Disclaimer Slide #1.
Social Networking Disclaimer Slide #2.After several discussions with quite a few academics and media professionals, I was encouraged to further elaborate the film in terms of the California Department of Fish and Games' response and potentially fishermen discourse with the DFG. These two slides ultimately "bound the system" of the film and will prevent any runaway Lonelygirl15 soap opera happening with a "Bump in the Wire."
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Well, it's been a while, since I have been productive. Making films is a lot of fun, but dealing with people can be EXCESSIVE. Film-making is a community process and there's lots of inefficiencies in the process simply because it involves so many people! I have been frustrated, and finally, in the last few days of June I can settle into a mode of "self-indulging productivity."
So, here is an update with the lobster trap escape port film--based on Sam, Kevin, and my film efforts, they had added some form of "add-on" to some bill/ legislation that is about to pass, basically stating that the lobster trap escape ports have to be the designated size, but if there are ANY short areas to the port, the ONLY LEGAL WAY OF ATTACHMENT IS TO USE FOUR WIRES: TWO ON THE SIDE, AND TWO ON THE BOTTOM--the top wires are free-floating. Hence, it is exactly how Sam's traps were built! I can't believe it! Sam's trap method is now a part of the law! That is so flipping-dipping exciting! Anyhow, that is SOOO encouraging, because it is a very VERY small case study in which the production of a short film can lead to change of behavior--in this case--shift in legislation. This is SUCH a minor case, but it was a successful trial run, and there is so much potential in terms of making films that can work with shits in behavior at LARGER SCALE--like marine and fire management, which are the current situation--gaps between university and common knowledge versus actual environmental practice and management. It's funny to think that the Bren Ph.D. is called "Environmental Science and Management" all under the same breath, but in the end, scientists have a hard time connecting the dots between learning something new, and changing behavior. Man oh man, this all tickles my funny bone.
To make the lobster trap escape port film MORE COMPLETE, I would have to add a (1) beginning--the disclaimer in terms of communication in this film, (2) middle--do a demo as to whether short lobsters can or cannot get out, talk to a fisheries biologist, and (3) add an ending, Jules will send me the email; the end result is that legislation add-on was passed.
This short film has served as a small-scale short, trial run in terms of film-making as a means of uniting voices of the people and directing clear, discrete "problem-potential-solution" messages to policymakers and managers, such as to instigate necessary changes. Film-making as a way of challenging the interface of "what we know" versus "how we behave," individually and collectively (institutionally).
I was thinking in the car as well--what makes a problem-solution film WORK?!! One, CLEAR MESSAGE. Identify problem. Find an objective mean for evaluating the problem (interviewing or getting input from the community). Two, INCORPORATE HUMOR. This is where it is tricky. DO NOT ATTACK PEOPLE. ATTACK THE CONCEPT AND THE METHOD, NOT SPECIFIC PEOPLE WHO BELIEVE IN AN IDEOLOGY, BUT ATTACK THE IDEOLOGY ITSELF. ATTACK THE IDEA FROM THE PERSON WHO WORSHIPS THE IDEA. And then NO ONE CAN BE BELITTLED, NOR GET INSULTED.
My friend Oscar said something VERY NICE to me--very complimentary. Perhaps one of my best compliments yet, besides "you have the genes to be conceptual" quote. Oscar said (paraphrased), "Your film style is better than Michael Moore's, because all that Michael Moore does is fabricate and accentuate stories that aren't necessarily true (with what backing?), and he always points his fingers and badmouths specific people. All you do is respectfully [and with mild, entertaining humor] identify the problems and propose solutions, and present them to the appropriate audience."
