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Join Vincent
Laforet
32-City Camera Direction
and Movement Tour
Page 22
Creature from
the Black Lagoon
Page 16
Contents CAMERAWORK 8 Four Ways of Using the Camera to Tell a Story | The power of the camera
as a storytelling device
BOOK REVIEW 13 Lighting For Cinematography By David Landau | New Filmmaking Book
14 Working with a Film/Video Composer for the First Time? | Define Your
“Artistic World”
15
Ta b l e
ON CAMPUS Film School Spotlight | Video Symphony: Pro School of Media Production
CREATURE CREATION 16 Creature from the Black Lagoon | The Gill Man Turns 60
ON CAMPUS 22 Join Vincent Laforet for a 32-City Camera Direction and Movement Tour |
Directing Motion Tour: 32 Cities | May 6th - July 14th 2014
26 Interview with SNL Film Unit Editor Adam Epstein | The Cutting Edge
Post-Production Tour with Adam Epstein: 32 Cities | July 20th - September 22nd
GLOBAL
MARKETPLACE
33 Global Marketplace | Products and Services for Filmmakers, Storytellers and Crew
26 16 12
6
Editor’s Letter
The # 1 Educational Resource for Film and Video Makers
Never Stop Learning, Visit us online at
Never Stop Networking. www.studentfilmmakers.com
networking.studentfilmmakers.com/
Jody Michelle Solis 42 West 24th St., New York, NY 10010.
jodymichelle Editor-in-Chief
by Peter Kiwitt
Playable, Result,
and Demonstration
The baseline for acting wants to work with a sociopath!) And
is for an actor to be great actors are often in scarce supply—
even in the largest production centers.
believable in the style To compensate, care and skill is required
of the project. The goal, when directing actors.
however, is to be engaging,
compelling. After casting Ranked in order of desirability there
are three broad categories of direction:
the right actor for the part,
playable, result, and demonstration.
the director’s job is to help
the actor reach that goal. Playable direction has its roots in theater. before the day of shooting. Theater wants
While playable direction is generally
a great performance every night. Film
much better than result direction, result
needs it just once. Theater actors perform
The casting ideal is to find a talented direction has a worse reputation than it
and skilled actor whose soul matches the deserves when used in film directing. The for an audience without the director
soul of the character. The further away reasons lie in the differences between present. Film actors perform for a director
from the part, the greater range of the theater and film. without the audience. Theater blocking
part, the more vital talent and skill. But (position and movement) only needs to be
sometimes you cannot or do not want to Theater should have a relatively large generally repeated. Film blocking should
match the soul of the character. (No one amount of rehearsal. Film may have none be more precisely repeated for continuity
(so different shots can be edited together). the moment” (instead of saying, “be DEMONSTRATION, giving a line reading
Theater actors must be able to project preoccupied,” you might tell him to “polish (actually saying the line) or otherwise
their performance. Film actors must be your trophy”). Giving an image (instead acting out the part for the actor to
able to give an intimate performance. of saying, “be insane,” you might say,
imitate, is a far worse form of direction.
“treat the corpse like you’re on a date”).
You could also ask questions. Rather than The best direction engages an actor’s
While the danger of result direction is that
actors might “indicate” their performance saying, “be in love,” you might say, “do imagination so the performance has life
(work too hard to show you what a you think she still loves him?” Or you and gives you more than you imagined.
character is feeling) rather than “be in the might use the “magic if.” What would you Demonstration is asking an actor to copy
moment” (truly listening and reacting), do if you were in this situation?” you copying the film you see in your
the danger of playable direction is that, mind. First of all, if you feel the need to
because it is less defined, it can take RESULT direction is telling the actor
the result you want—how you want their use this technique it is quite possible you
longer to get what you want. lack the skill to effectively demonstrate
character to be rather than what their
character is trying to do. The actor must what you want. Even if you can, however,
PLAYABLE direction is telling the actors then convert it into a playable direction you increase the chance of getting a
something specific they can mentally or or intuitively do it. So “be angrier” and superficial, unconvincing performance.
