Part and parcel of the AWR4MI course is the opportunity for you to find your own style and produce works that are meaningful to you. Part of growing as a film maker, is to analyze those who came before you.
Part one of this assignment (and don't forget this rubric) asks you to take a look at one director (you can choose from this list). If you need a little help remembering the terms from AWR3MI, this is a good source.
Do not confuse this with waterboarding...totally a different thing ;)
This is an ESSENTIAL part of video making that takes place BEFORE you start filming. You cannot get to where you want to go without a detailed plan. A Storyboard is an opportunity to take all those ideas in your head, and work them out on paper BEFORE you waste everyone's time once you start the cameras rolling. A brief PowerPoint and the videos below will help reinforce this idea ;)
Here is a blank story board to get you started (feel free to use any template you wish...there are several that you can find on -line)
Time to put your collective heads together and figure this one out. Over the two days you are tasked with producing a Chroma key ghost sequence (approximately 1-2 minutes long..). Be as spooky as you like! Just in time for Halloween. Use this checklist/rubric to help guide your creativity. Look at some of the more advanced resources you have access to, including templates/effects/wipes/etc on digitaljuice.com
AWR4MI students are going to be exploring the Art of the Title. We will be using this as an extensive review exercise of the skills that we used last year. A strong title sequence will also be a major component of your summative assessment.
The assignment will based around this excellent blog (you should make it a favourite).
The opening credits from Steven Spielberg's 2002 film Catch Me If You Can is an excellent example of what can be accomplished in an opening title sequence. Accompanied by a spectacular score from the masterful John Williams, the credit text interacts with the minimally styled animated characters and provides the environments and obstacles that the characters we are about to meet will take on throughout the rest of the film. It essentially is a short and sweet animated silent film version of the entire movie.
Peter Berg's 2007 Saudi Arabia-set action film The Kingdom has an opening sequence that acts as both credits and an abridged animated lecture. The most powerful and striking moment comes when a 3-D bar graph in the shapes of the countries identified as top oil consumers swivels around to show the United States' towering #1 bar split into the Twin Towers as a plane flies into one of them. The imagery is powerful and sudden, and sets the tone for the rest of the film.
I think everyone who has ever seen a James Bond movie can remember many of the aspects of the opening title sequences (many of which I have become iconic in our culture). This blog entry ranks the opening of every Bond flick, and provides an evaluation of each title scene's effectiveness.
We are going to watch a brief clip from Invasion of the Body Snatchers (1956) to look at how filmmakers create meaning in their use of visuals and sounds. You will need this handout to guide your learning.
This assignment is going to be a little tricky, but I think you are going to like it. It is the first of three mini-assignments that will help constitute our look at "personal" vision this semester. This activity is based on the story that in the 1920s, Ernest Hemingway bet ten dollars that he could write a complete story in just six words. He wrote: "For Sale: baby shoes, never worn." We are going to apply the same technique, with the only difference being that it has to be about YOU.
Please check out these resources:
Your second mini-assignment (you'll need this rubric too) is group-based, and asks you to take a look at a common film technique, the dream sequence. While sometimes a very effective way to work an interlude into a story line, sometimes they can be misplaced and actually harm a movie.
Some famous dream scenes include: Spellbound Alfred Hitchcock (1945), Wild Strawberries Ingmar Bergman (1957), Blade Runner Ridley Scott (1982), Lost Highway David Lynch (1997)
These resources should help you get started:
One of the big challenges this year is to tell a creative and comprehensive story given our time and technology restraints. I know you can do it!
We are going to watch one episode of #FreeRayshawn over the next two weeks. As we discussed in class Quibi is a new service that was designed to tell stories in small easily consumable chunks (largely designed to be consumed on smart phones). Many of their offerings are very well produced, and as such, should serve as some inspiration for you as you try to find your voice and share your vision.
Synopsis: Rayshawn Morris finds himself in an all-day standoff with New Orleans police. Desperate to protect his family, while proving his innocence, he turns to social media to clear his name with the help of one sympathetic cop, Steven Poincy.