Intelligently Studious Activities

    Intelligently studious activities conducted during filming are as follows:

     Dawg on da counta⁉️⁉️⁉️⁉️

Intelligently studious activities will return….

Production - Versatility vs. Restrictions

    Our first filming day is complete, with lots of struggle and achievement. Creating the set was fun, and we worked around the absence of an easel since my sister had a large desk, which the surface was able to move just like one, so it was perfect for the set, and we cleared most large furniture for the set we desired. However, since our desired space was set up against a large window in a corner of the living room, there wasn't much space to maneuver in, which constricted the variety of shots, angles, and compositions we could use. Despite this, we were able to film generally smoothly, with only little frustrations due to doubt - doubt that will most likely clear up in post-production.

    The camera we used was rented out from a program called Beacon which provides free usage of professional film equipment, by Nyx because of being in TV Production for 3 years. I'm not sure the specific model but we used a Canon camera and a tripod mainly, since we forgot to bring the ring lights Nyx owns. I loved the way the camera's quality performed, including its features of different focuses. During filming we played with different focuses in one shot, overshooting in case it didn't come out to our intended vision. But I believe the shots' variations between specific areas of focus and unfocused shots, especially within close ups, definitely improved our opening much more than I had imagined. The tripod additionally allowed for precision and improved our still shots, which make up the majority of our opening, as we played with handheld shots and camera movements as the story progressed later.

    Personally, I believe the first about 40 seconds filmed - about 5/6 shots - were phenomenal. It included the long shot of walking into the room, a medium of walking past art mediums/utilities, close ups of pouring paint and turning on lights, setting up a record, and beginning to paint - which was an overhead shot that I absolutely adored. In each of these, we had to play with lighting to make up for the area's weaknesses. For example, since we didn't bring a ring light, we used a nearby lamp (established through her turning it on) to shine light upon the desk since it was considerably dark due to the natural light coming in opposite the desk (casting a shadow on the desk). Additionally, the background of the turning-on-light shot was again considerably dark since we wanted to utilize mainly natural light. It didn't bode well with the opening's tones and characterization so we had to use the house lights (that were naturally yellow/orange which helped keep the facade of natural light) to make up for it. Furthermore, despite the limited space for our movement and freedom in filming, we were able to open the window and shoot from the outside in, and that idea entirely elated me since it was a clever addition and displayed a more professional use of space and shots. 

    This beginning sequence is entirely for 2 things: establishing characterization and introducing credits. The slow pace of the character, still shots, and music indefinitely sets up heart-warming, serene tones which contribute to characterization and ease the introduction of credits, additionally highlighted by natural light and warm tones of the surrounding objects, including light brown wood tables and desks, a hanging threaded hearts, and numerous plants. 

    The frustrations mainly came up later in filming, where we begun to film our serene painting freedom section. This sequence mainly used close ups and extreme close ups (ecu) of the character's eyes, paint brush, the painting itself, and also a long shot from behind the character, which in post-production will be changed into a slow zoom out, another shot I believed was phenomenal. However, this vision of a slow zoom out is perfect for a sense of finality, and organized/settled peace within the character, a shot I intended to use as the final shot before the increasing anxiety sequence. But, this was argued against as a slow zoom in to portray the transition from serenity into anxiety. Personally, I believe the shot as a slow zoom out would portray the finality much stronger than a zoom in acting as a transition, since the transition could be portrayed through other mediums/shots, for example through acting and distorted shots (editing, angle, indiscernible shots/images - out of focus ecu's). The matter was settled undetermined, to simply see how it plays out in post-production. Also, the order in which some/most shots are presented is currently undetermined.

    Since the serenity section used many close ups and ecu's, the anxiety section must vary in numerous ways to definitively portray a distinct contrast and anxiety. However, in the most logical sense, close ups and ecu's (as aforementioned through editing, angle, indiscernible/out of focus ecu's) would easily portray such. And so, repeated shots of similar if not the same angles and composition were used which quite frustrated me since there also wasn't many variations to work with. One aspect that can solve such an issue would be to incorporate more out of focus shots, quick cuts and distorted angles, all of which we used/will use. However, this feeling of frustration due to the limitations is still present, which again, I assume can only recede during post-production.

