Thursday, August 9, 2007

Lessons


So I went down to Video Post and Transfer today to pick up my film. While Glenn wasn't there to receive me, I talked to an editor named Peggy. Real nice woman, cussed a lot, sharp as a tact. Anyway, she gave me a digital beta tape, but then added:

"Listen, we think there is a problem with the shutter. The images are really soft and there's a streak of light on the right side of the frame. This generally happens with most used camera equipment. We can give you a list of people to talk to about fixing it."

I asked about the costs, but she claimed to not have much of a clue about that sort of thing.

Well, with this class slowly coming to a close, the knowledge of film and video, while still minimal compared with that of a specialist in this technical field, has allowed me to realize the complexities and outright mindscrews that you have to live with on a daily basis. The question of which one is better than the other...well, I still don't know the answer to that one.

More next week.

Sunday, July 29, 2007

Continued Update

While posts have been few and far between, the action continues. Since the last post, I have acquired six 100' rolls to be used in practice for mastering this sweet-looking film camera of mine. Glenn Shenk, the savior, has assisted me in whatever way he can, ranging from offering me a glass of ice water after traveling 100 miles in an unconditioned car to showing the simplicities of loading film into a camera. Suffice to say, it's been an experience.

I have shot an assortment of images on the Bolex ranging from very bright to very dark. I know that very bright images won't necessarily look good and vice versa. But I'll know how it will look, which is a lesson in and of itself. I am following the method of knowing the extremes in order to form a moderate, rational final result.

The next portion of this project will capture a particular image onto both film and video at the same time, which will then be observed by both Brett and myself. Hopefully, from this experiment, we can spot specific similarities and differences between the two mediums and also conclude which one looks "better" (although I don't particularly like this word, simply because it warrants a certain human bias). I have another appointment with Glenn early this week, where I will take my film over to the lab where it will be processed for free. He'll show me how it works, what can go wrong, etc. Pretty sweet.



Branching from this project and moving to broader concepts of this course, I found this article
that discusses an old concept applied to a new technology. Everyone knows of the 3-D movement of the 1950s in cinema theaters. Enticknap talks briefly about 3-D technology in film, stating, "...two cameras [in a cinema theater] are mounted with their lenses roughly the same distance apart as human eyes, in order to expose a 'left eye' and 'right eye' image. The resulting films are then projected simultaneously through polarising filters while viewers wear spectacles which enable the human brain to perceive the two images as originating separately through the left and right eyes, thus reproducing the illusion of a three-dimensional image" (58).

Yes yes, a very long and overly detailed description. I am sure that most of us reading this knew how 3-D works, but it never hurts to just throw it out there. So, anyway between the years of 1953-1954, 3-D was used in several films from major companies (Warner Bros. and MGM). The projects Enticknap mentions are Kiss Me Kate and Dial 'M' For Murder. But the new technology didn't work out for mostly technical difficulties (i.e. if one film projector broke, the entire film had to stop until repairs could be made). Well, now the technology is applied to digital technology. The articles says:

"Post-production remains the only part of the 3D movie chain that hasn’t improved...Quantel's beta software may help change that. The Quantel Pablo, a digital-intermediate platform, was designed with dual output so customers could want to output an HD and SD version of the same DI. The idea that that dual-output could also be used to handle the left eye and right eye of a 3D image got its start during conversations between Quantel senior product specialist Milton Adamou and Marty Sadoff, VP of 3D digital at Digital Jungle Post Production in Hollywood."

Anyone ready to put the 3-D glasses back on? They always hurt my nose.

Wednesday, July 18, 2007

New Menial Tasks!


Being an intern is a lowly, menial type of work, and this is commonly accepted pretty much anywhere you look. The very word "intern" suggests a sort of timeliness, and its primary definition on dictionary.com is "to restrict to or confine within prescribed limits, as prisoners of war, enemy aliens, or combat troops ... in a neutral country..."

So I guess it makes sense that my first 6 weeks as an intern in Los Angeles were spent running errands and doing tasks solely to make other peoples' lives a little bit easier. At first this fact was pretty depressing; I mean, how often do you hope to God that somebody will send you to buy them a pack of Parliament lights? But over time I guess I've just adjusted...and it seems like most of the other interns have too.

After 6 weeks of working my ass off doing all the worst jobs in "The Biz," I have essentially earned the respect of my superiors to be given, yet again, another set of (what I hate to say are) menial tasks.