physically do that will produce the result “be more loving” are examples of results
you want. Most notably this includes That said, it is important to keep direction
direction, as are requests for such things
giving an actor an active verb (rather than simple and concise on the set so, in rare
as talking faster or slower. In effect you
saying, “be angrier,” you might tell her “to are describing the vision of your film that circumstances, it can be useful.
accuse”). Other types of playable direction lives in your mind rather than telling the
include: Describing the given or imagined actors how they might achieve it. While So do your prep. Divide a scene into its
circumstances preceding the scene, playable direction is preferred on set, it beats (separate parts) and think about
particularly as actions (rather than saying, is sometimes better to concisely tell an the active verbs and other playable
“he’s dishonest,” you might say, “he actor how you want them to be rather directions you might use before you
steals from the tip jar”). Pointing out a than ramble on trying to find a playable
start working with your actors. But once
scene’s central event (rather than saying, direction if one is not clear to you. Besides
“be sad,” you might say, “they realize you are on set, avoid talking your actors
time on set being at a premium, it can
they don’t love each other anymore”). be worse to get an actor thinking too to death. Use more concise means of
Giving tasks to move concentration from intellectually or risk confusing them than communication if you can’t quickly find a
the actors’ lines and help them “be in to give a simple result direction. simple playable direction.
CAMERAWORK
Four Ways of Using the
Camera to Tell a Story
by Peter John Ross
by Dean Yamada
An incredible time of
collaboration between
my students and an
Indonesian crew, shot
over the course of 10 days.
Stay
Organized,
Prepared,
and Positive
Getting hired as an actor takes more than just good acting. There’s no shortage of
good actors out there competing for the same jobs. You need everything you can
to make you stand out to successfully land a role. Being a working actor requires
the right attitude. Even though acting isn’t an easy business, staying organized,
prepared, and positive can go a long way.
New
Filmmaking
Book
I am concerned that the ease of shooting in low light
situations with the new HD cameras may lead some to ignore
much of cinematic art and technique which has been developed
over the years. The new book “Lighting for Cinematography: A
Practical Guide to the Art and Craft of Lighting for the Moving
Image” from Bloomsbury Press helps to address this fear.
the lighting crew, lighting instruments and film electric and gaffer on everything
Review basic electricity every filmmaker needs to
understand. Next is the theory of three
from feature films and TV shows to
commercials and corporate films, he has
point lighting versus the actual practice had a wide range of cinematographers to
As author David Landau says in his of three point light and motivation in watch and learn from before becoming a
introduction, “We can’t shoot good designing the lighting, which is invaluable cinematographer himself. I have had the
pictures without good lighting, no to the budding cinematographer. pleasure of working with him as my gaffer
matter how good the newest cameras Additional chapters cover such things as in the past and he has come in to share
are. Shooting under available light lighting for actor and camera movement, some of his expertise with the graduate
gives exposure, but lacks depth, working with the sun and working with cinematography classes that I teach at
contrast, contour, atmosphere and often windows, night lighting, lighting the three NYU. I have even hired him as my own
separation.” This book concentrates planes of action, non-fiction lighting, cinematographer on a film I produced.
on how to create lighting that supports lighting effects and lighting looks and
the emotional moment of the scene, inspiration. David draws on multiple A fun thing in the book are the quotes
contributes to the atmosphere of the story accounts from his work in the field as from DPs and gaffers he sprinkles
and can augment an artistic style. The examples of how a shot could be lit,
throughout various chapters. I was one of
book emphasizes that well crafted lighting which gives his book a practicality and
a diverse range of working professionals
helps establish the illusion of reality that voice of experience that is invaluable for
to whom he posed a series of questions.
