Final Reflection - What did you discover about yourself as an artist and filmmaker this semester?

I discovered that I don't have to plan. And that sometimes, I don't have the best ideas. Actually a lot of the time. Well, most of the time. Being patient is another virtue I constantly have to be striving to make an attempt of. With all that said, I've learned to be in tune with my strengths and my weaknesses. I don't necessarily have to be in my strongest position in the group every time. I know where I shine and where I don't. 

I'd hate to sound cocky, but I felt that I'm pretty on par on what I expect to be at this stage of my education. I feel that I'm starting apply what I've been learning to a practical use. Most of the others in the class are also around the same level, but I feel me and a few others are leading the pack. I think that my projects quality got better and better and I know who I work well with in this class and who I don't, and the projects that we worked together on got voted into the festival and in my opinion the best work of the roster. Not to say that everyone else is subpar, but just different. 

I learned that we all have different expectations in the film studies program. I forget that film isn't just about me and my opinion of what is cool. Making films is whatever you want it to be. Whatever makes you inspired to create what you like. Being a creative individual is what we all strive to be. Unique and different. 

Microcinema Plan and Reflection

Since I didn't get a chance to post about a plan, this entry will be more of an afterthought of the planning of the microcinema and a reflection of the result. Me and Paul teamed up to run A/V for the festival. I kind of love electronics and Paul being an employee at Best Buy in the Geek Squad department, it seemed like a natural team-up. After the initial class period of planning, we decided to go scout the location at the Silva compound. We were met with the art department and locations team. Cori was supposed to meet us too, but with her family obligations, I told her I'd cover her as much as possible and catch up her up to speed later that night. I drew an overhead layout of the backyard and took about a dozen photos. I suggested several layout plans and other location notes. The next day, I met with Andre and picked up the equipment. I took it home and hooked everything up and tested it all to make sure everything worked and to see if we were missing any cables or anything. Only thing left to do was to wait on programming to give me the order of the films. I should've hounded them more because I didn't get all of them films until the day of the microcinema. It's not their fault, the people that didn't their films on time are to blame.

We finally got all the films and my intention was to create one video file of everyone's films in the order they were to be played. Well, the last video we got in was about an 2 hours before the screening was to start, and unfortunately it takes more than 2 hours to render an 65 minute video file. But we were able to create a playlist in VLC in the order of the program. It was hot, it was itchy, and it was sweaty. But by the time the sun went down and my skin was saturated in bug juice, I felt better and cooled off. I actually had alot of fun and was entertained by all of our films.

Microcinema and Rough Theater Reflection

Reading the articles, I learned that creating a microcinema is something of a personal passion. By definition, microcinemas appeal to films and art cinema that would not likely get top billing at a movie plex. They're not gonna get a write-up review in the daily. After working so closely with the Cucalorus Film Festival and the Jengo's Playhouse crew, I've gotten inspired to one day put together a program for me and friends/classmates. It doesn't have to be at a huge complex or a hip urban space. I could do it at my house, or a buddy's bar, or at a public park. I think it is a chance for the smaller independent filmmaker to showcase his/her hard work in less commercial and intimates setting that he/she would feel at home and comfortable. There would be no judgement, or thumbs up or thumbs down, or star rating. Just a moment to shine, and as mentioned in class, a "that's my boy/girl" moment. Ok, maybe not that intimate. It could be done in a semi-professional manner too and open it to the public, and invite your teachers, colleagues, co-workers etc. I imagine it could be really fun and something I would consider pursuing if the stars aligned right. I guess acquiring the screening equipment would be the biggest hurdle to jump. I'm not really concerned with having it a dedicated space. I think the possibilities of doing mobile screenings a la agitki, can be an extremely creative and intuitive form in itself.

Reflection - How did the idea/plan work out?!

I have no idea how I'm gonna express myself without hurting anyone's feelings.
I understood why we got put into the roles we were assigned. Some of us, were played to our natural attributes, while others were selected to gain more experience and confidence. I knew I wasn't in charge, and I didn't really want to be.

