Jonathan Phillip Thompson Mastery Journal @legendaryartisanpost - Tumblr Blog

Film Production Thesis III with Robert Sloan

When I reflect on my expectations for this course back when I started the program I didn’t have the heavy technical jargon and acclimation necessary to enter the world of post editorial production. In mind at the time, was distribution to the masses, but this course turned out to be the how to deliver to the masses based off of workflow needs. Bowens 2012, in Chapter seven of “The Grammar of the Edit” answers the question ”What is expected of the editor?” by briefly describing the modern editors expected tasks and how they contrast from the traditional editors “straight cut” focus. We experienced what a modern editor’s work detail usually entails in our editing assessment/ fine cut assignment because we were expected not only to straight cut, but also audio mixing, and a little motion effects work.

The experience of Thesis III, I compare it to an analogy of a Pottery class shared by our course director Robert Sloan in one of the class sessions. In a pottery class the clay begins in its most “raw form.” It yields to the potter’s ideas for composition, format, process, compressions, and tools used. The shape and form of the clay in the beginning is not the same in its finished state. Several things must happen to the clay in the process before the end result is a finished creation.

Takeaways reveal an even comparison to raw data from whatever prosumer to high-grade high end footage shot, can be found in its most raw form, but understand that in order to ultimately render raw audio or footage to a target audience it must go through several processes before reaching its finished state. Based on what the production needs are ultimately help determine the type of workflow. Whether importing or exporting media, compressing files, transcoding, time code syncing, or converting files, the rendered deliverable is no longer in the original format due to the process it must undergo. Takeaways formulate questions an editor must answer to the task at hand: How will this raw data be delivered to its target audience in its finished state?;What are the workflow needs for this specific project?

Reflection takeaways include assignments and jargon (key technological terms); e.g. Codec, Raw, Acquisition, ProRes 4:4:4, HD, and 4K ;to name a few, are now ingrained as a mental default, in the order of all things being Thesis I, II, III, and IV. Going forward, where there is reflection over the lectures, I see several post editing mistakes made in previous assignments that I should’ve, could’ve, would’ve done differently had I known what I learned in this course. For example, the do’s and don’ts of credits rule of listing course directors as executive producers of the assignment given was a mistake I made on past assignments prior this course, but now the wiser, consider the value in making as many mistakes and learning from them now along the mastery journey.

The editing assessment assignment for a 30 second time slot prepared me for what to expect in an intern position or environment where you can only work with the media tools, and materials given by the advertising/production company. Given the two hours to complete the workload created a worthy challenge one can use to measure basic editing functions and mark ones progress as a reference point.

source: https://youtu.be/AsYtznnfaVA

Film Production Thesis I with Van Manson

When I reflect on Thesis I and the experience from taking it twice, I compare it to watching that oh so familiar movie, rerun, or book read that one has seen or read before, probably even dozens of times, but every time you see it again you notice something different or new about it that you may have overlooked before. Even though taking Thesis I over for a second time doesn’t change the nature of the content being taught, sometimes it does offer a different instructor that is as different as the individual instructor teaching the course from the next. Factors, such as teaching style, participation, connecting to the students, criteria, curriculum, requirements, workload, flexibility, and applied research all play a part in the overall success of the student passing, but it’s not limited to costly mistakes, Murphy’s Law, or things beyond one’s control, student or director.

In other words, a valuable lesson has been learned since having to take Thesis I over a second time. The lesson is: even when you have done everything on the checklist as far as completing your pre production book, a follow through to track the deliverables to the exact address, whether online or physical location must be double checked and confirmed for best results. By doing this, it will ensure a successful delivery. What was seen, heard, emphasized, and learned became first hand experience by default because Thesis II was taken and passed successfully before having to take Thesis I over, which provided a natural transition in the order of things and reminder of what to expect when really going from pre pro to post.

There was a significant difference in crew list positions from Film Production Thesis I: Pre-Production with Jeffrey Lehman vs. Thesis I with Van Manson. With Jeff Lehman, preparation for roles such as, crafty, best boy grip, and boom operator meant studying books such as: Viers, R. (2012). The location sound bible: How to record professional dialogue for film and TV. Studio City, CA: Michael Wiese Productions and Uva, M. & Uva, S. (2002). Uva’s basic grip book. Boston: Focal Press., and filling out weekly reports according to the roles required from each Thesis film. With Van Manson, preparation for such roles as, Art Director, and Art Assistant meant studying books such as:Davis, G., & Hall, M. (2008). The makeup artist handbook: Techniques for film, television, photography, and theatre. Amsterdam:Focal Press, LoBrutto, V. (2002). The filmmaker’s guide to production design. New York: Allworth Press., and Preston. W. (1994). What an art director does: An introduction to motion picture production design. Los Angeles: Silman-James Press, from the campus library. Different roles: different weekly reports, different experiences. While both times each role was below the line, the range of roles and requirements were as unique as the Thesis films themselves., and provided a range of experience that prompted a level of appreciation specific to each role.

