Documentary (Mockumentary)

We changed the plotline of our documentary so that it would be better-suited to the story. The filming was shot in one location in just three different rooms. We wanted to contain the tension of the film in an understated and somewhat cramp manner. I played the role of a psychic predicting a global disaster who is being interviewed by Kevin, the skeptical student journalist. We worked hard on the lighting to give it a gritty, dark feel. We attempted to use some creative filming techniques, such as intergrating filming performed by Kevin's character with conventional cinematography techniques, as well as incorporating a long one-take scene at the ending of the film to maximize the tension.

Documentary Storyboard

We were asked to make a documentary, and to take into consideration fictional elements of cinema that we could incorporate into our documentary to make it more interesting while continuing a sense grounded realism. We were told to choose a partner to work with for this project, and my partner is Kevin Banos, who did the illustration for the storyboard based off of rough sketches and scene descriptions that I relayed to him. For the story of the documentary itself, we wanted it to be an interview between a college student working for the local newspaper (Played by Kevin), and a self-proclaimed clairvoyant who is attempting to warn people that a global disaster is about to take place. The scenes will cut from an interviewing room to shots on the street, where a series of effects will be used  for each scene (Blurring, levitating subject, and finally a CGI UFO in the sky). These scenes are the documentary's showpieces, in that they will be the most visually engrossing shots, designed to captivate and to instill a sense of surrealism in the film.  

Exit Through the Gift Shop Review

I have been a fan of Banksy's work, but despite his widespread name and recognition, I didn't really know too many details about his life or his thoughts behind his work. Although I liked the idea of keeping up the intrigue and mystique behind Banksy's work and identity, I really enjoyed the story behind the film, and learned a lot more about who he was, as I had never heard or seen any recordings of him before. And I really connected with Mr. Brainwash in that in the beginning he just liked to film everything as I am a photographer / videographer myself, and I like that he got interested in street art through first-hand experience with meeting artists. I think the film did a really good job at incorporating cinematic and conventional storytelling to make the documentary more engaging and interesting without sacrificing the integrity or exaggerating the truth to the point of losing its credibility. Of course much of the film was entirely fabricated I'm sure, but the message the documentary carries is still strong, even if it's similar to a conventional movie. It never became ridiculous to me at any point. I found the human elements of the film, that is to say, the personal interactions and dialog between the characters, particularly Mr. Brainwash and Banksy, to be the most sincere and truthful aspects. They are also aspects that are almost easier not to fake in this case. But, like any movie, the dramatic portions are for the purposes of tension and narration, not as a reflection of reality. The security scene, for example, where Guetta is interrogated and alerts Banksy, had to have been altered if not entirely fictional. Nonetheless, I still really enjoyed viewing it, and everything about the film challenges our perception of not just street art but art in general.

Sound Recordings

My sound piece was designed entirely from noises made in my dorm kitchen. Recordings included the sound of a knife slicing on a wooden board, the juggling of juice in a bottle, the humming of the microwave, the kicking of a box, the chopping of the same knife on the board, and more. Total, I believe there were 14 recordings used in all. Each recording was imported as an audio sample in FL Studio, software that is digital audio workstation. I wanted to turn all of the pieces into a song, specifically, an electronic sound, with elements of the dubstep and hip-hop genres. I wanted the original noises to come together to produce a piece that was completely removed from the setting and context the were created in.

Link to piece: https://soundcloud.com/doe-eyes/kitchen-noises

Sequential Movement (Charcoal Animation)

I don't have a lot of experience in drawing, so the charcoal animation was a very time-consuming project for me, but it was enjoyable and I'm pleased with the end result. I always knew hand-drawn animating was a long and varied process, and the technical aspects of digital animation seemed daunting and intimidating to me. The charcoal animation process that Palimpsest developed to me was a very engaging and creative way to compose an animation in a manual, old-fashioned way more efficient than drawing it all frame-by-frame. For me, the total time ended up being over several hours, and I ended up with a twenty-second low FPS animation. If I really wanted to have it been refined, it would have taken me twice or even three times as much time. So for me, when I view my short twenty-second animation, I really take a good look at it and focus, because I want the time of the viewing experience to justify the length of time I spent working on it.