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5-Week Filmmaking Workshop - Music Video: Dandelion Pie by S. Scarlet Haas
Spoken Word Music Video Directed by S. Scarlet Haas. Part of the 5-Week Filmmaking Workshop at the San Francisco School of Digital Filmmaking.
Published 3 months ago
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1-Year Filmmaking Program - Narrative: Unfiltered by Kasey Gunn
Narrative project Directed by Kasey Gunn. Part of the 1-Year Filmmaking Program at the San Francisco School of Digital Filmmaking.
Published 3 months ago
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1-Year Filmmaking Program - Thesis: Abigail by Frank Lucatuorto
Thesis project Directed by Frank Lucatuorto. Part of the 1-Year Filmmaking Program at the San Francisco School of Digital Filmmaking.
Published 3 months ago
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Published 1 year ago
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SFSDF FREE Day of Film School - Larger Edit
Final edited version of the scene shot for the March 19th SFSDF FREE Day of Film School. This version is of higher quality and incorporates footage from the Canon 5D.
Published 1 year ago
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Free Day 2
This cut, unlike the first one, is made out of only 5 shots, and could've been done in only 4 shots. I was aiming at simplicity here, and decided to stay on two shots of both actors as long as I could so that the audience could observe the actors' interaction uninterrupted by cuts. I started with a tighter shot, which focused our attention more on the female lead's emotions, and I cut to a wider shot when we had to see the geography of the blocking, e.g., where the actors go in the space, then came in tight again on both. This is an intimate scene, and in general, these types of scenes require closer shots to maintain that intimacy.
Published 1 year ago
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Free Day 1
In this edit version, I use the majority of shots that we filmed during the Free Day, and you can see a pretty conventional coverage of the scene: we start with a wide angle shot, which establishes the space and the room where the two characters are having the discussion, then we move into a tighter shot when the female lead announces the big news. Then we jump cut to her reaction shot again for emphasis on her reaction, then we cut to the husband's over-the-shoulder shot with a repetition of his line, again for yet another emphasis on the fact that he's having a hard time being thrilled by what she has just told him. This way the conflict in the scene between the two characters is crystallized and brought to the audience's attention, plain and simple. Then we go to another reaction shot on her which is also a two-shot. If you notice, I wanted every shot t o contain movement and be taken from the dolly, which was a challenge as it's difficult to always maintain the right speed, framing and rhythm, but it definitely works to add some unsettlement to the scene. Then we cut between a shot-reverse-shot of them at their second position, and we end on a longer pan between their faces. Again, I was looking for a lot of movement and motion throughout the scene. On to the next cut, which is much more minimalistic than this one...
Published 1 year ago
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