is necessary for the viewer to forget they the emerging cinematographer. Especially
These also included David Mullen, ASC,
are watching a screen and get lost in the valuable are the over 20 lighting diagrams
as well as low budget feature DP Joe
story. It is a practical hands-on lighting and over 90 stills that illustrate the
di Gennaro, documentary cameraman
text for anyone who wants to learn to lighting concepts discussed and each
Eli Lyssy, 60 minutes cameraman Ray
improve their lighting for video or film, chapter even has lighting exercises for
the reader to put into practice. And Bribiesca, TV lighting director Gus
based on David’s college lighting course
while other lighting books remain mainly Dominquez and gaffers Tigre McMullen
that he has taught for over ten years, as
well as his extensive professional work in technical, David’s book spends equal time and Bill O’Leary. In the first appendix he
the industry as a DP, Lighting Director and discussing the artistic contributions that provides the questions and everyone’s
union gaffer. lighting makes to the story telling as it answers, which are fun to compare.
does on the techniques used to achieve
Unlike other books on lighting, this a look. His conversational tone mixed This unique approach has been needed
book features practical advice that is with his years of technical experience for a long time and there is simply no
immediately applicable to students and and aesthetic awareness results in a very other lighting book like this in print. It
filmmakers working on a limited budget accessible text that should be cherished is available from Amazon, from www.
and schedule. The book starts off with by students and professionals alike. lightingforcinematography.com and
a chapter on what is light, its four from the Bloomsbury Press website.
controllable attributes and the seven David Landau is the perfect person to “Lighting for Cinematography” is truly
primary functions it has in motion picture write such a book. Having worked over enlightening for the film student or
photography. The next chapter is about 30 years professionally in lighting as a emerging cinematographer.
2014, Vol. 9, No. 2 13
AUDIO AUDIO
VO & Dialogue Editing Working with a Film/Video
Composer for the First Time?
by Steven Silvers by Philippe Falliex
Video Symphony
Pro School of Media Production
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compete in new media, or can’t wait to help on the graphics or sound team of the next summer blockbuster; Video
Symphony’s certified programs are a great way to get started and land a job in the business.
The school offers accredited certification authorized by the most important brands in the industry, professional-quality
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help students get their careers moving.
EVENT DETAILS
The Gill
Man Turns This upright majestic beast was every
bit as human as the many monsters
who came out of his same studio before
him, and was equally as sympathetic
as any who ever came to film. With
foreign invaders encroaching on his
home territory, he could have been left
well alone by society, but his longing for
a female made him a target like many
similar wild screen terrors, and he would
eventually feel the wrath of civilization
in a sequel where he would be paraded
in front of humans as little more than a
zoo animal. With a visual concept that
was at once iconic and defining, his
image stands with those who can be
recognized by virtually any age person of
any extraction who has been exposed to
American pop culture of the 20th century.
He is, of course, the Gill-Man, and even
after 60 years as a lasting pillar of
unforgettable monstrous iconography, he
is often identified by the name of the film
which brought him to movie screens: the
Creature from the Black Lagoon. Though
only three films all in, the Creature
series rates with any of Universal’s
internationally famous monsters from the
1930s and 1940s for sheer fan adulation.
sea expedition into the wild leading to enlisted Florida-based expert diver Ricou swims parallel to the girl but upside down,
a hidden locale unseen by the Western Browning, still active to this day, a skilled looking up to her as she innocently swims
world, the meddling of adventurous craftsperson who would be able to atop the water of the lagoon where her
men into uncharted territory, and the execute long underwater location shots boat is perched, is one of the outstanding
discovering of a mythic creature in his of the Gill-Man in full costume and mask, moments not only within the genre but in
native environment who captures the holding his breath all the while. Browning any film in any period. Browning’s work is
expedition’s girl, provoking an attack does a marvelous turn as the underwater so spectacular in these moments, a career
on said beast, Creature from the Black Gill-Man in all of his scenes, striking a is at once born and forever defined.
