Production Portfolio Checkpoint 1

Pitch and Approval
For the production of our film, I am planning to work with Shay and Pranava. Both Pranava and myself are interested in the thematic intricacies of the human experience, while Shay is interested in the concept of beauty. We felt as though these elements could be fluidly combined as the concept of beauty plays a strong role in the human experience. In terms of the plot of our film, we were thinking of following two separate characters in their daily lives and examining the shared elements and the unique elements of the human experience. In order to do this, we will need to show them addressing larger and more encompassing issues that intrude into everyone's world, which is where we incorporate the idea of beauty and beauty standards. We could include shots that are similar and create a sense of parallelism for the shared components. For the unique and differing aspects, we will create contrasting shots that we can hopefully align and juxtapose to give a sense of the simultaneous deviation of the human experience.
Physical Production
Additionally, for the actual physical production, Pranava, Shay, and I can handle most of the roles ourselves. We are all familiar with all of them and through a collaborative effort can play to our strengths. Shay has chosen the role of the sound designer. Both Pranava and I are interested in being the cinematographer, but I have no problem shifting to the role of director if need be. We are planning on writing in a collaborative manner which will work well because we have multiple main characters and therefore can have multiple voices and tones displayed. Additionally, I believe that we are all planning on editing together which will work well as editing is not one of my personal strengths and so I can lean on Shay and Pranava in that regard. I was thinking about our contrasting settings being a more urban area for one character and a suburban area for the other, which I can start scouting for once our script is close to being finalized. I really interested in costuming because I'm interested in fashion and my concentration is in color within which costuming plays a big role. We will need to cast two main actors in this film to play our two main characters. I would prefer if they were male and female to add to the sense of unique experiences, but that is not a requirement. The process of finalizing the script, storyboard and production schedule will play out over the next five months or so.
Technical Planning
In terms of conceptualization, our main thematic element is that of the human experience which will provide an incredibly large target audience as it should relate to most of humanity. In terms of genre, we are hoping to tie in elements of coming of age which will comply nicely with the thematic elements. The purpose of the film will be to delineate the interconnectedness and diversity of the human experience while hopefully revealing a truth about humanity as a whole. In terms of style, I am interested in filmmakers such as Wes Anderson and Jean-Pierre Jeunet who create striking visuals through the use of dramatic angles, a disregard for the rule of thirds, and strict color schemes. I think the mood we are going for is realistic and honest portrayal of life.
For visualization, I am really interested in color and creating a color scheme for the film. This scheme will then drive my other choices for the visuals. We will have to account for costumes and lighting and shot selection in order to adhere to a specific scheme.
In terms of scheduling, we will work to adhere to the schedule that has been laid out for us.
I know that Shay is most interested in sound design, but I am interested in creating a relevant score. I am also interested in learning more about editing strategies especially in regard to the adjustment of color and lighting.
Reflection, Evaluation, & Integration of Choices:
My concentration is the use of color. In terms of strengths, I have the advantage because I can be part of the entirety of the process from the planning, to the production, to the editing. I can make sure that each step of the process goes according to the scheme that I have laid out. A weakness is the dilemma of both Pranava and I interested in cinematography. If circumstances have it that I end up having to take the role of the director, I will have less control over the image and therefore the use of color. However, as we are still establishing many of our bases, the only new choice appears to be the combination of all of our ideas and thematic elements. 

Genre Presentation

Lighting Project!

Overall, I felt like this project went pretty well. I think the lighting turned out well in each of the scenes. I feel like we could've had more continuity from shot to shot by creating a motif or even by just using the same actor throughout. In terms of the editing process, I felt like the black and white effect was incredibly effective in emphasizing the lighting. It was also beneficial to mass produce titles as I felt it made me more efficient in Premiere Pro. A major problem that we had was following the storyboard because all of the clips were similar shots in that they were close ups. This made the process of cataloging more difficult. I feel like we took a long time setting up each of the shots and were really careful with the camera work and shot set-up. While this created really nice shots,  it prolonged the production process probably longer than necessary for this type of project.

