East River. Final

Final Proposal

I am hoping to have an art exhibit in the parsons festival or in a classroom off the festival path, and I would like to video document the event. I was thinking of doing one shot from beginning to end and having a sign that says take a photo and having them coming off the wall in fast forward, does that make sense? I'm just worried that I'd be putting all my eggs in one basket at the very end of the semester. And I'll be really busy during the event, am I trying to do too much?

The other option is to interview iheartboy.com artist Jessica Yartofsky. I just wrote a magazine article of her, and if she likes it, I think this could be a go and would provide me more opportunity for multiple days of shooting and editing.

Craftervention in Washington Square

Interview w Noemi Biel

Missing Title Sequence from The Godfather

(spoiler alert)

Journey Video - KanyeTM

I was delirious from lack of money, so I created an ATM using the Kanye West cover of VMan magazine and my computer.

Visions of Light Written Response

This was a fascinating exploration of lighting in cinema. It was clear from the myriad examples that the eye is drawn to the bright parts of the image, so that is where the focus should be. In the extreme, this was illustrated by the bright key-lighting of lead actors in the black and white days. I was most interested in early film, when cameras were smaller unburdened by the trappings of sound recording, and moved a lot with the action. It seems that more attention was paid to the traditional elements of photography, lighting cropping etc, before staging and lighting in a studio took away a lot of that freedom. Later in the '60s directors would revert to these naturalistic un-studio methods in order to break the rules and explore 'mistakes' in lighting. During the studio era, the beauty and lighting of the stars was paramount, and the cinematographers were often favored by stars who would insist on them for their pictures. The choreography was generally directed toward the camera, and the director started to become more integral to the mood and appearance. Lenses were advancing so that directors could move a camera through a series of demands and scenes. During the age of Cinemascope, directors began embracing the widescreen and the ramifications of the long horizontal shots with rules of thirds and landscapes like in "Lawrence of Arabia." These new methods from the School of '60s film had a lot of tricks and visible camera movements. The New York Style developed without the equipment enjoyed on the West Coast. These films were quick and dirty, with a matching urgent aesthetic. In "Good Fellas" there's a famous track back and zoom in shot that creates the mood for the characters without hearing the dialogue. Finally, the take home message is that the area between the dialogue, that's the important stuff. That's the shot, the lighting, the images that the audience responds to. Give them 'visions of light.'