Film Production Thesis II with Dino Gallina

As Thesis I / Pre-Production, carried over into Thesis II/ Production, so shall Thesis II carry over into Thesis III /Post -Production. In my original Tumblr post all you see is the image of Devon Franklin’s book entitled “Produced by Faith”. After reading this amazing book, there were expectations, experiences, and roles that became my objective in order to measure, compare, and contrast with my goals, once I landed in Thesis II and I. Just as he explained the role he fulfilled as young production assistant exposed him to below the line experience, it also prepared him for above the line experience. I think working on two Thesis films: “The Bet” as boom operator, and “A Beautiful Trip” as a grip, and PA became a chance to fulfill roles that exposed me to below the line experience, and will prepare me for a well rounded perspective from below the line experience to above the line experience later along my journey.

I didn’t expect to have the discussions and discussion material wow me like it did but they were so helpful, I gained a new found appreciation for often overlooked departments in the filmmaking process. I also gained a thorough sense of responsibility, and integrity that comes with the territory of producing a film seeing it and experiencing it from a best boy grips perspective on one film and from a boom operator’s perspective on another film. Gleaning from Hollywood’s protégés really added depth and broadened my understanding of the entire process of filmmaking.

I like how Coppola tried to bring filmmakers together because he recognized potential being a protégé of Rodger Corman. I can identify by seeing the potential in my colleagues and experiences, even failures, and mistakes along the journey help shape my philosophy on conception to post production. Based off of Coppolas’s mindset you can just speak into existence ones goals, and aspirations, which lead to a balance in due diligence to bring it all to fruition.

I shared the mind of the editor on “The cuting edge: The Magic of movie editing” it is amazing how the same footage can be edited in such a way that it could yield so many different emotions, and implicit meanings all within the matter of seconds and frames, specifically the Koleshov effect, the doctrine of invisibility editing, and continuity. The power of manipulation through editing process and the preservation of a pure objective perspective for the editor via the absence of involvement in the pre pro, and pro phases of production verses post production took root into my arsenal as I adopted the techniques for future reference and application.

Film Production Thesis I: Pre-Production – lecture with Jeffrey Lehman

In reflection, the original expectation of Film Production Thesis I: Pre-Production – lecture with Jeffrey Lehman, was a general idea at first glance, until the syllabus was read. The outline of the syllabus filled in gaps of understanding providing clarity for seeing the bigger picture of the early stages of the production process. From Script breakdown, independent film financing and budgeting to securing crew, cast, and location permits via industry-standard production forms, the details and order allowed an organized assembly of assignments and activities that taught us the proper order of things when managing each phase of the process.

Efforts to implement the lessons covered from the lectures inoculated my personal experience to industry standard practices, formats, and logistical planning which allowed for a better appreciation and understanding of the complete process involved from camera shots, contracts, meetings to practical field work location scouting. The weekly reports of the movie A Beautiful Trip allowed me to monitor my position’s progress within the cast and crew. Being involved with two out of the three thesis films prompted further study of best boy role for A Beautiful Trip and boom operator on the set of The Bet with such books as: Viers, R. (2012). The location sound bible: How to record professional dialogue for film and TV. Studio City, CA: Michael Wiese Productions and Uva, M. & Uva, S. (2002). Uva’s basic grip book. Boston: Focal Press. Insights into building issues directed my concerns in the form of “questions to ask during a production meeting”, specifically with the sound mixer and or, designer. Questions like, where is the location of the scene? And will some shots need more than one boom operator? Even knowing what power outlets were going to be the most accessible on location as best boy? So, as a best boy for A Beautiful Trip, the goals to familiarize myself with the duties, responsibilities, and expectations my role required were subsumed in textbook research while acclimated via due diligence of teamwork, and combined lectures of Thesis film preparation.

Overall, counting the cost of the budget, and securing cast and crew, and locations all aided in the realization that the overwhelming task of producing a film can be cut down to size by doing a little each day and relying on your team as an invaluable resource, as well as knowing your role, and paying attention to detail. Everyone plays an important role whether it’s an above the line as producer, or below the line as best boy grip.

