Commentary on "A Soldier Apart"

We chose to work on this idea because everyone else just "went with it" and just said yes to my treatment, a process I dislike. With this project I really wanted to make a scifi action flick while exploring underlying themes of corruption, and fascist governments (that parallel our own), combining themes from the genres I researched on (scifi, propaganda) and mix it with my partners' common genre (war/action). This final idea called for less time based scifi like I had imagined, and more war. I felt this was not a good choice, but due to restrictions on, ironically enough, time, many ideas in the original plot did not make it through the first few drafts. In order to balance the mindless action  I felt the project needed strong dialogue, and I really wanted top include a well lit  conversation scene.

1. Research and concept development related to your area of responsibility.

I was Director, Editor, and Prop/Costume Management/Design on this project, "A Soldier Apart". I chose these roles because I am usually the one who takes charge of production and then edits, as Gino is the one who usually tries to cope with my perfectionist madness. I was prop/costume management/design because 95% of the prop guns, walkie talkies, and military garb were mine. I felt a deep disconnection from this project as it steadily moved away from my original ideas.

Find Makarov

1. Research and concept development related to your area of responsibility.

I created storyboards from my cherished scenes: the interrogation scenes. This was done since they required lighting and we had a limited time in the library basement, so these had to be storyboarded to take advantage of time. I also really liked these scenes, as they were lit well and not shaky action-cam. I love old timey “on tripod” static shots, with simple backrounds. This scene was inspired by parts of the short film “Find Makarov.” I also chose to create a checklist for all the props used, so that nothing would be forgotten. http://www.youtube.com/watch?v=PgqmJRkrutI

1. What challenges and solved problems arose in your area of responsibility. (Remember that by fully explaining the above, and by giving specific details about what you did, you are actually giving evidence that you actually worked on the project)

I had to deal with the prop/editing/cinematography and more or less directing part of the project, and thus, was quite a toll on my grades. From the prop master standpoint, I had to manage the 40+ props used on the movie and make sure everything was brought to the remote location, and a few times, we missed things. In the factory scene for example, Alex looses his earphones when he slides underneath some crates. We decided that the audience wouldn't notice, but, did you? As Director, I had to coach actors, however, Alex Sqoicia, playing General Hammond, had prior theatre training, as well as Bryce Dillard. Alex Vargas and Alex Banerjee had the most important scene in the entire in the movie, when Alex gives his monologue. I had Barnett, of Paranoia fame, teach him a little on how to speak like a dictator. As editor, I had to handle constant crashes and setbacks in rendering. For example, in order to get the film out on its due date, it had to be exported in a mere 480p. Later I was able to bring in the full HD version at 1080p. As cinematographer, I had to cope with the constantly changing light of the canyon. In all it took 3 days (4 with the scout day) to shoot the scene. This presented many challenges,as the scenes were shot out of order, and some scenes are obviously shot at sun down, while other are shot in the twilight between full sundown and “behind the mountains” sundown, which I must say does benefit the filmmaker. Also the running shots were difficult to frame as I had to run with the actors as well as cope with the “Jello Frame” sensor of DSLR’s, the only reason I used the DSLR was to achieve a wider angle than my HDV camera, thus lessening apparent camera shake.

In camera "Jello"

1. What areas of production do we best see the application of your artistic style and influence in the project? Explain why is this significant and relevant.

I believe that the two biggest applications of my influence and style were in the color grading and interrogation scene lighting (particularly on the General, played by Alex S.). In the color grading, I tried to convey the over-grade of the footage in order to symbolize the fanciful and unreal sense of scifi but also the world that it takes place. It is a world of secrets and government deception, a place where everyone is shrouded by these colors, and bound to them and their allegiances. In the color grade of the interrogation, cold, distant, empty, trying to add the the atmosphere that wasn't there, the emptiness. In the forest I had to match the over grade, so I did a green color because it seemed appropriate, as the only other color you can grade footage effectively beside blue and green is red, and hat would not have been appropriate. In the lighting of the scene with Alex, I really wanted to go overboard and have a very dramatic opening shot. This would set the high Fidelity tone of the visuals for the rest of the movie. I really like classical filmmaking, not to watch but to record, and the motionless shot was my child. I also love silence in films. It really allows you to explore the environment in which the characters are in without actually showing or talking about it.

1. How the group solved problems that arose on the film as a whole. (You may, if you wish, detail problems in this section that arose because someone on the shoot had problems, was undependable, and did no work. However, the first question I will be asking you is, “Why didn’t you go to that person and tell them that they were not contributing enough, or help them work on skills that they found difficult.”)

In all, 2 weeks of hell were used to shoot the film, mostly at remote locations with alot of gear and costumes in a “Tatooine”-esque shoot wherein nothing worked and multiple props broke due to actor carelessness of things that I bought with my own earned cash, suffice to say, over $120 in possible damages was lost. My group mates all worked very hard, devoting time, locations, and a lot of effort to the cause. However, I feel that Gino, despite working very hard, had a similar disconnect with the project like I did, albeit to a greater extent. He simply wanted to get in done and over with, which I can not fault him for. Of all films I’ve ever made, this was the first time every person has shown up on every day of shooting. Overall, I think my groupmates did a superb job and should not be denoted because of this great effort.

1. Critical Evalutation
I thought, overall the film was a flop. It had it’s good moments, in fact some great moments, however it did not reach the production value I wanted  in some places, and did not tell the story that I wanted either. Rather it became a monster, that turned into a special effects shootout that just might have ruined the next generation of Art of Video’ers. Let me explain. They, in seeing the film, must want to make their own film with guns, despite the “Granny Rule” in place. We broke the rule, and we were supposed to be angelic “Advanced Kids” and be role models. I didn't want this to happen, I really didn't. However due to lack of time, We had the cut the story and the time travel element all together. But I digress.
I felt the film had a lot of potential, however, it had almost no plot and what plot it did have were subject to confusion and misunderstanding. It was more violent then it needed to be and had crappy sound effects, which added to the cheese. I believe that the film should have just not had a forest scene at all, and instead been focused on th relationship between the rogue and the soldier, with more choreography in the Warehouse scene. The ending monologue could use improvement and the actor choice could have been better also. The visuals were pretty solid, with grading and effects looking just fine. In all, I believe it to be a learning experience: dealing with mass props, extras, remote locations, and most important: have a story!