Today I worked with my production partner to determine which toles we would be fulfilling as well as what we wanted to accomplish in a broader context
50 minutes
yes
4/19
Today my production partner and I decided concretely on our roles and decided on our specific role-based intentions for this production. I decided to focus on distance as a primary focus for this production.
50 minutes
yes
4/20
Today I experimented with different kinds of practice shots to determine how different distances and levels of focus will affect the tone and mood of the shot.
50 minutes
yes
4/21
ABSENT
NA
NA
Personal Comments (Optional)
Are there any other comments you would like to include? If so, please enter them here:
Today I worked on fixing an error I made in my film reels and editing down my script to account for the 9-page maximum limit. I also made sure to go back and cite my sources and include additional screenshots.
45
yes
4/11
Today I worked on compiling the sources that I used when writing the script for my Comparative Study. This took a significant amount of time as I had to re-cite my sources in MLA format.
50 minutes
NA
4/12
ABSENT
NA
NA
4/13
Today I reformatted my CS, as the file size was almost double the maximum size. This meant that I needed to find a way to compress the file to the desired size, which took a lot of trial and error.
50 minutes
yes
4/14
ABSENT
NA
NA
Personal Comments (Optional)
Are there any other comments you would like to include? If so, please enter them here:
Today I worked on my CS, making sure that everything was in perfect condition for my submission later this month. I went back and corrected an error with one of my citations that were not fully pictured on the screen. I also created a noodle tools project and consolidated all of my sources in one place.
50 minutes
Yes
3/29
Today I worked on my FP final reel and finish cutting together and selecting the singular film I will be utilizing.
50 minutes
yes
3/30
Today I worked on adding the correct slates for my film portfolio reels and making sure that the video was exactly 9 minutes and 30 seconds long. I also made sure the 3-minute requirement was met exactly for my third and final reel clip.
50 minutes
yes
3/31
ABSENT
NA
NA
Personal Comments (Optional)
Are there any other comments you would like to include? If so, please enter them here:
Worked on page 2 of my first film reel and accomplished around 300 words
50 minutes
Accomplished my task for the day
3/21
ABSENT
NA
NA
3/22
Finalized first Reel write-up and citations, embedded screenshots of influence and corresponding scenes
45 minutes
Yes
3/23
ABSENT
NA
NA
3/24
Worked on the discussion of influences and initial goals for my FP Reel 2, I went back and worked on my actual film clips to ensure there was only student-original content
50 minutes
Yes
Personal Comments (Optional)
Are there any other comments you would like to include? If so, please enter them here:
Smart Goal: By (the deadline for the Cfp), as an IB film student, I will work in conjunction with my peers to produce a seven-minute film that emulates and expands upon the creative directing choices of Dan Harmon’s “Community” while instilling the expertise and knowledge gained over the course of our collective film career.
The idea and inspiration for the writing of this film came to our team during a brainstorming session in which a simple friendly jest among teammates blossomed into a solid idea for a story. The original outline (Link later) consisted of a very rudimentary story about the effects of bullying with a somewhat light premise that served as a more serious allegory for social alienation as a result of personal or cultural practices. We felt that being ridiculed to some degree for something you or your family hold dear is something many people can relate to, and the more light-hearted premise allowed for the message to get across without having to attempt replicating a real and potentially triggering struggle. The idea for the script to center around one character and his interactions with a single bully would provide a chance for characterization and development as the film progressed. The intention from the beginning was to have the story end on a more upbeat note, although there was a prototype outline in which the narrative ended on a much darker note,. We felt that this would clash with the tone of the premise so the idea was eventually scrapped. Later on in the development cycle, the implementation of a flashback sequence was tossed around and eventually decided as a way to exercise our ability to push beyond the limits of what we had attempted before. This also led to us writing a script that serves as a great example of Non-linear storytelling, which was the most effective way to expand our character’s background and mental state in a more visual way. This led to a very surrealist mood being present in this part of the film, as the writing was left intentionally vague to cath the audience’s attention and force them to draw their own conclusions
Pineapple boy: Beginning with the very first scene, we can see that our protagonist is very timid and introverted in nature. This is somewhat par for the course in terms of how victims of bullying and ostracization are depicted, but establishing the character in a way the audience expects allowed for a deeper subversion of the trope. Throughout the montage elements and flashback, our protagonist becomes more and more reclusive and distraught, yet still finds enough anger to denounce what was once important to him. The cold hollow anger that the character feels is unstable, and volatile, and creates tension for the audience. This tension comes to a relieving conclusion as the protagonist begins to show signs of trust and connection with his former bully. This fulfills the general outline of Dan Harmon’s story circle when applied to a single character’s journey, as the protagonist ends the movie with something they didn’t have before.