Lagoon and King Kong have many basic believable visage in all aspects of his
thematic parallels, an element that would performance. We fully believe that this Twenty years onward, Steven Spielberg,
be exploited somewhat further in the first is a creature who belongs in his habitat also at Universal, chose to open his new
Creature sequel. Of course, Essex (who and owns the environs, never once film being shot in the summer of 1974
would produce the low-budget genre questioning the verisimilitude of such set- with the Jack Arnold touch. In the opening
spinoff Octaman in 1971 – a project which pieces. At all times, Browning disappears scenes of Jaws, as Susan Backlinie (albeit
gave life to Rick Baker’s first professional within the engorged costume and mask in fully nude) swims into a dusk oceanic mass
monster) would be rewritten by Arthur his scenes, rendering one particular scene — one might call the appearance a sea of
Ross, who may have added a more as the most memorable. black water — Spielberg’s camera assumes
human element to the story, and, the the position of the unseen shark rising up
Gill-Man, like the Frankenstein Monster, When lead actress Julie Adams, in her from the ocean floor to the oblivious girl
the Wolf Man, King Kong, and other striking one-piece white bathing suit, goes who meets her fate, mostly off-camera,
classic monster characters, gained due for a swim in the ominous Black Lagoon, quoting Creature and mirroring the sense
empathy from audiences, right down to we sense imminent danger. However, of dread in the 1954 film, though no actual
his anticlimactic final fate, reminiscent Arnold plays his hand closely, offering tragedy would befall Adams’ character in
of Kong and other endearing monster the creature’s point-of-view from the said scene.
classics. In a broader sense, Universal depths, fascinated with the sight of the
Pictures, who by the mid-1950s produced young woman, at once taken with her Though suit performers who played the Gill-
far fewer monster/horror pictures but and willing to get close if not to initially Man on land followed in the 1955 and 1956
knew their core audience’s tastes well, capture. The moment where the creature sequels to Creature, notably Tom
intentionally made the Gill-Man, along
with aforementioned monsters, effusively
appealing to audiences, leading to the
Gill-Man’s beloved status these many
decades onward.
Hennesy and Don Magowan, respectively, body would have to be cast separately) to
for millions of Creature fans, Benjamin F. fabricate the Gill-Man costume, which was
Chapman, Jr. was the “reel” Gill-Man from to be realized in foam rubber. Different
the original 1954 film. Certainly, the Bay molded sections such as face and head,
Area native had the advantage of being torso, arms and legs, were taken off of
a player on the Universal lot in the early impressions of Chapman’s body. Then the
1950s, and his 6’5” size and relative youth – team, headed by Universal lab supervisor performances, Chapman will be fondly
in his late 20s – made him ideal for the part Kevan — who significantly presided over remembered by fans of the original
of the creature who stalks named invaders many future 1950s studio projects which film and all who had met him since. On
of his Amazonian lagoon in the film. But required prosthetics — and young stalwarts February 21, 2008, he sadly passed away
Chapman brought a grace and several such as Tom Case and Bob Dawn, in Hawaii at the age of 79.
nuances to the performance of the first fashioned individual sections in rubber.
In many genre films to follow, the
Gill-Man, all of which made him one of the The memorable Gill-Man face had been
Gill-Man’s impact can be seen and felt.
great icons in the Universal Pictures canon meticulously designed by artist Milicent
Non-mammalian hybrid characters have
of classic monsters. Of course, Browning Patrick and beautifully sculpted by the
been pervasive onscreen ever since, and
and Chapman had to have the perfect legendary Chris Mueller. Later, Chapman
one can convincingly trace that legacy
appearance, both underwater and above was suited up on a daily basis by Case
back to Creature. In everything from The
water, to complete the convincing nature of and Dawn for his exterior scenes, filmed
She Creature (1956) to The Monster of
the character. Enter special makeup effects on Universal’s backlot (the creature suit
Piedras Blancas (1959) to The Horror
and a dream team of artists. team reportedly put weights in Chapman’s
of Party Beach (1964) to more recent
feet appliances so the actor would
fare including Swamp Thing (1982), the
Noteworthy that by the early 1950s, effectively glide on screen) while footage
Snake Man in 1984’s Dreamscape and
Bud Westmore’s makeup department at of Browning in a slightly different duplicate
a similar character in 2001’s Monsters,
Universal Pictures had expanded, and he suit was achieved on location in Florida.