In my opinion, as the producer, my first priority was to support the director's creative vision as best as I could. We had a pre-production meeting and discussed the exact specifications of the assignment as well as locations, script, costume/make-up, equipment, etc. We also ran through exactly how the shoot was going to go with the talent's and camera's movements for the shot. I felt that it was going to be a pretty smooth process.

I was responsible for assembling the crew together to be on the same page as the director with regards to the project as a whole. I made sure my DP had the appropriate camera for the shot, the sound mixer had his equipment and knew what he was supposed to capture, and costume and make-up had enough supplies and understood the look and effect of the shot. I went with the DP and sound mixer to shoot test footage of the location to send to the director for his approval. I planned a shooting schedule to provide ample time for everyone to get comfortable with the set, rehearse the movements and make any final adjustments. I feel confident that I set up to shoot this single shot to reflect the original material and still achieve the theme/genre we were assigned.

Things did not go as planned.
Actually, other than everyone showing up to the right location at the right time, nothing else went "according to plan."
I get it, things happen and unexpected situations happen, but I felt like my efforts were wasted. The director has the final say on the set, and I feel I did my best to make sure we accomplished what he wanted. I didn't put up a fight, I didn't argue, I voiced my concerns with regards to the original material and requirements of the assignment on multiple occasions, but I felt that I put a lot into planning and scheduling and communicating logistical concerns without over-stepping the boundaries of my role. So yes, I could be salty because of how the final product turned out, because I felt that I put a lot of time and effort into following the assignment and producing the best result so that ALL OF US would get a good grade. The footage looks great, and the performances were satisfactory, but I personally do not see any resemblance of the source material and no coherent application of the Sci-Fi/Zombie/Musical theme.

It turned into someone's pet project led by someone with no concern for quality. 

Just being honest.

Blocking Challenge

So for this assignment, we are to recreate a long take scene from Woody Allen's Annie Hall. The scene is essentially the lead, Alvy having a conversation with his friend Rob as they walk down a sidewalk. The shot is a static long take, Alvy and Rob start the shot from an extreme long shot in the background and gradually make their way into the foreground to a medium shot.

Except it's a sci-fi zombie musical.

We were assigned into groups and as follows:

Director/Screenplay - Ian Kelley
Producer/1st AD - Viet Nguyen
Director of Photography/ Editor - Paul Cirigliano
Lighting/Sound - Knox Gray
Set Design/Makeup/Costume/PA - Maura Johnson

Our idea is our two main leads are zombies walking down the street while "normal" people are passing by and reacting awkwardly to their undead appearance. They will be difficult to understand and will be speaking in an unintelligible zombie dialect only they can understand. We'll insert subtitles as they communicate. My idea is that after their lines have spoken, they'll break into song and dance away happily in apocalyptic bliss.

We are currently scouting locations and the weather will be clear. We have equipment; a primary camera and backup, and between the group, various microphones and cellphones to record audio. Hopefully we will only have to costume our 2 leads and not much more. I am currently in talks with the other group to see who is available for actors/extras. Some of our group members are also asking around. I'm feeling confident that the shoot will work out, but as a producer I am in constant frenetic state. It's hard to suppress the director in me and let someone else take charge of what will end up on-screen, but I welcome this experience and I definitely need to get used to working with a group and not being in charge.

Film Beatz/ Rhythmic Edit

Ignore my last post. I intended to follow what I said and portray equal parts background and subject, but when it came time to shoot, I didn't really keep those intentions in mind. The assignment was to edit a sequence portrait of our partner (Maura). I basically let her come up with whatever she wanted to do and I would film it as best as I could. I kind of did the same, I had a list of things I wanted to do while she filmed me, and I think it's a typical depiction of my personality. She showed up at my place to shoot her footage of me and it really didn't take very long and I didn't do many activities, but she was pretty much filming the entire time. I have no idea what kind of shots she got of me because we both decided to not see each others stuff until it was edited down and screened in front of the class. After we were done at my place, she wanted to shoot at the cemetery, so we went to Oakdale Cemetery which was down the street from me. I had no idea what she wanted to do, but she obviously had more extravagant ideas. I was trying my best to direct her without telling her exactly what to do. We walked around the small lot of graves and I tried to get as many angles of her as I could while she visited each tombstone and pranced around the walkways.

