Dayton Grant on mon 19 apr 10
Hey Fergy, you're right, I think I need to 'brush that dirt off my shoulder=
', 'pop my collar', and 'get down to brass tacks', sometimes I just 'fall o=
utta my tree' with any other 'hot-head' that wants to have a shouting match=
... it's not the end of the world, but that dang 'volcano' on the other han=
d, in 'Iceland' of all places, is stimulating my 'Chicken Little' reflex, y=
ou know...
Let me know when you get a watchable film together, A good cinematography t=
eacher at CALARTS, suggested an 'exercise' that you may find interesting.
You treat the production of a short film like two separate projects
the first one is a silent movie
the second is a radio broadcast
they are on the same subject
they are synchronized
you have two separate audiences of approximately the same size which will b=
e surveyed through question and answer after watching and listening to the =
respective projects
you ask the watchers of the silent movie what they thought the movie was ab=
out and what sounds they would imagine would accompany what they saw
you ask the listeners of the radio broadcast what the thought the story was=
about and what visual images they would assume would accompany what they h=
eard
the exercise is based in this case, on the premise, whether it be true or n=
ot, that
' A film and it's soundtrack should each tell the story independently of ea=
ch other.'
(or 'something' like that , I forgot what she said exactly)
In other words, an audience should be able to follow the story clearly,( in=
this particular exercise) wether it be just the sound with no video, just=
the video with no sound, or both together.
then you can play with the dynamics of music vs. no music, what 'colors' a=
nd or 'shapes' there should be in the background during loud sounds vs. sof=
ter sounds, and find out what combinations and formulas are most desirably=
stimulating to your target audience
just a thought,
Peace
Dayton
| |
|
