Extra Credit- Define A Space analysis

Let me begin by saying, I am pleased with what I completed in the amount of time allotted. On that note, I am most definitely aware of many things I would change, looking back on this project.

I went for the most obvious linear/chronological approach. I'm now aware that's a novice mistake. Simply rearranging the order of how I organized and placed my footage could have served as a more innovative approach. However, I am satisfied with MOST of my shots.

If I could go back I would have liked to attempt making the pace of the video a bit faster.  As it was a silent project, the lack of sound slows it down more so than normal. In addition, having such long clips definitely takes a toll on the audience…myself included.

One of my proudest shots was the spherical movement of the camera with the dancer, it provided an almost silhouette like frame along with the sun beaming through the windows in the dance studio. With that shot I would reconsider dividing it into intervals (like I attempted towards the end) and placing it periodically through the video, picking up exactly where it left off.  I think in doing so, it might have increased the pace of the video. 

That's not to say I'm not immensely proud of what my partner and I produced, this was my first time ever working behind the camera. I do believe I did the best of my ability. Knowing what I know now, I think I could do even better. 

As If (Final Project)

AS IF VIDEO

Museum of the Moving Image

Although I had heard of the Museum of the Moving Image, I had never gotten around to actually check it out for myself. I was delighted to see some of the concepts we've been studying throughout the semester demonstrated in front of us. 

 Initially, I was fascinated by Gregory Barsamian's Feral Fount, which depicted a zoetrope through the use of strobe lights and 97 sculptures rotating on an armature to create an animation. 

However, being the horror movie buff that I am, it was no surprise I was most impressed with the special effects & artifacts exhibit. I must've seen The Exorcist, Black Swan, and the Nightmare on Elm Street flicks hundreds of times. To see artifacts from the original movies that I grew up obsessing over, kind of had me "geek-out" for a bit (but I put myself in check, for the sake of others). 

Our tour guide, Artemis, told us that in order to execute the scene in which Freddy's iconic green and red stripped sweater is ripped apart by the souls trapped inside of him, it wasn't just any computer generated special effects. In order for the souls to in fact act "ghoulish," they created an oversized sweater with a huge tear in the middle where they placed 4 or 5 actors inside adorned with crazy make up and shot it at a high angle for it to seem size appropriate in comparison to Freddy's body. 

 

from the MoMI exhibit

Another interesting part of the special effects exhibit was learning how they did the famous 360-degree head spin in The Exorcist. Special effects artist, Dick Smith, created a life size dummy of Linda Blair (who played Regan in the film) who was mechanically operated thanks to the talented special effects engineer, Marcel Vercoutere. 

 

featured at the MoMI

the dummy being used in The Exorcist

It's these incredible things that we take for granted that make films worth watching. Although evolving, these special effects artist are often unrecognized when they in fact are a large part of most movies success. 

Relationship Between Shots

Finding a movie to focus on for this blog was almost too easy... Quentin Tarantino's Kill Bill Volume I seemed like a given (for me at least) but the hard part was picking a scene to analyze when they're all so incredible.

I realized I'd be stupid not to choose the fight scene towards the end of the film when Black Mamba finally meets with O-Ren Ishii.

The scene begins when Black Mamba follows Sofie into the bathroom. The continuity shown in this clip is done almost too well. It features a high-angle tracking shot that follows the characters perfectly. The meticulousness the cinematographer possesses is uncanny. The scene continues as they follow the two new characters who own the venue, they keep an equal distance between the subject and the camera that allows the audience to feel as if they are walking alongside. At 1:30 they allow the bathroom stall to appear invisible to allow the viewer to remain conscious that Black Mamba is waiting. The close-up shot of Black Mamba at 1:43 and the introduction of Quincy Jones' "Ironside" tune inform the viewer that something serious is about to happen.  This music also suggests a blinding sensation, I believe, as if Black Mamba is going to see red and become the girl she’s infamous for being, the deadliest assassin. This scene, much like others in the movie, is completely seamless and flows in an almost reality like way.

This clip shows what happens after Black Mamba leaves the bathroom with Sofie. This also has some great shots including an awesome extreme close up of Black Mamba's mouth.

*If you haven't seen this movie already I advise you to do so. 

Audio Project

Anthony Falletta Audio Project

Union Not So Square---Do you hear what I hear?

On the uptown, Manhattan-bound  N  train, I am overwhelmed with the sound of a baby bawling, teens arguing, and commuters sighing from delays. 

On my way to 14th street Union Square, I anticipate the array of sounds I'm sure to encounter.  

I arrive to a stuffy platform at the Union Square train station and am alarmed by the screeching sound of the proximal  6  train.

As I walk up the stairs, I am greeted by the uplifting chirps of the birds migrating back to NY.

The boisterous birds remind me of my adolescence and warmer days.

Expectingly, I am humored by the sounds of cabbies hollering at the pedestrians, eager to make it across the street.

I hear the click of the pawn as it fervently replaces the knight on a nearby chessboard.

Suddenly, I hear the siren of a police car close by.

That sound quickly fades away as the car gains speed.
I turn to the left and I hear the hot dogs sizzling on the grill.
Next to them I hear the sound of peanuts roasting.
I hear and feel a roaring beneath me, and I know it must be the train.
For a second I sit there with my eyes closed.  
And then everything turns silent, as if I were the only one left in Union Square.
In a city like New York, it's hard to imagine silence.
But when you listen close enough, everything seems to become tranquil.

DEFINE A SPACE

DANCE OUT LOUD by Anthony Falletta


LINK- https://vimeo.com/120838873