Then she brought the blood.

I wasn't caught off guard by it at all, I wanted her to express herself however she wanted. My only focus was that I had decent footage to edit. She kept insisting on trying different things and I basically told her that I was going to edit the clips that I thought looked the best and could fit into a theme or comprehensible timeline. I reassured her that I wouldn't "make her look stupid." I understand Maura is an extremely creative and expressive person and I know she wanted to be depicted a certain way. It was actually pretty fun being an observer and just letting her do her thing while I tried my best to get into position. It kind of made me think quickly on the fly and try to predict what she's going to do next.

I'm satisfied with my edit and I think the music I chose worked out well. I took a beat from a song and looped the rhythmic parts and tried to piece together the transitions as best as I could.

Although these assignments are rapid fired at us, it's giving me confidence that I am able to step outside my comfort zone and be able to produce something that others can appreciate.

Rhythmic Edit Reflection

Today, we watched some examples of Rhythmic Editing from Aaron Valdez and several past student projects. It inspired me to want to shoot some artsy b-roll type footage and reminded me of a video from a band that I have recently gotten into. Not necessarily pertaining to cutting to an exact number of frames, but instead of intentionally filming something in particular like a piece with a main subject or actor; but rather shoot nothing for something. I had to also edit a documentary for my FST 331 class and I had used lots of b-roll footage that actually got me out of some undesired cuts but had to have those spoken lines in the piece. I am now inspired to just go out and shoot whatever is in front of me. I've always been so frontal with my photography and with my developing cinematic eye, I want to look past the deliberate subject in front of me and look behind or at a location/scene as a whole piece by itself and not just background vs. foreground. Make the background the subject and the person/subject it's accessory.
For this upcoming project, I am filming a person as the main subject, but I will try to keep in mind the world behind and around her. Yes, she is crucial to the piece, but what or who is the main character? Is it the rhythm created by the edit of what clips I decide to repeat 44 times? Her face and actions? The location and environment that this will be captured? I know this course is designed for me to experiment with unconventional cinematic techniques and broaden my expectations, but I think I will try to deliberately capture an ambiguous image and let the viewer choose what is more relevant to look at.

Oh here's that video I was telling you about (ironically, the song is called Bad Art and Weirdo Ideas):

Logline

Soundscape:

Iced Earth
A journey to paradise turns apocalyptic when an inevitable and natural catastrophic event topples the tropical landscape into a brittle mass of floating debris and displaced organisms.


Animation:

Mr. Samsa's Big Day Off
A lonely man contemplates the dreary, urban landscape from his windowsill as he suddenly transforms into a repulsive insect and must now adjust to his new life as a faceless, nameless invertebrate (Inspired by the seminal novella of Franz Kafka).
---Corinne Tabor

Animation Progress II

We've finished.
Looking back at my post, I realized we had some really awesome concepts and ideas that we could implement into our project, but after actually getting started and jumping into the process, we discovered that a lot of them just couldn't be done with what we had to work with.

We spent the first day gathering supplies and gear and setting up our workstations. It was a challenge to get the cameras at the right angle to line up with the paper and setting up lamps and lights at the right positions. After a lot of trial and error, we finally had everything set and ready to go. We spent day 2 planning and conceptualizing. We had lots of sketches, storyboards, and notes for a plot. We spent that whole afternoon brainstorming and workshopping ideas. I think coming up with a strong plan and not steering to far outside of it, was the key to how efficient we were able to complete the sequence. Since everyone's schedule was open on Saturday, we dedicated the entire day to drawing and capturing stills. Having 2 workstations really sped the entire process along. We were able to work on separate sections at the same time which we feel was crucial to maintain the best continuity in lighting, drawings, and transitions. We paid extreme attention to detail, which would've been more difficult if we each animated our own sections separately. Everyone had eyes on each other's progress at the same time.

