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WEEK 5: am i a fish yet?

Hi, This is Tamar and it is 11:12am on a Tuesday, Feb 4 <3


a lot has happened in the past two weeks, we all shot our films and are now in the process of editing them. So turns out, filming on a SF beach is a pain in the buttocks area. Initially it was going beautifully, right up until a devils pawn of a blizzard hit. 70% of my sound is a windy trash and incoherent, the execution lacked because I couldn't hear myself think because of the wind, my actors were freezing and my crew was suffering. It was a sheet show. on a more positive note, WE DID IT! we all managed to shoot our shorts. Shoot the short, you know what I mean? :'))) We learnt A LOT! so much too consider for future productions. I think the biggest lesson right now is to KEEP AN EYE ON THE PACING OF EACH SCENE!!!! especially if you're doing long tracking shots and you only have 3 minutes of total film time. PICK UP THE PACE ALWAYS ALWAYS ALWAYS!. Also, planning continuity in your shot list is so important! Because, in the moment you're not going to have the headspace to think abut continuity as you go on. SO PLAN PLAN PLAN in advance!!! I was extremely lucky with my cast and crew! I worked with really talented and resilient people. Am I proud that we pulled through? YES! Would I ever want to shoot at the SF beach? abso- supercalifragilisticexpialidocios-lutely NO. here's a rough cut of my short. For clarity, I know there's a rough cut and there's a rough cut and this is a capital letters rough rough!!

you'll see the final magic in about a week <3


we now finished the Mira Nair Masterclass. I do feel like I've learnt a lot from her! both in terms of creative and technical process of filmmaking and also about all the different families of resources that are out there, free and accessible. The class about editing gave me a good idea about how to re-arrange one of my scenes to get as much emotion out of it as possible. Mira says to edit with a musical rhythm end not leave a second of empty frame. which would be impossible for me anyway considering my entire film can not be longer than 3 minutes. she also talked about the importance of silence in films and how silence makes way for a more impactful music and without strategic silences, it's too instructive and not impressive. I do think I'm guilty of being a little manipulative with music in the past, which I always felt guilty about, but also, it's better tone subtly manipulative than obviously instructive.

here's a subtly manipulative video I made which makes no sense and should never be tried to make sense of <3

the interesting thing is, because the way I designed sound and music for it evokes an emotion in me that I can not put a finger on. I wonder if it does the same to other people. It's so weird I love it. *narcissistically looks at the reflection of herself seen through a dark screen of a MacBook desktop* CINEFEMME

yesterday we went to our second cinefemme meeting. The structure was very different from the first time around. Yesterday was a workshop on properly lighting a scene and how different mood can be conveyed through different light plots. I work as an electrics crew in theatre so some terminology and approaches were similar to what I know, but at the same time I was shocked by how differently you need to approach lighting for camera. Camera sees very differently to how we see. It was definitely very interesting to watch the process, made me want to know more and make some experience in the G&E department. It's also so sexy to work in the lighting department.

here's a little story chlock for Room by Lenny Abrahamson. I was having emo hours so I watched Room to release the sadness demon all in one go

okay, i've talked enough, now I'm gonna go edit some more <3



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