Outside influence/Inspiration
As an accomplished producer and screenwriter, Dan Harmon has produced a number of some of the most popular and memorable shows of the 2010s, that still serve as excellent case studies in their own right even today. One of Harmon’s most notable contributions to the world of film is his “story circle”, in which he condenses the classical “hero’s journey” structure into its simplest form, aiding tremendously in the process of scripting and directing any type of film. While this structure can be applied to feature-length films with tremendous success, it’s how Harmon applies it to each episode he writes and produces that makes it so valuable to an IB film student. Much of our curriculum focuses on analyzing and deconstructing a feature-length film, often taking a small chunk and analyzing it as its own “movie”. While this is generally very helpful to learn all of the important components required of a film, it can sometimes be hard to translate into the short films we produce as part of the program. Studying short films and any form of shorter media allows the student to more easily understand how to convey and implement the important aspects of film in a short time period. It is for this reason that our production group has chosen to draw influence from Dan Harmon’s style of writing and filmmaking in order to apply it to our short 7-minute film. The pacing, story structure, and creative setting choices that coalesce into memorable mise en scene components will serve as a creative reservoir from which we intend to draw inspiration from throughout our production cycle.
Treatment
Sausage. Pepperoni. Even mushrooms! When you think about all of the different things one can put on a pizza, one might think that there’s nothing that could surprise them anymore. That is, until someone suggests PINEAPPLE on their pizza. Pineapple boy tells the story of a young adolescent who wants nothing more in life than to keep to himself and partake in his favorite culinary delicacy: pineapple pizza.
Act 1: Our story begins with our main character, a transfer student, on his first day at REDACTED High School (home of the fighting N/A’s). As students flock to meet the supposed “fresh meat” as he begins to take in his surroundings, our protagonist is served a slice of classic high-school cruelty as his peculiar taste in pizza becomes the reason for his ostracization.
Act 2: After enjoying pineapple pizza for as long as he could remember with his family, our protagonist finds it hard to grapple with the ridicule and harassment he receives at school. As his situation worsens, culminating in a single act of cruelty, our protagonist loses the will to partake in his favorite pizza.
Act 3: After not showing up for days, the protagonist returns to school visibly disheveled and in a state of anguish. His bully begins to question the way they treated the pineapple boy, and whether they put him through the roller a tad too many times. Will enemies become friends?? bullies become compatriots? We’ll just have to see how everything shakes out in the gratifying resolution of the film
Costuming/Props
The costuming is meant to be very realistic for what high-schoolers in the early 2020’s would wear. Each character is costumed to represent their character and what they would wear. Pineapple Boy is dressed very muted and more leisurely, indicating a habit of sleeping in their school clothes. This conveys that they are very introverted and tend to prefer the comforts of home rather than school, so they dress to return home as soon as possible.
What I learned
Plan
-January 19th: Pre-production completed
-January 23rd: filming begins
-January 31st: filming and audio recording complete
By (the deadline for the Cfp), as an IB film student, I will work in conjunction with my peers to produce a seven-minute film that emulates and expands upon the creative directing choices of Dan Harmon’s “Community” while instilling the expertise and knowledge gained over the course of our collective film career.
PRE-PRODUCTION – INQUIRY
Leader(s) in the Field / Exemplary Work(s)
–Dan Harmon (Community, Parks and Rec, Rick and Morty)
As an accomplished producer and screenwriter, Dan Harmon has produced a number of some of the most popular and memorable shows of the 2010s, that still serve as excellent case studies in their own right even today. One of Harmon’s most notable contributions to the world of film is his “story circle”, in which he condenses the classical “hero’s journey” structure into its simplest form, aiding tremendously in the process of scripting and directing any type of film. While this structure can be applied to feature-length films with tremendous success, it’s how Harmon applies it to each episode he writes and produces that makes it so valuable to an IB film student. Much of our curriculum focuses on analyzing and deconstructing a feature-length film, often taking a small chunk and analyzing it as its own “movie”. While this is generally very helpful to learn all of the important components required of a film, it can sometimes be hard to translate into the short films we produce as part of the program. Studying short films and any form of shorter media allows the student to more easily understand how to convey and implement the important aspects of film in a short time period. It is for this reason that our production group has chosen to draw influence from Dan Harmon’s style of writing and filmmaking in order to apply it to our short 7-minute film. The pacing, story structure, and creative setting choices that coalesce into memorable mis en scene components will serve as a creative reservoir from which we intend to draw inspiration from throughout our production cycle.