This week I've been given the dreaded tasks of covering phones, documenting receipts, and updating contact lists. Now, I say that these are dreaded, because these are the big, important things on the proverbial "production assistants' list of things to do..."

COVERING PHONES
When an executive assistant needs to take a break or calls in sick, an intern is the one who has to "cover" the assistant's desk. Though this may seem like an easy thing to do, it isn't...at all.

First off, the phone system is a confusing, illogical system that takes months of practice to be comfortable with.
Secondly, when working the phones, you're commonly dealing with important people. And when I say important, I mean that these are names which you have definitely heard, at least if you're conscious of the movie industry.

On my first go of covering phones, I was told that the "WORST CASE SCENARIO" would be for Harvey or Bob (Weinstein) to call. My boss, Derek, explained all the ins and outs of the phones--which I pretty much immediately forgot--then left for lunch. Within 2 minutes the phone rang and the caller ID read "HARVEY." After calming myself I answered the phone and was asked where Derek was. Harvey's assistant then began berating me in order to get in touch with Derek. I told the assistant that I'd call Derek. After Derek told me to tell Harvey that he was at lunch, the phone rang again, and this time it was Harvey and his assistant, demanding to know where Derek was. I calmly explained that he was out to lunch, and before too long I was off the phones and recovering...

DOCUMENTING RECEIPTS:
When an exec. takes a client out to lunch, this is technically something that the company compensates you for. So the executives give their assistants all of their corporate receipts, and the assistants give them to the interns to deal with.

The first task is organizing the receipts chronologically. Though this is extremely easy to do, it takes an hour to organize just one month of receipts. After organizing 4 months of receipts, the second task was to log the receipts into a computer, then finally to scan the receipts into the database.

UPDATING CONTACT LISTS:
The Weinstein Company and its executives have literally thousands of names in their "roladex." And each adds over 60 names to that list per year. At Cannes this year, the executives got over 100 business cards--all of which I had to log into the system.

The philosophical implications of the fact that we have to work and adjust to please others are dense, and I dont really want to go into them here. But what I will say is that there's alot to be said for menial tasks, in a training kind of way. These tasks are an easy way to gauge a person's reliability, and let the assistants know how hard one is able or willing to work.

We have yet to hear back about the Sopranos articles...but I guess that'll be in the next post...

Sunday, July 15, 2007

Finally I am back (whew)

Well finally there is some stability back in my life. Like Casey, I had a family emergency from two weeks ago until...well...just about now. So, after a hiatus in Arlington, I am back. And I am packing some serious heat


There is my new (or should I say old) equipment from the far away land of Athens, Greece. Thanks a lot, Greek dude with lots of film equipment!

Also in the midst of chaos last week, I managed to catch an interview with Glen Shenk of Video Post and Transfer. After talking with him for roughly an hour and a half, he allowed me access into their facilities, which chemically treat and process film for projects (both corporate and student) in the Dallas/Fort Worth area. On the side, he says, they sell film stock. But this was their pride and joy.

Walking into the treatment lab, I felt like I was walking into one of those rooms that housed a 1943 IBM machine. You know, one of those computers that took an entire room? Yeah, you do. Thousands of feet of footage lined each row of the assembly line, each frame dipped in various chemicals stored on the floor below. All of this is delicate process, considering that each reel is the original. You make one screw up and...well...it's gone forever.

Mr. Shenk's opinion on the future of film was positive, complying with Enticknap's theory that the number of manuals and individuals who've mastered filmmaking as an industrial and mechanical skill is much higher than that of digital video. Glen noted that, particularly with HD technology, the number of skilled workers with these devices is still relatively small compared with film, and therefore the price of their skills increases dramatically.

Anyway, he is preparing five 100' rolls of usable footage that I will pick up next week. Also at our second meeting, he'll go through the mechanics of my camera with me and provide insider hints and pointers as well. Basically, as Brett pointed out to me a number of weeks ago, I owe you big on this one, Prof.

More later on this week

Saturday, July 14, 2007

O' the Week Of Hell... and Rejoice!

Hey,
I had the week from hell. First, my grandfather went into the hospital, so I had to spend some time at home at the beginning of the week. Then, the power inverter for my laptop went out... I think. This led to some bad problems, like not having the internet ... having to use the school's computers, and not being able to play WoW. I also became busy and frustrated at my current computer situation and forgot to post. Anyway, I have been reading ALOT.

