ryu and two of his underlings will play hyung and his posse. Zach and Jae both have previous acting experience. Jae actually is a hyung in real life (although not an abusive one) and his friends are his "younger brothers". This works out well in my favor since all of my actors are playing either themselves or characters in very similar circumstances to their own.
I will shoot during the week of December 1st over a period of two days. I have already conducted camera tests at on location with Zach and considered the obstacles of the locations. The alleyway, for example, is something of a wind-tunnel, so that could great affect any audio recording I do there. I'll be sure to bring appropriate tools like a wind filter to the shoot. The biggest potential problems will be, as usual, actors and being able to coordinate people's availability and make sure they actually show up. I will be diligent in communicating constantly with Zach, Jae, and the other guys. In terms of timeline, I would like to be done shooting by December 3rd. I will adhere to any Time Arts deadlines as they are made clear. I spent the last week finishing up pre-production, hope to end production by December 3rd, and hope to finish post-production by December 10th.
Friday, November 11, 2011
Learning Assessment & Reflection: 11/10
1. White noise is a mix of all the sound frequencies. Examples include rain, ocean, and TV noise. Often used to lull people to sleep at night. The comparisons of the aforementioned sounds inspired further research and some ideas that may contribute toward my final video.
2. liminal = fixed in between two places/conditions, use of repetition to transport into "liminal space". Can be space b/w glass, both outside and inside. This is a shining example of looking at things through another perspective, and will be a useful rethinking tool to me in the future.
3. After 70 years, the work of all published artists is automatically entered into the public domain.
2. liminal = fixed in between two places/conditions, use of repetition to transport into "liminal space". Can be space b/w glass, both outside and inside. This is a shining example of looking at things through another perspective, and will be a useful rethinking tool to me in the future.
3. After 70 years, the work of all published artists is automatically entered into the public domain.
Saturday, November 5, 2011
Final Portfolio Showcase: Sound
I've decided to post all of the sound work I have done this term using the three tools SoundStudio, Logic Pro, and Audacity. They acted as the perfect combination, giving me nearly limitless boundaries in terms of what I could pull off. To me, this term has been a huge factor towards my knowledge and growth in sound. By going back to the basics, and understanding sound for what it is, I've been able to move forward and create some detailed, advanced tracks that have really blown me away. Sound design is a highly neglected area in the art of filmmaking, and it's a damn shame. What people hear can carry just as much emotion, significance, and color as what people see, and together sound and image form the most popular, influential form of media in the world. Transitioning my focus from layers to environmental to abstract really allowed me to look at things from different perspectives, which is the key to producing successful work. Like my focus, my work went through phases, where I produced abstract, harmonic, environmental, and appropriation tracks. It was a privilege crossing the border into sound design and honing my creative energy in a different field.
Hangul by Dan Blackson
"Abstract sound piece highlighting the emotions and themes of a divided country and a damaged people." A sound research product, I used synth sounds, dark tones, a monologue, and children recordings to create a very contrasting tone. It was a huge process, and there is a ton of significance behind the piece.
Read about the entire process here: http://dblackson.blogspot.com/sound-research-process.html
San Diego by Dan Blackson
"Euphoria, illusion, & empathy. The psychological cycle of life." This abstraction came together as a complete piece with guitar riffs, dark tones, and recordings from the zoo. It reflects on the contrasting emotions between ages, and the relationship of isolation between caged animals and adults.
Major by Dan Blackson
"Acoustics, guitar riffs, & sunlight." The first part of an experimentation with tempo, delay, pitch, and an electric guitar. Inspired by the album "Mylo Xyloto".
Minor by Dan Blackson
"Acoustics, guitar riffs, & heat strain." Part two of the experimentation, create more of a fractured, surreal sound by adjusting pitch and making the guitar riff creep along.
Archbold by Dan Blackson
"Gymnasiums, young adults, and a bittersweet illusion." This environmental sound piece was completed by adding a repeating piano composition. The ghostly, supernatural notes skip and change pace at times, and together team up with the natural gym soundscape for an interesting and significant piece.
Sea of Corruption by Dan Blackson
Surrealist appropriation of Joe Hisaishi's "In the Sea of Corruption" from his film Nausicaa of the Valley of the Wind".
track used in "Reservation", by Dan Blackson
Homecoming by Dan Blackson
Appropriation of original film score, John Powell's "Homecoming" delayed by 35%. Close your eyes and enjoy. From the film Face/Off by John Woo
Hangul by Dan Blackson
"Abstract sound piece highlighting the emotions and themes of a divided country and a damaged people." A sound research product, I used synth sounds, dark tones, a monologue, and children recordings to create a very contrasting tone. It was a huge process, and there is a ton of significance behind the piece.
