1. this was easy because i already knew the 180 degree rule and match cut etc. so all we came up with as a group was some actions to record.

  2. mixed lighting task.

    - I used red and blue gels in my setup.

    -red from the back and blue from the front.

    - i was having trouble with the blue because it kept on looking not blue enough. so i had to triple up on the gels.


  3. By Sean Atavenitia & Jasmyn Paul

    Whats working:

    This scene has alot less grin because we shot it at 640 iso and only went as high as 1000 iso. I like the shots in this and the dolly movement in the beginning. I also like the lighting alot better and the colours.

    Whats not working:

    Our acting is complete shit. I think we fluked it on the first experiment, although the colours are good i think we could have done better, maybe even add one more light.

    Where to from here:

    I thought i liked moving image but i don’t! i hate lugging all that gear around and the actual technical skill you need to do it is beyond me. Im not going to take project any further as it went from being fun to just fucking annoying. 


  5. Wide shot / concluding shot for the scene. It the same as the establishing shot it just has the subjects in the frame leaving.


    I took a screen shot on each camera shot from the beginning of the scene all the way to the end of the conversation. You can see as the conversation continues you can see the camera move closer and closer to the subject as the conversation get “exciting” or starts to “escalate”. I really like the lighting on this conversation scene.

    I’ve captioned each picture just to show each shot type in this scene.


  6. 3 ACT structure.

    This is a further breakdown of the 3 Act Structure and the different sections that it is made up of. Although it is quite a simple structure with hero, obstacle and goal, there are a few other essential sections that are present in a 3 act narrative.

    ACT 1- Set up- Bite
    In act 1, the ‘problem’ is created for the character and audience. The protagonist is introduced, along with their qualities/issues. The antagonist is also introduced. The locale is presented. The big players, or major characters are also introduced. The major problems arise. The big questions are asked, the enigma is apparent and draws in audiences attention. The major themes/mood/style and convention is also presented in act 1.

    Inciting incident- Point plot

    This is the point of the movie that creates the problem. It makes all the story/conflict occur.

    ACT 2- Confrontation- Body

    This is half the duration of the film. It further complicates. Here occurs the cycle of struggle and complications between the protagonist and antagonist.

    Climactic event- Climax- Plot point 2

    This is the turning point, the lynch pin. The protagonist reaches a critical point. Resolutions are presented.

    ACT 3- Resolution- Tail

    Conflict/problem is resolved. Narrative closure and ‘aperture’. Protagonist wins our over problems and antagonist.



  8. The Iceman (2012)


    The true story of Richard Kuklinski, the notorious contract killer and family man. When finally arrested in 1986, neither his wife nor daughters have any clue about his real profession.


  9. Kick-Ass (2010)


  10. The Wolverine (2013)


    When Wolverine is summoned to Japan by an old acquaintance, he is embroiled in a conflict that forces him to confront his own demons.

    I liked the lighting in this movie, it was obviously very cinematic, but i didnt like the content, i thought the story was to mainstream and was just cliche.


  11. We tried to pick out the parts of the interview that best represented Steve Lovett as an artist and his philosophy around his practice and life. We managed to use cut-away shots to mask some of the audio and video that was clipped together to erase some long pauses and “umms and ahhs”, and to bring together the video as a whole, giving the viewer a glimpse into Steve Lovett and his art practice.

    I really enjoyed this project. Just to hear Steve talk was very inspirational. Even though we had some technical difficulties, i know ow that if i was to do it again i would take backup sound gear and maybe used a shoulder rig for the cut away shots just to stabilize it but not too much cause i still like that shake because it gives that  rawness, which i think works well in this project, just maybe needs not as much shake. I like how the cut aways sort of tell a story of his process and what he is about, as well as set the environment/setting. It makes the video more inviting and personal to the viewer. 


  12. Steve Lovett interview pre-production

    Our first move was to look at a bunch of artist profiles and interviews on youtube to get a little taste of what we wanted to do. We already had a view of cut-away shots as well as focussed shots of Steve for our interview. We also knew he had a studio at his house, so organizing a time to go and film the interview with Steve, at his studio, was an element we were really keen to sort out right away. To get an idea of how other artist profiles and interviews were laid out, we referred to videos such as these that we found on youtube..

