Act of Valor DP

The Director of Photography (DP) is head of the production unit and is directly responsible to the film's Director. During the pre-production phase, the DP works with the Director on the visualization of scenes that involves issues related to framing, camera angle and movement, lighting, and the technical requirements to translate a script and storyboard into images on film. http://dreamsteep.com

The Director of Photography for Act of Valor was Shane Hurlbut (Terminator Salvation, Into The Blue, We are Marshall). Shane wanted to give the audience a first hand view of what a Navy SEAL is faced with in battle.  He was able to accomplish this very well using his knowledge of visual design. Shane, along with the directors, Mike McCoy and Scott Waugh, decided to take an untraditional approach to filmmaking in order to accomplish the response they desired. They wanted the audience to be part of the action instead of watching the action.

In order to pull this off they needed to bring the camera closer to the action. The camera needed to be smaller and lighter. This was solved by the use of the Canon 5D Mk II. While there was scenes shot with traditional film the majority of the action was done with the Canon HDSLR. Using the lightweight camera, Shane was able to give a first person point of view of a firefight.

So as you can see by the frame we selected, Shane knows how to tell a story through each individual frame. The way he uses elements of design is not only textbook ,but also artistic. Given that the soldiers in this movie are wearing camouflage, many of the Gestalt Principals are naturally happening.

The figure/ground relationship between the SEALs is that of similarity, Shane emphasized this by capturing images of the SEALs in natural, green environments at low angles.

The law of similarity fits into this extremely well too. Shane also chose the specific lighting to continue the blend of soldier and background. On the opposite side he used a brighter light on the terrorists to make them stand out from the natural environment they were in.

The law of proximity is an interesting one in this movie. The SEALs tend to move as a group. Grouping together creates an illusion of one massive unit. Moving the camera close to the SEALs furthers this by creating a sense of “being there”.  The terrorists are spread thin and only one or two are ever framed together creating a sense of disconnect and vulnerability.

In the screenshot we chose the law of closure is key. The shot was framed as a first person point of view. We see two hands about to rise out of the water. Closure tells us that these hands are not just two random hands; instead, they are the hands of one of our SEALs.

Composed Intimidation

In this photograph of my friend Bryan, I was able to achieve exactly what I wanted. I was hoping to have an intimidating feel to the photo. Using the rule of thirds, I placed his gun on both the lower third and the left third. The eye is instantly drawn to the gun because of this balance. The shallow depth of field also intensifies this. Even though the gun is not pointing at the viewer, I believe that anyone viewing this is going to feel a sense of unease. I also used the diagonal shape formed by his arms and body to create the dramatic effect I was seeking. The use of vectors was not intended when shooting this photo. However, some may argue that the gun barrel itself would be an index vector as it does lead your eye off the frame and makes one ask who the gun is being pointed at. 

Design Presentation: "O" The Beauty!

 Poor Design

 Lack of simplicity creates unbalance.

Contrast creates unease and confusion. 

Functionality is reduced due to confusion.

Even knowing the state flag, the design still creates confusion and no closure is achieved.

Brilliant Design

Simple accents create a unity and balance

Knowing the team mascot is not necessary for understanding.

Although no wing is directly drawn onto the uniform the simple pattern and placement create a "flying" feel.   The texture on the helmet also gives a feeling of a duck.

 The use of only two or three colors in the design provides a simplicity throughout.

 UM???

Repetition of the "wing" onto the helmet and gloves creates continuity.

A very simple "O" is used as the Oregon logo.

The Oregon brand is created. This was a brilliant move by Nike.

Contrast-Balance-Then Harmony

This summer while exploring the surrounding area of Souther Utah, I was able to capture some images that not only showed my Facebook friends where I live, but also documented the feelings I was experiencing. Below is one of my favorites because it shows that this was a magical summer for me. I feel the magic of this summer every time I look at the photo. I don't mean to brag, but I am very proud of this image.

Contrast: This image has great contrasting colors as well as contrast in the subject. The gold of the wheat stock immediately pulls your eye because it stands so strong against the soft blue of the naked sky. The two stocks stand out to me. Although there are obviously more surrounding the two, they have the spotlight. The simple sky allows the detail to shine.

Balance: Although I chose to leave so much negative space in the upper left corner I believe I achieved the balance I was looking for. I wanted a very simple image of the grain. I could have raised up and showed the entire field, but I felt that it would have become too complicated. I wanted only two stocks to stand out with all the room in the world to grow.

Harmony: The stocks of grain and the summer sky represent something that is close to my heart. This summer was the summer I found myself, and I found my best friend. The harmony I feel in the real world echoes through these two stocks of grain. They have nothing interfering with their relationship. They have all the time in the world.  They were made for each other.

My Kind of Tingle

My Kind of Tingle

Ever had that warm fuzzy feeling when falling in love? That giddiness over the opposite sex? There is something special the body feels when observing something special. Until learning about the principals of Gestalt, I never was aware that I could feel such things for objects.

When I first saw this picture I instantly had a tingling sensation all over my body. I wouldn't declare that I was "turned on" but there was most definitely mental arousal.  

Like discussed in class, I really do see the curves of this car like I see the curves of my girlfriend. When designing this vehicle, I truly believe the designer took into account the audience he was going to be selling it to. 

Curved lines seem to be the basis of this masterpiece's form. Just as the curved hips of a beautiful woman, this machine pulls the eye of a man and never lets go. The circles of the wheels are carried out through the rest of the body of the car; there are no straight lines to be found. The law of similarity tells us these features will be very pleasing to all. 