Inc., the Gill-Man presence can be felt.
was given some massive projects. After Though Bud Westmore’s name is the only
Moreover, working at Stan Winston Studio
proving his worth on 1948’s Abbott and one to appear in the credits, his astute
in 1987, in a loving tribute to the 1954
Costello Meet Frankenstein, with main assemblage of these key makeup-creature
film, young effects artists Steve Wang and
prosthetics technician Jack Kevan stepping artists made the Gill-Man as indelible as
Matt Rose created an homage character
in for Jack Pierce in the creation of the he became, especially considering that the
with their own Gill-Man in Fred Dekker’s
Frankenstein Monster, in 1953, Westmore job involved an unprecedented head-to-toe
The Monster Squad; just thereafter, their
was tasked with Abbott and Costello Meet prosthetic manifestation.
personal Gill-Man design preferences were
Dr. Jekyll and Mr. Hyde, with veteran
felt in their conception of The Predator for
Boris Karloff as the titular dual characters. Though Chapman never played the Gill-
that similarly named film. In animated
By this time, Karloff was in his 60s, so Man in the sequels, he did reprise the
homages, Gill-Man send-ups can be found
cutting down on the makeup process creature for the Colgate Comedy Hour’s
in 1967’s Mad Monster Party?, 2009’s
was a must. Again, Westmore brought in February 21, 1954 TV episode with Abbott
Monsters vs. Aliens and 2012’s Hotel
Kevan to realize the makeup. Now with and Costello, also Universal players. In the
Transylvania among others.
his own style coming through many of his show, the comedy duo first encounters
makeups, Kevan’s familiar look permeated Glenn Strange as the Frankenstein Monster, Given the vital onscreen contributions
his Mr. Hyde. As in earlier Hyde projects resembling his appearance from 1948’s of Adams, Browning, and Chapman,
such as that of Bud Westmore’s older Abbott and Costello Meet Frankenstein. the excellence achieved by the makeup
brother Wally in his 1932 outing with From out of another crate bursts Chapman department, and the carefully measured
Fredric March, this Hyde required a as the Gill-Man, revealed to the astonished allowances for the entirety that Arnold
transformation which Kevan created public for the first time anywhere. provided, Creature remains one of
step-by-step with dissolves. Of relevance, cinema’s finest genre films six decades
in most of the Hyde scenes, Karloff is Chapman had long been retired from hence. Though the Gill-Man made
wearing mask-like pieces. That same year, acting by the rebirth of interest in appearances in two 1950s sequels, it
Bud Westmore was able to lightly send up the Gill-Man as a classic monster but will always be the creature’s appearance
the 1930s and 1940s Universal mummies made regular personal appearances at in that first feature which cemented the
with Abbott and Costello Meet the conventions and autograph signings over character as one of the top monsters in
Mummy. Certainly, these projects were the years. He maintained a website, movie history. Without question, there
just practice for the burgeoning effects the-reelgillman.com, and was the focus can be no greater testament to the vitality
group considering what came next. of fans’ love since magazines starting of the character than the fact that, 60
with Famous Monsters of Filmland made years after his inception, the Gill-Man, and
First, in preparations for the creation of the character popular again for new first film from whence he came, are still
the Gill-Man for Creature, the Universal generations of fans in the 1960s and regarded by masses of fans with equal
makeup department cast all of Chapman’s 1970s. Always good-natured and happy amounts of genuine fondness, integral
various body parts (Browning’s face and to talk about his 1953-1954 Gill-Man respect, and aesthetic admiration.
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Laforet will offer his expertise to filmmakers of various Laforet believes “that motion is critical but only when it
levels on how to effectively execute their visions and serves the story.” His extensive study and knowledge of
enable filmmakers to transmit a visual language that camera motion is imperative to those who want to enhance
will elicit an emotional connection and response from their filmmaking skills.
Laforet is known for his avant-garde approach to filmmaking and publications that have commissioned Laforet’s work. In 2010 he was a
storytelling. Reverie, a Laforet directed short film was the first to be three-time winner of the Cannes Lions International Advertising Festival.
shot with the Canon 5D Mark II. Later, he was chosen as one of the Laforet is considered a pioneer in the field of HD-capable DSLR cameras
first filmmakers to shoot with the Canon C300. Laforet has been a and is renowned for his innovative tilt shift and aerial photography.
cinematographer and director for clients such as Sony, Adobe, Pepsi,
Nike and more. Vanity Fair, The New York Times Magazine, National To watch the trailer, view the tour dates, and signup, visit
Geographic, Sports Illustrated, Time and Life Magazine are a few of the www.DirectingMotion.com
What inspires your Vincent Laforet: I really enjoy the Vincent Laforet: No. I don't believe
Q&A passion for camera
movement?
breakdown of my Nike Commercial - and
apparently so have the attendees to date.
in questioning other directors. I do that
plenty with my own work.