–Yasumasa Koyama (Jojos Bizzare Adventure)
Yasumasa Koyama has been the lead sound designer for David Production’s adaptation of JOJOs Bizzare adventure originally written by Hiriko Araki. JOJOs is a series that has been running for nearly 40 years and has amassed an immense cult following on both Japan and the West. This international success is in large part to
Training Source(s)
-Cinematic storytelling by Jennifer Van Sijll
Project Timeline
Proposed Budget
-250$
PRODUCTION – ACTION
The (FILM, SOUND, or GAME Creation)
Skills Commentary
POST-PRODUCTION – REFLECTION
21st Century Skills
Ways of Thinking (Creativity, Innovation, Critical Thinking, Problem Solving)
DELETE ALL OF MR. LE DUC’s ALL UPPERCASE INSTRUCTIONS DETAILED ABOVE
Summary
IN ONE TO TWO SENTENCES, DESCRIBE WHAT FILM YOU ANALYZED FOR THIS PROJECT AND WHY YOU CHOSE IT
DELETE ALL OF MR. LE DUC’s ALL UPPERCASE INSTRUCTIONS ABOVE
Film Analysis
Film Title
Do the Right Thing
Year
1989
Director
Spike Lee
Country
U.S.A.
Genre
Comedy, Drama, Comedy/Drama
If you could work on this film (change it), what would you change and why?
I would have established a slightly more positive relationship between Sal and Mookie from the get-go, as their relationship serves as an important emotional impact at the end of the film. I also feel as though Sal and his family (while suffering monetary damages) weren’t held responsible enough for the death of Raheem. I would have added some sort of conclusion that satisfies the need for justice.
As you view films, consider how the cuts, camera angles, shots, and movement work to create particular meanings. Think about how they establish space, privilege certain characters, suggest relationships, and emphasize themes. In addition to shot distances, angles, editing, and camera movement, note details of the narrative, setting, characters, lighting, props, costume, tone, and sound.
6. What “happens” in the plot (Brief description)?
7. How does the film influence particular reactions on the part of viewers (sound, editing, characterization, camera movement, etc.)? Why does the film encourage such reactions?
9. How are the characters costumed and made-up? What does their clothing or makeup reveal about their social standing, ethnicity, nationality, gender, or age? How do costume and makeup convey character?
10. How does the lighting design shape our perception of character, space, or mood?
12. What is the music’s purpose in the film? How does it direct our attention within the image? How does it shape our interpretation of the image? What stands out about the music?
14. Give an example of what a film critic had to say about this film. Use credible sources and cite sources.Example: “The Shawshank Redemption Movie Review (1994) | Roger Ebert.” All Content. N.p., n.d. Web. 24 June 2015.
15. Select one scene no longer than 5 minutes that represents well the whole film and shows relevant cinematic elements. Write a one-sentence description of the scene and record the time of the scene.Example: from 1:05:00 to 1:10:00.Explain why you chose this scene.
PLACE THE TIME STAMP FROM THE SCENE HERE… Example: 00:00:00 – 00:05:00
16.In the selected scene: write a sentence for each of the elements below to justify why this scene best represents the film:
In the wake of ever-present racism and racial violence in the 80s and 90s New York, Do the Righ Thing presents a film that is meant to e the issues of the time. The dichotomy of Malcolm X vs Martin Luther King Jr highlights how racial violence and self-defense are presented in the film.
(inspired by the killing of Michael Griffith in 1986)
This worksheet was developed with ideas from many IB Film teachers, thus should remain in the Creative Commons\
By (date here) as the director and sound designer for team 6’6″, I will show evidence for my roles by utilizing action-style blocking and the usage of dynamic sound effects.
By October 21st as part of team 6’6″, as sound designer, I will show evidence of using a microphone array to record ADR that blends naturally with the actors movements.
Christopher Boyes is one of the (if not THE) most successful and famous sound designers today. His work includes some pretty impressive titles, such as Avatar, several Avengers movies, and the Lord of the Rings trilogy. What makes his work stand out to me is the fantastic ADR sound design and usage in these movies. More specifically in a film like the Fellowship Of The Ring, where they often filmed in locations and used shots that would have made on-site recording difficult, ADR was critically important to delivering the necessary audio. The creativity born out of the necessity to use ADR produced a wholly convincing and pitch-accurate vocal performance that blended seamlessly with the lips of the actors. It is this kind of smoothness and technical audio skill that I wish to replicate with our current film.