We didn't use any paint because we ended up not even back lighting anything at all. We found that since we were essentially drawing with charcoal for every frame, it looked better being lit from above. There was no need to show any transparency from the bottom. We also didn't use any extra glass panels, because we were lighting from above, the glares from the additional glass were unavoidable. We didn't manipulate the lens of the camera by adding vaseline because we didn't want to risk breaking the rules of the assignment, so we stuck with what was required and played it safe.

We used primarily charcoal and sand for the entire sequence. There is a hint of  orange/red pastel crayon for the tip of the cigarette. Since the majority of our group were decent sketch artists, we relied on our strengths and used the drawings as our primary animation. We incorporated the sand to create transitions for each scene. It felt like an old black and white short from the era of the birth of cinema that would be played through on an Cinematograph.

After assembling the clips into Premiere Pro, we decided what we wanted to do for sound and we recorded them right then and there with our phones. The only sound we didn't record ourselves was the projector reel.

So upon reflection on this project, I realized that planning and having a visual reference like drwaings and storyboards, is a must. Everyone in the group has to be on the same page on what it should look and feel. Setting equipment and work areas ahead of time is vital as well, you do not want to spend half of your work day with your crew standing around trying to set up and experiment with what works or doesn't. I think in any group project, having a good plan and sticking to it is the difference between a good piece and a great piece. I also think the team itself plays an important part. There are some people that just "get it" and you want to work with those people for everything. I feel that my group "got it," and by the time we were exporting, we were very satisfied with the process and the results we achieved.

Animation Progress

Well, we didn't get anything animated yet. We spent most of time at my house, setting up the tables and tripods. A lot goes into setting up these stations and it took a lot of trial and error. We have 2 glass top tables, a light box, 3 tripods, 4 cameras and various lamps. We have most of the supplies; plenty of paper, charcoal, pencils, a jar of sand, markers, and various paints. I'm not sure if we HAVE to use gouache paint, but I have water colors and I think we can probably do that in one session without having to worry about the paint drying out. The only we concern we have is if it will be opaque enough to see through the glass.
We did brainstorm some more about the possibilities of the project. We found some glass window panels in my garage and came up with the idea of layering it on top of our base surface. So, at the bottom we will have a painted background, then lay a piece of glass on top of that and draw with the charcoal, then on top of that lay another piece of glass with and create our own transitions with the sand; like wipes, iris, fades, etc. We also came up with an idea of manipulating the lens on the camera, such as putting small amounts of vaseline on the lens shield to create blurs on certain areas of the frame.
We may be getting a little over our heads into this, but I'm confident that we have a very creative and imaginative group and might be able to come through with our ideas. We are really striving to create not just something that stands apart from the rest of the class, but something we are proud of and pushes the limits of our comfort zones.

Animation Test Reflection

Today was a productive day. I was initially very intimidated by the thought of producing 600 frames collectively as a group. I was feeling overwhelmed with drawing 200 pictures, but after today, it went a lot quicker than I realized. At first I was terrified of the sand animation, but after working on diligently for awhile, it seemed pretty easy. We were trying to animate this heart beating, then splitting, and then transforming into two faces. Unfortunately, we got cut off, and for whatever reason our entire animation except for the the last few frames were not included in the export video. Which kind of sucked because I wanted to see the results and note if we needed to tweak anything. After a while we moved to the guache station. I didn't know if we were supposed to do something new or continue on with what the previous group created. We just started altering the paint that was already there. Again, I was surprised at how quickly we were going through each frame. I was starting to gain confidence. I think our animation looked cool because we altered what was already there rather than adding pain to the image. I wish we had more time to let Cori finish her wolf. Next, we went to the charcoal station and began modifying what was already there. It went rather smoothly except someone forgot to actually press the shutter on the camera towards the end. We may have been moving a little faster than we needed to.
Overall, I got more comfortable the more I actually started getting into the process. I feel better about the project now, and since we'll be primarily be working from my home, I feel even more comfortable.