Running Head: VISUAL STORYTELLING

Reflections in Visual Storytelling Jonathan P. Thompson Mastery Journal Full Sail University

February 1, 2016

Reflection 1

Abstract Over the course of a six-month span, a gauge was set to compare and contrast the progress of goals, intentions, and expectations in each class from month to month. For Visual Storytelling Techniques and Technology, the mission statement was to find out just how effective and how much non-verbal communication one could get away with on screen. After taking the course, through assignments, an answer was found proving there are no limits to creating entire films with no dialogue that use symbols, motifs, and different formats and stylistic elements like the Kuleshov Effect, the slow reveal, the cutaway, and manipulation of time and space, and lighting

to create implicit and explicit meaning in your film.

Reflection 2

Reference Point

Reflections

As stated six months prior in a reflection of Robert Greene’s Mastery (2012), specifically, “the master must possess a mind able to move through the creative process. The master is required to have gone through three key steps: one is choosing the right creative work; two is with hindsight allow for altered perspective through other creative ways; and three is create circumstances that find a way to create understanding.” With this in mind, the visual story telling has emphasized using safety first on the sound stage, lighting, symbols, motif, and other stylistic elements to “create understanding.” This can be attached to the three steps mentioned above as a method used to create circumstances that aid in creating understanding. In this case, understanding to the viewer.

As a newbie to visual storytelling, there was a freedom attached to each assignment that was subsumed in the title Visual Storytelling (VS). Maybe it was due to the fact that when dialogue is omitted, the challenge to use what was learned in experimental and carried over into VS within the duration of the Master’s Arts Film Production program becomes top priority. At a glance this may force one to use what resources they have drawn from the program’s courses and formulate a recipe that doesn’t cross the assignments boundaries. Personally, this appreciation of the 60-90 second film on a selected emotion gave structure to a creative platform, but also allowed one to see the possibilities in the process. The process and end product led to comparisons in cinema of innovative work achieved by pioneers and trailblazers in Hollywood past and present.

Reflection 3

Shot Recreation

Indoor and outdoor painting recreations had to be one of the most rewarding second to the emotion video. Part of it was due to the freedom to choose a preexisting photo, then get it approved by the professor for recreation. The process allowed us to experience what other artist and filmmakers must go through, or have gone through in order to recreate a scene in a film taken from another film, book, photo, or form of media, or social media. Optical illusions became my category to choose from in which a photo of a Ferris wheel lit up at night became the front wheel of a bicycle selected as a recreation of similar photo taken in the daytime. What was most interesting was the finished product that was presented in front of the class. In this case, both photos were presented, but the viewing class couldn’t distinguish which photo was the original, and which was the replica. This was considered the highest of compliments to the artist. Short Narrative

The most challenging assignment, yet lesson learned, was the short narrative. Here we teamed up with small groups of two and three to create a short narrative within a time frame. Our group got approved for an adaptation to public domain story found in scripture. Working with a team and checking out equipment in your name meant you were responsible for the expensive equipment, which adds to the liability pressure, but acts as incentive to be that more mindful when sharing, and handling equipment. We learned a great deal in pre production, production, and post production as we got closer to deadlines. Techniques on how to handle loopholes within the editing process and short film constraints were applied, such as learning how to edit a 2-5 minute film that has minutes detrimental to the film, but go over in time. Safety first, above all else while working on the set, and especially when dealing with expensive equipment. For the

Reflection 4

most part, the process was a trustworthy one that has been tried and proven and allowed us to work on the set of a Thesis Film.

Reference Page Greene, R. (2012). Mastery. (pp.175-246). New York, NY: The Penguin Group

Elements of cinema .com shares The Film Historians insight into Lev Kuleshov’s research. His experiments on “juxtaposition” found that the way shots are “assembled” determine how and what the audience takeaways from implicit meaning. As a result, the actor’s fixed expression, cut to three distinct shots, caused the audience to respond with labels according to the corresponding images. So, the power of editing to convey a story can be seen as Alfred Hitchcock points out with an illustration of a smiling man next to a baby can imply sympathy verses the same smiling man next to a woman in a bikini can imply perversion.

Experimental Film

The course met the original objective by answering three questions:1.What’s been done? 2.What’s being done? 3.What hasn’t been done?

What’s been done speaks a lot to the trends, and influence that follow filmmakers in the industry, and set the tone and pace frequently for students and other professionals who incorporate techniques that produce effective communication on screen. What’s being done says a lot about today’s industry standards, effective methods, and tried and proven practices still followed. I think what hasn’t been done is relative to the experimental filmmaker willing to try different things, the happy mistakes that sometimes happens in the process of filmmaking, the restrictions and limited resources that often create necessity, the mother of all invention, and cause one to think outside the box.

