Final Reflection

Looking back on this semester I can really see the progress I have made since August. My last hands-on production class was in Spring 2014 so quite some time had passed since I first learned the basics. I was slowly forgetting what I learned in 201. I also never got too much hands-on experience in 201. The same handful of students would always hog the equipment in class so I would sit back and just hope to get a good view of the camera or the light kit.

            Over the summer while out in LA, one of the pieces of advice that I was given repeatedly was go back to Tuscaloosa and get more experience. This class was my ticket to that. I needed more experience with production and that is exactly what I got this semester.

            I’m not going to lie, I was a little scared to handle some of the cameras in the beginning of the class. The thought of breaking anything was terrifying but handling equipment was the first step I needed to take in the class. I was able to purchase a camera halfway through the semester and have become more comfortable with it since. I have gotten a lot of practice handling lenses and being able to tell the difference between all of the focal lengths!

            One of my takeaways from the class that I recently learned is to really check your footage when you are filming with DSLRs. Making sure that everything is in focus is extremely important. I wasn’t completely satisfied with my work because of all the footage that turned out to be slightly out of focus. Next time I film, I really want to have some sort of monitor nearby so I can check the footage.

            I also really learned a lot from the pre-production meetings. Making a shot list and a shooting script was really helpful. I messed them both up and didn’t stay faithful to them for my shoot, which I regret a lot. The good news is that I can learn from how I messed up my storyboard, shot list, and shooting script. I saw with other people in my group how correct pre-production planning can really help improve the quality of the project.

Reel and Artist Statement

Colson Domergue Director/Videographer Reel 2015 from Colson Domergue on Vimeo.
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Looking back over the past few years, I have grown so much as a filmmaker. I try to forget the horrible YouTube videos I used to create with my friends back in high school but they are a good reminder of where I started. As I continue to look forward, there are several ideas and inspirations I want to learn from and apply to my own work. As writer and filmmaker I want to explore grand stories found in everyday life, the environment, and pull from psychology, art, and directors that have inspired me.

Grand stories are all around us, you just have to look around. Every single person, whether they acknowledge it or not, is the center of their universe. This isn’t always a bad thing and this is something I like to explore. I find it very fascinating that everyone on this planet has their own perspective and narrative. The smallest issue to me may be the end of the world for someone else. Those are the stories I want to explore and show.

            I tend to like camera movement a lot, especially when the camera follows a subject through an environment. The environment is just as important as the character. I would like to further explore environments in future projects. I was really happy when I got to do so for the doc storytelling assignment. I also did the same with my first assignment in 201.

            Directors that inspire me are David Fincher, Stanley Kubrick, Christopher Nolan, Alexander Payne, and Steven Spielberg. They each have attributes that I want to apply to my work. Payne finds wonderful stories in the everyday lives of average people that I find amazing. Kubrick, Nolan, and Spielberg can make any story grand and epic that draws me in and I hope I can reciprocate that. The two directors that taught me the most about style are Fincher and Kubrick. I love the attention to detail that both show in their films. During the doc storytelling assignment, I found myself looking for shots that could be symmetrical like in a Kubrick film or close-ups that Fincher would have.

            The last few areas that inspire me as a filmmaker are two of my minors: art and psychology. They can be incorporated into film in beautiful ways that I don’t think I have done yet but I am hoping to get there.

Scene Assignment

https://vimeo.com/147685763

Shot by Shot Analysis - Pleasantville

Pleasantville was written and directed by Gary Ross. It is about a pair of siblings (played by Tobey Maguire and Reese Witherspoon) that get sucked into a TV sitcom, Pleasantville, from the 50s. The show is David’s (Maguire) favorite show and he is extremely happy to be living in the show while Jennifer (Witherspoon) wants nothing more than to go back home in the 90s. Realizing that they’re stuck in Pleasantville and living out the classic episodes, David plays along in the show while Jennifer decides to bring the 90s to the sitcom’s world. Things become shaken up and citizens of Pleasantville become transformed into Technicolor. It starts with the teenagers when they begin to explore sexuality and individuality. David comes home one afternoon to discover that his mom on the show, Betty (Joan Allen), has been transformed into color.

The scene begins with a medium long shot from behind David. The camera tracks him as he walks over to Betty. She is leaned over the sink and at this point, the audience is unsure why. 

The next shot is a medium close-up of David as he reaches out to touch Betty. Both David and the audience are unsure of what is wrong with Betty. She has been unresponsive as she has been during most of the film up to this point.

There is an over-the-shoulder medium close-up looking at Betty from behind as she is still quiet. Her character is supposed to be quiet and to know her place. She can be heard crying.

Close-up on David’s face as Betty turns around to reveal herself. The audience is still not sure what is wrong with her. 

Close-up on Betty. She is in full color and finally her true self. There’s not point in hiding it to David. She is almost glowing in the black and white setting.

Close-up of David staring at Betty. He is in a slight shock that she is in color now. All of the teenagers were changing into color but he never expected it from his TV mom.

Betty tells David that the world can’t see her like this. She doesn’t know what she is going to do; she is conflicted about living in color as her true self.

Close-up on David as he hears Betty’s husband, George, come home. “Honey, I’m home,” is what George calls out in every episode. He would be very intolerant of the situation that Betty is in. 

   

Close-up on Betty as she is experiencing mixed emotions about George seeing her in color. She wants to hide but be free at the same time. David asks where her make-up is. So far, all of the shots of them are close-ups because this is such a private and emotional scene. 

Extreme close-up on Betty’s make-up. It’s still in black and white unlike her and it is the key for her to continue to live her regular life. 

The next shot is a medium close-up that focuses on Betty and tracks her as she moves from the sink to the table to sit down. There is a light source above her head and it is more obvious now that she is in color. It is like she is glowing.

Medium close-up of David. The angle comes from behind the shoulder of Betty. David begins to apply the black and white make-up on Betty’s face.

Close-up on Betty’s face. David’s hand is in focus but his head is not. Betty is the focal point, specifically where the grey streak of make-up is beginning on her face.

Close-up on David as he continues to apply make-up on Betty’s face.

   

Close-up on Betty, but this time it is a profile view of her face with the streaks of make-up being applied.

Another close-up on Betty.This time more make-up has been applied. 

 

Close-up on David. 

The next few shots are extreme close-ups of the lipstick and the make-up being applied to Betty. They really show off how intimate this scene is.

Then comes an extreme close-up on David’s eyes as he is applying the make-up. 

   Back to a regular close-up of David for his reaction. He is done applying the make-up to Betty.

Close-up on Betty as she looks at herself in her hand mirror. She is amazed at how well David covered her up. Her eyes are still in color and they look amazing against the black and white.

Close-up on David. He is happy that Betty is happy. It’s their little secret to keep.

Close-up on Betty as she smiles. She can go out and face George now without being ashamed.

Close-up on David as Betty gets up to leave. His smile fades away as Betty walks away to the living room. He knows that the happiness is only temporary. You can’t hide who you truly are for long. Since David is alone now, the lighting becomes noticeable again. You see how dark the kitchen is except for the light above the table and the sink. I think this reflects well on how David is feeling about the intimate moment he just had with his TV mom. 

   

Overall, I think the close-ups work really well for this scene. It is an extremely intimate moment between David and Betty and it would've been strange to have been made with long shots and not see the characters up close and vulnerable. The lighting plays well to the mood and tone. The circumstances are sad. Betty has to cover up who she really is. As stated from before, the scene is an intimate one so it doesn't really matter the kitchen can't be seen in detail in any of the shots except for the establishing shot and even in there it can't be fully seen cause of the darkness. The characters dominate this scene and it is a beautiful one.