Soundscape Reflection

I completely forgot about this.

How does your final film convey the assigned sense description?
Since we had to create a defined beginning, middle and end to our composition, we wanted the "icy" part to stand out from the bookend parts. We did not add many effects to the intro and ending for this reason.

How could the piece be strengthened, technically and conceptually? 
Technically, I would've wanted to spend more time on tweaking the effects to the individual sounds we created. It doesn't sound like it, but there are sections where there's 10-15 tracks on top of each other. I also wanted to experiment with panning, but unless we were listening to headphones or in 5.1 surround sound, I didn't want to overwhelm myself if there was no payoff for the classroom experience.
Conceptually, I would've capture more ambient and room noise, we had to rely on what others recorded and it just didn't feel organic to me.

What was the most challenging aspect of this project, and how did you deal with it? 

The most challenging aspect was recording our sounds in just a couple of hours. I know we were the first group back, but my other recording team members were in different "sense" teams and I was the only "icy" dude in the group. I didn't want to drag everyone around to fulfill my ocd nature. 

What did you discover through this project about making film?
I discovered that sound plays a huge part in film and capturing emotions. Sounds can turn a visual into something completely different than what it appears.

Animation Idea

Our group is Corinne, Paul and myself. We are going to depict a version of Kafka's Metamorphasis. The animation technique we are using is sand/paint/charcoal on glass. We will be capturing frame by frame with drawings and a camera. I think since this animation is based on such a tale of transformation, it is fitting for the project. Corinne has taken the lead on this project, so I can't really elaborate much more. I'll let her drawings do the talking.

an appropriation of other people's distress

William Kentridge and Caroline Leaf are in my opinion, the artist's artist. They create to create, the most astonishing thing is that with animation, a drawing or painting is destroyed so the next one is created. Nothing is left except the accumulation of progress documented by camera, film or computer. I really, really, really wish I had more time to experiment in this class.
I started as a manual artist; drawing, painting, and dabbling in calligraphy. I really loved what Kentridge was talking about when he said he was simply "an artist." In my experience, I have done much of what he was talking about in photography and manual art. Now, that I'm progressing into film, he reminds me that just because I've changed the medium to express my art and skills, I shouldn't dispose of the drive and enthusiasm that got me to where I'm at.
Caroline Leaf's dedication to her art is also an inspiration to me. Traveling to the arctic north doesn't sound enticing to many people, especially in pursuit of the story that her animations are based on. I guess in film and digital re-creation, one must completely immerse themselves in the world they seek their inspiration. Video game designers and filmmakers often travel to locales to research for the depiction of an authentic experience. That is then portrayed to the audience, and we swallow it up as truth. Again, the influence of the television screen. I really think this project is going to test me, but hopefully I can rely on the arts that I've practiced so far.

Blog # 7. Just there and alone.

Just there.
The streets constantly whisper. I'm at a full table of people. no one is talking or looking at me. maybe it's because I'm typing away at my phone. I was introduced to "everyone," but I'm only worth a glance. why did I stop and sit? I should've kept walking. everyone is making plans that I cringe at the thought of. I don't want wine. thanks. I'm on the busiest street in this town after dark. I saw a girl puke into a trashcan and a horse shit on the sidewalk. what does this have to do with sound? well, like a j-cut I heard it before I saw it. I can't recall what mode that is. I'm sitting by myself listening to people call themselves artists, but are only motivated by and celebrate material possessions.

Alone.
I listen to Anthony Bourdain's voice narrate his experience with taco rice in Okinawa, Japan. I want to try it. The ceiling fan hums as it circulates the air. Last night as I drove home from the beach, I took my shirt off to feel the breeze on my skin. This fan comes nowhere near that feeling. My laptop tells me it is at 5% battery with a chime that no one can ever recall its origin. A farm maybe? Does Apple consider the sound of the keyboard when someone types? I should click Publish before the screen fades to black. I think of her. She types much faster than me and her words seem to flow as fast as the emotions they evoke in me. We both know it will end in disaster, but I don't care.

