Reel and Artist Statement

Lauren Jacobs - DP Reel 2012 from Lauren Jacobs on Vimeo.

I am obsessed with the act of documenting. I didn’t truly realize just how much it means to me until very recently. I think this is because the obsession has always been there, underlying most everything I do. I take hundreds of pictures. I journal via emails to my best friend without even meaning to. I let the camera roll on my little brother’s first everything long after whatever it was he was doing was done. Recently however, my acts of documenting have become much more conscious. Purposeful efforts made for the sake of not losing something. As of late, my work of documenting has led me to capture the processes and products of other artists. Specifically, artists whose pieces are fleeting without such documentation. A dancer performing to an audience for one night only. A spraypainted tribute to an illegal and often removed form of art. The sly glances of a painter who mid-brushstroke checks to see if her work measures up to her neighbor during class. It is important to me to capture the process of creation through the medium of video because to me, watching these images can give birth to inspiration in an infinite number of ways. By observing how creators create, my own mind is opened to new worlds of potential. I can see thing in the way they make art that will cause me to think about the way that I myself do. Perhaps my subconscious has led me to put myself in positions to have these opportunities to record artists without really even realizing that I’ve been doing so, through taking certain internships and enrolling in certain classes, but once I’m there, something clicks and I know exactly how and why I want to shoot. I want to record subjects by showing how they interact with their medium and also how they interact with others who observe them. I want to show their thought process and preparation. I want for the execution of their art to read visually as the release of energy it is. I want to do this because of course it looks fantastic. Because it can inspire. And because it should not be lost.

Scene Assignment Reflection

*I was going to post my scene assignment but I cut it in Avid and I need more time to figure out how to export it with the right settings for Vimeo. But I'll be back to do that ASAP!*

In the process of doing my scene assignment, the main thing that I've learned is that I likely need to overcome my scatterbrainedness. I'm good at staying on task while shooting, but I can improve in terms of making sure all of the tasks get done and that I haven't overlooked anything. The thing that I was most disappointed in was not having enough coverage when I sat down to edit such that a couple of times my shots lined together awkwardly and there wasn't any other coverage I had that could go over it to fix it.

As a DP I'd like to improve in almost the same way. Continuity and consistency of shots is I think one of the most important thing to achieve in terms of making a product look professional. The lighting in the scene that I DPed could have been much better in terms of looking consistent from one shot to the next. I'd like to learn how to make sure that that happens on set. It's sort of difficult to look at playback on the monitor and know what will work, so I definitely need to develop some skills and tools for that.

I learned that I feel pretty solidly about directing and envisioning a piece though, and I know it's more of a DP job but I feel really strong in terms of creating a nice/interesting composition. I think my favorite thing about the way my scene turned out  are the shots where framing is really interesting. I love the establishing shot of Claude and Anna with them in the bottom left corner that foreshadows the wall as spot for future action, and the way their shadows bounce off of it. Likewise the shots of Sadie where she's spray-painting and you can only see parts of her and parts of the message.

My small crew of three worked pretty well together. Michael and I had fantastic communication with each other, I thought. We worked together really well in terms of being on the same page and knowing what the other was trying to say. Ted was sort of a gaff/grip/sound combo, and managed to do well at all of it. Everybody showed up on time and was down to stay until everything got done, and everybody was in pretty good spirits and helpful so I was thankful to them for that!

Sizzle Reels

A sizzle reel has got to show your skills. I think the more diverse and encompassing you can show your skills to be, the stronger it will look. That said, if you're just trying to show off one particular skill or kind of look that you're good at, then maybe you only want to show that specific part of yourself in order to have access to work where you get to use it, so I guess it just all depends on what you want to communicate about yourself. But obviously the main thing you want to say is "I'm the shit. Look at all this."

Here's some reels that I've found cool, ultra-sleek and ultra-professional.


Director/Cinematographer Reel from David Reece Jr. on Vimeo.




Garrett Shannon DP Reel 2012 from Garrett Shannon on Vimeo.



Russell Cramer DP sizzle reel OCT. 2011 from Russell Cramer on Vimeo.
(Turns out he's actually been a DP on music videos for a band I like!)

My Choice! - Pondering Parks and Rec

Throughout this semester, I found myself unable to stop taking the knowledge we've been learning in class and applying to how I think production must work for one of my favorite TV shows, Parks and Recreation.

Knowing what I now know about how difficult it can be to make zooming and pulling focus look good, I am beyond amazed with this show. I mean I know they are a major professional production, but still! Look at all the stuff the camera is doing in such a short time!

And, the timing that the actors and camera people have to hit together to stay in sync, it makes my organizational brain hurt just thinking of it. Watch this scene where Leslie throws her phone and the camera pans really quickly:





Of course this movement adds so much and is practically essential to this shot being as funny as it is. They had to get it right. When I imagine our class trying to pull of a shot like this, I see it taking at least an hour just to make sure everything looks right and the focus was ok. I would love to try it sometime though.

I love this style that shows like Parks and Recreation have, the mockumentary using documentary aesthetics like zooming, handheld camera, and frequent changes in focus. I think it makes the show really interesting and visually dynamic.

I recently DPed a mockumentary project for Creative Campus, and as I was the only camera person there when we started shooting, it was too difficult to attempt shots like this. This would have required two or three more people to operate the zoom and pull focus while I just handheld the camera, panned, and got the composition right. I would love for us to try some of these shots in the future though. They just look too cool and add so much to the story to not try them.

Camera Selection

For our scene assignment's, Michael and I both chose to shoot with the Canon 7D DSLR. I DPed Michael's project, he DPed mine, and we really wanted to achieve a cinematic, shallow focus look, so the DSLR seemed to immediately be the best fit. In fact I think he described what he wanted from me as a DP as a "DSLR" look.