Here is what I read in the past week:

First, I want to explain where I am in my research. I found that the game of WoW is such a complex environment, that anyone can make their own form of competition. When different types of competition happen simultaneously, and with the user’s same avatar, then a complete immersion of who the player wants to be and what the player wants to be doing is fulfilled. The player now does not need an end point because of my so called ‘spiral affect’ where the player does not feel like he is going in a circle, but in a spiral progressing outwards with no end point. I guess what I found an end point to be is when one can not play WoW, like I have not been about to do in a long while. Just kidding.

Never the less, from what I have seen and from where I think my research is going, is there is not much difference between competition in the virtual environment of WoW, and outside in the real world. There are only subtle differences in the means through which we compete. Basically, World of Warcraft produces a tangible environment for all to create their “Other”, so to speak, which they were not able to create before in the real world. This means that research into how players use computer mediated communication and competition is parallel to real life, and playing these games is more than just a game, it is standing on the brink of becoming a society.

Second, I wanted to just put some notes for myself, and anyone else who is interested about Lacan from the book An Introductory Dictionary of Lacanian Psychoanalysis by Dylan Evans.

The little other is the other who is not really other, but a reflection and projection of the Ego. He is both the counterpart or the other people in whom the subject perceives a visual likeness (semblable), and the specular image or the reflection of one's body in the mirror. In this way the little other is entirely inscribed in the Imaginary order. See Objet Petit a.

The big Other designates a radical alterity, an otherness transcending the illusory otherness of the Imaginary because it cannot be assimilated through identification. Lacan equates this radical alterity with language and the law: the big Other is inscribed in The Symbolic order, being in fact the Symbolic insofar as it is particularized for each subject. The Other is then another subject and also the Symbolic order which mediates the relationship with that other subject.

Yet, the meaning of "the Other as another subject" is secondary to the meaning of "the Other as Symbolic order". 'The Other must first of all be considered a locus, the locus in which speech is constituted' (Seminar III: The Psychoses). We can speak of the Other as a subject in a secondary sense, only when a subject may occupy this position and thereby embody the Other for another subject (Seminar VIII: Le transfert).


ALSO, I read:

This mostly scientific paper revealed, through massive surveys and interviews, a five factor model of user motivations:

  1. Achievement: This factor measures the desire to become powerful in the context of the virtual environment through the achievement of goals and accumulation of items that confer power. There is also a sub motivation that goes along with achievement, which is the "Lead" factor. This factor is players drive and desire to become the leader of the pack, so to speak.
  2. Relationship: This factor measures the desire of users to interact with other users, and their willingness to form meaningful relationships that are supportive in nature, and which include a certain degree of disclosure of real-life problems and issues.
  3. Immersion: This factor is about existing in a fantasy world as well as being “someone else”. Those who fancy the immersion factor enjoy the story-telling aspect of these worlds and enjoy creating avatars with histories that extend and tie in with the stories and lore of the world
  4. Escapism: The “Escapism” factor measures how much a user is using the virtual world to temporarily avoid, forget about and escape from real-life stress and problems.
  5. Manipulation: This factor measures how inclined a user is to objectify other users and manipulate them for his personal gains and satisfaction. Users who score high on the “Manipulation” factor enjoy deceiving, scamming, taunting and dominating other users.

The paper also discusses how meaningful and emotional relationships are formed within WoW and how real life skills form in these virtual environments. I believe the interface of WoW is not just a glorified chat room, where people simply communicate and share meaning with numbers and aesthetics; but knowing that real world skills and strong character building is possible through interacting with, about and through the game, makes research into this game genre even more important.

This paper shows an empirical model of player motivations to provide an understanding of how players differ from one another and how motivations of play relate to age, gender, usage patterns and in-game behaviors. These components are kind of similar to his larger paper (the one I just talked about) but in a different set up and format (please note the chart of page 5 of Motivations of Play in Online Games). This paper showed me that every player has completely different emotional value within the game. They all have different levels of drives, want different things, desire different strengths and powers. Yet, they all exist in the same world, and can compete with each other or fight side by side, but with ultimately different drives.