Another thing we studied was the law of pragnanz. This law states that we tend to reduce reality into the simplest form we can. I really see this happening every time I look at the front of a car. I think the movie Cars demonstrates this so very well, every car has a face. It is so impressive to me that our mind automatically does this every time we see a vehicle. This Ferrari has the face of a super model!

The law of continuity is also playing a very large role in the design of the car. Beginning at the tip of the headlight a line is drawn, moving over the wheels, under the windows, and finishing at the beautiful rear end. This line is not only drawn with the reflected light of the vehicle but also by the features such as the window and the lights. Our eyes follow the path of least resistance down the entire line. 

Gestalt principles tell us we see things as a whole before we begin to break down the individual parts. It is unfortunate that we only see the entire picture once, for just a brief moment. Even the prettiest of things loses its beauty, but nobody can take away that moment of exaltation we get when seeing a beautiful car or girl for the first time. I think it is best said in a quote by James M. Cain, "Stealing a man's wife, that's nothing, but stealing his car, that's larceny."

So What? Is my Approach?

So What? Is my Approach?

Being a student is a great and mysterious thing. The thought process of a good student is, “what am I going to be when I grow up?” Well, being 28 years old, I am still waiting to grow up and realize my true wants and needs. When declaring a major, I weighed many things, but it came down to two; I want a degree in something I am passionate about, but I want a degree in something I can have a comfortable career in. After a few days of stress I decided to declare myself as a communication major with an emphasis in digital film. At the end of my fourth semester at Dixie State College I am still questioning my decision. Tonight my shutter has been released.

Tonight I had the special opportunity of attending my first film screening of what I hope to be countless. The film, The Approach, is a documentary about rock climbing and the lives that it generates.  Students here at Dixie produced it in the extremely short time frame of a semester.  

The film depicted two men and the lives they create for themselves. One is a doctor who works long hard days. He works so that he can play. The second man was a full time climber who only works seasonal jobs to make just enough to survive. While these were extremes, I felt like I could apply this to myself and my college decision.

The thought of having a career I don’t love has always been a fear of mine. This movie showed that it isn’t necessarily a bad thing to do, yet living what you love can make you a very happy man.  Working everyday, only to play on the weekends, seems to be the way life is lived in America now. I don’t want to fall victim to this social norm.  I want to live what I love.

I love images. I love how an image, moving or fixed, can make you feel something. I love film. Comm 2660 has reconfirmed this to me. I was apprehensive about taking film classes because I really didn’t know if I could live without life’s better things. I felt like I would always be held back from making a good living. Hogwash! I now see the light! A good living isn’t about glory and riches. A good life is about loving every single day. About being excited. Film does this for me; its pure irony that a student made film is what it took to show me this.

The Key is to Get a Grip!

The Key is to Get a Grip!

When deciding what department I wanted to write about for this assignment I first thought about what job I would like to do myself. Having always wanting to be a cameraman I first looked into that. It quickly became apparent that I was looking at the wrong department. As I have years of construction background, I saw gripping as a possible career path for someone like myself.

            The grip department is responsible for constructing and maintaining camera and light supporting equipment. On a typical set the grips make up their own department directed by the Key Grip.  Grips have the responsibility, or should I say the enjoyment, of working the dolly, cranes, and any other joyful camera support systems.

"Grips' responsibility is to build and maintain all the equipment that supports cameras. This equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet heavy duty parts requiring a high level of experience to operate and move. Every scene in a feature film is shot using one or more cameras, each mounted on highly complex, extremely expensive, heavy duty equipment. Grips assemble this equipment according to meticulous specifications and push, pull, mount or hang it from a variety of settings. The equipment can be as basic as a tripod standing on a studio floor, to hazardous operations such as mounting a camera on a 100 ft crane, or hanging it from a helicopter swooping above a mountain range." http://en.wikipedia.org/wiki/Grip_(job)#cite_note-0

            One of my favorite things I learned about grips from doing my research was stated in a short video “There is a stereotype, where we are all a bunch of smokin, fartin, tough guys.” Brett Hughes. http://www.5min.com/Video/What-a-Grip-Does-on-a-Film-Set-316946968.  I like this comment because I can totally see myself fitting right in. My seven years of construction taught me that hard work is fun, but only when you and your crew make it fun. 

            One film that really got me thinking about grips is Zack Snyder’s, Sucker Punch. While watching this movie I couldn’t help but to notice the numerous, detailed camera moves required for the effects used. Although most people didn’t care for the movie all that much, I couldn’t help but to be drawn to every aspect of it. Every few minutes I find myself asking, “How did they pull off that shot?” This was optimized by a shot with the four girls looking into their makeup mirrors. The camera pulls an ark around the back of the girls and doesn’t stop. It seamlessly moves around where the wall should be and recreates the girls on the other side of the mirror. I noticed this shot the first time I watched the movie, yet everyone I watch it with never picks up on the magic it created. This shot was obviously the creation of the director or director of photography, but was the responsibility of the grips to help pull it off using the dolly. Shots like this make me want to be part of a film crew!

            While the grips aren’t widely accredited for being a major part of the movie, I believe they are the infantry of a movie set. Without grips every movie would be a shaky mess of camera work.

            While Key Grips and Best Boy Grips can make salaries upward of $100,000, http://www.forbes.com/2006/03/02/hollywood-jobs-guide_cx_mr_0302moviejobs.html, yet I suspect most everyday grips make far less than that. This is a job I am very interested in but I really want a reliable job that I can support a family with. I’m not completely sure this is a job that could reliably do that.