Documentary Script on Color

First Production Check

The theme I am most interested in exploring is the theme of The Human Experience, as I mentioned in my last post. To reiterate my interest in this theme, I like the idea of celebrating the diversity of the human experience while still linking aspects of it. Some of the commonality that links the human experience are the "big things": death, life, self-knowledge, decisions, vanity, etc. Commonly in film, the theme of the human experience is most blatantly explored through documentaries such as Human (2015). Human is a documentary that follows individuals from allow over the globe and manages to simultaneously point out their differences but still create a sense of common humanity. 

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While it may be easy for documentaries to focus on the theme of the human experience, feature films can also explore this theme. A prime example of a movie capturing the theme of the human experience can be seen in Boyhood (2014) which follows a boy from the time he is young until he goes off to college. An interesting element to this film is the element of continuity which can be seen through the continued use of each of the actors, as they filmed it over a series of twelve years, actually watching the main character grow up.

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For my own film, I want to focus on the concept of the human experience. For this production, I will assume the role of the cinematographer. As the director of photography, I will make all the decisions concerning the aesthetic and technicalities of the image. I feel as though the role of cinematographer aligns closely with the element of film that I want to focus on which is color. I am interested in films that create a color scheme or even appear tinted, whether by an off white-balance, effect in post production or lighting effects. 

As far as plot goes, I am interested in depicting the story of a young adult who is making decisions about his/her future. The main source of conflict will be the character's indecision and their inner turmoil about choosing a projected path. The character will be around 18 and will be debating the idea of furthering her education or taking her own path. 

Another idea I have would be to follow two separate individuals as they follow the death of a mutual loved one. It might be a friend or a relative, but it would be someone that they both lost. I would capture different ways of dealing with grief. 

For both of these ideas, I would compose strong color schemes that demonstrate both of the themes. I feel like one of my strengths is composing a visually unified but striking image, which is best done through the role of cinematography. I feel like one of my weaker areas is writing because most of what I want to convey often goes unsaid. However, I want to work on my script writing to create more natural dialogue. Another weakness of mine is editor because I do not feel super comfortable or familiar with the process of post production. Therefore, if as the cinematographer, I can create the look I want initially, I can forgo any major editing. My fascination with color includes manipulating the setting, costume, casting, and lighting. This will require me to take on some of the duties as director in addition to cinematographer but will hopefully produce the look I ultimately choose to portray.

Themes in Conceptual Film

Themes in Conceptual Film
By: Ali Banach

After reading over a variety of themes that are commonly found in art, my attention was captured by the theme of The Human Experience. The text describes the vastly diverse spectrum of the human experience: all the variants in all of the lives in all of the world. This diversity is what makes examining other lives interesting, what drives conversations, and what motivates the search for commonality. Because the human experience varies so greatly from door to door, art and media strive to find the links between all of these human experiences and synthesize a sense of connection. Because of this, many themes in art focus on elements of the human experience that everyone must face including the issue of life, death, self-knowledge, decisions, vanity, and a variety of other concepts that construct humanity as we know it. 
I believe, personally, that a degree of art's job is to celebrate and to commemorate the diversity of human life while pulling through an underlying commonality with which the audiences can connect. These foundational messages can also be identified a truth, and when a viewer or audience can identify a sense of truth within a work, it will then become meaningful. 
While I feel as though I am most interested in the overarching theme of the human experience, more specifically I am intrigued by portrayals and representations of everyday life. Portrayals of everyday life can subtly reveal underlying messages while remaining relatable and applicable to your human audience. 
The element of film in which I am most interested is color. Color is intertwined with many other elements including setting, lighting, and costume. Through color, I feel as though you can better develop diversity in different lives and characters by creating different palettes in schemes. A prime example of a strong use of color is demonstrated through Wes Anderson's work, most notably Moonrise Kingdom and The Grand Budapest Hotel. Another example of a strong color palette is the film Ginger and Rosa which employs a greenish lighting and colour scheme. The setting, lighting, costumes, and even coloring of the actors accentuate and fulfill this common theme.  