Sound Journal #2

steam pushing and forcing things in different directions.
ultimate frisbee nationals. UNCW.
beans are grinding. that machine must run all day.
this must be some pandora coffee shop mix.
2016 that wants to sound like 1985.
open. close.
hi. hello. sure. ok. in just a minute. thanks.
"how's it going?"
"pretty damn good."

Damn Good?

oh please tell us more.

voices shouldn't be this loud this early. this tiny little human who can barely walk is speaking words surprisingly well. children is the topic of the morning. I wonder what mine is doing right now. he's at school. I contemplate our weekend. or maybe nothing. I haven't seen him in so long.

I'm thinking more than I want to write.

Sound Journal #1

waves are washing ashore.
the roar attacks from right to left.
crickets are behind me.
2 pens scratching across 2 pads of paper.
i can hear our hair move.
sand swallowing the sea.
wet against wet.

After reading Acoustic Ecology and learning that sound can travel hundreds of miles underwater I thought, what if these soundwaves are crashing on the shore 50 feet in front of me?
What noises have traveled so far and reached their destination so that I have the pleasure of its embrace?
What part of the world am I hearing wash up before me?
I have traveled to every hemisphere on this planet, could I have missed something that I lost in man's sonic pollution?
What do these voices have to tell me and are they still the original voice from when they began?

On Acoustic Ecology and the Listening Modes

Acoustic Ecology
The Acoustic Ecology article was very informing. I had no idea that acoustic activism was so prevalent. It seems appropriate to ban recreational vehicles in national parks that also have the concern of preserving the indigenous wildlife's ecosystem. Among those ecosystems, are also the creatures in the ocean. It's disturbing to read that whales are essentially euthanizing themselves because we must test sonar radar machines in the name of national defense and strategic warfare. Being a veteran, I am ashamed that defenseless, beautiful creatures are dying because they cannot endure having their ears being blown out. Lately, I've heard or read about random acts of nature and animals behaving in odd manners. I can't help but think that it has to do with humanity's destructive nature and being oversaturated by mainstream media with advancing themselves in a capitalistic utopia and celebrity materialistic chauvinism. We deserve armageddon.

That was a strong coffee. Take a deep breath, Viet.

Modes of Listening
I think Listening in general is taken for granted. I am also probably part of that population. I think most of us reside in the category of Casual Listening. Unless being told to or directing our attention to an audible sound, we don't actually absorb and digest sounds. Physically and literally I think most people hear a sound as it bounces off the eardrum and exits right back out where it came from, like a racquetball hitting the wall and bouncing back. We are overly saturated in bright flashing colors, cellphone ringtones, and snapchat filters to even acknowledge the existence of any of our most important senses. Reduced listening can be learned though, but unless you're Justin Boyd and are naturally attuned( pun intended) to your hearing, it is an attribute that is often taken for granted.

Blog 4 - Reflection Film 1 & 2

I've learned this week that art is random, chaotic, structured, and organized all at the same time. I've learned to let go of control and let the process work itself out. I experimented with different mediums to apply to film and I think my favorite so far is the magazine transfer. It definitely doesn't take as much time as painting or scraping on the film. You can cover a lot of space with the transfer and soaking in water only takes a few minutes. I was probably a lot more meticulous than I needed to be, but I found the process to be very gratifying. When I took this class I actually thought we were going to be making experimental films with a video camera. Now that I have looked over the syllabus, we aren't using any cameras at all! So I feel this class is going to be very challenging for me, but I am open to the learning experience and try not to give too much guff over the quick turnarounds on each assignment. I am having fun so far in this class although it's out of my comfort zone. I'm glad I decided to stick it out and I look forward to seeing what we create as a class. I'm pretty sure I can find a way to apply the things I learn in this class to some of my future personal projects. I think I'm still learning to find my film voice and I am really glad what I learn in 6x1 will contribute to my vision. Dang,  I always sound so serious in these blogs.