I got through the entire process from
Vincent Laforet: There are four things pitch, to prep, shoot all the way to the Was there ever a time you had to pull
that hypnotize me in film in the following edit. I also truly enjoy the live shoots and a MacGyver on a shoot?
order: the challenge of pulling a two camera
shoot with actors in every city. Vincent Laforet: Every. Single. Day.
1. The acting/dialogue [smiles] That's part and parcel with the
2. The camera's movement and cut You talk about “one shot wonders” business. You constantly have to come up
3. The visuals on your blog. What is a “one shot with physical or mental "audibles" on any
4. The music wonder,” and will you be covering shoot. It's part of the fun.
this?
Naturally I think it's critical for a director People tend to have their favorite
to understand how to elevate their Vincent Laforet: One shot wonders are films that are “bad” but love to
content with the careful inclusion of in a class of their own - the complexity watch them anyway. Do you have any
motion within their films. of what it takes to make a good one is that you could name for us?
simply fascinating. I've got examples that
You say that competitive filmmaking show how the ADs call action as well as Vincent Laforet: Sure: “Top Gun” is one
has to incorporate camera motion; how a Steadicam operator such as Larry of my favorites. It's cheesy but the aerial
what other aspects should people McConkey approaches designing a shot - filming and sequencing is phenomenal
consider that will provide them with in a video that shows him describing his and has yet to be truly matched. What the
an advantage? process step by step. editors did with that film and the relatively
thin script is phenomenal.
Vincent Laforet: I really think Directors How involved were you in selecting
need to focus on the structure of their the gear on tour? Did you personally Out of curiosity, was your arm injury
story, how they execute that story and select all the gear? film related?
how movement can truly serve to help
engage and audience on an emotional Vincent Laforet: Yes on a general level, Vincent Laforet: Somewhat - I was with
and subliminal level. very much in the same way I would as a a bunch of filmmakers, but ultimately I
director. I know what platforms we'll need was on vacation.
You have made it clear that camera and specific accessories. The crew is more
motion is critical but only when it involved in terms of nuts and bolts. We When directing films and
serves a purpose. Can you give us have a pretty incredible amount of gear commercials is there anything you
an example of camera motion being on this tour... it's impressive. I'm pretty must bring with you to every shoot?
over utilized? much using the same type of accessories
that I would be using on any commercial Vincent Laforet: Yes, a positive attitude
Vincent Laforet: I see so much or episodic shoot. and a ton of preparation. Your goal should
unnecessary and unmotivated movement be to be prepared for any variation and
in the smaller type productions and web Out of the 50 films on the tour, surprise, let alone questions that come at
series out there - which is almost worse which do you believe had the most you. And to have 2-3 alternate solutions
than no movement at all. The number intricate camera movement? to each potential problem. Being on set is
one thing that separates high end the easy part.
productions from low and middle end is the Vincent Laforet: I have to say that if
director's understanding of movement and you pick just about ANY film that Steven You have said that you will be talking
sequencing. Within seconds you can judge Spielberg directed you are witnessing about the behind the scenes between
the quality of the film based on movement. a master class in movement. I also your latest commercial for Nike. Can
It has nothing to do with the amount of love Scorsese's work and notably in you give us an idea of what you mean
money they spent on locations, actors “Goodfellas”. by that?
or wardrobes... at least not when you're
looking at a new director's work. You can How long did it take you to formulate Vincent Laforet: I walk people through
tell immediately if they understand the art the Directing Motion workshop? the initial client request, the treatment
and craft of filmmaking. process, the initial drawings and
Vincent Laforet: I worked on it for close storyboards, as well as the test we did
Your tour is comprised of different to 3 months. I've been joined by 3 others and prep. All the way through the shoot
sections. Is there any one in people and together we've exceeded and edit. It's as close as you're likely to
particular that you are more excited 1,000 man hours in terms of preparing the get to this type of process until you get to
to talk about? material and the animated diagrams that shoot a commercial like this yourself.
show the camera movement and blocking.