This course brought new meaning to learning as we go due to the immediate availability of terms and concepts that were made useful via it’s application in each weeks assignments such as the Kuleshov Effect, the slow reveal, the cutaway, and manipulation of time and space. A lot of semiotics and how films communicate broadened the scope of possibilities and opened the door to incorporate these concepts into the editing process, and miss - en- scene from pre to post production. Experience in lighting a set properly and distributing power safely, to creating implicit and explicit meaning in your film using symbols, motifs, and different formats and stylistic elements were the focus that came into play as the weeks rolled by.

Hands on experience was invaluable to our lessons learned and had a hand in shaping my understanding of on and off the set protocol. How professional you carry yourself and practice your Art, Business, and Craft can be the finer distinction between a mere hobby and a respected career in the industry.

Eco friendly orgs and green peace programs, the kind big business’s and film projects protect their investments with, were seen as a necessary component that insures favorable marketing and promotional yields on the back end of the business and reflects a symbiotic partnership between big business, investors, and filmmakers.In the interest of environmentally safe practices, in the end we all play a key role and can benefit from tracking our carbon neutral sustainable consumption.

image source:

http://www.elementsofcinema.com/editing/kuleshov-effect.html

image source: https://kjfilm2700.wordpress.com/2015/09/08/1920s-soviet-cinema/

A Look at Navin Kumar’s “CHALK”

source: https://vimeo.com/148024378

#fsefm Week 1 M.S.E.

“Meditation Medication:” Here is one way to tame your Jekyll’ed workdays so you don’t have to Hyde from your worknights.

Psalm 19:14 Let the words of my mouth and the meditation of my heart Be acceptable in Your sight, O LORD, my rock and my Redeemer.

Philippians 4:8 Finally, brethren, whatever is true, whatever is honorable, whatever is right, whatever is pure, whatever is lovely, whatever is of good repute, if there is any excellence and if anything worthy of praise, dwell on these things.

source: https://vine.co/search/jonathan+thompson%23fsefm

#fsefm

This is a Vision crafted for the adaptation of controversial Holocaust survivor Elie Wiesel's accounts in his book "Night." The theme for this vision is Hunger and it's relation to schizophrenia. As starvation can often lead to schizophrenic delusions and hallucinations, the narration is told by one suffering from schizophrenic delusions due to starvation to create implicit meaning over the controversy surrounding Wiesel's accounts.

source: https://vimeo.com/146756133

Here in “Dolo’s Prayer,” Dolo, a lyricist, wrestles with his miserable alcoholic rage, seeks forgiveness, and resolve, through a prayerful spirit and a bottle of spirits before his performance.

Peace and Thanks to the cast and crew for Scene # 3

source: https://vimeo.com/146763923

Directing Talent with Allen Gorney Mastery Vlog

source: https://vimeo.com/146730492

Thanks, Truth, Peace, Love, Hope, and Faith, to Full Sail University and the Directing Talent class with Allen Gorney. Special thanks goes out to the cast and crew for Scene # 2

In this scene, two old friends, E played by David Quiles, and Romeo played by Ian Maguire, battle at Tunk on card night. This scene uses situational comedy to zoom in on the pride of a win and the humiliation of a loss, with the fate of a coin as the common denominator between sore winners and humbled losers .

source: https://youtu.be/tPQVLsYWTo4

Directing Talent with Allen Gorney Scene # 1

In this scene, Juliet played by Shayla Hall, and Romeo played by Ian Maguire finally embrace after a long day.

video source:

https://youtu.be/RBlnwKDzthg

Truth Peace Hope Faith Love and Thanks to cast and crew.

legendaryartisanpost

(video source): https://vimeo.com/142762773

legendaryartisanpost

Here is a reflection of Hope, Help, and Haven available in the community of students, faculty, and staff. The Writing Center's scheduled appointments will insure program specific tutors to go over your submitted work, revisions, questions, and concerns.

Contact: [email protected].

DIRECTIONS: Our office is in Building 4d next to the Distribution Center. Enter through the main doors and ask the receptionist to call the Writing Center. Once they let us know you are here, the consultant will come get you. If there is no receptionist, use the phone on the desk to call us 407-679-0100 ext. 2340.

IMPORTANT: Bring a printed, double-spaced copy of the assignment that you need assistance with, as well as a copy of the assignment guidelines.If you need to cancel or reschedule the appointment, you can do so by emailing us at [email protected]<mailto:[email protected]>. Our email is checked from 9:00am to 5:00pm, Monday through Friday.We look forward to meeting with you! Thanks, Nicole Chapman

(video source): https://vimeo.com/142762773

legendaryartisanpost

Character Bible for Pete Archer.

legendaryartisanpost

source: https://youtu.be/N5qcjrjWTPo

Trending Blogs

Recently Viewed Blogs

Jonathan Phillip Thompson Mastery Journal