Blog 3 - Reflection on Magazine / Newspaper Transfers

Today was a little better than yesterday. We had to cut out pieces of newspaper and magazines and eventually adhere them to bleached film stock. At least I could gain inspiration from the printed materials that were supplied. I knew that I wanted to have some sort of theme with my images and be a little more deliberate about what I chose to appear on-screen. As you may have gathered from my last blog post, I'm not one for randomness and spontaneity. I would like to plan and lay things out how I can imagine it. I suppose I don't like guessing or waiting for the undetermined outcome. At the same time though, I still feel a sense of gratification once I do the see end result on the screen. I really look forward to this newspaper transfer since I only cut out repeated images and maybe they'll look weird but interesting. I kind of got lost in the instructions after applying the magazine cut-outs to the tape. I'm not quite sure what to do after soaking the tape in the water. My project in particular will take longer and I want to take my time to make sure everything is applied and adhered correctly since it does have a selective and specific theme and imagery. I can see how this method could be used to  create a story and audiences can make up their own narrative from what I create. I'm not sure what kind of story or idea I am trying evoke in this project, but I hope it is interesting.

Blog 2 - Reflection of Film Create / Film Destroy

Today I was unprepared. I'm so used to preparing and planning everything out. I had nothing to guide me or any direction. Even though I have been out for over a year, it’s still very hard for me transitioning out of the military into civilian life. I’ve been trained and disciplined to have every aspect of my life aligned and arranged in an orderly fashion. I’ve gotten used to timelines and schedules, having everything organized within an arms’ reach and a well thought out plan for the near and far future. Showing up to class today, I did not expect to create something that could be immediately available for viewing. Composing a physical moving picture was frustrating. I couldn’t preview it. I couldn’t take out what I didn’t intend to produce and cover it up with fancy transitions or cuts. 

I COULD NOT COMMAND+Z.

Having taken FST 201 last semester, I was so used to pre-production stuff like planning, script rewriting, organizing, forms to fill out, dates to shoot, shot lists, equipment requests, etc. The easiest part was shooting the video itself.

As I sit here typing this out, I am reminded by my own reflection on Brakhage, that art is the thought, the spark that leads to something that I may not realize until I have painted, bleached, drew, and scraped until there was nothing left that was unblemished. Art is not order. Art also isn’t disorder. It is a very blatant blend of arrangement and chaos. I have to accept spontaneity and let mistakes happen.

Blog 1 - Reflection on Brakhage and Deren

5/16/2016

Today I discovered that there is no wrong way to experiment in film and/or art. After 2 semesters of Film Studies and Photography classes and being told “what is right” or “correct,” it is comforting to read from someone as Stan Brakhage to reveal to the reader to do away with numbers and light meters and math and science. Not only is Brakhage technically proficient in his craft, but he is also non-judgmental in regards to art and film. His writing encouraged me to not worry about being “right” or “correct” in creating art. Maya Deren’s article led me to discover that being titled an “amateur” may come off as that I’m not an expert, but rather that I have a passion and a “love” for expressing myself. An amateur artist may have more freedom in creativity and production and that the only person I should satisfy is myself. I have always told myself that art is a physical representation of a thought or idea, but after reading these articles, art doesn’t have to be subjected to a popular medium such as painting or sculpting, photos or film. Experimentation in itself is art. The idea or thought of creating something through non-conventional means is an art. Not what the artist has physically created to see or touch, but the conception of the idea to make something out of whatever you want. The idea or thought that is organic and original from that artist that no one could ever see or touch. Photography and film are ways to document and record these ideas, but only that creator of the art will truly understand the “love” and passion needed to construct that imaginary vision into something physical for others to interpret and acknowledge.

-Viet

Readings:
"Amateur vs. Professional" by Maya Deren

"A Moving Picture Giving and Taking Book" by Stan Brakhage