You better get used to the formatting.
I better introduce myself, as this is the world wide web you may be stumbling on this by accident and will not otherwise know me. My name is Jack, I'm a recent graduate of an arts course in London which has brought me into the realms of film making. My own area of 'expertise', if you wish to put it that way, is post production sound design and audio mixing. This is the part of the films that people watch which, when done well, can be incredibly unnoticeable, and when done badly, can stick out like a sore thumb, but I for one am not bitter about this fact in the slightest. Ha....
Another thing that it may be important to know is that I am no writer, never claimed to be, and probably never will. So the majority of these posts (should this little experiment take off) may appear incredibly shoddily written, and that'll be because they are incredibly shoddily written. Sorry about that. It tends to get written (typed?) down (out?) as I think it up, and rarely gets a second pass, and that's just the way it seems to be. Hey, it worked for an extremely average dissertation, who am I to argue with a moderately successful formula?
Right, all apologies over, a bit more explaining needed.
So the reasoning behind this essentially boils down to time, opinions, and a little persuasion. Along with this there is a kind of desire for people to see things in things the way I do because, lets face facts here, film is a wonderful wonderful medium. I wont quote any major film theory here (or probably anywhere else) because I probably can't remember it correctly and can't really be bothered to look it up right now, but film is *says something incredibly profound*, and that is incredibly difficult to argue with.
It's also a very different experience watching a film when you've worked on creating some, as opposed to just being a viewer, so if I can help spoil them for you too, then all the better.
;)
Seriously though, you start to pick up on various things that you didn't realise before working on films, and I could bore you to high hell about some of the things soundies pick up on. Take my current viewing of Jaws for example, you can pick up on when there's waves, the moments they don't bother and understand why, the differences in vocal quality in the different boat spaces and out on deck. I can hear the ALL sound cuts out in favour of music, what diegetic (in the space) effects they choose to include and what not to include, the sound of the ice cracking in my glass of water on the desk, the poster in the corner of my room slowly detaching itself from the blutac, the cat behind me running his tongue through his fur... Oh you get the bloody picture, it's a curse.
FYI, I've chosen to zone out of everything outside of the window, just because.
So these sorts of things will hopefully be fully applicable to everything I put on here, but I'll also delve into colours, editing style, shot choice, etc. because of a professional appreciation and amateur enthusiasm. Give me a camera or lighting setup with any real pressure attached and it wont end well, but I enjoy the techniques all the same. And after all, film is a full on collaboration of all these technical aspects, so why the hell not include them?
Exactly. Alright, enough rambling, especially if you know and appreciate all this stuff already, losing viewers (readers?) without even a proper evaluation of anything, impressive right? I think I may start off with TV too, because I've not mentioned TV once yet, and I bloody love it.
Enjoy your reading.
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