TOUR SCHEDULE
1. Tuesday, May 6, 2014 Philadelphia
2. Thursday, May 8, 2014 Newark
3. Saturday, May 10, 2014 Boston
4. Tuesday, May 13, 2014 Columbus
5. Thursday, May 15, 2014 Detroit
6. Saturday, May 17th, 2014 Indianapolis
7. Sunday, May 18, 2014 Chicago
8. Tuesday, May 20, 2014 St. Louis
9. Thursday, May 22, 2-14 Minneapolis
What about being a photographer? 10. Tuesday, May 27, 2014 Denver
Has that made you a better filmmaker?
11. Thursday, May 29, 2014 Salt Lake City
Vincent Laforet: Sure - it's helped me 12. Saturday, May 31, 2014 Vancouver
to better understand people better, to
understand what drives different type of 13. Sunday, June 1st, 2014 Seattle
people and how to best capture that. 14. Tuesday, June 3, 2014 Portland
FIRST CAMERA create such an excellent production. provides me a high quality of video and
The first time I used a camera was a Later on, I continued feeling each time it’s got a diversity of features that provide
Panasonic film camera I used to shoot a more amazed by every movie I watched, me with different tools when shooting.
short film for a school project. I was ten and it was then that I realized I wanted
years old when I did my first short film. to create an audiovisual production that I would love to have the experience
Ever since I was a little girl I’ve enjoyed could cause such great impact in an of shooting with a professional filming
watching movies and I’ve been obsessed audience like the impact I’ve receive from camera, the actual cameras used in films.
with the whole process of making a film. all the movies I’ve ever watched. The Later on in my career I’m going to have
But it was just after I did my first video feeling of joy I experience every time I the opportunity of getting to learn more
that I knew filmmaking was what I would watch a movie is indescribable, and at a about the use of these cameras.
want to see myself doing for the rest of young age, I discovered that I wanted
to make people feel like I do whenever I
my life. The experience was indescribable;
watch a movie.
TOOLS I’M LEARNING
having the possibility of portraying I’ve learned a lot about the sound
reality into video and communicating a design in movies and its importance.
story through it was amazing. I enjoyed I’m a fan of Steven Spielberg’s work. I
I’ve had the opportunity of learning the
every second of it. From experimenting love his films, and I grew up watching
diversity of equipment required for a
different angles to shoot a scene to see most of them. I also like Alfonso Cuarón.
sound design. I’ve learned about the
which one was better, to experimenting Not only did he direct one of my favorite
importance of microphones, and I’ve
different camera movements and directing movies, Harry Potter and the Prisoner of
had the opportunity of working with
the actors. After that school project I Askaban, but his work inspires me to work
several programs for sound editing like
continued filming many more short films. harder and to improve.
Protools and Adobe Audition. I feel
really passionate about sound in movies,
INFLUENCES FAVORITE CAMERA I believe it has a great impact on the
I remember the first time I watched The camera I have is a Canon T3i, and narrative and it’s fundamental to count
Harry Potter and the Philosopher’s I consider it’s an excellent camera. It on a really good sound design to create
Stone. I was utterly impressed by an excellent production. I’ve also learned
how great the movie was. I was about the movement in films and I
amazed by the visual effects, by consider it to be an essential factor for the
the story and the characters. I meaning that wants to be communicated.
was amazed how someone could I’m really interested in the diversity of
camera movements and how one can play
with them to produce a more interesting
content. Regarding editing, I believe it’s
vital to have knowledge about the editing
processes and the best editing programs.
CURRENT PROJECTS
Right now I’m finishing two short films,
one of which is a soundtrack short film,
for university projects. I’m also planning
the new projects and short films I will be
working on this summer.
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