Read about the entire process here: http://dblackson.blogspot.com/sound-research-process.html
San Diego by Dan Blackson
"Euphoria, illusion, & empathy. The psychological cycle of life." This abstraction came together as a complete piece with guitar riffs, dark tones, and recordings from the zoo. It reflects on the contrasting emotions between ages, and the relationship of isolation between caged animals and adults.
Major by Dan Blackson
"Acoustics, guitar riffs, & sunlight." The first part of an experimentation with tempo, delay, pitch, and an electric guitar. Inspired by the album "Mylo Xyloto".
Minor by Dan Blackson
"Acoustics, guitar riffs, & heat strain." Part two of the experimentation, create more of a fractured, surreal sound by adjusting pitch and making the guitar riff creep along.
Archbold by Dan Blackson
"Gymnasiums, young adults, and a bittersweet illusion." This environmental sound piece was completed by adding a repeating piano composition. The ghostly, supernatural notes skip and change pace at times, and together team up with the natural gym soundscape for an interesting and significant piece.
Sea of Corruption by Dan Blackson
Surrealist appropriation of Joe Hisaishi's "In the Sea of Corruption" from his film Nausicaa of the Valley of the Wind".
track used in "Reservation", by Dan Blackson
Appropriation of original film score, John Powell's "Homecoming" delayed by 35%. Close your eyes and enjoy. From the film Face/Off by John Woo
Thursday, November 3, 2011
Learning Assessment & Reflection: 11/3
Today in class, we separated into small groups, stated the problems, and held a group discussion analyzing and breaking down the issues and then determining a plausible solution. By thinking inversely about the issue(s) and looking at them through different points of view by listening to our peers, we came up with some very valuable suggestions and learned how to think outside the box. This idea of collaborative brainstorming and problem-solving will be integral in any professional situation and will be invaluable in the work place. The process worked because everyone's voice was heard.
I. With utilizations of subtle, often unrecognizable techniques like depth of field, rhythmic cuts, and repetition, the video creates a sense of focused familiarity within the viewer which gives the flowing, seamless feel to the piece. The relationship between sound and image is everything and solely maintains this flow (despite explicitly fractured video editing).
II. In many videos, and definitely within the video in class "Gardyn", the video relies on non-diegetic sound and perfect editing and rhythm to maintain its sense of cohesion. With perfect timing, non-diegetic sound takes on the illusion of being diegetic sound. But in instances like in "Gardyn", when there is even the slightest offbeat moment b/w sound&image, this illusion is broken. It becomes clear that the audio is in fact non-diegetic and thus brings the viewer out of the world of the piece.
III. I'm curious about the significance of "graphical editing". in my experience with video editing, I haven't heard this term used before, and I was interested to hear exactly what it is. However, after listening, it seems that the idea of graphical editing is something that is so ingrained in my head that I don't even think about it anymore. Basic things like symmetry, color temperature, and repetition have become routine in my work process. I'm curious about the use of the word "graphical". How does graphical relate to the aforementioned elements of sound and image? Is it an appropriate word?
I. With utilizations of subtle, often unrecognizable techniques like depth of field, rhythmic cuts, and repetition, the video creates a sense of focused familiarity within the viewer which gives the flowing, seamless feel to the piece. The relationship between sound and image is everything and solely maintains this flow (despite explicitly fractured video editing).
II. In many videos, and definitely within the video in class "Gardyn", the video relies on non-diegetic sound and perfect editing and rhythm to maintain its sense of cohesion. With perfect timing, non-diegetic sound takes on the illusion of being diegetic sound. But in instances like in "Gardyn", when there is even the slightest offbeat moment b/w sound&image, this illusion is broken. It becomes clear that the audio is in fact non-diegetic and thus brings the viewer out of the world of the piece.
III. I'm curious about the significance of "graphical editing". in my experience with video editing, I haven't heard this term used before, and I was interested to hear exactly what it is. However, after listening, it seems that the idea of graphical editing is something that is so ingrained in my head that I don't even think about it anymore. Basic things like symmetry, color temperature, and repetition have become routine in my work process. I'm curious about the use of the word "graphical". How does graphical relate to the aforementioned elements of sound and image? Is it an appropriate word?
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