The paper also talks about archetypes and stereotypes within the gamers’ society. This idea that the gamer generation is for late youth who did not get out much was taken out by the wide range of demographics surveyed for this paper. Many ages, from all economic and social background play together.

This article is a bit smaller and also used Yee for a few reference points, but generally what Chen and Duh talk about is how people interact within WoW. First, they are look at the game as socially engaging or as individually driven because of resent research that has shown that most people play WoW predominately alone. They also talk about how relationships built online were just as solid, if not more so than in real life. They ask these questions next:

What are the factors that affect social interaction in WoW? What are different forms of social interaction in WoW?

They discuss a symbolic interactionism theory. This looks into how individuals create symbolic meaning through their interactions with other people. “An individual’s self-conception is therefore reconstructed by each interaction with an Other. Individuals invest symbolic meanings into these interactions to make them socially real. Then they discuss Contextual factors (Historical Context, Interactional Arena, Level of Social Aggregation) and In-game Factors (Instrumental Joint Acts, Rules of Conduct) and how they influence social interaction in WoW.

The paper concludes with how the social interaction can be understood by self-other dynamic. In a RPG, everyone can experiment forms of self-representation. Staging oneself, the spatial gaze that exists in the environment of WoW, and superiority all play into how one views him-or herself within the game. For example, superiority can be used as a competitive factor with the drive to boost ones ego. There is also the view of the Other; which is the view of the Individual other and the view of the collective Other.

I enjoyed this article because it showed me that there is a movement towards New Tribalism, and a part of playing the game is leading a more eventful ‘life’. The article starts out by defining how tribalism fits into WoW. Most guilds are formed with the sharing of a common interests or identity. Within Wow, players are able to substitute their real life need for a ‘brotherhood’ with the guild they play in. This is simply a shift in meaning for the player. Also, they point the important fact that 24 of 30 ‘hardcore’ players prefer to socialize online, than off. This means that the devotion some players will give to their guild will be higher than a social group IRL. This paper also discusses the tribalistic behavior found in WoW, including the negative aspects.

This is the second time I have read this article, so I am just going to point out the important things I feel are valuable to my research.

Rehak notes on the image of self perspective in videogames: “… the crucial relationship in many games, both contemporary standards and their ancestors, is not about avatar and environment or even between protagonist and antagonist, but between the human player and the image of him- or herself encountered onscreen.” Rehak continues to explain Lacan’s theory of the Mirror Self. Babies, between 6 and 18 months begin to respond and treat their own reflections as a part of themselves and the baby responds to the “attraction of unity, wholeness, and power promised by the reflective form.”

Also, “The videogame avatar would seem to meet the criteria of Lacan’s Objet Petit a. Appearing on screen in place of the player, the avatar does double duty as self and other, symbol and index. … They are supernatural ambassadors of agency.” Ego-confirmation creates a vicious cycle here with no negative affects of death. But also, the long history of videogames has taught of that there is no perfectively reflective avatar. This allows “an alterity enabling players both to embrace the avatar as an ideal and to reject it as an inferior other.”

“The avatar is not simply a means of access to desired outcomes, but an end itself.”



I have also been looking at how competition works within the mindset of humans. This a very general assumption, but what I have determined is that there is Amoral and Moral behaviors that affect competition.

Amoral is the humans beings drive to survive. In WoW, most players, for the first time, are in constant danger of dying. Never before, does one have to fight for ones own survival. The is all granted with the idea that surviving in WoW is to level up, which is the ultimate drive for most users. In order to level up, one must risk his or her own neck to gain experience. The more dangerous a situation is, the more rewarding the booty. Amoral competition does not center around the forced downfall of someone (or something) else. Instead, the main drive is to maintain ones own existence. This can be seen in many regulated and non regulated forms of competition: such as being social and knowing a lot of people, needing items in order to survive in certain areas, being a good team member to allow your teams greatest chance at survival, etc. This type of competition can be brief, like getting away from an large group of aggro’ed monsters, or learning a new spell to help you kill or escape with ease from a dangerous situation.

The next form of competition is dealing with moral behavior. This type of competition encompasses This is where competition is a mutually voluntary activity in which success is based upon the forced failure of someone else. Life and death do not necessarily play into the desired outcome, but superiority does. This also encompasses the good versus evil scenario, where some people feel it is their moral duty for fight for their side, etc. And finally, this also seen in being a Good Samaritan, because one could be striving to be the most noble and kindest player.

