Digital Filmmaking - Week 6
11/08/2019
Short documentaries on Loading DocsHear Me Out
It's more of a one-sided promotional video than a documentary. It's about Mojo Mathers (Former Greens MP and NZ's first deaf MP) wanting people with disabilities who run for in parliament in the future to get the support that they need. It mostly promotes her last legislation in parliament that provides that, which is the Election Access Bill. The lighting is good though.
Surreal Estate
It subtly switches between viewpoints of an artist and a real estate concerning an installation to do with housing decreased because of the construction of motorways in Auckland. The top down aerial shots looked amazing, what made it unique from Bus 174 was that it was a New Zealand urban landscape.
The Colourist
Despite being as one-sided as Dreamweaver, it provides the film with a compelling character and an extraordinary subject of colouring photographic prints for an aviation company in 1950's New Zealand.
Water for Gold
It was a political documentary that addressed potential complications for New Zealand being part of the TPPA. I believe the animation style keeps the viewer engaged and visually supports points made by the narrator. The ending credits were hard to read and was another one-sided 'documentary'.
12/08/2019
I told Rob of my ideas that I managed to create over the weekend and he thought I was better off having a basic and simple, character-based story.
Something important is missing and starts a unsuccessful social media campaign - something missing in your life
Potential themes - Obsession, mental health (very broad)
The role of the director involves directing the audience and triggering their emotions, as well as charting and guiding the journey for them. Build tension for them.
Collaborating with others to bring a creative vision to life is merely just the mechanics of being a director.
I tend to develop stories better when I'm largely invested and enthusiastic about the idea on a personal level.
The director represents a unifying force
Filmmaking is a collection of a million decisions.
40 to 60 people is the average number of a film crew for a New Zealand film.
Being at film school is to find a creative process that suits you best as a filmmaker
It's important to know what your film is - the core of your film
If you know what the core of your film is, make sure decision you make as a filmmaker (consciously and unconsciously) relate back to your core. Like a tree.
The core of Scarfies is democracy.
In this case, you may have good intentions for decisions, but decisions that can go ugly, Brexit being an example of this.
The core is a guiding light during production and when writing your film, and can be related to the theme.
Core is more about essence than theme
Core for your film - Fragility of something missing (Jenga). Take one thing out and all hell is let loose.
Core is truthful, extreme, and doesn't need an answer. It's an idea / concept.
The character of Emma in Scarfies develops from entering Dunedin as an innocent, to leaving Dunedin as someone prepared to kill someone. The journey of this film has affected her morality and is ironic since she was studying law.
British film distributors disliked the ending of Scarfies and Rob had to either justify it or change it.
The core of Out of Blue is community
Having a core for your film will make it very effective and produce elements in your film that wouldn't happen if you didn't do it.
You can also have a core for each of the scenes in your film
A good story for a short film is where it shifts, where it can go in many different directions in resolving a problem.
Physical distance between characters need to have logic and indicate their relationship. This is something that is ignored for those making Shortland Street.
When the story shifts is when it's the best time for characters to physically move in a scene.
It also causes a change in your camera position or movement
Scriptation - a script writing software used by Rob that is suitable for producing a director's script. He showed us his director's script for a telemovie that he recently completed, which is a crime drama called The Gulf.
Out of the Blue was fully storyboarded, but were never used by Rob
Rob used storyboards as a precaution and to experience the film before production. In his next film, he's just going to storyboard one for each scene. Rob believes that storyboards locks down your vision too early.
Collecting images that invokes a feeling that you are aiming for scenes in your film. It's the best way to use for mood boards and as reference or influence, especially paintings.
Rob did scrapbooks for Out of the Blue and Two Little Boys of collected images that expressed feelings that he was aiming for scenes in his films. He brought along and presented to us the scrapbook he had for making Out of the Blue. He showed us parts of the film to explain how these visuals had an effect on the final film.
Rob told us that Two Little Boys was originally meant to be filmed in Dunedin, but they were more interested in building a new stadium, and so that's why he moved the production down to Invercargill.
The role of the director involves directing the audience and triggering their emotions, as well as charting and guiding the journey for them. Build tension for them.
Collaborating with others to bring a creative vision to life is merely just the mechanics of being a director.
I tend to develop stories better when I'm largely invested and enthusiastic about the idea on a personal level.
The director represents a unifying force
Filmmaking is a collection of a million decisions.
40 to 60 people is the average number of a film crew for a New Zealand film.
Being at film school is to find a creative process that suits you best as a filmmaker
It's important to know what your film is - the core of your film
If you know what the core of your film is, make sure decision you make as a filmmaker (consciously and unconsciously) relate back to your core. Like a tree.
The core of Scarfies is democracy.
In this case, you may have good intentions for decisions, but decisions that can go ugly, Brexit being an example of this.
The core is a guiding light during production and when writing your film, and can be related to the theme.
Core is more about essence than theme
Core for your film - Fragility of something missing (Jenga). Take one thing out and all hell is let loose.
Core is truthful, extreme, and doesn't need an answer. It's an idea / concept.
The character of Emma in Scarfies develops from entering Dunedin as an innocent, to leaving Dunedin as someone prepared to kill someone. The journey of this film has affected her morality and is ironic since she was studying law.
British film distributors disliked the ending of Scarfies and Rob had to either justify it or change it.
The core of Out of Blue is community
Having a core for your film will make it very effective and produce elements in your film that wouldn't happen if you didn't do it.
You can also have a core for each of the scenes in your film
A good story for a short film is where it shifts, where it can go in many different directions in resolving a problem.
Physical distance between characters need to have logic and indicate their relationship. This is something that is ignored for those making Shortland Street.
When the story shifts is when it's the best time for characters to physically move in a scene.
It also causes a change in your camera position or movement
Scriptation - a script writing software used by Rob that is suitable for producing a director's script. He showed us his director's script for a telemovie that he recently completed, which is a crime drama called The Gulf.
Out of the Blue was fully storyboarded, but were never used by Rob
Rob used storyboards as a precaution and to experience the film before production. In his next film, he's just going to storyboard one for each scene. Rob believes that storyboards locks down your vision too early.
Collecting images that invokes a feeling that you are aiming for scenes in your film. It's the best way to use for mood boards and as reference or influence, especially paintings.
Rob did scrapbooks for Out of the Blue and Two Little Boys of collected images that expressed feelings that he was aiming for scenes in his films. He brought along and presented to us the scrapbook he had for making Out of the Blue. He showed us parts of the film to explain how these visuals had an effect on the final film.
Rob told us that Two Little Boys was originally meant to be filmed in Dunedin, but they were more interested in building a new stadium, and so that's why he moved the production down to Invercargill.
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