    Artist profile: Craig Waddell:


    Artist profile: Robbie Conal:


    Artist profile: Robin Smith:


    Artist profile: Armsrock:


    We found that a lot of our plans for the interview/artist profile, were things that other artist profile videos had in them.

    • We saw that a common factor in most of the videos were artists actually making art, or demonstrating what they do in their practice.
    • There were cut-away shots between the artist and their studio/work/environment/setting.
    • They often had musical backing tracks playing in the background creating a certain mood, or emphasizing the artists style or vibe of their work and what they were talking about.
    • We also saw that most of the artist profile videos were quite long, as opposed to our short 1minute time frame we were given.
    • The videos (particularly the cut away shots) seemed to have a hand-held camera look and there was a lot of shallow depth of field shots focusing on different aspects of the shot, or certain details in a studio/of the artist working etc.
    • We noted that the artists weren’t looking directly at the camera, and the camera angles were often slightly to the side of the artist, showing some sort of depth in the background behind them.
    • The artist were also usually position to one side of the frame of each shot unless a close-up was used.
    • In pretty much every profile, the artists seemed to be in their own workplace rather than a studio, or plain room
    • The interviewer was never in the shot, nor were their voices as they asked questions about the artist.
    • The artists were ALWAYS introduced and credited with captions at the start of the video.

    This gave us an awesome and helpful platform to start our planning from. We made plans with Steve to meet at his house/studio on a day that suited all of us, and immediately got to planning our questions for Steve to answer when we got there.

    Because we didn’t have a very long time for our video we knew that we needed to make sure our questions would prompt some deep and meaningful responses from Steve that we could use to promote him and his practice. We were also aware of the fact that we would need some not-so-serious questions ready to warm everyone up and get the conversation flowing.

    Question List: We began with our most trivial questions, moving onto the deeper, or more elaborate questions towards the end.


    • Equipment: Sound recorder, shotgun mic, boom pole, headphones, shoulder rig, tripod, 7D camera. (Unfortunately on the day we had quite a few technical difficulties- Our shotgun mic wasn’t working and neither was our camera, fortunately for us, Steve let us use his personal 7D camera).
    • Camera shots/movement: This was probably the part of our interview that required minimal planning as we knew we would just have a locked off camera on Steve throughout the entire interview in a well lit place (near the window-plenty of ambient light). We discussed a few cut-away shots before we went in, but pretty much improvised with a bunch of different shots (both hand-held and on tripod) to use later on in post.
    • Planning on site: Because we didn’t get to see the studio before the interview day, we had to do a quick little planning session when we got there on where we would conduct the video etc which wasn’t too hard.
    • Working with Steve: We asked Steve a lot about his studio, and he gave us some great advice on where the best lighting was in his house for previous shoots he had had there. Steve was also amazing, and let us conduct him as to where to sit etc for particular shots. He also agreed to do a quick print for us so we could film him in action.

  13. experiment 2 (fail)

    we didnt bother to edit the second experiment together because it was going to be a waste of time because we felt the angles werent what we were wanting. It was more jasmyns close up shot that we werent happy with because it didnt look like the same as my close up shot.

  14. this is just mucking around with the colour correction tools. i used the rgb curves tool.



    Because we decided to work collaboratively, we decided that the best way for us to do so was for both of us to contribute to every part of the film-making process, pre-production, filming and post, so that our individual work loads weren’t to big. The way we did this was quite simple.

    • During pre-production, we both sat down and discussed our filming plan. Jas documented it all and did the tumblr posts with our pre-production plans that we were discussing. This was the most efficient way to do our pre-production and took up the least amount of time.
    • Setting up the shoot was done collaboratively, and with our pre-planning, was done quite quickly as we knew exactly what we needed to do.
    • Filming was done very collaboratively. We had a equal hand in filming and doing the sound as we filmed each others part of the scene.
    • Post was also done collaboratively as we worked towards one final outcome. I did the technical editing while we discussed and decided on cuts, what shots to use etc.

    This was definitely the most efficient way of working, and was a good way to work collaboratively as we both had equal input into the overall outcome of our video.