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.'

Pencil Movie

Pencil Thief from Nathan Becker on Vimeo.

American Psycho Murder Scene: Shot List

American Psycho http://www.youtube.com/watch?v=qwicLgOGJOI
SHOT LIST—fast edits to build tension
Nathan Becker & Noemi Biel // Dialogue via IMDB script

1.HIGH-ANGLE FULL SHOT OF ALLEN ON COUCH

2.PAN&TILT TO CLOSE-UP OF HUEY LEWIS CD IN BATEMAN’S HAND

BATEMAN You like Huey Lewis and the News?

3.HIGH-ANGLE MEDIUM SHOT OF ALLEN ON COUCH

ALLEN They're okay.

4.medium-full SHOT OF BATEMAN AT STEREO. PANS LEFT and follows him AS HE SPEAKS AND CROSSES ROOM, HOLDS SHOT AT END OF SENTENCe, centered in frame.

BATEMAN Their early work was a little too New Wave for my taste. But then Sports came out in 1983, I think they really came into their own, commercially and artistically.

/HE TURNS LEFT WITH THE EDIT.

5.WIDE-SHOT OF ROOM, BATEMAN EXITS DOOR RIGHT into a room in the background.

6.MEDIUM SHOT OF BATEMAN AT KNEE HEIGHT PANS UP TO BATEMAN IN MIRROR, PUTTING ON A RAINCOAT, head and shoulder shot

BATEMAN (Said partly from the bathroom)”The whole album has a clear, crisp sound and a new sheen of consummate professionalism that gives the songs a big boost.”

6.EXTREME CLOSE UP OF BATEMAN’S HAND AND VALIUM

7.RETURN TO PREV MED SHOT. BATEMAN DRINKS WATER AND EXITS BACK TO LR through the door left side of the frame, WITH AN AXE IN HAND

8.RETURN TO PREV WIDE SHOT OF APT. BATEMAN CROSSES ROOM TO KITCHEN

BATEMAN He's been compared to ELvis Costello but I think Huey has a more bitter, --

9.HIGH-ANGLE CLOSE-UP PRITINE AXE PLACED ON KITCHEN FLOOR

BATEMAN --cynical sense of humor.

10.RETURN TO MED SHOT

ALLEN Hey, Halberstam?
BATEMAN Yes, ALLEN?

11. medium-AMERICAN SHOT, POV BATEMAN’S, OVER SHOULDER OF ALLEN LOOKING BACK and gesturing

ALLEN Why are there copies of the Style section all over the place? Do you have a dog? A chow or something?
Shot switches to hed and shoulder of allen on the right side and Batemen in the background, medium-full shot of him on the left.

12. CLOSE-UP OF BATEMAN

BATEMAN No, ALLEN.

13. FULL SHOT, REVERSE OVER THE SHOULDER TO BATEMAN.
ALLEN (Confused) Is that a raincoat?
BATEMAN Yes, it is.

BATEMAN MOVES LEFT TO CD PLAYER

14. HEAD & SHOULDERS BATEMAN, ENTERING FROM RIGHT

BATEMAN, turns around at center of the screen, medium shot “In 1987 Huey released this, Fore!, their most accomplished album.--

15. WIDE SHOT OF ALLEN FROM BEHIND, BATEMAN STILL TALKING

--I think their undisputed masterpiece is (starts dancing)"Hip To Be Square," a song so catchy (walks towards the camera, exits shot to the left) that most people probably don't listen to the lyrics.”

16. Shot switches to Bateman turning around, centered in front of his kitchen, MEDIUM SHOT, continues talking as he is holding his axe, moving it around as he talks excitedly “…but they should. Because it's not just about the pleasures of conformity and the importance of trends…it's also a personal statement about the band itself. Hey Paul!”

17. PERSPECTIVE SHOT FROM BATEMAN’S VIEW OVER ALLEN’S SHOULDER, ALLEN TURNING AROUND TO MEDIUM CLOSE-UP.

18. MEDIUM SHOT. Bateman lowers the axe, preparing to bring it back up and swing, runs toward Allen,

BATEMEN yelling “Aghhhh!”

19. CLOSE-UP OF BLOOD, BIRD’S EYE

20. HEAD & SHOULDER SHOT OF BATEMAN bringing axe down onto Allen REPEATEDLY. Blood spatters all over Bateman. CAMERA TILTS REFLECT SWINGING AXE MOVEMENT.
BATEMAN “Try getting a reservation at Dorsia now, you fucking stupid bastard!”

BATEMAN MOVES RIGHT AND CAMERA FOLLOWS TO HEAD AND SHOULDERS PROFILE.
Bateman undoes his see through rain jacket, pacing around the frame, looking around, seemingly calm, sets his jacket down, steps over the to right, the camera follows him as he sits down. the shot is tight around his shoulders and head, he lifts his arm to move his hair and then he puts a cigar to his lips.

21. Shot switches to a low angle FULL shot of Bateman sitting in the couch over top of the now dead Allen.
Bateman lights his cigar and looks to the left.

Assignment 1 - Self Portrait/Stills

10 Meaningful Objects from Nathan Becker on Vimeo.

Class INTRO whoooo

Post a picture of yourself.

Name: Nathan Becker

Department: MFA Design & Technology

Year: 1 (of 2)

Related Coursework: Experimental Video last semester. Motion graphics this semester

Related Skills: Interface, interactivity, input, design, technology

Three Films You Like: Cool Hand Luke, The Godfather, The Bicycle Thief