**the making of NYQUIST LAND (who’s gonna know anything any more? Song); basically the premise of Nyquist Theorem (also called Theorem of Kotelnikov) (sample rate resolution effect) is that if you do not sample a system enough times, you will not be able to detect its true properties (all systems have their variable rhythms; it’s also a scale issue, shifting baseline issue); wheel interaction with framing speed…. **also look up PARAR FAR; FACTOR ANALYSIS, MONTECARLO METHODS
**SKETCH BEGINNING OF FILM W/ JULES // BLANK SLATE OCEAN (kind of like The Eighth Continent)
**apparently Southpark started when two maniac college students submitted a sketch to Saturday Night Live; Jules said the last thing you want to do and be is “run of the mill;” I said, ya, I’ll know when the time comes, but I am sad, I will have to endure a time alone before I can launch some high profile series of any webisode in particular
**START OF THE DOCUDRAMA SERIES “WEBISODES” // a student dancing around inside and outside a black box on a stage // Dr. Kawalek asks, “Can I ask you a question?” Ya what. “Well, if you could do whatever you want, what would you do for a Ph.D?” I, Victoria, had a light go off on my head, and suddenly I started pouring out all the things I ever wanted to do, // cut to a boat scene, and I’m carrying a film camera—“and I’m rocking back and forth, there is a mirror, so you could see me, rocking back and forth” you could see the water, San Diego shore, I’m looking pretty stoic, and then I have that strange music that came from that Johnny Depp Western Movie // then Jules flashes a squid and an eel and a fish, and then Jules grabs a sandwich and sits on the deck, in front of the camera // “Hey Jules. Can I ask you a question?” // “Well, since you’ve been out on the ocean for over 33 years, if you could to whatever you want, how would you want to manage fisheries and ocean health?” // Jules bites down hard on his sandwich, and then he starts to chew, more slowly, slowly, and slowly… and then it would cut to SG or RH or two prominent marine biologist, and ask them to respond to such a question, “if you were given a blank check and a “blank slate landscape,” all the problems that oceans have, but any possibility to impose management, what would you do? And how would the world look like? Global? Regional? Nested emergence of laws? // cut back to Jules, “can I get back to you on that?” // Errol Morris kind of feel….
TO DO LIST FOR THE LOBSTER TRAP ESCAPE PORT FILM:
(1) PRE-FILM --> EXPLAINING WHO IS COMMUNICATING TO WHO.
(2) DURING FILM --> TONE DOWN THE CLIPPING EFFECTS.
(3) POST-FILM --> SHOW THE RESULTS. NANCY FOLEY, FISH AND GAME, AND OTHER STAKEHOLDERS GOT TOGETHER AND PASSED AN ADDITION TO A SUITE OF LAWS STATING THAT SAM SHROUT'S METHOD OF ATTACHMENT WAS NOW LEGAL.
(4) CONCLUSION --> FILM MOVES PEOPLE, CHANGES REALITY. SMILEY FACE.
Today was a great day. A very nice resume item, I suppose, to do a presentation of the new crop of Blue Horizons students--what an AWESOME bunch--they look so spunky! I'm jealous. I presented the Lobster Trap Escape Port film, as well as a Tip Sheet, but I was really embarrassed about the drum audio clipping because it became fully to my attention, and I cringed at least 8 times. My bad. Well, it's hot on the editing list. I also had the opportunity to meet Scott Walker, who is a year older than I am and went back to school to pursue the Blue Horizons program and launch a production company. The quality of his and his partner's films are outstanding. They also know a lot about the After Effects software, so they can add lots of elements to films that I cannot. But Scott mentioned that great ideas don't need special effects. They stand out on their own. Confidence boost for my primitivity, eh? Ya. Blah. Anyway, another great, local, approachable contact. I'm excited.
I also missed an opportunity of meeting Laura Dunn, a graduate of Yale who received a Student Academy Award working with documentaries involving environmental problems and social equity. Here's some equipment her Two Birds group uses:
We've used a broad spectrum of equipment.
For picture: Sony VX-1000, Canon XL-1, Sony PD-150, Bolex, CP-16, Sony Hi8
For sound: Sennheiser 416 Shotgun, Audiotechnica 4073, HHB PortaDat
For post: Macintosh G3, G4, Final Cut Pro, Media 100QX-LX, Avid MCXpress, Edit DV
For film transfer: Digital Image (Los Angeles) and MatchFrame (Austin)
I listened to myself in class today. If you don't have good audio, you are screwed. Then I looked at the audio I have, and I have come to realize that I have the bare minimum, which has not reached a level of professionalism. Shxt. I need to consider a new shotgun mic in the least. I checked out Dunn's list and she's purchased audio equipment that's worth in the 500s and 1000s, like shxt.
Before the end of this summer, I am going to have to invest in audio equipment that is at the bare minimum "brink" of professional sound. Here's the list below for now. I'll stick with audiotechnica.
Audio-Technica AT831C Lavalier Cardioid Microphone
Audio-Technica AT8035 Shotgun Microphone
Audio-Technica AT8015 Shotgun Microphone
Look up Ira Everett for the rest of Audio Vamp up.
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