Analysis of a Still: Rear Window

Ali Banach

Mr. Bomboy

IB Film HL I

5 May 2015

Analysis of a Still: Rear Window

Throughout Alfred Hitchcock’s Rear Window, he utilizes a variety of cinematic tools in order to explore perspective and the complexity of the human experience. Throughout the film, the protagonist, L. B. Jeffries, observes out of his rear window, the actions of his neighbors. Jeffries is in a wheelchair due to a broken leg. His occupation is that of a photographer and he has a visible degree of restlessness with the limitations of his injury and occupation. While he explores the private lives of his neighbors, the audience observes his own personal relations, namely those with his nurse, Stella, and his fiancé, Lisa. In the primary conflict of the film, Jeffries perceives actions of his neighbor that point toward a crime, namely the murder of his wife. The climax arrives in Jeffries’ own confrontation with his neighbor, Thorvald, in which Jeffries is ultimately thrown out of his own window. In order to reach concrete conclusions about this complex film, one must narrow it down and as in this case, analyze a single still in the context of the larger meaning of the film. This still demonstrates how Rear Window uses perspective to allow the reader to share in the emotions of the protagonist; through the employment of techniques that will ultimately be affiliated with the postmodern movement, the film demonstrates that examination, reflection, and observation are essential elements of the human experience.

The use of perspective is a prominent and essential element in the development of the film and its meaning. The limited perspective of the film, limited to Jefferies’ apartment and rear window alone, allow the viewer to empathize with the claustrophobic nature of Jefferies’ situation. The scene depicted in the still is from the perspective of Jefferies’ rear window. In some ways, this point-of-view perspective feels intrusive, as spying on others violates social norms and ideas of privacy that society holds. However, this feeling of intrusion provokes a sense of irony because the practice of watching film is in a way, a form of spying. This sense of self-awareness of the audience’s identity as viewers aligns with many of the concepts commonly applied in the postmodern period.  The emotions felt toward Jeffries are then cause for reflection into the viewer’s own sense of identity as they question the morality and ethics of the film world.

The still also provokes a sense of curiosity and  urge to examine due to its complex nature. In this shot, Hitchcock utilizes variety in each of the windows while maintaining a strong sense of unity with the neutral color scheme and repetition. Through the employment of framing, the still manages to capture the complexity of the various human experiences that are occurring in Jeffries’ backyard. The widescreen nature of the still also emphasizes the vastness of the human spectrum of experience and emotion, minimizing the size of the viewer and creating an opportunity for self examination.

Another notable feature about this still is the use of line. Obviously, the windows each play an important role by framing, but there is also a plethora of other types of line used. The use of leading lines, for example, is prominent within this shot. On the left hand side, there is a tree that is in the shadows that draws the eye to the couple in the window. The stairs leading up to the dancer’s also act act as leading lines to her apartment. Each of the fire escapes also exemplify good examples of strong lines. The fire escape on the building on the left directs the viewers’ attention toward the skyline, where skyscrapers are visible. These massive constructions also contribute to the minimizing effect on the viewer. This sense of vastness provokes reflection for the audience on their own life, and the lives of those around them.  The fire escape on the building on the right effectively demonstrates the interconnectivity of humanity while maintaining a degree of isolation, which is seen through the connecting ladder, but separate landings. This theme of relative isolation is continued throughout the film through Jeffries’ own separation from the people around him including his fiancé. Jeffries’ unwillingness to commit to his relationship with Lisa and instead fixate on his profession of photography reflects the theme of the need to examine one’s own life and also the theme of isolation. There is also the use of repeating vertical lines, in the lines of the building, the gates, various railings and fences in the shot. The use of vertical lines can convey power and that may be the case in this still; they may be conveying the power of the sects of humanity existing as a cohesive whole.

Overall, Rear Window effectively uses various cinematic techniques in order to demonstrate the necessity of self examination and reflection in one’s life as well as the immense complexity of the human experience. The still uses a variety of principles of design to touch on themes that are further expanded upon in the rest of the film. The particularly unerring part about the film is the reflection that it provokes among the audience as to their own actions resembling spying. The film provides a sharp commentary on the intricacies of human interaction and ability to coexist.

Works Cited

Rear Window. Dir. Alfred Hitchcock. Perf. James Stewart and Grace Kelly. Paramount Pictures,

Patron Inc., 1954. Streamed Video.