Wednesday, July 11, 2007

The Final Episode of The Sopranos


Sorry for the bulk-posting, but I was asked to write an opinion piece on the final episode of The Sopranos. I was asked to analyze the most infamous aspects of the final episode, which I basically assumed was the enigmatic ending. So here it is, hope you enjoy.

Tony Carmella and AJ die
and it's not looking good for Meadow...

In the final episode of David Chase's far-too-long-running series the Sopranos (I assume you've seen it...but in case you haven't i'll give the basics) Tony, Carmella and AJ sit at a diner we've never seen before eating onion rings. Meanwhile, Meadow struggles outside with parallel parking, and she enters the restaurant just as Tony looks up from the table--then the screen goes black. All the while conspirators seem to be looming around the Sopranos as they eat. The most telling of these characters is the man in the "member's only" jacket walking into the bathroom, which stands out distinctly as a mafia-movie reference. We all remember the scene from The Godfather in which Michael Corleone enters a bathroom, then exits soon thereafter to kill his father's enemies. The fact that "members only" (the "member" is a somewhat phallic reference to the secretive nature of the mafia) walks into the restroom as the oblivious Sopranos dine on fried food is perhaps the biggest clue to the audience that yes, indeed, the Sopranos were taken out mafia-style. The overly enigmatic end to the episode however, which was essentially a fade to black just before anything really happened, left the viewers feeling abandoned and confused--and in some cases checking their cable boxes. The ending provided no distinctive end to a television series (Seinfeld anyone?) which classically aggravates television audiences to no end.
So what were David Chase's intentions in creating such a critically panned finale? I like to think that the ending was slightly tainted by a case of I'm-David-Chase-and-I'm-a-genius disease. David Chase is infamous for creating over-metaphorical webs of storylines and BS that have confused Sopranos fans throughout the series. The most glaring of these was a 45-minute dream sequence where nothing really happened, but every image used was shocking and awe-inspiring. So to me, it makes sense that a guy like David Chase would end his most famous series with the artsiest, edgiest cut-to-black ending that he could come up with--complete confusion.
But all David Chase-ism aside, the ending as it stands leaves some very interesting material for thought for us, once it has been analyzed for what it really is. The Sopranos have been doomed from the very beginning. All of Tony's immediate family are irreconcilable in their flaws, a fact which never goes unresolved in mafia films. Infamously, the best deaths in mafia films are of those characters who deserve their death, who have it calling for them. Tony, AJ, Carmella and Meadow have, time and time again, been presented with situations in which they could completely redeem whatever transgression that had committed. Yet systematically, every last one of them chose to continue on the path of immorality and wrong-doing, as long as they didn't have to suffer the consequences. Though yes, this is an awfully moralistic way of looking at things, we are talking about a mafia-based television series. The mafia itself is an organization that is centered on religion and family, two of the most morality-reverent forces in life. So for the Sopranos, it seems that vengeance is only seconds away, when suddenly the screen cuts to black. This ending practically guarantees the death of the Soprano family, while at the same time doesn't incriminate anybody.

~arrivederci

Finance vs. Art: Why Are We Making Movies?

So the Indiana Jones transcript has turned out to be a bigger bit of reading than I originally thought it would, so I'll be writing about that a little later.
Now, I wanted to deal with a question that was originally brought up by Brett in one of his comments:

What drives people to make movies...money or art?

To answer this I talked with my boss, Dan, about his intentions with regard to movie-making.
His answer was quite simply, "a combination of the two."

For better or worse, the movie industry is just that--an industry.
Movie projects are primarily seen as potential investments
once the investment is seen as potentially successful (public-worthy)
then, and only then, can the artistic integrity of that investment be judged.

Unfortunately, things are extremely near-sighted in this business.
Projects for studio execs are by no means long-thought masterpieces
made by directors like Coppola and Kubrik, rather they are seen as subjects to the public eye,
potential successes or potential dvd-releases.

But in some cases, execs have the chance to consider art before finance.
unfortunately, those movies usually end up failing in some form or another.
So as a result, mediocre and somewhat redundent pictures get put out by studios
(hey, there's a reason why there are so many f'ing trilogies out there.)

SO, in sum, Unless you are a director, you rarely get the chance to be artistic.
But if you aren't a director and somehow get lucky...well then good luck, buddy.