    Furthering my frustration, the ways in which we portrayed a frustrated, anxious character was... questionable. It was previously undetermined in our methods of portrayal, not by editing, composition/angle, and focus, but by the content being shown. Instead of staying on the same painting (which we also included different mediums like color pencils), the character switched pages and scribbled random, indiscernible images of whatever came to mind. Frankly, the images looked stupid, the ways in which it was portrayed weren't. For example, (another solution to the same-shots) we now used extravagant camera movement, handheld techniques, and focus to portray such. But honestly, I don't believe switching pages was the right way, content-wise. It did provide some phenomenal shots, such as following her hand as she frantically switches mediums (brush/pencil), and switched pages, shots I loved. But I don't think it makes sense, and I believe it looks abruptly unprofessional, and extremely contrasts our previous performance level. However, I will not delete the footage, since in post-production I'd like to create different variations of the film opening, one will use the shots aforementioned, and another will void usage of drawn/painted images I simply don't like, instead using the same painting and mainly portray anxiety through shot techniques, camera and character movement (and acting), and editing through quick cuts and vastly different sound (as discussed in previous posts). 

    One more production limitation was time. Since the opening mainly utilizes natural light, there is a small window in which we can film. Again, since the Beacon equipment is rented out by Nyx since I am not apart of the program and am ineligible, Nyx must be present for its usage. However, Nyx is busy with many field trips and TV Production jargon stuff - practically the majority of the month, limiting our filming days to 2. So, the remaining sequences; obstructive piece/title transition, drinking water story continuation, and reshooting of the anxiety sequence, will have to be conducted on the one remaining filming day, starting afterschool, in other words, from 4-7, 3 hours. Extremely, extremely constrained, and extremely unfortunate. We would film over spring break but I don't believe Beacon equipment is allowed to be rented out during it. Luckily, from 4-7 is daylight hours, and we only need those hours just for the reshooting anxiety sequence, which is not the majority of filming, and we can make up for the facade of natural light through other lighting mediums... hopefully. Therefore, from 7 and on is fair game - again, hopefully. I will ask to see if it can be rented out over spring break so that we have more filming time freedom. 

Correlations Between Dopamine and Hallucinations

    As highlighted by the article, large amounts of dopamine factors into the likeliness of emerging hallucinations and delusions. As a result, taking drugs that would repress dopamine production, formally labelled antipsychotic medications, would alleviate the prevalence of hallucinations. In our original storyboard, we had decided to transition after the title card/obstructive piece into the character drinking water to calm her nerves and displaying a doctor's appointment held up nearby. To further solidify the fact the previous sequence was a hallucination, we decided to add her taking pills with water and include the doctor being a psychiatrist so that such is thoroughly defined. Additionally, my dog coming into frame can be interpreted similar to a support dog for her. 

    Kumar, S., & Soren, S., & Chaudhury, S. (2009). Hallucinations: Etiology and clinical implications, Industrial Psychology Journal, 18(2), 119-126. 10.4103/0972-6748.62273

Color Theory and Costume Design: A Professional Psychologist's (me) Review

    As the wonderful Ms. Stoklosa has taught, color theory would have to play a significant role in the creation of the obstructive piece. Similar to Jill Dowell's painting, we'd like to not paint something specific along the border or within the open space, but to simply have randomized splotches along the border of different colors to represent her creative freedom, with the blank space representative of her restricted mind. Color theory dictates colors are generally representative of certain emotions or concepts, and after reviewing each, we believe it would be best to avoid use of specifically green and yellow, that signify forms of health. Additionally, they aren't as potent colors, and wouldn't fit naturally with the rest of the colors, which would most likely be darker.

    Another significant factor in characterization and tone-setting is costume design. My sister and I reviewed our closets and found that we practically wear only dark colors and definitely did not have clothes to fit our character and opening's tones. However, I found a thin white blouse and lightly faded jeans that she could wear, which looked fitting for the story, despite opposing some logical concern of if people would wear a semi-nice blouse and jeans to paint when paint would most likely get on them. We also didn't have a large selection, or really any other option for her to wear so let's chalk it up to her simply being extremely neat. 

    

Sound Exploration

    During sound research, made up nearly entirely of relentless hours of listening to a variety of genres of music and certain movie marathons, we selected a song to use during the intro of the opening, "Breakfast for One" by Topeka Clementine. What intensely drew us in was the song's beginning, using mainly a piano that conveyed tones as if being able to listen to the freedom of flight. The piano is soothing and light-hearted, which would perfectly portray similar tones of our introduction, as the opening's painting freedom section would embody such themes. Hoping to receive permission from the artist/company to use the song in our opening.

    Such song usage takes inspiration from a similar artist, Piero Piccioni, who's soothing music using a variety of instruments - violins, trumpets, pianos -  and has been enlisted to create the soundtracks of numerous movies. This artist experiments in jazz, contemporary, classical, funk and more genres, used for psychedelic, romantic, comedy, thriller, epics, and many more films. This expertise in variety producing simply beautiful melodies is something we wanted to convey within the opening's section of freedom of art. Similarly, we believe Topeka Clementine will help to convey such. 

