CINEMATOGRAPHY
VIDEO STORY-TELLING
IML 335 Process
For project 2: process, I decided to document my collaboration between my friend Matthew Dinh and I on creating an abstracted model of a train line. The model is based on the most used JR line in Japan called the Yamanote. The one-take continuous shot that we did was fairly difficult in terms of choregraphing the movement, the script, and keeping the camera sturdy and smooth. In total, I had to reshoot about 8 one-takes. Furthermore, what I thought was the ‘best’ piece did not make it in the cut. Instead, it was the take before the ‘best’ take that made it into the cut. The primary reason is because it was much more natural regarding the movement and speech of the actor. What I realized from this is that one-take should allowed for a certain level of freedom to the actor to deliver his role. I find that the more input I gave to the actor, the less natural it has become. In addition, I set up my phone to take time-lapse while we were working on the train line. Later when I was going to edit the video, I ran into the file format compatibility of the time-lapse and Premiere Pro. Apparently, Iphone time-lapse uses variable frame rate and is in the .mov format. Therefore, I had to convert the file into mp4 in order to work with it. At last, the goal of this process documentary is fairly straight forward in its concept. My intention is literally just to show the process of us making the train line by having Matthew introduce us to the equipment and tools that we’ll be using to engineer and program the lighting and sound that represents the Yamanote stops. I had a great time shooting and editing this video. I learned to work with the depth of field that my camera has to offer. Moreover, I began to have better understanding of video capability of my camera, and I realized that I’ll probably have to upgrade mine very soon if I want higher quality videos.
IML 335 USC Individual Portrait 1.
For the first assignment, Individual Portrait, I chose my really good friend Jeremy Carman to be the focus of the project. The main intention behind this documentary was to explore the ideas in which it has influenced Jeremy as an architecture student. What I was deeply seeking was the punctum of the picture, a story that is ingrained with passion, and the grassroots of which the ideas flourished. I prepared a list of questions that I thought would provoke a conversation that would allow the influential force to emerge. However, we would constantly run into a brick wall in terms of thoughts and memories, and realized that the attempt to tap into someone's subconscious to excavate the "idea" was a very difficult task. These thoughts just aren't what we, as human, would think about or even consciously aware on the daily basis. Through a series of explanation of my intention with the help of another friend, Jayson Champlain, we were able to expose the "idea" that is extremely significant to Jeremy. That "idea" was the art of hand-drafting, language of lines and line weights in architecture was becoming obsolete and a lost art.
Ultimately, the process of this production was so amazing and interesting. It has given us a chance, as architecture students in this generation, to express the hidden ideas and invisible force that shape our mind to those who are curious, or even those are interested in studying architecture in this day and time. As a result, I am so glad for this opportunity and have formed a team that would continue to create a short-documentary series based on this project. It would be called " ... In The Chair", and my intention is to create an outlet/platform to tell stories of my peers through their thoughts and exploration of this imperceptible "idea".