I definitely wanted the 7D for my scene because in thinking about how we would be shooting an exterior scene at night, I wanted the background to be out of focus and inky, with background orbs of light in soft focus. The majority of my shots were to look like this, with the subject illuminated relatively bright and the background dark, however I also called for some shots of the subjects in shadows and darkness. The 7D allowed for these low-light shots to still turn out visible enough, so that the viewer can see the subject a bit more defined than the background, even though we didn't put much light on them.

Had we used another camera, we would have faced a harder time crushing the depth of field. This would have proved unsavory for my shoot because I really only wanted the characters to be in sharp focus during their dialogue. I believe a larger depth of field would have distracted from that and drawn the eye towards other things happening in the frame. Another camera might not have renders the background lights as soft orbs but rather as distinct, and that would have made the image look flatter to me, and less cinematic.

I wish I had seen Vincent Laforet's "Nocturne" before I shot my scene, but I recently saw it after and was like, "Yeah! See, that's sort of what I wanted to do!" I mean of course I don't yet have all of the practice and knowledge to make it look this smooth yet, but the way his subjects are lit and the background blurs light is the look I was thinking of when I started to plan my scene assignment! He shot using ambient light on a Canon 1D Mark IV

Nocturne from Vincent Laforet on Vimeo.

The main disadvantage of shooting with the 7D were the limitations on what we could do in terms of moving the camera. Originally I had called for a dolly shot that had we done it would have been difficult, using prime lenses and keeping our actors in focus as they walked toward the camera.  We ended up not having the equipment to do that shot, and while I would have liked to try it just for the experience, I think that we were better off for it. We instead recorded that part with a shoulder mount, which made it still just as difficult to keep everything in focus, but was much less time consuming so that we were able to attempt that shot over-and-over much quicker, until we got what we wanted.

DSLR Cinematography

This semester, I have really grown to love DSLR cinematography. I'd been wanting to learn more about it and get more experience with it for a really long time, so learning more about DSLR video was actually my favorite part of class. I studied still photography all throughout high school so it was nice to feel close to these cameras again. Now I'm saving up to get a t3i!

The main advantage of DSLR cinematography to me is that it just downright looks gorgeous. The color and depth that these camera can pull out of a shot is just lovely. They look more classically "cinematic," thanks to their ability to crush the depth of field so that the focus becomes extremely shallow.

I've really enjoyed learning the particular settings we can adjust in camera to get the most out of DSLR. I know that it will take much more experimentation on my own to discover how these settings affect the picture and what I'm comfortable working with myself, but I felt like Shane Hurlburt's videos explaining his preferred settings really took what I already knew to a whole 'nother level.

Disadvantages:

It makes me sad to even think of the sweet little DSLR's disadvantages, but of course there are some.

• overheating - the cameras can overheat relatively quickly, especially if shooting in the hot sun. this will slow down production as you will have to wait for them to cool down before you being shooting again
• jelly roll - probably the most disappointing disadvantage, a  DSLR can create a weird affect if you move the camera quickly 
• shallow depth of field can be tricky - because the depth of field can be much more shallow, you may only have a teensy bit of room to get something in critical focus. this is made even harder by the fact that the DSLR has a tiny on-camera monitor, so if you're not using an external one, you have to really trust that your eyes are seeing the focus correctly on a such a small screen. pulling focus can also be hard.

But still, DSLR's are just really lovely and can create beautiful imagery.

I like to move it, move it - the camera

I thiiiink that I was first shown this scene in a class of Dr. Butler's. And I remember the entire class being like, "whooooah. oooooh. ahhhhhh."
This scene from Orson Welles' Touch of Evil  is downright iconic for its use of camera movement. In fact, some dude writing for AMC called it the "grandaddy of all tracking shots" I remember the first time I watched it, just wondering "...how?!" Oh to be a fly on the camera and move with it. It's beyond fair to say that this movement is effective. It sets pacing to a fast and suspenseful level, exposes our location, reveals objects that our protagonists can't see, and keeps us glued to the screen by being one long shot.

So I know that this is sort of cheesy, but I can't help but adore this next kind of camera movement that I want to focus on. After a little bit of googling, I have come to find that's it's even been given a cute name! The "Orbital Kiss" shot is one where two characters kiss and the camera rotates a full 360 degrees (or more!) around them. As films had been produced over time using this trope, modern audiences have come to interpret this movement as predictable, obvious, cheesy, overkill, etc. But I can imagine that the first few times it was done, people had to be impressed, incredibly touched, and not gonna lie, probably turned on by what this movement achieves. According to tvtropes.org, the first known use of the orbital kiss was in a 1968 film called the Thomas Crown Affair, staring Steve McQueen and Faye Dunaway.  You can glimpse the shot at the 22 second mark in this clip:

The orbital kiss movement creates a tight encapsulated sort of feeling around the two characters who are embracing and heightens their emotion. It's often used when this kiss is one that the audience has been waiting on for a long time, as sort of an "at last!" sort of reward to the viewers.

Sidenote, one should never use the orbital kiss to be discriminatory! When Star Trek aired television's first interracial kiss in this same year, they partially hid the view of Kirk and Uhura's lips meeting behind a slight orbital camera movement. I mean, they did what they had to do to get it aired though! Props for that of course.

A last of my favorite types of camera movement is one that is less obvious to the viewer. The vertigo shot. This shot is achieved by zooming in on a subject while moving the camera away from it and racking focus. This changes the depth of field of the image while maintaining the subject in focus, creating a weird, disorienting sort of stretching effect on the image. Hitchcock used it first in his film, Vertigo, hence the name. Here's an example from Apollo 13, the shot comes in around 25 sec.