    We also wanted to experiment in the use and differences between non-diegetic and diegetic sounds. In Tenet's introduction, there is use of high-note violins and similar stringed instruments playing, adding to the increasing suspense of the content displayed. However, this initially non-diegetic sound transitions to becoming diegetic, an interesting detail, as the shots continue inside the opera, showing instead that this diegetic sound came from the orchestra warming up their instruments, presumably. This creates a smooth transition between increasing suspense into the subsequent action sequences and ensuing chaos. Such could be easily imitated in our own opening, using the aforementioned song shown as being played on a record player during the introduction and grounding of the character - the first portion of the opening. This beginning portion is entirely dedicated to characterization and building context for the main character, who she is, what she enjoys, etc. This sound transition, perfect for setting tones and mood, would also work to build the audience’s idea of the character. 

    Everything Everywhere All At Once, for its “Part” scenes, there is a loud, and i quote from Nyx, BWAAA, noise. These sound fits the comedic tones of the film, and are extremely dramatic as such. We would like to use similar sounds to introduce the obstructive piece, to intensify the scene and solidify the impact it has on the character. Only not so in its comedic effect. 

Issues and Resolutions

    Unforeseen in our initial planning, the storyboard yielded various issues. The entire opening keeps consistent angle use, camera movement, and general easy flow between shots that doesn't feel disruptive or awkward in the context of the opening. The first issue is portrayal of increasing anxiety and if we should differ in camera movement and angle use. Initially, the best and main way of conveying this feeling is through editing, with increasingly quicker cuts, inserts, and sound inclusion. However, specific shots is something unforeseen. We believe using different angles and movements would add to the idea of increasing anxiety, showing differences and a disrupt in the character's natural flow as she paints. Of what these shots show, is undetermined, however we will simply leave that to be determined on set during filming since it would be much easier to vision how to proceed with that. 

   

    The other, main issue, is the sequence of the title card and obstructive piece's appearance. It would start (as seen in the storyboard), through a quick shot of her paint brush breaking (may it rest in blessed peace), subsequently showing her, facing the easel, with a small reaction on her face, saying the beloved, glorified, one and only piece of dialogue in the opening, a feces synonym. She will be framed on the left third, and encompassing the rest of the frame behind her, out of focus, would be the obstructive piece - it will be hanged to the ceiling using small hooks. This draws the attention of the viewer from her reaction and to the piece. The shot will cut to black in the middle of her turning quickly around, using sound to elevate its intensity. Here is the issue:

   

    Originally, the sequence would proceed as a slow, zooming out medium/long shot of the piece, cutting to an extreme close up of her eyes as she looks at it, and then the transition swipe title card thing I discussed previously. It feels as if it would be awkward since it doesn't give enough time or variety of shots to instill what is happening into both the character and audience before the title card's conveyance of the hallucination being a hallucination. A possible solution to be able to include the title's transition, is to simply utilize editing in timing and sound to occupy what's necessary for the intended tones, or to include more shots. So the sequence is changed to a semi-low angle of the piece, the close up of the eyes, a physical zone out of the piece - instead of a slow zoom out, the camera would physically move to behind the character's head (head framed on right third, piece on middle/left) and then start the transition. Swipe, title, swipe back, piece, and finally a medium or close up of her face again. Afterwards, using a sound bridge of running water, we will display the character getting water and as mentioned above.

Storyboard, Screenplay, Production

     We’ve begun the processes of story boarding, writing the screenplay, and all of the necessities in pre-production, hoping to start filming sooner than later. We met to discuss and create the obstructive piece, deciding on how we would film certain shots and our use of mise-en-scene elements. For example, we plan to lay out numerous art tools and scraps across the area as a context for our main character, including numerous previous projects and easels which we will gather from friends, or whoever wouldn’t mind letting us use it for some shots. 

    The main issue in pre-production, because the storyboard is complete and the screenplay is written based on it (as there is no dialogue except for one teensy tiny human feces synonym), is the obstructive piece. Originally, the weekend was going to be dedicated to creating the piece in its entirety, to which we have made progress as to what the piece will be, what it will represent, how it will be used, and other factors. However, upon starting we realized, damn… we need a lot more paint and a lot more time. So our filming days schedule will be shifted, not drastically, but it does have its impacts.

     The filming and post-production schedule will dedicate previous filming days of the week into finishing the obstructive piece (referenced as below) and using only 2 or 3 days to film. However much isn’t finished within that timeframe, the remaining shots will be completed in the days of spring break, which is our only next available time after the end of next weekend. 

Created by Jill Dowell

    Our obstructive piece will take on similar elements, inspiration from this piece and Zima Blue as previously discussed, to emulate a disrupt mental connection to artistry and passion. 

  

Color selection and pre-prod. day one finish. - snacks and drinks not included. The piece is 6 x 9 feet.

     And, the storyboard: